LEE- Müzik Lisansüstü Programı

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

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  • Öge
    Top plate vibration analysis of the kanun instrument
    (Sosyal Bilimler Enstitüsü, 2020) Ömeroğlu, Cem ; Karadoğan, Can ; 409032001 ; Müzik
    Bu çalışma kanun enstrümanının göğüs tahtasının titreşim analizine yoğunlaşmıştır. Çalışmanın amacı göğüs tahtasının doğal titreşim frekanslarını tam anlamıyla çalışan ve geçerliliği yine bu çalışmanın içinde ispatlanmış bir üç boyutlu fiziksel model yardımıyla tanımlamak ve tasarım sürecinde öngörebilmektir. Böylelikle ladin ve çınar ağaçları ile birlikte metal ve kompozit malzemeler için de enstrümanın göğüs tahtasının frekans spektrumu model sonuçları ile birlikte analiz edilip değerlendirilecektir. Yöntem, başlangıç olarak çekiç testi olarak adlandırılan darbe deneyi aracılığı ile doğal titreşim frekanslarını ölçmeye dayalı olan deneysel çalışmayı kullanmıştır. Göğüs tahtaları çekiç ile darbelenmiş ve darbe tepkileri bir ivmeölçer aracılığı ile bilgisayar yazılımına kaydedilmiştir. Plakalar üstünde ayrık ve birden fazla sayıda nokta araştırılmış ve bu bilgiler sonraki aşama olan üç boyutlu fiziksel modellemeyi doğrulama aşamasında kullanılmak üzere ayrılmış ve saklanmıştır. Böylece deneysel çalışma, fiziksel modellemenin doğru ve tutarlı bir şekilde çalıştığını sağlamak ve gerçek ortam şartlarına mümkün olduğunca yakınlık sağladığını göstermek amacı ile bir referans noktası olarak kullanılmıştır. Farklı göğüs tahtaları fiziksel olarak modellenerek malzeme karakteristik bilgileri tanımlanmış, sonuçlar bilgisayar yazılımı ile üç boyutlu fiziksel modelin serbest titreşim modlarına göre ilgili yazılımla hesaplanmıştır. Model hesaplamaları ile deney sonuçları birbirleri ile kesiştikten ve serbest titreşim modlarına göre sağlama yapıldıktan sonra, fiziksel modellemenin sonraki çalışmalarda güvenli bir şekilde kullanılabilirliği onaylanmıştır. Sonrasında ise her iki farklı ağaç için sabitlenmiş titreşim modları çalışılmış ve sonuçlar aşağıdaki şekilde değerlendirilmiştir; İki ağacın sabitlenmiş titreşim modları karşılaştırıldığında; çınar ağacının (22) ladine (18) göre enstrümanın frekans aralığında daha fazla doğuşkan içeriğine sahip olduğu gözlemlenmiştir. Bu sonuç çınar ağacının göğüs tahtasının gürlük ve ses yayılımı anlamında ladine göre daha fazla potansiyele sahip olduğunu açıklayabilir. Geometriyi oluşturan plaka boyutlarında yapılacak cm bazında bir değişiklik dahi doğal titreşim frekans sonuçlarını etkilemektedir. Bundan dolayı; sesin doğuşkan içeriği ve yayılım şiddetinin genliklere bağlı olarak ses alanı içerisinde değişmesi beklenebilir. Boyutlar dalga boylarını belirlemektedir. Bundan dolayı, ses hızı sabitken boyutlar değiştiğinde doğal titreşim frekansında değişiklik beklenebilir. Üretim aşamasında çeşitli göğüs tahtalarını incelerken tüm plakalar hemen hemen aynı geometriye ve ölçülere sahip olsalar dahi ağırlıkları dolayısıyla da yoğunluklarındaki değişkenlik gözlemlenmiştir. Kısaca; ağaçların yoğunluğu ve bağıl nem oranı doğal titreşim frekansını kuvvetli bir şekilde etkilemektedir. Katılarda ses hızı Young Modülü ve yoğunluğa bağlıdır. Bu şekilde sadece yoğunluk parametresi düşerse, doğal titreşim frekanslarının tam aksine arttığı gözlemlenmiştir. Ladin ve çınar ağaçlarının göğüs tahtaları frekans spektrumu içinde değişik bölgelerde rezonansa girmektedir. Bu durumda yine geometrilerdeki benzerliğe vurgu yapılabilir. Yoğunluğa ek olarak Young Modülü, Sertlik Modülü ve Poisson's oranları bu doğal titreşim frekanslarını hep birlikte belirlerler. Ek olarak, göğüs tahtası için ağaçlara alternatif olabilecek farklı malzemelerin incelenmesi de fiziksel modelleme yoluyla çalışılmıştır. Metal olarak Al 3003-H18, kompozit malzeme olarak da GFRP ve CFRP Toray malzemeleri bu aşamada sunulmuştur. Tüm malzemeler; plaka kalınlığı, enstrüman frekans sahasına düşen doğal frekans sayısı açısından karşılaştırılmış ve ek olarak malzeme özellikleri ile belirtilmiştir. Biçim ve geometri çalışmaları ise göğüs tahtası üzerinde tek delik ve üç delik olmak üzere alternatif olacak şekilde çalışılmış ve sunulmuştur. Sonuç olarak, göğüs tahtasında tek delikli GFRP Toray malzemesi ile doğal frekanslar için enstrüman frekans sahasında maksimum sayıda (25) harmonik elde edilmiştir. Modelde kullanılan sonlu elemanlar yöntemine ilişkin parametrelerden; formüller, algoritmalar ve sonraki aşamalarda yapılabilecek değişikliklerin, sayısal ses işleme ve sentezleme konusunda fiziksel modelleme araçları olarak da kullanılması beklenebilir.
