LEE- Müzik-Yüksek Lisans
Bu koleksiyon için kalıcı URI
Gözat
Son Başvurular
1 - 5 / 22
-
ÖgeSonic symbiosis: The interplay of sound and spatiality in installation art(Graduate School, 2023-12-08)The primal need to discern the direction and proximity of sound sources for survival has greatly affected humankind's relationship with sound and its spatial properties. Cultivating this capability has significantly influenced cognition and spatial behavior, shaping how to prioritize auditory stimuli, and figuring out possible sources of sounds through it. To illustrate, consider early humans who relied on the accuracy of identifying the rustling of leaves to detect potential threats in a dense forest. This instinctual skill continues to resonate within the modern auditory perception. With this observation in mind, this research examines the broader context of the role of sound and its symbiotic bond with spatiality, in particular, its aesthetic interpretation within sound-related arts. It offers a detailed examination of sound spatialization techniques throughout history and their impact on human society at large. It explores historical milestones as well as their social context and the implications of burgeoning technologies while critically analyzing cognitive and societal evolution behind spatiality in sonic arts, the technological resources developed for sound representation, and the aesthetics of contemporary paradigms respectively. In the discussion chapter following this detailed context setting, two major issues are centered. The importance of linguistic tools to depict and evaluate a sonic artwork, and an examination of sound installations in the light of contemporary examples. This examination includes an assessment of distinctive qualities, what is diffusion and what does it mean to have a strategy regarding it in the context of sound installations, and the notion of focus in this context. At last, this investigation is enriched with a multi-channel sound installation named CLSR as an empirical dimension to the study. It challenges the perception of space as a transparent container for sound and art exemplifying the research's philosophical facet. Leveraging the real-time generative capacities of the SuperCollider audio programming language, CLSR employs reference tones for interactive spatial exploration and invites the audience into a dialogue between sound, environment, and perception. By probing the role of space and its influence on sound creation, the project fosters new ways of appreciation for soundscape.
-
ÖgeRepresentation of sound synthesis as a compositional methodology in contemporary music(Graduate School, 2024-01-16)This thesis examines the contributions of sound synthesis techniques to a musical work during the compositional process. Since the 50s, sound synthesis has influenced musicians not only in the field of performance as an instrument but also in the process of generating unique ideas, providing a structural basis for their works. Sound synthesis and its concepts continue to be a source of inspiration for composers. Beginning with a general approach of the integration of electronic music into contemporary and popular music to the formation of a compositional concept by formalization has been investigated. Afterwards, the focal point of the study, sound synthesis techniques that are additive synthesis, frequency modulation, granular synthesis and stochastic synthesis were introduced and their active role during composition and orchestration processes were examined. The discussion focused on how to incorporate the techniques from a different domain into the instrumental realm, and the potential aesthetic and technical variations that might occur. A symbolic form of representation of synthesis results in timbral and textural enrichment of sonic material regardless of the instrumentation. Since the principle is based on the smallest component of a sound to the formation of a larger musical event, observing and manipulating physical qualities of this component such as harmonic and inharmonic content, amplitude and envelope allows for molding the overall sound of a piece. Subsequently, works in contemporary music repertoire in which each technique was used were identified and examined. The conceptual contributions and effects of these works and composers from different perspectives, from spectral music to stochastic music and microtonal music, were discussed. Finally, an empirical research in order to be able to examine the effects of sound synthesis techniques on music composition, to make deep inferences and to concretely base the effectiveness of the use of this technique. A composition was created employing stochastic synthesis, then was transcribed for a wind ensemble and the observed findings were conveyed.
-
ÖgeConstructing terminology for musical timbre: A semantic mapping of acoustic features in Turkish language(Graduate School, 2023)Timbre is a multidimensional sensory attribute of sounds, directly linked to the perception of the identity of sound sources. Recognition and categorization of sound sources and events occur largely by detection of spectro-temporal acoustic cues attributed to timbre. Furthermore, quality judgements of musical tones are largely made on the basis of timbre. Thus, exploring its perceptual representations to better exploit its allowances is important for communication-based practices in music and sound fields. Timbre perception has been studied through perceptual multi-dimensional spaces (MDS) which demonstrate dissimilarity-based relationships between sounds. Furthermore, various semantic tasks such as semantic differential (SD) and verbal attribute magnitude estimation (VAME) aimed to find perceptual relationships between timbres through their verbal descriptions. Because verbal labels reflect conceptual projections of sounds, exploring linguistic descriptions of sensory qualities brings about its various advantages to sound practice, especially in composition, instrumentation, sound art and design areas. However, due to the multi-dimensional and perceptually subjective quality of the concept, arriving at definitive measures is notoriously problematic. In this study, perception of timbral qualities of musical instruments were investigated through their verbal descriptions. Because there has not been a previous study concerning timbre semantics in the Turkish language, the test was designed in the form of a checklist procedure for observing preference data of descriptions in an unbiased manner. The preparation step of the experiment consisted of collecting adjectives from previous semantic studies of timbre and providing them with Turkish translations. 84 adjectives were chosen from a larger pool by academics/professionals in the sound engineering and design field. Test participants consisting mostly of music students, chose adjectives from a list of 83 adjectives as they listened to 24 instrument samples consisting mostly of orchestral instruments in equalized pitch and loudness. From the analysis, frequency data gave 27 adjectives which showed correlations most strongly with the acoustic parameters of pitch strength, harmonic energy distribution, signal bandwidth, noisiness, attack centroid and spectral flux.
