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ÖgeEfficiency in rehearsal: A study on choral conducting methodology(Lisansüstü Eğitim Enstitüsü, 2020) Erdem, Burak Onur ; Özgen Öztürk, Yelda ; 657631 ; Müzik Ana Bilim DalıThe 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.
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ÖgeTop plate vibration analysis of the kanun instrument(Sosyal Bilimler Enstitüsü, 2020) Ömeroğlu, Cem ; Karadoğan, Can ; 409032001 ; MüzikBu 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.
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ÖgeTwenty-first century flamenco: Experiencing tradition and transmission(Lisansüstü Eğitim Enstitüsü, 2021) Foggo, Robin George ; Tanır Özgün, Emine Şirin ; 708468 ; MüzikWhile 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.
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ÖgeOrganonscape, atmospheric relations and sound ethnobiology of kemence in and around Trabzon(Graduate School, 2021-12-17) Aslan, Uğur ; Karahasanoğlu, Songül ; 409162006 ; MusicKemençe 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.
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ÖgeRemoving environmental factors of a recording with deconvolution technique and its potential uses(Graduate School, 2022-06-14) Alperten, Mert ; Kakı, Sertaç ; 409191109 ; MusicThe 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.
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ÖgeThe relationship between texture and tension in early French spectral music(Graduate School, 2022-06-21) Barış, Deniz Can ; Altınbüken, Eray ; 409191103 ; MusicThe 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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ÖgeA 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 ; MusicSufi 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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ÖgeThe 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 ; MusicThe 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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ÖgePlay it all!: String ensembles in the Turkish music industry(Graduate School, 2022-06-24) Şener, Serkan ; Oğul, Belma ; Reigle, Robert F ; 409092005 ; MusicThe 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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ÖgeA practice-based research on musical improvisation: Collaborative improvisation as a play(Graduate School, 2022-07-08) Hatipoğlu, Zeynep Ayşe ; Öztürk Özgen, Yelda ; 409162007 ; MusicThis 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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ÖgeTowards 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 ; MusicThis 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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ÖgeMIXPREP: Machine learning-based multitrack mix preparation assistant(Graduate School, 2022-08-12) Yücel, İsmet Emre ; Özdemir, Taylan ; 409152003 ; MusicMusic 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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ÖgeComputational harmonic analysis with rhythmical weights(Graduate School, 2022-08-16) İkeda, Ayşe Ruhan ; Karadoğan, Can ; Mazzola, Guerino ; 409132003 ; MusicAnalysis 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.
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ÖgeSensory dissonance curves with ADSR envelope & partial type analysis as an additive synthesis strategy(Graduate School, 2023-01-16) Altaylar, Kerem Eren ; Ekmektsoglou, Manolis ; 409191115 ; MusicThis research focuses on the concept of sensory dissonance and its relation to the complex nature of tone and timbre systems. It can be described as the amount of harmonic beating occurring between two tones which corresponds to the fluctuation in the perception of their amplitude. Two research questions are set to investigate this concept. The first one is whether the envelope components of a partial, which are also known as ADSR parameters, affect the sensory dissonance calculation of that timbre which consists of the sine wave partials or not. Previous studies used pure amplitude values of partials for calculation and focused on theoretical aspects of sensory dissonance. The aim of adding envelope information and testing it is an attempt to extend the concept of sensory dissonance to more practical usage. The second question is, does the type of a harmonic partial affect the total sensory dissonance? In this research, there are virtual tests which were held to find possible answers to these questions. In the introduction section, the scope of computational analysis of sound and music is investigated through its components and methods. In addition to that, the concept of sensory dissonance is described with its mechanisms and is contextually connected to the research questions in terms of structure. The second section shows the test designs regarding the concepts in the introduction section. The first test includes timbre data generation consisting of sine waves, calculation of the weight for those timbres, and their effects on the amplitude weights of the partials. The second test includes the different types of harmonic partials and their effects on the sensory dissonance curves as well as the attempts to replace the integer frequency ratios of harmonic partials with inharmonic partial ratios consisting of different tone systems. Section 3 contains the results of two tests and Section 4 has the remarks on the tests.