  • Öge
    Efficiency in rehearsal: A study on choral conducting methodology
    (Lisansüstü Eğitim Enstitüsü, 2020) Erdem, Burak Onur ; Özgen Öztürk, Yelda ; 657631 ; Müzik Ana Bilim Dalı
    The course of a rehearsal is part of the performance of a conductor. Considering that choral conductors have to plan a lot in advance to prepare a season and make sure that this plan functions well, it becomes evident that the efficiency level of a rehearsal is extremely important for an ensemble. Many factors have an impact on the efficiency of the rehearsal. The rehearsal methodology of the conductor, the planning of the schedule and its execution, the design of the rehearsal period itself, the conducting technique and the utilisation of the warm-up are prominent topics that should be discussed. On top of that, human factors like communication, motivation and discipline should be taken into consideration. All the literature considered, these elements all affect the rehearsal efficiency and function in combination. Logistics such as location, timing, transportation and subsistance are not to be neglected and they can be powerful in boosting performance, as well as decreasing rehearsal productivity when they are not taken care of. The allocation of the resources like the score library or the archive have strong effects on the outcomes of a rehearsal. Last but not least, the organisation within the choir, the self-governance structures, and the very existence of a board, extended representation tools, working groups, and general assembly are crucial for a healthy functioning of a choir, thus its efficiency in the rehearsals. Looking at the case study of the Wiener Singverein, a world-class choir with a rooted history and tradition, one can see how a season full of professional engagements can be managed with a membership of amateur singers. The case study primarily teaches the reader that the rehearsal is not a result of an improvised performance, but each and every aspect of it is carefully planned and crafted by the conductor and the driving forces of the choir. As a conclusion, this dissertation claims that five fundamental points can summarise the road to a more efficient rehearsal. These are the following points: Planning for different scenarios, preparing musically in great detail, communicating towards a positive environment, building a strong and sustainable team, and supporting the choir outside the rehearsal room.
  • Öge
    Twenty-first century flamenco: Experiencing tradition and transmission
    (Lisansüstü Eğitim Enstitüsü, 2021) Foggo, Robin George ; Tanır Özgün, Emine Şirin ; 708468 ; Müzik
    While flamenco is a strong cultural symbol of identity in Andalusia, it is also a genre that has many dedicated participants outside its original geographical area of genesis. This makes flamenco an ideal case study to examine the various contemporary paths that lead an outsider to an understanding of a musical practice. This thesis asks what aspects of the flamenco tradition are transmitted to outsiders. It also examines how it is transmitted nowadays and what this means to the tradition. The research methods employed were a combination of autoethnography, participant observation, virtual ethnography, and source analysis. I initially gathered material in the form of recorded guitar lessons, lesson notes as a learner, as well as ethnographic notes on all facets of my fieldwork, taking particular interest in aspects that contributed to my musical growth within the style. As I employed various media and contemporary methods of acquisition, it became clearer that how a tradition is transmitted is part of the tradition itself. This realization led me to treat a wider range of materials as source texts for analysis. These included guitar methods, interviews, books and articles, audio recordings, online communication, films, concert notes, letras, films and documentaries, lesson notes from my teachers, photos, and interactions between members of my target community. The process left me with a huge amount of source material, and as I categorised it certain patterns emerged. While organizing these patterns into themes, somewhat along the lines of grounded theory, the shape of this thesis emerged. To answer the main questions of this thesis I survey the main historical narratives of flamenco and associated identities, and demonstrate how the identities are manifest within the tradition. By examining musical forms, the flamenco aesthetic and certain socio-cultural performance contexts, I reveal the main markers of the flamenco style. I give examples of the lack of consensus on several aspects of the style within the community and argue that they reflect the interests of the various stakeholders. I also show that knowledge of the style is communal, and no one source has a monopoly on information. I argue that the antagonism between nuevo and puro supporters within the flamenco community is influenced by more general differences of human psychology and reflects the wider ongoing conflict between radical/conservative thought. I also highlight several obstacles that must be negotiated by a learner from outside the tradition. These challenges include conflicting information, a lack of standardization, and communication issues regarding language and jargon. I include a discussion centred on the interaction I had with my various teachers. Teaching methods and the underlying theories are embodied in the teaching practices I describe and complete the portrait of a learner journey. Examples are given that demonstrate the benefits and pitfalls encountered by a contemporary learner. Additionally, I show that not all aspects of the style are widely or explicitly taught. Some teachers are unaware of what they know, some cannot communicate it, and some simply do not know. The subject of explicit knowledge is also broached when I analyse different forms of notation and reveal what aspects of the style can be notated, what can't, what is purposely included, and what is omitted. I contend that this illustrates the importance different authors place on these aspects, and what knowledge they believe is tacit. While exploring these topics, we understand more fully the actors involved in imparting the tradition and the experiences of those to whom it is transmitted. I show that the various ways a style can be acquired outside the traditional areas of transmission leads to a more diverse pool of learners, who in turn become transmitters in their own right. I contend that this situation will present an increasing challenge to concepts linking identity and ownership of the music as the participant demographic continues to shift. I reveal that flamenco is a malleable tradition, and often being reinterpreted. I show that access to information technologies and international travel has changed the learning environment, made the acquisition of the style less challenging, and is creating new communities that still retain the key themes that make flamenco an identifiable musical culture.
  • Öge
    Organonscape, atmospheric relations and sound ethnobiology of kemence in and around Trabzon
    (Graduate School, 2021-12-17) Aslan, Uğur ; Karahasanoğlu, Songül ; 409162006 ; Music
    Kemençe is a three-string fiddle played especially in the East part of the Black Sea Region in Turkey. It is also called as Karadeniz Kemençe (Black Sea Kemençe) in order to distinguish this instrument from another kinds of Kemençes such as Klasik Kemençe or İstanbul Kemençesi, performed mostly in Turkish Classical Music. Kemençe is also a crucial part of the social life of the Black Sea people. In many cases, people express their cultural identity with this instrument and it represents their place, region, and even environment that they live in. This study aims to reveal the complex relations from the making of the kemençe to the musical performance and from its place in the soundscapes of the Eastern Black Sea region to the problem of the representation of the kemençe in the region. In this direction, I evaluate the kemençe instrument from three different perspectives and reveal the relationships of the kemençe with a different dimension in line with each point of view. These dimensions are space, nature and sound. I collected the data about the kemençe by the fieldwork method. I used participant observation and interview techniques in the study. In this direction, I started taking lessons from İlyas Parlak, one of the well-known kemençe players in the region, since 2018. The fact that Parlak knows the region very well and is aware of the musical differences in the region has enabled me to distinguish more clearly the musical identities in the region. In addition, I obtained the data on the role of kemençe making in creating sound communities and its relationship with nature by conducting interviews with well-known kemençe makers in the region. In order to interpret the kemençe from three different perspectives (space, nature, and sound), I held three different literature reviews and conceptual frameworks for this study. These three different perspectives are included in three different chapters in the thesis. In the first perspective, I discussed the aural spaces of the kemençe by making use of the literature of cultural geography and organology. As a result, I determined the aural spaces of the kemençe in and around Trabzon through different types of kemençes. I propose the concept of organonscape in order to explain the spatial analysis of the kemençe in this study. Through this concept, I show that kemençe takes place in a non-representational aural space in and around Trabzon, because five different types of kemençe(high-pitched, middle sized, low-pitched, four-stringed, and electronic) are performed in every part of the region and they are interacted with each other. In the second perspective, I focus on how the kemençe creates certain feelings among people (bodies) through specific performances. In this context, the term I put in the center is sound. While discussing the sound of the kemençe in the context of performance, I examined the concept of atmosphere in this section in order to answer my research question. In this section, while referring to the kemençe performance, which I consider as atmospheric practices, I have discussed the components related to creating a certain atmospheric situation with the concept of atmospheric relations. In this context, I aimed to present a broad structure that starts with the sound focus and also deals with the relationships between bodies in specific kemençe performances such as plateau festivals or muhabbet gatherings. In the third perspective, I deal with the relationship between the musical instrument and nature while assessing the instrument making process. In this context, in this section, I have discussed how natural resources that are used in kemençe making form the sound and timbre of the kemençe. In this context, while making use of the ecomusicology literature, I also examined the term sound ethnobiology in detail. As a result, I propose the concept of the sound ethnobiology of musical instruments in this section. I took this concept as revealing how the luthiers' relationship with nature affects the instrument during the instrument making process. When it comes to the sound ethnobiology of the kemençe, luthiers can classify tree species in terms of suitability for making kemençe, taking into account the place where the trees are grown. Luthiers also know what kind of timbre can be created through what kind of tree. This knowledge of knowing the natural sources of kemençe constitutes the traditional ecological knowledge of sound production in the region. In connection with the various uses of natural resources, different types of kemençes can be made and each type of kemençe creates its own aural space in the region. Consequently, local people reinterpret the kemençe instrument in a fluid aural space and create a space that is represented through the sound and timbre of the instrument. I considered this space as the organonscape of kemençe in this study. In addition, how the kemençe performance creates a common feeling and belonging on people is revealed with the concept of atmosphere. Thus, atmospheric relationships, practice, and certain atmospheric arrangements are required for these specific situations to occur. Finally, the relationship of the kemençe instrument with nature has been evaluated within the framework of sound ethnobiology from the manufacturing process to finding the appropriate timbre, and in this sense, it has contributed to future ecomusicology and sound ecology studies in terms of instrument-based studies.
