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ÖgeDesigning digital interfaces for enhanced musical interaction and digital instrument mapping strategies to improvise alongside acoustic instruments(Graduate School, 2022-05-24)Today, with the increased accessibility of powerful processors and the development of sophisticated musical software, digital musical instruments, and interactive music systems have become quite common. It is now possible for sound artists to develop their customized musical instruments or interactive music systems to realize musical ideas that they have in their minds. Various commercialized digital control interfaces like Leap Motion Tracker or Playtronica's Playtron, which developed in the last two decades, offered great potential in musical applications. The advancements in human-computer interaction fashion led to much more expressive and engaging designs. This thesis is written from a unified perspective of a designer/composer/performer and proposes two newly developed interactive music systems: 'Lemohaxis' and 'Guru'. This study examines Lemohaxis and Guru as the main outputs of the study with focusing on their design processes and discusses their place in the literature. Additionally, in order to understand the effects of design decisions on the systems, these two systems are compared in detail. A limited number of performances were evaluated through various data collecting methods including questionnaires and unstructured interviews with the performers and the audience. The results of this research show that gestural controls with a Leap motion tracker can be much more expressive when compared to an Xbox controller. Also, simple one-to-one mappings for gestural controls allow a high level of performability for novice users without lowering the expressivity as long as it is possible to perform theatrics intuitively, yet it limits the complexity of musical controls. Comparison between two example systems show that there is a tradeoff between sonic expressivity and performability. In addition, the unique perspective in exemplary design of 'Lemohaxis', emphasizes that it is possible to achieve the targeted learning curve with unconventional approaches. Another innovative approach that is suggested by 'Guru' system is, using objects that are related to sonic outcome for switching between mapping presets of the leap motion to let the audience to relate the performers actions and the resulting sound for improving transparency. The concepts that are vital to an interactive music system design are introduced through a review of the literature. Similar systems and digital instruments are examined in terms of aesthetics and structural design. Structures of systems, mapping strategies, aesthetic needs, and decision-making on control interfaces are discussed in detail. Structural design, musical output, and the artistic needs that the systems must meet, are compared with similar digital instruments and interactive systems in the field.
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ÖgeSantur's visibility in Turkey; An ethnomusicological analysis of orientation towards an instrument(Graduate School, 2022-06-27)The santur and santuri's existed in the Ottoman Empire and Turkey between the 16th and 20th centuries and gradually faded out in the 20th century. From the 2000s, santur have increasingly become visible through various genres and scenes. This presence within centuries comprised of several significant phenomena; having a critical place within Ottoman court music circles both as performative and pedegogic aspects, being at the first official conservatory (Dârü'l-Elhân) in the Ottoman Empire and its successor Istanbul Conservatory in Turkey, or taking as part of ensembles at crucial historical events. Covering those issues, this research mainly focuses on the 2000's and aims to investigate the extent of santur's reappearance, which inquires the aspects of visibility such as the evaluation of the orientation towards the instrument through its performers and the audiences. At the beginning of the fieldwork, it was noticed that among the majority of musicians, timbre was quite effective on the preference of santur, thus the roles and perception of timbre were also investigated. During the historical background analysis, it is observed that the change in the demand at the institutional level is one of the reasons that triggered santur's fade out through the 20th century, thus the relation between music and the construction of nation-state identity is examined. In parallel with the investigation of these two issues/periods in their own social and cultural contexts, an ethnomusicological perspective that centers the instrument and examines the relationship of its organological structure to these phenomena has been adopted. Regarding santur's reappearance, ethnography is used to inquire about the aspects of musical instrument preferences or related parameters. The study involves several fieldwork techniques such as participant observation, in-depth interviews, mapping, collecting and analyzing audio/visual materials, and informal interviews. For the historical background chapter, in addition to the literature study, an archival research has been added; through Cumhuriyet (oldest Turkish daily newspaper) digital archive, all the news that covers santur and santur players between 1930-2020 has been analyzed and incorporated into the related parts. Some of the collected data was quite parallel to the facts within other sources, yet some others reveal crucial facts regarding the social and political reasons of santur's disappearance. This study proposes an organological approach that centers around thinking through the roles of musical instruments in a particular place and time. In addition, being aware of the subjectivity of taste/preference and the incomprehensibility of the concept of popularity, the study argues that through ethnography, it is possible to understand the context of organological identity constructed around an instrument and related aspects of the legitimacies. It is expected that the investigation of the phenomena that constitute the individual and institutional preferences of a musical instrument, by focusing on musical instruments and timbre, will contribute to our understanding of the complex relationship between instruments, performers and listeners.
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ÖgeThe relationship between texture and tension in early French spectral music(Graduate School, 2022-06-21)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.
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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)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.
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ÖgeSensory dissonance curves with ADSR envelope & partial type analysis as an additive synthesis strategy(Graduate School, 2023-01-16)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.