Music Graduate Program - Master Degree
Bu koleksiyon için kalıcı URI
Gözat
Konu "Bilgisayarla müzik" ile Music Graduate Program - Master Degree'a göz atma
Sayfa başına sonuç
Sıralama Seçenekleri
-
ÖgeMagical Realism In Electroacoustic Music: The Use Of Field Recordings As Compositional Materials(Institute of Social Sciences, 2017) Ural, Meltem ; Karadoğan, Can ; Music ; MüzikMagical Realism is an inspiring art movement which is mostly seen in literature today, and may also found expression in painting and cinema. It can be briefly defined as the combination of realism and fantasy in such a way that ?magical element grow organically out of the reality portrayed? (Faris, 1995: 163). I suggest that the duality which magical realism requires can also occur in electroacoustic music, when field recordings —since they narratively represent the ?reality‘— are blended with any other artificial sound world: Because the sound world we ?create? with instruments or electronic, synthesized, transformed, processed, manipulated or moulded sounds doesn't actually exist in real life, it can be treated as the fantastic content of such an electroacoustic work. Although it is convenient to understand the term ?field recording‘ as a documentary medium, I would rather use it as a creative way of interacting with reality. Since listening to everyday sounds, or maybe just hearing them as a selective perception, is a guide of inspiration for composers, recording our own listenings can offer alternative perspectives with the feeling of an absolute liberation from the classical compositional approaches. Besides, the breaking down of the boundaries between ?music‘ and ?sound‘ in 20th century resulted in 21st century as an explotion of interest in ?sound‘. As a matter of fact in the contemporary scene, field recordings found scope in compositions, performances, installations, multimedia and in sound maps. Recording, as an operation, is a way of amplifying listening experience. So the focus of interest of this research is the listening experiences that are turned into electroacoustical compositions. In this research, Magical Realism was analysed as a literary genre and its four key features were explained briefly. It was demonstrated that these characteristics, which I gave the titles ?interpenetration of irreconcilable worlds‘, ?critical lens of postcolonialism‘, ?emergence of new space, time, identity‘, and ?mythic narrative‘, can also be provided in some electroacoustic works using field recordings. Ten examples of electroacoustic music, which I appreciate as good role models in this respect, were studied. Also, historical links between magical realism and field recording were traced. My research showed that both of them have their roots in 1920s of Weimar Germany. Thus it was determined that there is a network of relations between the concepts cinematic recording, new objectivity, musique concréte, and surrealism; and this network of relations considerably supports the argument of this research.