LEE- Müzik Lisansüstü Programı

Bu topluluk için Kalıcı Uri

http://hdl.handle.net/11527/19406

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Yazar "Ekmektsoglou, Emmanouil" ile LEE- Müzik Lisansüstü Programı'a göz atma
  • Öge
    A stylistic and structural analysis of flute concerto by Krzysztof Penderecki
    (Graduate School, 2023-09) Karapınar, Filiz ; Ekmektsoglou, Emmanouil ; 409132007 ; Music
    In this study, the artistic path and the important works of Krzysztof Penderecki (1933-2020) are examined. The majority of this thesis is concerned with a stylistic analysis of the Concerto for Flute and Chamber Orchestra (1992). This concerto is a recent example of Penderecki's current usage of stylistic synthesis. This study attempts to show how he employed diverse components within the context of a single piece of music and how Penderecki combined/synthesized the tradition and modernity regarding compositional techniques unique to this concerto. Through a rigorous stylistic, textural, and motivic examination, the study will assist to highlight the work's unifying compositional techniques. In addition, since the analysis of the flute concerto provides detailed information of its content and structural features, this study constitutes a source for flute students, musicologists, and performers. The study opens with a biographical sketch that reveals necessary information about Penderecki's varied compositional technique as well as his musical philosophy. Penderecki employed numerous compositional approaches while investigating a universal language. He explored diverse modern composing approaches, notations, styles, and genres, such as sonorism, serialism, and neo-Romanticism. Since the creation of Strophen in 1959 at the "Autumn of Warsaw" festival, he showed amazing courage in discarding all remains of musical history, as well as extraordinary ingenuity in finding undiscovered sound components of music, which immediately secured him a prominent position on the Polish musical scene and opened the way to international renown. As his compositions evolved, he progressively began to phase out avant-garde composing approaches. Throughout the 1980s, he discovered his own musical pluralism, a chromaticism that is largely polyphonic without tonality, but with themes and motifs that allow for counterpountal interaction. Penderecki smoothly blended such extremes into the mainstream of his particular musical language, which he termed "synthesis" thanks to his superior craftsmanship. The studies and interviews show that for Penderecki, the art must be rooted in a uniting experience. Thus, synthesis not only refers to a composition approach, but might also combine old themes with new musical techniques, or be a synthesis of contemporary and traditional techniques that would communicate directly to audiences. The first chapter also includes a discussion of Penderecki's literary work, Labyrinth of Time. Five Addresses for the End of the Millennium, a compilation of five speeches held between 1993 and 1996. It was written both as the composer's personal declaration on the condition of art at the turn of that century, and as a response to critics who, in the mid-1970s, criticized his shift from experimentation to a more melodic expression in his music. Here we understand that the Penderecki's labyrinth symbolizes his artistic journey between the past and present. The third chapter of this study explores the Concerto for Flute and Chamber Orchestra from a structural and stylistic point of view, and aims to explain how Penderecki combines his avant-garde and neo-Romantic approaches in his "synthesis" through this work. Penderecki claimed that he always wrote his own music, creating a language that he used to communicate with the audience that appealed to their cultural memory. The work integrates traditional compositional approaches that give a chance for addressing this bridge between the artist and the listener. The fundamental strategy to the research was inspired by Jan La Rue, Guidelines for Style Analysis 2nd edition, 1992, (first published in 1970 New York: W. W. Norton), which is introduced in detail at the beginning of the third chapter. LaRue has developed a concept of style that permits the careful examination of each musical element. The main technique entails separating the music into its constituent sound, harmony, melody, rhythm, and growth (acronym SHMRG) for analytical purposes, utilizing the author's concept formula. The results obtained by applying these guidelines for style analysis are summarized in the fourth section. The concerto covers musical materials which are built carefully on selected intervallic combinations with a tendency for dissonances such as minor seconds. These materials are repeated and developed throughout the entire piece creating the whole structure. Continuous transformations and development of the initial material create an expressive and dramatic tension. When Penderecki discusses tonality, he refers to tonal centralization as opposed to traditional major-minor tensions. In addition to the dense and heavy orchestration influenced by the Romantic composers, his mastery in contrapuntal writing is demonstrated in his polyphonic dialogues between single instrumental groups. His sonoristic experiences have influenced Penderecki's timbral imagination. He makes use of the flute's many tone colors by using extreme registers, varied articulations, and varying tempos. In a chamber-like approach, the solo flute is juxtaposed against a large orchestra in such a way that its textures remain mostly transparent. In conclusion, Concerto for Flute and Chamber Orchestra all in all exemplifies Penderecki's synthesis idea, which involves taking a few steps back from the parametric and sonic extremities of the past half-century, and looking at history as a whole to find possible creative steps forward. One cannot deny that this flute concerto is a significant contribution to the instrument's repertoire, while there is a lack of flute-centric concerti in the late modern repertoire. The resulting method of the analysis is particularly extensive and effective for flute performers, scholars and researchers interested in stylistic concerns within the context of broader artistic or historical studies.
  • Öge
    Ecological modalities as tools at play in collaborative comprovisational works
    (Graduate School, 2025-06-16) Salsgiver, Amy Terese ; Ekmektsoglou, Emmanouil ; 409202002 ; Music