  • Öge
    Narrative contribution of immersive audio sound design in audio-visual works
    (Graduate School, 2022) Murtezaoğlu, Yusuf Can ; Karadoğan, Can ; 733200 ; Music Programme
    Audio-visual works, whether it be a film, tv show, documentary, animation, live/recorded performing arts or an entirely abstract work of artistic representation; often relies heavily on sound. It can be argued that this is a reflection of how human senses work in tandem to make sense of reality. This reliance on observation and comprehension with ears, puts an emphasis on sound design to take charge in structuring a world, describing a scene, enhancing what's seen and collectively furthering the storytelling. With the advancement of technology and knowhow, this effect has been more prominent as time passed. One of the most apparent re-imaginings of the aural part of audio-visual mediums came with an approach called immersive audio. This is somewhat of an umbrella term that encompasses any form of soundstage reproduction that has spatial components to it. This was a revolutionary step towards a more enhanced experience for the viewer to enjoy. It also opened many paths towards creativity, considering there are a multitude of ways to achieve a given thing. Music, dialogue, sound effects and other miscellaneous audio events coming from not only the screen (or in a stereoscopic array very close to the screen) but possibly all around the audience's aural perception sphere, stimulated the industry towards experimentation and creativity. In the decades following the invention of this approach we saw many standards were being implemented both in recording, editing and playback phases of a production. As in all things, there are advantages and disadvantages to an approach that is developing so fast and is prone to change. Most attempts to standardize it has either changed and evolved into something else or became obsolete. And some have emerged as dominant as prominent forms and have promising potential future use cases. One of these come in the form of ambisonics. Of the many benefits of working with ambisonics, a couple stand out and in fact, are the reasoning behind this study being done with it. The ease of use, accessibility, future proofing aspects are industry leading to say the least. Also the scalability and expanded/enhanced playback options to it are arguably unmatched. In this thesis, main purpose is to explore the possible narrative contributions of an immersive sound design in an audio-visual work, made with ambisonics method. This is achieved through both a manner of thought experimentation and a scientific observation approach that is highly repeatable.
  • Öge
    Contributions of archery to violin performance through biokinetic approach
    (Graduate School, 2022-02-07) Işıksoy, Seçil ; Öztürk Özgen, Yelda ; 409181104 ; Music
    Each musical instrument requires holding it in a certain position suitable for its own structure. Violin position has an unnatural lateral position by holding the violin facing left between the shoulder and chin. Understanding the bow arm is fundamental for violinists to generate a personal expression and impressive sound. Since the violin is caused by repetitive movements specific to its practice, it subsequently leads to nerve entrapment syndromes and muscular injuries. Today, violinists are asked to produce a wider variety of tones and dynamics than ever before. Modification and progress of bows and strings, the demands of composers, and the dynamic capacity of today's concert halls make difficulties and high pressure for modern violin techniques. Consequently, a greater ingenuity of music and body is required more than ever before. In addition, a change in the repertoire is also a risk factor. The repertoire is considered a critical parameter concerning the levels of force and pressure generated during the performance, interacting with the accessories added to the instrument, such as the chin rest. However, the most effective risk factor is related to increased instrument use times and rehearsal times. For this reason, especially the part related to the movement system 'functional anatomy', kinesiology, biomechanics issues need to be addressed and instructed. In order not to cause functional deficiencies frequently and to make music more efficient, the importance given to various physical methods performed without instruments should be equalized with exercises on the instrument in education and career. In this sense, there are some accepted methods and sports in musicians' lives such as; cardio method, post-isometric relaxation techniques, swimming, jogging, yoga, Tai Chi, pilates-reformer, martial arts, Mitchell method, Feldenkrais technique, Alexander technique, endurance exercises, PNF. Instrumentalists rarely describe what they do using movement and the definition of movement means that generally only for enhancing stage attendance and reducing pain. Violinists' warm-up usually consists of scales, double-stop exercises, and bow exercises. One of the major shortcomings in the instrument training process is that the player practices without fully knowing, paying attention to, and developing the physiological functioning and capacity of the performance. Movement and coordination are largely ignored until an injury occurs. For this reason, professional violinists should be trained with awareness to consider participating in sports or an activity that improves their alertness, agility, and coordination, and generally increases muscle tone. Compared to the physical activity of violinists, archery is one the most suitable sports for violinists. Both archers and violinists use the tonic reflex. The tonic reflex is about making the body's extension and retraction movements when the head is turned to one side of the body. The greater the upper body force, the easier it will be to turn the head in the direction of the shifter. Archery is a sport that uses a very similar movement and general coordination, closely set up, and many of the same muscle groups that violinists use. In addition, both archery and violin performance are art that demands patience, balance, physical, mental health, and discipline. Yet another benefit is that archers use a complementary set of muscles to those used in string playing. Archery, which is one of the non-musical techniques to improve freedom, posture, and balance also holds additional advantages for violinists such as it broadens the shoulders, is a stress-relieving activity, and the method of preparing for a concert or an archery competition is similar. In this thesis, the technical characteristics of archery were studied and examined only mentioning anatomical points. It has been investigated how archery techniques can contribute to violin performance.