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ÖgeAesthetic strategies in horror film sound design: Case studies from Japanese horror cinema(Graduate School, 2023-01-17) Akdeniz, Tolga ; Özdemir, Taylan ; 409191110 ; MusicHorror films have a unique place in cinema with their imagery and sonic qualities. While the experience of watching a horror film evolved throughout the years, the fundamental goal of the horror genre is to horrify the viewer in various ways, and it is named after this particular effect it aims to elicit. Sound design plays a major role in creating the horror film experience. In this study the contribution of sound design to aesthetic strategies employed in horror films will be investigated based on case studies from the prolific and influential contemporary horror cinema of Japan. In order to have a better perspective on the conventions of the genre and understand how the selected films converge or diverge from them, the study will be introduced with a theoretical investigation of the horror genre and a historical investigation of Japanese cinema. After the introduction, the properties of film sound in horror films will be examined individually. The analysis method of this study relies both on measurable data with objective observations and also subjective observations based on the phenomenological experience of horror films. The introduction of the analysis is by examining the atmosphere of horror films, although a vague and an intangible phenomenon, it is a crucial quality that affects the perception and it relies heavily on music and sound design. The framework of the analysis consists of 3 major components based on the theories of Michel Chion (1994), the functional properties of film sound: Anticipation, punctuation, unification and separation. The analysis methodology developed by Taylan Özdemir (2015) based on the physical, spatial and temporal properties of film sound will be utilized to gather and interpret measurable data within these functional properties of film sound. The anticipation function of film sound investigates how sound is employed in order to create and build tension, to create suspense. The punctuation function of film sound is investigated under four categories, these are cinematic shock, sonic emphasis for narrative cueing, silence for emphasis and somatic empathy. While cinematic shock focuses on the abrupt startling moments of horror films, somatic empathy explores how horror films affect the body of the viewer. In the last part of the individual analysis, how film sound contributes to achieving spatial, temporal or atmospheric unification and separation is investigated. In the final section of the study, the developed analysis methodology will be utilized to examine the selected scenes in detail. In conclusion, in this study the previously developed analysis methodologies will be further expanded to horror cinema; and the sonic aesthetic strategies employed for the intended horror film experience and how these emerge in Japanese horror cinema will be investigated.
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ÖgeThe Black Sea fiddle: A case study about Trabzon and Thessaloniki(Graduate School, 2023-05-23) Şentürk, Onur ; Öztürk Özgen, Yelda ; Reigle, Robert F. ; 409112004 ; MusicThe kemençe (Black Sea fiddle or Pontic lyra) is a bottle-shaped bowed string instrument from Turkey's Black Sea region. It has an original playing style and repertoire that differentiates it from other bowed instruments. It is one of the most important musical instruments of the Black Sea music tradition. Today, the kemençe is performed not only in the Black Sea region of Turkey but also in Greece, where the Pontic Greeks immigrated from the Black Sea region of Turkey at the beginning of the 20th century. In addition, the kemençe remains the most significant and symbolic musical instrument for both Greek (Pontic people) and Turkish (Black Sea people) communities. When the playing styles of these two groups are considered, it is possible to observe both similarities and differences. While similarities stem from the common origins shared by the two communities, the reasons for differences can be traced back to changes in the cultural environment of the community, i.e., Pontic Greeks, through immigration and population exchanges. In the last fifteen to twenty years, Black Sea traditional music gained great popularity, reaching a wider audience and increasing the number of people wanting to engage in Black Sea music. Due to this fact, today, there are many kemençe performers among the younger generations compared to the past. Consequently, with the increase in the usage of the internet and cable system networks of mass communication, the cultural bonds between the Black Sea communities of Turkish and Greek heritage had the opportunity to interact with each other. Specifically, this valuable cultural interaction increased between the young generation of kemençe players of both communities. For instance, among the Turkish kemençe players, the different kemençe playing styles found in Greece today has recently become popular, being defined by Turkish kemençe players as Greek style – Rum tavrı. In this dissertation, I aim to analyze the traditional performance of kemençe based on the data gathered from the field research I conducted in Greece and Turkey between 2016-2020. It also discusses the playing techniques, repertory, and evolution of kemençe performance practice through the question, "What is the Greek style- Rum tavrı?". The thesis begins with an introductory chapter outlining the needs for such a study, the objective of the thesis, literature review, and the methodology. Additionally, the first chapter introduces the historical background, construction, and basic playing principles of the kemençe. The second chapter focuses mainly on performance practices of the kemençe and its development with the Pontic community in Greece. Firstly, I provide brief information about the first generation of kemençe players who are this musical culture's bearers. Secondly, I define five distinctive kemençe playing styles and regional aspects through playing techniques and repertory analysis. Then, I mention Gogos Petridis and his impact that caused a dramatic change in kemençe playing practice. The third chapter mainly draws on the kemençe playing practices in Turkey using a similar approach. I provide brief information on significant kemençe performers, who are the bearers of the kemençe music culture and I define five different regions according to stylistic differences, relying on analysis of playing techniques and repertory. The fifth chapter and concluding chapter, summarizes the findings and outcomes concerning the similarities and differences between the playing styles of the two communities, and identifies the avenues for further research. Finally, it answers the question "What is the Greek style- Rum tavrı?" in the light of the data and observations obtained from the research.