    This thesis explores the ontologies of composition in the 20th and 21st centuries through an ecological lens, focusing on collaborative and comprovisational approaches in Eurogenetic Art Music (EAM). It examines how composers engage with performers and notation in ways that challenge hierarchical models of composition, instead fostering sonic agency, improvisation, and dynamic relational processes. The study proposes ecological modalities as a conceptual framework for understanding composition—not merely as a representational act but as a system of interconnections among composer, performer, score, and listener. Grounded in practice-based research, the study integrates methodologies from sound studies, ethnography, and artistic research to examine collaborative composition. By engaging with improvisation, indeterminacy, and soundscape composition, it explores how ecological thinking informs listening-based strategies in music-making. Central to this investigation is the idea that musical works function as ecologies, where the interplay of various agents—human and non-human—creates dynamic sonic environments. The study examines the redistribution of musical authority among composers, performers, and listeners through the concept of sonic agency, considers atmosphere and vibrancy as affective and emergent qualities of musical interactions, and explores how failure and imperfection function as productive forces within composition, challenging conventional aesthetic norms. These perspectives position music as a relational practice, where collaboration extends beyond traditional performance settings, engaging with broader ecological and social concerns. The thesis is structured into three sections across six chapters, moving from theoretical inquiry to practical applications. The first section establishes the historical, theoretical, and conceptual foundations of ecological composition. Chapter 2 traces the historical trajectory of improvisation in EAM, examining its disappearance and resurgence in the 20th century, particularly through experimental composers and jazz-influenced practices. Chapter 3 contextualizes ecological modalities within composition, drawing connections between early representations of nature, the influence of recording technology, Cagean ecological thought, and soundscape composition. The second section shifts from theoretical discussion to the examination of selected compositions that exemplify ecological modalities in music. Rather than imposing a single analytical framework, the study investigates how each work fosters collaborative dynamics, enabling diverse pathways for improvisation, notation, and sonic agency. The final section presents original artistic research projects, demonstrating how ecological modalities can shape compositional practice. Chapter 5 documents two multi-year artistic research projects, reflecting on iterative cycles of composition, performance, and analysis, while Chapter 6 synthesizes the findings and discusses the broader implications of ecological composition for contemporary music practice. Through this research, several key insights emerge regarding contemporary compositional practice. Improvisation functions as a generative compositional tool, enabling emergent musical forms and listening-based engagement. Notation, rather than serving as a rigid prescriptive system, becomes a flexible and relational platform that facilitates co-authorship between composer and performer. Comprovisation foregrounds situated knowledge and sonic agency, operating as an ecological practice that integrates collaborative structures rather than imposing fixed musical forms. Furthermore, ecological listening expands compositional frameworks beyond score-based traditions, drawing from ethnographic and soundscape methodologies to explore new ways of hearing and engaging with sound. By moving away from hierarchical structures inherited from the Common Practice period, this study reimagines composition as a fluid, adaptive process of interaction and exchange. It highlights how expanded listening practices, rooted in ecological thought, can cultivate new sonic perspectives, reinforcing the role of music as an act of empathy, connection, and co-creation. Through an ecological perspective on composition, this research underscores the potential of improvisation and comprovisation to reshape the relationships between composer, performer, and audience. It challenges traditional notions of compositional authority, advocating for postcolonial and decolonial approaches to musical scores and performance. Rather than treating ecological modalities as purely thematic concerns, this study argues that they function as structural, methodological, and ethical frameworks for composition, offering alternative models for engaging with musical materials. By embracing ecological approaches to sound, deep listening, and collaborative authorship, composers and performers can expand the ways music is created, perceived, and understood—not as an isolated object but as an evolving and relational system of interaction.
  • Öge
    Representation of sound synthesis as a compositional methodology in contemporary music
    (Graduate School, 2024-01-16) Türkoğlu, Şükran Gökçe ; Ekmektsoglou, Emmanouil ; 409201129 ; Music
    This thesis examines the contributions of sound synthesis techniques to a musical work during the compositional process. Since the 50s, sound synthesis has influenced musicians not only in the field of performance as an instrument but also in the process of generating unique ideas, providing a structural basis for their works. Sound synthesis and its concepts continue to be a source of inspiration for composers. Beginning with a general approach of the integration of electronic music into contemporary and popular music to the formation of a compositional concept by formalization has been investigated. Afterwards, the focal point of the study, sound synthesis techniques that are additive synthesis, frequency modulation, granular synthesis and stochastic synthesis were introduced and their active role during composition and orchestration processes were examined. The discussion focused on how to incorporate the techniques from a different domain into the instrumental realm, and the potential aesthetic and technical variations that might occur. A symbolic form of representation of synthesis results in timbral and textural enrichment of sonic material regardless of the instrumentation. Since the principle is based on the smallest component of a sound to the formation of a larger musical event, observing and manipulating physical qualities of this component such as harmonic and inharmonic content, amplitude and envelope allows for molding the overall sound of a piece. Subsequently, works in contemporary music repertoire in which each technique was used were identified and examined. The conceptual contributions and effects of these works and composers from different perspectives, from spectral music to stochastic music and microtonal music, were discussed. Finally, an empirical research in order to be able to examine the effects of sound synthesis techniques on music composition, to make deep inferences and to concretely base the effectiveness of the use of this technique. A composition was created employing stochastic synthesis, then was transcribed for a wind ensemble and the observed findings were conveyed.