  • Öge
    Designing digital interfaces for enhanced musical interaction and digital instrument mapping strategies to improvise alongside acoustic instruments
    (Graduate School, 2022-05-24) Dağdeviren, Onur ; Deneç, Gökhan ; Vasilakos, Konstantinos ; 409191106 ; Music
    Today, with the increased accessibility of powerful processors and the development of sophisticated musical software, digital musical instruments, and interactive music systems have become quite common. It is now possible for sound artists to develop their customized musical instruments or interactive music systems to realize musical ideas that they have in their minds. Various commercialized digital control interfaces like Leap Motion Tracker or Playtronica's Playtron, which developed in the last two decades, offered great potential in musical applications. The advancements in human-computer interaction fashion led to much more expressive and engaging designs. This thesis is written from a unified perspective of a designer/composer/performer and proposes two newly developed interactive music systems: 'Lemohaxis' and 'Guru'. This study examines Lemohaxis and Guru as the main outputs of the study with focusing on their design processes and discusses their place in the literature. Additionally, in order to understand the effects of design decisions on the systems, these two systems are compared in detail. A limited number of performances were evaluated through various data collecting methods including questionnaires and unstructured interviews with the performers and the audience. The results of this research show that gestural controls with a Leap motion tracker can be much more expressive when compared to an Xbox controller. Also, simple one-to-one mappings for gestural controls allow a high level of performability for novice users without lowering the expressivity as long as it is possible to perform theatrics intuitively, yet it limits the complexity of musical controls. Comparison between two example systems show that there is a tradeoff between sonic expressivity and performability. In addition, the unique perspective in exemplary design of 'Lemohaxis', emphasizes that it is possible to achieve the targeted learning curve with unconventional approaches. Another innovative approach that is suggested by 'Guru' system is, using objects that are related to sonic outcome for switching between mapping presets of the leap motion to let the audience to relate the performers actions and the resulting sound for improving transparency. The concepts that are vital to an interactive music system design are introduced through a review of the literature. Similar systems and digital instruments are examined in terms of aesthetics and structural design. Structures of systems, mapping strategies, aesthetic needs, and decision-making on control interfaces are discussed in detail. Structural design, musical output, and the artistic needs that the systems must meet, are compared with similar digital instruments and interactive systems in the field.
  • Öge
    Force transducer piano keys as an innovative approach for piano pedagogy
    (Graduate School, 2022-06-01) Eren, Asaf Çetin ; Sünbüloğlu, Emin ; Buyruklar, Ahmet Tunç ; 409132005 ; Music
    This study aims to reveal the necessity of new approaches in piano education and to present an innovative technology that can be applied in this direction. According to Newton's impulse-reaction principle, everything that the pianist feels in her/his fingertip while playing the piano is reflected on the piano key side in the same way. Although pianists and piano educators find it difficult to put these feelings into words, piano keys can transform these reflected feelings into data through the right sensor design. Measuring the forces applied to the piano keys can objectively examine many arguments for better piano playing. Within the scope of this thesis, piano keys are converted into force transducers. The method behind transforming a piano key into a force transducer is that attaching sensors called strain-gauges to the points of the piano key determined as a result of calculations, with specified angles. Strain-gauges are extremely sensitive to changes in length on the surface to which they are attached. They create circuits that produces voltage changes. Via these voltage change values, the amount of straining (mainly due to bending) at certain points of the piano key can be observed and recorded. This way, the forces applied to piano key can be evaluated. Due to the data gathered from the tests with the force transducer piano key, temporal variations of keys's displacements and strain values on keys with various types of playings such as forte staccato, forte legato and piano legato are obtained. It is observed that the force is applied for a shorter time in staccato and longer in legato. In piano and forte playing, the difference in the slope of the time-displacement curve is detected. In piano playing, less strain on the tip of the key is detected. With the data collected from a trill (a musical ornament consisting of a rapid alternation between two adjacent notes) played with different techniques, the change in technique is reflected in the recorded data. Successive transients in the piano key and the mechanism when the key is pressed and the different stages of the mechanism's operation can be observed in the graphics. This system, which is created within the scope of this thesis, can be applied to adjacent keys, succeeds in providing an process that is not different from an ordinary piano experience visually or tactilely to the pianist and is able to produce sensitive and reliable data. With further improvements to be implemented on this new, patent-pending system, the proposed methodology can play an important role in re-defining piano pedagogy.
  • Öge
    Removing environmental factors of a recording with deconvolution technique and its potential uses
    (Graduate School, 2022-06-14) Alperten, Mert ; Kakı, Sertaç ; 409191109 ; Music
    The introduction of the first commercial digital audio workstation in the 90s has changed the focus in the recording business from large-scale studios to more digital-based approaches. One by one all the unique aspects of a recording studio have lost their importance to a degree, examples can be noted as reverberation chambers, editing tools, mixers, hardware tools (e.g. compressors, limiters, preamps, etc.), amps, room acoustics —can all be simulated in plug-in form for the use of a wider demography. There is an increasing demand for improved modeling and emulation of the hardware setup as mixing in your room is now being the preferred method for recording. The recording environment is one of the biggest contemporary problems of this era of the rising trend in home recordings. Problems like bad room reflections, bad room mods, bad microphones, cheap preamps, and interfaces are all included in this so-called "bad recording environment" of the home recording artist. Buying good microphones, preamps, and treating a room to improve your recording environment are all expensive solutions, hence this study seeks an alternative solution with a deconvolution technique. The impulse response technique is widely used on direct input (DI) signals of guitars to simulate amps and microphones, because DI signals are recorded without any environmental interference, it is easy to dress them into a recording environment. If there is a way to record an acoustic sound source without its environment as a "dry signal"; using the impulse response technique on this recording for changing its environment would be very easy in theory. Aim of this study is to use a deconvolution technique to remove a recording from its environment to attain this so-called "dry signal" so that it would be susceptible to be processed into a better recording environment.