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ÖgeVirtual agency in Béla Bartók's night music compositions(Graduate School, 2023-06-20) Bıyıkoğlu, Kaan Muzaffer ; Altınbüken, Eray ; 409142008 ; MusicThis dissertation aims to provide an adequate description of Béla Bartók's 'night music' style, to elucidate the compositional strategies in these works, and to present this style in a historical context. It is argued that Bartók's night music style relies primarily on the semantic implications of musical material in terms of various levels of musical agency or implied sources, which can be elucidated by the categorization of musical statements according to the theoretical framework provided by Hatten's (2018) theory of virtual agency in western classical music. The 'night music' is a style or subgenre in the music of Bartók composed after 1926. These compositions utilize very elaborate background textures which are perceived as superimposed layers of stylized noises. Many previous authors did not hesitate to use the term 'night music' without resorting to an explicit definition, and only most systematic previous study of Béla Bartók's night music style was provided by Danchenka (1987) where the author used a classification scheme based on gestural archetypes for the identification of the night music style. The following key works from Bartók's night music style were analyzed in this dissertation to elucidate the common stylistic features among these works: The Night's Music from Out of Doors, prima parte section of the String Quartet No.3, the slow movements from the String Quartet No.4 and String Quartet No.5, the second movement of the Piano Concerto No.2, and the third movement of the Music for Strings, Percussion and Celesta. It was observed that these compositions utilized non-tonal and essentially non-expressive noise like gestures in a highly segregated fashion. Due to having distinct timbres, spatial locations, registers, pitch-collections, and gestural patterns of movement, and as a result these gestures did not form a unified auditory stream, and hence perceived as if coming from distinct virtual sources. This segregated musical surface was achieved by certain compositional strategies of pitch-space and register segmentation that Bartók utilized, and these strategies relied heavily on the human capacity of what Bregman (1994) refers to as the auditory scene analysis. Due to the above-mentioned segregated structure of the music, the layers of noise like gestures implied the presence of virtual musical sources that are categorically distinct from the implied sources of melodic material in the music. This categorical distinction is investigated by using the dichotomy between musical actants and agents brought forward in Hatten's (2018) theory of virtual agency through music. The noise gestures in Bartók's night music compositions fulfilled all of the requirements for the virtualizing of actants, yet they are unable to meet certain requirements for embodying virtual agents, such as independence and intentionality. By referring to Hatten's (1994) theory of markedness, this thesis proposes that the most significant stylistic feature of Bartók's night music style is the presence of a marked semantic opposition between the actantial noise-like gestures and the agential musical material in these compositions. All the musical analyses of this repertory indicated that Bartók characterized the actantial sources with either short gestures that were immutable and usually confined to certain registers and pitch-classes, or with sheets of sounds that are based on distinct pitch-class collections. Moreover, usually the pitch content reserved for an actantial statement is segregated from those reserved for other agential/actantial layers, creating a pitch space partitioned according to the multi-agential organization. The actantial gestures are static and do not produce harmonic implications like tension or resolution, hence their contributions to musical tension are governed by their rate of activity, rate of presentation, volume, or gesture span, i.e., what Meyer (1989) classifies as the secondary parameters in music.