-
ÖgeNarrative contribution of immersive audio sound design in audio-visual works(Graduate School, 2022)Audio-visual works, whether it be a film, tv show, documentary, animation, live/recorded performing arts or an entirely abstract work of artistic representation; often relies heavily on sound. It can be argued that this is a reflection of how human senses work in tandem to make sense of reality. This reliance on observation and comprehension with ears, puts an emphasis on sound design to take charge in structuring a world, describing a scene, enhancing what's seen and collectively furthering the storytelling. With the advancement of technology and knowhow, this effect has been more prominent as time passed. One of the most apparent re-imaginings of the aural part of audio-visual mediums came with an approach called immersive audio. This is somewhat of an umbrella term that encompasses any form of soundstage reproduction that has spatial components to it. This was a revolutionary step towards a more enhanced experience for the viewer to enjoy. It also opened many paths towards creativity, considering there are a multitude of ways to achieve a given thing. Music, dialogue, sound effects and other miscellaneous audio events coming from not only the screen (or in a stereoscopic array very close to the screen) but possibly all around the audience's aural perception sphere, stimulated the industry towards experimentation and creativity. In the decades following the invention of this approach we saw many standards were being implemented both in recording, editing and playback phases of a production. As in all things, there are advantages and disadvantages to an approach that is developing so fast and is prone to change. Most attempts to standardize it has either changed and evolved into something else or became obsolete. And some have emerged as dominant as prominent forms and have promising potential future use cases. One of these come in the form of ambisonics. Of the many benefits of working with ambisonics, a couple stand out and in fact, are the reasoning behind this study being done with it. The ease of use, accessibility, future proofing aspects are industry leading to say the least. Also the scalability and expanded/enhanced playback options to it are arguably unmatched. In this thesis, main purpose is to explore the possible narrative contributions of an immersive sound design in an audio-visual work, made with ambisonics method. This is achieved through both a manner of thought experimentation and a scientific observation approach that is highly repeatable.
-
ÖgeExploring the interpretive potential of Soundpainting: An experiment in musical indeterminacy(Graduate School, 2024-01-30)Soundpainting is a sign language for improvisation developed by Walter Thompson. It involves a Soundpainter who uses a vocabulary of gestures to guide performers through many musical and sonic parameters. Each gesture represents an instruction or musical idea, ranging from indicating changes in dynamics or tempo to suggesting particular playing techniques or even asking for improvised solos. The Soundpainter interacts with the performers in real time, shaping the music as it unfolds. The performers, in turn, respond in real time to these cues, exploring different sonic possibilities and contributing their own unique interpretations. On the other hand, various composers and musicians have explored the concept of indeterminacy in music throughout its history. It challenges traditional notions of composition and performance by introducing elements such as chance and performer's initiative. Composers either use chance or similar methods while creating their compositions or provide performers with vague or open-ended instructions, thus inviting them to actively participate in shaping the musical outcome. Thus, indeterminate music challenges conventional interpretation due to its inherent flexibility and variability in composition and performance. This study proposes Soundpainting as a dynamic tool for interpreting such works that resist traditional analysis. It looks closely at how effectively Soundpainting works as a way to understand indeterminate compositions. It focuses on the works of Christian Wolff, Pauline Oliveros, and Tom Philips. The goal is to evaluate how Soundpainting communicates the nuances contained within non-traditional scores characteristic of indeterminate music. The study also pays attention to how this method can be both faithful to composers' intentions and innovative for performers' expression. The study takes two consecutive routes. Firstly, it experiments with a Soundpainting ensemble to interpret selected indeterminate scores using the vocabulary of Soundpainting. Secondly, the study examines these practical interpretations with existing theories: the concepts of indeterminacy, Benjamin Brinner's theory of musical interaction, and Nattiez's tripartition model, which divides musical events into poietic (creative), esthesic (receptive), and neutral (objective) levels. The concept of indeterminate processes aligns with Soundpainting's spontaneous nature. Similarly, Christian Wolff's open-form compositions fit with Soundpainting's performer-driven musical content. Moreover, Tom Philips' graphic scores present a good opportunity to bridge visual art with sonic realization, which is already inherent in Soundpainting. Benjamin Brinner's musical interaction theory underlines the highly interactive aspects of Soundpainting. Such dynamics become crucial when interpreting scores that necessitate collective decision-making. Jean-Jacques Nattiez's semiotic approach provides a framework to dissect how meaning is constructed in Soundpainting performances. By exploring the theories mentioned, this research gives a more in-depth understanding of Soundpainting. Furthermore, the study looks at the potential for expanding the scope of Soundpainting by performing indeterminate pieces. The study involves qualitative analysis through experiments that illustrate effective uses of Soundpainting in interpreting indeterminate music.
- 1 (current)
- 2
- 3
- 4
- 5