  • Öge
    The relationship between texture and tension in early French spectral music
    (Graduate School, 2022-06-21) Barış, Deniz Can ; Altınbüken, Eray ; 409191103 ; Music
    The aim of this thesis is to shed light on the relationship between texture and tension in early French spectral music and to make conclusions about the changes in texture that occur during the tension-increasing and tension-resolving processes. The analyses include excerpts from Gérard Grisey and Tristan Murail's early pieces, both of whom are well-known composers and pioneers of French spectral music. The excerpts chosen were determined by taking into account the diversity of texture and tension curves. Along with the early period, an excerpt from second-generation composer Philippe Hurel's music is analyzed. Combined with the composer's approaches, the findings of research projects, approaches to texture and tension, the classifications for the texture of the music, and some parameters impacting the tension process serve as the primary sources of analysis. The thesis's main flow includes a brief history of French spectral music, texture definitions and comparisons, common texture types, some textural developments that occurred in the first half of the twentieth century prior to the French spectral music period, the timbral approach and its use in texture, definitions of musical tension and resolution, parametric and cognitive studies applied to these concepts, and analyses applied to clarify the relationship between texture and tension based on a parametric method. The introduction, the study's purpose, and a brief history of French spectral music are included in Chapter 1. The period's approach, the process of formation, influences, composers and their compositional attitudes, and the employed composition techniques are discussed. In Chapter 2, the texture is defined in line with the different approaches and definitions in the literature. Monophony, homophony, polyphony, and heterophony are defined under the title of common texture types and exemplified under this topic. Under the next subheading, some important developments and innovations in the texture of music and its components -in the first half of the 20th century, that is from the early 1900s to the first years of the French spectral music period- are discussed and exemplified. In the last part of Chapter 2, timbre, which has an important place in French spectral music is defined in line with different approaches, and its use in texture prior to the period is briefly discussed. In Chapter 3, texture in French spectral music, its form as a result of the use of instrumental and orchestral synthesis techniques, static sound masses, micropolyphony, and the shapes of texture created by layering these forms are demonstrated with the excerpts from the music by the composers of the period. The primary source and approach utilized in this chapter is the categorization made by Kari E. Besharse on the texture of French spectral music. In Chapter 4, concepts of tension and release in literature are defined and discussed in line with cognitive and parametric studies and approaches. In addition to associating parameters such as tonal harmony and melody, the concepts of consonance and dissonance, pitch movements, dynamics, tempo, rhythm, range in Western art music, and a number of studies, draw attention to the subjectivity and multidimensionality of the concept of musical tension, are discussed. The next subheading focuses on the process of tension and release in French spectral music, the period that the thesis aims to shed light on. Some experiments and studies carried out in this field are shared. In this section, the approaches of some spectral composers to tension, the results obtained from the studies of the researchers, the contribution of some physical properties, such as the harmony created on the basis of timbre, and the roughness of the sound to the tension process are presented. Under the last heading of Chapter 4, the parameters to be used to determine the approximate tension curves and texture types in line with all these studies, the findings, and the approaches to be considered are specified. Selected excerpts of early French spectral music are analyzed with the help of the composers' notes, information gathered from the scores, parametric transcriptions, spectrograms, quotations, figures, and tables. In the conclusion part, the data obtained as a result of the analyses are discussed, and the findings on the relationship between texture and tension are shared. The thesis is concluded with an overall assessment of the applied analyses and suggestions for possible further studies.
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    Integrating blockchain technology with user-centric payment system to form an alternative royalty distribution model for reducing royalty inequity
    (Graduate School, 2022-06-21) Günay, Bilge ; Öztürk Özgen, Yelda ; 409191120 ; Music
    Over the past few decades, digitalization plays a key role in shaping the music industry. By forcing radical changes, digitalization fundamentally disrupts the recorded music industry by changing how music is made, distributed, and consumed. Within years it becomes impossible to overlook the emergence and the impact of streaming services. The growing demand for accessing music through subscription- based streaming services transforms how the recorded music industry generates revenues. Even though streaming music is much more preferred and more accessible than buying physical copies, it becomes harder for musicians to collect their revenue share from streaming. Therefore, streaming services faces growing pressure and challenges to be more transparent with royalty management and faster with their payouts. This research discusses the current state of the recorded music industry by leading factors that led to the streaming services' lack of transparency and inequality in royalty payouts. This research summarizes copyright and royalties involved in music, and the complex structure of the recorded music industry by discussing the absence of standards for handling metadata and the lack of remuneration from music streaming. How royalties are allocated according to the current payment system, Pro Rata - Market Centric Payment System, is explained in this research. In return, an alternative royalty distribution model, User-Centric Payment System, has been described as reducing inequality in royalty payouts and compared with the current distribution model Pro Rata. Due to rapidly emerging technological developments, there are new opportunities for reevaluating the current royalty distribution model. Blockchain technology is being recognized as having the potential to change the music industry's ecosystem from its foundations. Further integration of blockchain technology with a User-Centric Payment System has been proposed to form an alternative royalty distribution model by providing insight into how blockchain may address these challenges by offering more transparent and almost instant royalty payouts. Finally, this research outlines further research and development on blockchain-based solutions for royalty distribution.