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ÖgeIncreasing interactivity in video game music(Graduate School, 2023-08-01) Kuru, Aydın İbrahim ; Sarıer, Ozan ; Vasilakos, Konstantinos ; 409201130 ; MusicThis thesis studies the historical and current conventions, outlooks, applications and research in the field of game music systems and proposes its novel dynamic music strategy based on the musical and narrative principle of tension. The introduction section aims to illustrate the context and background for the research in addition to introducing the related terminology. The development of video game music systems is described in the first part, in which notable examples that are influential to this thesis are put forward together with a brief history of the medium. In the second section, the practice and theory of composing for video games is questioned. The process of composing for games, in addition the conventional models of synchronizing music to the narrative structure of games are analyzed. The second part of the thesis consists of the primary contribution of the paper and aims to put the background research into theoretical practice. It puts forward the novel dynamic music strategy of dynamic tension model which essentially proposes mapping game data, user output and game states and musical parameters in a way that facilitates dramatically conflicting structures of suspense and repose. First, the priorities and the approach of the proposed model are put forward. Afterwards, the related narrative and musical concepts are identified and explained. Then, a demo composition is realized for a specific video game. To conclude, the resulting score is evaluated and further discussed. The final part of the thesis consists of a conclusion which shows the effort of systemizing the findings of the novel compositions and the theoretical review. It discusses further application areas and elaborations of the dynamic music strategy as well as its advantages and disadvantages in the video game music paradigm.
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ÖgeLeft-leaning protest music tradition in Turkey (1960s-1990s) and the case of Ahmet Kaya(Graduate School, 2023-10-05) Özer, Diler ; Oğul, Belma F ; 409092003 ; MusicThis thesis is a discussion of the left-leaning protest music tradition in Turkey discussed with regard to the key references, approaches and musical sources, and focuses on the case of a protest singer-song writer, Ahmet Kaya (1957-2000) as both a re-connection with and a rupture from that tradition. The thesis is constructed around two axes: Within the scope of the first axis, the study focuses on describing and interpreting the tradition of musical protest in any way related with the Leftist/Socialist thought and movement in Turkey from 1960s to 1990s. As the second axis, the study focuses on examining the case of Ahmet Kaya as both a 're-connection with' and a 'rupture from' the left-leaning protest music tradition in Turkey as well as analyzing his musical accumulation in personal, socio-political and musical terms. Hence, by using Ahmet Kaya example as a key, the study aims to make a critical reading of the 'protest' character of the mentioned musical field in terms of what was included and excluded by the said tradition. Ahmet Kaya is a singer-songwriter; he composed and performed his own songs. Nearly half of the songs are with his own lyrics and he also composed the poems of various poets from first generation socialists to the younger poets of his period. While producing his songs, he was influenced by the social-political conditions of the period and reflected these through his music. He made music not only to establish bonds with the oppressed victims of the society, to be their voice and give them morale and strength, but also to mark history and create documents. In this sense, Kaya's music has a truth-bearing and protest character. At the same time, music is for him a form of self-expression, a means of establishing his own identity and empowering himself. He also challenged the dominant music making styles of his time. For example, he incorporated arabesk and Turkish classical music elements to his music, which were considered inferior in left culture then. That distinguishes him from many other protest musicians of the period. Because of all this, he was exposed to many criticisms throughout his life -from his music to his lifestyle- and even his music was called as arabesk. These criticisms also affected the way he defined and produced his own music; sometimes it took the form of rejection, rebellion and defiance, and sometimes acceptance. On the other hand, Kaya produced and presented his music in the field of popular music and intertwined with market conditions. In addition to traditional styles from folk to Turkish classical music, he incorporated elements from local popular forms such as arabesk and global popular genres such as rock and pop. It is possible to see various musical influences in his music. This led to his mixed musical style which also helped his audience from various sections of the society to be connected with his music. On the other hand, due to the political conditions of the period and the fact that the market was so involved in his music making, he could not make radical exit as he wished; for example, he could not include a Kurdish song in his repertoire until his last album. This decision started the lynching campaign against him that led to his death in exile. Nevertheless, Ahmet Kaya became an icon in the eyes of the revolutionary youth of the period and especially Kurdish people together with the 90s. It is possible to say that the freedom struggle of the Kurdish people has been symbolized through Ahmet Kaya. In this thesis it was argued that due to the above-mentioned elements in personal, musical and political terms, Ahmet Kaya should be evaluated as a popular and distinctive figure and a divergent example of the mentioned left-leaning protest music tradition in Turkey.