LEE- Müzik-Doktora
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Sustainable Development Goal "Goal 3: Good Health and Well-being" ile LEE- Müzik-Doktora'a göz atma
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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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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.