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    A phenomenological approach to sufi culture, ritual structure and its subjective experience in Kādirîhâne
    (Graduate School, 2022-06-22) Güner, Burçin Bahadır ; Tanır Özgün, Emine Şirin ; 409152001 ; Music
    Sufi rituals have been an important part of cultural and religious life in the Ottoman period. At the beginning of the 20th century, it is known that there were approximately 400 Sufi lodges (tekke) of various orders (tarikat) in İstanbul. In 1925, all Sufi lodges were closed and their activities were banned by the Turkish Republic. Even though they have disintegrated, some of them have been able to continue their traditions. Today, several tarikat perform their rituals and ceremonies. This study examines the Kadirî dhikr ritual in Istanbul. The Rûmî branch of the Kadirî order was established by pîr İsmail Rûmî in the early 17th century. The Kadirîhâne that he built in İstanbul, Tophane in 1631 was later considered as the center tekke (âsitâne) of the Kadirî order in Ottoman geography. Rûmî Kıyam Usûlü or Kıyam Zikri/Ayini is the name of the weekly public ritual among various other rituals and ceremonies. The purpose of this study is to understand the form and structure of the ritual in conjunction with the surrounding culture, and especially to describe the subjective experience of the participant. The study incorporates fieldwork, ethnography, transcription, translation, musical analysis and phenomenological description. In order to grasp the essence of the ritual, the study follows an outside-in path. First, it categorizes and explains the contents of the ritual in the context of the Sufi culture at the Kadirihane. Then, the author describes the ritual first from the third and then the first person's point of view in dedicated chapters. These methodological steps and their requirements are discussed in the first introductory chapter. Chapter 2, Ritual Content, presents the culture (lifeworld) around the ritual. With a phenomenological stance, it categorizes certain concepts from the ritual and explains them with reference to the culture and related literature. The first category, processual, explains the formal organization of the ritual; while the şeyh/postnişin conducts the ritual, participants establish an ostinato polyphony by providing rhythmical chants (dervişler) and songs/recitations (zakirler). The next category, procedural, focuses on what a regular participant performs and/or perceives in the ritual. In this way, certain concepts and behaviors are examined in and out of the ritual. The description in the next chapter builds on this ritual understanding. Chapter 3, Ritual Structure, is a musicological analysis and an objective description of the ritual. This Sufi ritual is a participatory performance and does not allow an outside observer. This means that the observer naturally becomes a part of the zikr circle. However, every detail of the âyin is described, transcribed and analyzed in depth from the perspective of a third person. The weekly ritual consists of Kuud (sit) and Kıyam (stand) sections. First section, Kuud, starts with the Evrâd-ı Şerif, a composed monophonic and axial group chanting that takes approximately 15 minutes. The text is known to be composed by the pîr Abdülkâdir Geylânî (d. 1165), the founder of the Kadirî order. It starts with some verses from the Quran and the rest consists of various salavats (divine blessings and salutations) upon the Prophet Muhammed. Then, participants start to chant La ilahe illallah (There is no god but Allah). While participants (dervişler) chant this phrase, musicians (zakirler) perform songs and recitations over the ostinato of the chant. Lastly, after the Kelime-i Tevhid, one zakir performs a durak ilahisi that allow participants to rest (durak) before standing up for Kıyam. As all participants stand up, they begin to perform a cumhur ilahi and then continue with another ilahi: kıyam durak. After this point, participants perform 5 divine phrases (esmâ) (Hayyul Kayyum Allah; Hay; Allah Allah Hay; Allah and Hu) in succession with metrical sways, while zakirler sing over them. The âyin is concluded with the Verse of Light (Nur 24/35) from the Quran. In Chapter 4, Ritual Experience, the author shares his subjective experience to show the dynamics of meaning and the sense of ritual. Therefore, the phenomenological description takes the form of an intimate narrative. This narrative description takes into account all multisensory details and their connotations. Also, all texts are interpreted from the inside of the ritual participation and performance. As a conclusion, chapter 5 summarizes all findings of the thesis. The concept of zikir, as being the main motivational concept for ritual, precedes both structure as well as the experience of it. The reciprocity between God and Human is symbolized with the rememberer and the remembered. The encounter with the being is presented as the ultimate goal of the zikir. Also, the processual form of the ritual symbolizes propriety (edep) and beauty (güzel) both of which lead one to the union (vahdet) with God.
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    The value of small live music venues in the music ecosystem: The situation in Istanbul, Turkey
    (Graduate School, 2022-06-23) Atay, Ceyda ; Öztürk Özgen, Yelda ; 409181004 ; Music
    The COVID-19 process, which has deeply affected the live music industry worldwide, was notable because the inequalities and problems in the live music industry became more evident. The most affected by the restrictions during this process was the communities (musicians, audience, operators, and personnel) of small live music venues. This study considers the live music industry as an ecosystem, and in recognising that small live music venues, due to their their vulnerability, and their value, are a vital tool for sustainable development within the industry. This research aims to find out how the values (cultural/ social and economic) are co-created in small live music venues and what factors impact this process in Turkey. Therefore, it was necessary to determine what these places mean for their communities and identify their problems. To achieve this objective, written interviews consisting of open-ended questions were conducted and supported by in-depth interviews, and field observations. The sample of this research mainly consists of the Istanbul alternative music scene, but the views of people with very different backgrounds were also evaluated. The qualitative data obtained from the interviews are reported by using the methodology of applied thematic analysis. According to the categorized reasons for the preference for small live music venues, the music and feeling like "home" are the most significant factors in these places. The results show that the atmosphere and the interaction are essential for the experience of live music. In the categories of the problems related to Turkey's live music industry, injustice is the most complained situation which is followed by economic and administrative problems. It is understood that life in small live music venues, and musicians are underestimated by the decision makers in Turkey. The findings of this research will help cultural entrepreneurs develop strategies to evaluate small live music venues and provide an outlook for what kind of policy should be followed so that these venues can generate more value. This research is also expected to guide future studies in various fields on live music venues and the live music industry in Turkey.
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    Play it all!: String ensembles in the Turkish music industry
    (Graduate School, 2022-06-24) Şener, Serkan ; Oğul, Belma ; Reigle, Robert F ; 409092005 ; Music
    The thesis entitled "Play It All!: String Ensembles in the Turkish Music Industry" issues certain topics related with the phenomenon of string ensembles which have been one of significant elements in the Turkish music industry since the late 1960s. The research is a product of an ethnographic inquiry. Apart from participant observations and interviews, ethnomusicological literature and commercial recordings from the recording history of Turkish music sourced the investigation. The string ensemble in Turkish Music Industry is a product of modernization trials performed by significant actors from diverse backgrounds during the foundation of the musical genre called arabesk music. The works and efforts of significant actors of arabesk music were examined to set a ground for the foundation of the string ensembles. One of the findings of the thesis is the fact that arabesk music and string ensemble as its trademark were cultivated by diverse backgrounded musicians from the musical scene. However, some of them, such as Suat Sayın, Orhan Gencebay, Vedat Yıldırımbora, and Mustafa Sayan came forward as the most influential modernizers who impacted the music industry and followed by others. The very existence of the string ensemble shifted the musical style of the popular makam musics in terms of sonic range, timbre, melodic structures, form, and polyphony; which were elaborated in several sections of the text. Certain issues related with local and global styles, Arab influence, and social organization of arabesk musicians were addressed in the thesis. String ensembles have been dominated with Romani musicians since their foundation. The issues focusing on the social organization of the string ensembles with a special attention on the flexibility and networking of the string musicians in the marketplace promises a sublime data for the reader. In chapter 3, the findings from the field about performer profiles and cultivation processes of the Romani families and individuals as well as institutionalization processes which led to competition among the string ensembles were narrated. Performers of the string ensembles developed their musical tradition throughout history. As they provide service for the music industry, they adapted to changes in stylistic and aesthetic tendencies, economic fluctuations, and technological developments. In order to sustain their status in the marketplace they cultivated a musicianship which enabled them to perform any musical demand of actors who shape the musical scene. Meanwhile, their active participation in the productions transcend their significance towards active individuals and communities who shape the music.
