LEE- Müzik Lisansüstü Programı
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Gözat
Sustainable Development Goal "Goal 3: Good Health and Well-being" ile LEE- Müzik Lisansüstü Programı'a göz atma
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Sıralama Seçenekleri
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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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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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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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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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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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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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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.