LEE- Müzik-Yüksek Lisans

Bu koleksiyon için kalıcı URI


Son Başvurular

Şimdi gösteriliyor 1 - 5 / 6
  • Öge
    The relationship between texture and tension in early French spectral music
    (Graduate School, 2022-06-21) Barış, Deniz Can ; Altınbüken, Eray ; 409191103 ; Music
    The 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.
  • Öge
    The 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 ; Music
    The 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.
  • Öge
    Sensory dissonance curves with ADSR envelope & partial type analysis as an additive synthesis strategy
    (Graduate School, 2023-01-16) Altaylar, Kerem Eren ; Ekmektsoglou, Manolis ; 409191115 ; Music
    This 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.
  • Öge
    Removing environmental factors of a recording with deconvolution technique and its potential uses
    (Graduate School, 2022-06-14) Alperten, Mert ; Kakı, Sertaç ; 409191109 ; Music
    The 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.
  • Öge
    Aesthetic strategies in horror film sound design: Case studies from Japanese horror cinema
    (Graduate School, 2023-01-17) Akdeniz, Tolga ; Özdemir, Taylan ; 409191110 ; Music
    Horror 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.