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    The harmonic language of Tiny Kahn
    (Graduate School, 2022-06-26) Fratina, Daniel Rocco ; Ekmektsoglou, Manolis ; 409191118 ; Music
    This thesis explores the career of jazz composer Norman "Tiny" Kahn (1924-1953) and analyzes and historicizes his developing harmonic vocabulary and stylistic contributions from 1946 to 1951. Today, Kahn is best known as a pivotal figure in the development of bebop drumming, but despite receiving high praise for his writing from his colleagues during his lifetime, his work as a composer has received scant coverage today. This paper seeks to situate Kahn in a higher position of historical value as a composer, making the case that he made substantial contributions to jazz networks of the late 1940s, with the goals of increasing visibility of this oft overlooked musician and adding valuable analytical data to the overall jazz community's pool of knowledge. The body of this paper focuses primarily on Kahn's harmonic language—its historical relationship to the mainstream, the ways in which it deviated over time, and the social connections that helped authenticate these developments within the bebop community. Analysis of a selection of blues compositions revealed a variety of methods Kahn used to push functional harmony to new limits, some of which would later become standardized within jazz compositional networks. Research has also unearthed direct links between Kahn and Miles Davis's famous genre-defining Birth of the Cool band, and comparative score analysis has uncovered many compositional techniques—first pioneered by various Cool writers—located within Kahn's 1949 arrangement of "Over the Rainbow" for Charlie Barnet's band. The data points to Kahn—an outsider to the Cool project—immediately adapting to the new harmonic and formal frameworks propagated by the Cool writers. Harmonic analysis is based on chord scale theory, the dominant analytical framework of jazz theory for the past half century. As a self-taught composer whose work is almost entirely out of print, an investigation into Kahn's music also required extensive aural transcription by the author of this paper. Using the author's fifteen years of experience as a full-time professional big band and orchestra transcriptionist, the paper will collate authentic recreations of many of Kahn's (and his peers) out-of-print scores for comparative harmonic analysis to place Kahn as a significant supporting composer in the first decade of bebop and one of the first to successfully synthesize classic big band writing with the modernizing efforts of the Birth of the Cool project.
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    Santur's visibility in Turkey; An ethnomusicological analysis of orientation towards an instrument
    (Graduate School, 2022-06-27) Çavaş, Bulut ; Tanır Özgün, Emine Şirin ; 409171004 ; Music
    The santur and santuri's existed in the Ottoman Empire and Turkey between the 16th and 20th centuries and gradually faded out in the 20th century. From the 2000s, santur have increasingly become visible through various genres and scenes. This presence within centuries comprised of several significant phenomena; having a critical place within Ottoman court music circles both as performative and pedegogic aspects, being at the first official conservatory (Dârü'l-Elhân) in the Ottoman Empire and its successor Istanbul Conservatory in Turkey, or taking as part of ensembles at crucial historical events. Covering those issues, this research mainly focuses on the 2000's and aims to investigate the extent of santur's reappearance, which inquires the aspects of visibility such as the evaluation of the orientation towards the instrument through its performers and the audiences. At the beginning of the fieldwork, it was noticed that among the majority of musicians, timbre was quite effective on the preference of santur, thus the roles and perception of timbre were also investigated. During the historical background analysis, it is observed that the change in the demand at the institutional level is one of the reasons that triggered santur's fade out through the 20th century, thus the relation between music and the construction of nation-state identity is examined. In parallel with the investigation of these two issues/periods in their own social and cultural contexts, an ethnomusicological perspective that centers the instrument and examines the relationship of its organological structure to these phenomena has been adopted. Regarding santur's reappearance, ethnography is used to inquire about the aspects of musical instrument preferences or related parameters. The study involves several fieldwork techniques such as participant observation, in-depth interviews, mapping, collecting and analyzing audio/visual materials, and informal interviews. For the historical background chapter, in addition to the literature study, an archival research has been added; through Cumhuriyet (oldest Turkish daily newspaper) digital archive, all the news that covers santur and santur players between 1930-2020 has been analyzed and incorporated into the related parts. Some of the collected data was quite parallel to the facts within other sources, yet some others reveal crucial facts regarding the social and political reasons of santur's disappearance. This study proposes an organological approach that centers around thinking through the roles of musical instruments in a particular place and time. In addition, being aware of the subjectivity of taste/preference and the incomprehensibility of the concept of popularity, the study argues that through ethnography, it is possible to understand the context of organological identity constructed around an instrument and related aspects of the legitimacies. It is expected that the investigation of the phenomena that constitute the individual and institutional preferences of a musical instrument, by focusing on musical instruments and timbre, will contribute to our understanding of the complex relationship between instruments, performers and listeners.
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    A practice-based research on musical improvisation: Collaborative improvisation as a play
    (Graduate School, 2022-07-08) Hatipoğlu, Zeynep Ayşe ; Öztürk Özgen, Yelda ; 409162007 ; Music
    This study seeks to connect play and collective improvisation, and propose play as a creative tool for improvisation to contribute to the field. The thesis offers newly designed improvisatory collaborative plays and provides a methodology to create improvisatory plays, workshop techniques, and a tool-box for collective practices. For the purpose of this thesis, several plays that focus on different sensorial effects were developed, applied and documented. Emotion Play, collaborated with an industrial designer, Gülen Mine Demiralp, aimed to increase emotional awareness and practice it with tactile, auditory and visual components. In Re-Thinking Objects, collaborated with play expert and futurist Yeşim Kunter, transforming everyday objects into sound sources were used to create improvisation. The Listen Before Play focuses mainly on the importance of supporting the listening acts during improvisation. As many extensive listening exercises focus on, this play is an attempt to focus on listening to the sound which the performer produces, as well as listening to the collaborators. In Graphic Notation, group members' creative interpretation processes aimed to be increased and the practice offers visual and auditory projection. For the workshop, a specific type of notation was offered to observe different interpretations of a single script. The play Maintain Balance focuses on body movements, and by making body movements active within a group dynamic, it aims to investigate an embodied practice, which was developed in collaboration with martial arts expert Çağlayan Ceylan. The last two plays, namely Voicing A Letter and Upside-Down, experiment with the idea of exploring new approaches and performance techniques. These two plays aimed to increase awareness of the members by using their own voices, and by rethinking and experimenting with their instruments, it aimed to explore new performance capabilities. Musical analysis of the improvisation sessions are left outside the scope of this work as the main focus is on developing group dynamics and improving improvisation. To investigate the musical and intellectual preferences of selected Turkish improvising musicians, oral interviews were conducted and transcribed in the appendix section that contains various insights and personal views on improvisation and the concept of play. Finally, a set of play instructions as a toolbox has been provided to would present guidance and help in creative works and education scenarios have been proposed as the main outcome of the work.
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    Towards a response-able com-position practice: entangling with humans, more-than-humans and materials
    (Graduate School, 2022-07-18) Uçanok, Fulya ; Tanır Özgün, Şirin E ; 409142002 ; Music
    This dissertation proposes an artistic research model that springs from a socio-musical imagination for composition. The research investigates and articulates various relational possibilities and positions of the poietic process by knotting various agents (human, more-than-human and material) together in a co-authored, multivalent compositional space. Possible realizations for response-able composition practices, follow various feminist, non-anthropocentric, and new-materialist strands of thought, focusing on concepts proposed by Karen Barad, Donna Haraway and the ensemble Gilles Deleuze, and Félix Guattari. The Response-able Com-position model offer engaged practices for learning to live and negotiate in a world of multiplicity and difference; offering recipes for making with others through multivalent socio-sonic and embodied sound engagements, which have potential to cultivate aware, caring and thoughtful processes for our sound practices.
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    MIXPREP: Machine learning-based multitrack mix preparation assistant
    (Graduate School, 2022-08-12) Yücel, İsmet Emre ; Özdemir, Taylan ; 409152003 ; Music
    Music production is a general term for describing a set of complicated processes where artistic and technical efforts are involved. Besides the artistic part, the technical side of some parts has regular iterative works. This study focuses on the mix preparation step of the multitrack audio mixing stage in music production by seeking an automatic software solution regarding the intelligent music production paradigm. The structure of the dissertation consists of four components: Theoretical background with fundamental definitions of knowledge both in music production analysis, instrument recognition theories and applications, the approach and explanation of the development of the proposed assistant software, and last but not least, an experiment stage comprising of performance testing with many multitrack projects. Before diving into the development stage, the perspective and the definition of the mix preparation are presented after introducing the music production with a brief historical background. Afterwards, delineation of the intelligent music production research field apart from subjective interests takes part. Instrument recognition literature takes an important part in the conceptualization of the automatic mix preparation solution. Because of that, an extensive historical background in the instrument recognition field is given without getting into redundant theoretical aspects. Apart from that, a reasonable amount of information about the definition of the fundamental concepts of digital audio, audio content analysis and machine learning seemed appropriate to be mentioned since the audience of this research addressed the music technology field. After providing the fundamental theoretical background, the software development approach for the mix preparation assistant is presented. This section explains the software structure by stating the basic requirements of the mix preparation regarding design concerns of the graphical user interface (GUI) consideration for practical usage. The main issues are the GUI layout, software usage, and building a dataset with a related machine learning model. Eventually, a loop-based audio dataset creation approach and ML model are put forward by testing their performance with many audio files from 80 multitrack audio projects in four musical genres (Pop, Rock, Jazz, Electronic/Dance). The experiment is set concerning instrument families provided in the dataset and genre-related performance estimations of each one. The results were interpreted by accentuating the crucial points of implementing the ML-based mix preparation solution. Detailed evaluation results are in the appendices. This study proposes a concept of intelligent mix preparation software by providing a methodology for the design concept and application.
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    Computational harmonic analysis with rhythmical weights
    (Graduate School, 2022-08-16) İkeda, Ayşe Ruhan ; Karadoğan, Can ; Mazzola, Guerino ; 409132003 ; Music
    Analysis of harmony is the first step in the analysis of common practice (Baroque, Classical and Romantic) period of Western music because in these genres musical structure is aligned with tonal motion and organicity is created primarily by harmony. The analysis includes finding regions of tonality/key, labeling chords and cadences, assigning functions to chords, finding prolonged harmonic functions and consequently forming a tree-like hierarchy. The result of this effort is the discovery of the harmonic motion and how musical entities function within this motion. This is how a music theorist analyses harmony based polyphonic music, i.e., music of the common practice period. A chord's function in its tonal context has an emotional projection that is perceived by the listeners: a harmonic tension that rises or falls, held in a suspension or resolved. A rise in harmonic tension raises an expectation for resolution and its resolution is an emotional relief. The fine balance between increase and decrease in harmonic tension through time is perceived by the emotionally sensitive listener. This ebb and flow in tension is a critical determinant of the aesthetics of harmonic language. In this thesis, we describe an algorithm for harmonic analysis of polyphonic music and demonstrate its implementation on the RUBATO Composer music composition and analysis environment. Our harmonic analysis model completes Riemann's unfinished program by assigning a function to any chord –not only triads and sevenths– based on the pitch content of the chord and the harmonic tension created between consecutive chords. As a background of music modeling, we overview mathematical approaches to music analysis at the symbolic level (i.e., note level and above) and then we examine how computational power can be used for modeling and analysis of music and musical processes. Then, we review similarities as well as differences between music and language and also musical structure analysis methodologies borrowed from linguistics research such as grammars and parsers. In Chapter 3, we give an overview of RUBATO Composer music composition and analysis environment including its historical line of development. We summarize its mathematical pillars and the software architecture. We also describe a number of rubettes that we designed and programmed on RUBATO for computational analysis purposes: a rubette that enables mixing of weights, and another rubette to translate a MIDI file into a MIDI denotator, and another one to be able to trim MIDI files. We also explain a rubette that translates harmonic analysis output to Lilypond, a music typesetting format. In Chapter 4, we give our motivation for computational harmonic analysis by reviewing related concepts such as tonality, harmony and tonal tension as well as a review of computational models for analysis of tonal tension and harmony. In Chapter 5, we describe our mathematical and computational models and their software implementation for analysis of harmony. During this thesis, we added some components to the Computational Harmonic Analysis Network –a suite of rubettes to analyze harmony. The additions are implementation of Viterbi algorithm for optimum path computation and direct-thirds method for Riemann Matrix computation.s The core of the thesis is however is being able to analyze harmony using also metric/rhythmic information of musical events. Our harmonic analysis model had previously assumed that chords have the same metric importance. However as musicians we know that meter in music imposes a hierarchy in perception of musical events in time, i.e., not every instant, and not every beat is equally important during perception. Thus, we extended our model to include metric importance of musical events. In Chapter 6, we give a review of recent research on perception of time and periodicity based on recent neuroscience research. Then, we focus on temporality in perception of music. We consider meter and rhythm as the skeleton system that span time, whereas melody and harmony are the flesh over the bones. This ontological order of where meter and rhythm is primordial is relevant for a vast majority of genres in music including music of the common practice period. Then, we overview metrical analysis algorithm based on Mazzola's metric analytics which reveals local (inner) meters in music and its implementation as the new MetroRubette. Finally, in Chapter 7, we describe a computational model for harmonic analysis of music where, next to pitch content and temporal position of neighboring chords, metric position of chords is also considered. Music is given to the analysis algorithm at a symbolic level as a MIDI file. We explain the new algorithm in detail and also give sample analyses with the algorithm's implementation as software on the RUBATO Composer. We compare harmonic analyses with and without metrical proximity, examine their differences and discuss results.