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ÖgeIntegrating blockchain technology with user-centric payment system to form an alternative royalty distribution model for reducing royalty inequity(Graduate School, 2022-06-21)Over the past few decades, digitalization plays a key role in shaping the music industry. By forcing radical changes, digitalization fundamentally disrupts the recorded music industry by changing how music is made, distributed, and consumed. Within years it becomes impossible to overlook the emergence and the impact of streaming services. The growing demand for accessing music through subscription- based streaming services transforms how the recorded music industry generates revenues. Even though streaming music is much more preferred and more accessible than buying physical copies, it becomes harder for musicians to collect their revenue share from streaming. Therefore, streaming services faces growing pressure and challenges to be more transparent with royalty management and faster with their payouts. This research discusses the current state of the recorded music industry by leading factors that led to the streaming services' lack of transparency and inequality in royalty payouts. This research summarizes copyright and royalties involved in music, and the complex structure of the recorded music industry by discussing the absence of standards for handling metadata and the lack of remuneration from music streaming. How royalties are allocated according to the current payment system, Pro Rata - Market Centric Payment System, is explained in this research. In return, an alternative royalty distribution model, User-Centric Payment System, has been described as reducing inequality in royalty payouts and compared with the current distribution model Pro Rata. Due to rapidly emerging technological developments, there are new opportunities for reevaluating the current royalty distribution model. Blockchain technology is being recognized as having the potential to change the music industry's ecosystem from its foundations. Further integration of blockchain technology with a User-Centric Payment System has been proposed to form an alternative royalty distribution model by providing insight into how blockchain may address these challenges by offering more transparent and almost instant royalty payouts. Finally, this research outlines further research and development on blockchain-based solutions for royalty distribution.
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ÖgeGunther Schuller's third stream: Story of an invented music style(Graduate School, 2024-05-02)Since its emergence in the United States in the early 20th century, coming mainly from the African-American community in New Orleans, jazz music has always been inherently a fusion, the most prominent inputs that shaped its characteristics being, broadly put, the African rhythmic structures and European harmony. New Orleans jazz, for one, featured elements from many musics, including minstrels, French marching bands and blues. Jazz, at least in its earlier times, has been seldomly defined in relation to its individual influences and came to be an established branch of musical tradition in its own right early on in its development. Yet, adopting new stylistic elements became a characteristic feature of the tradition throughout its later advancements, which functioned to drive it forward and led to the emergence of a distinctive style almost every decade throughout the first half of the 20th century. Classical music, however, despite that its earlier forms were very much influenced by a variety of European folk musical styles, by the late 19th century and early 20th century, was rather a fixed entity, being defined largely as "art music" belonging mostly to the elite. With the fast-paced advancements in virtually all artistic and scientific areas that came in the 20th century, classical music would also be carried away by the strong currents of change and innovation. It would develop non-tonal practices, be influenced by folk music more than at least the past century, utilize complex rhythmic textures other than the most common ones such as 4/4, 3/4 and 6/8 and develop many unconventional performance practices merely in a few decades of the century. While contemporary practices and techniques were opening up to outer influences more than ever, jazz has constituted a prime attraction for many composers like Stravinsky, Ravel, Debussy and Bartók. In short, the trade between classical music and jazz was never a new notion. Third Stream, a term coined by the composer Gunther Schuller in a lecture he gave at Brandeis University in 1957, stands out among earlier confluences as being a conscious attempt at bringing the two traditions of music together to shape a third one, drawing elements from both but distinctive from either in its own right. He attempted to fuse compositional tools of contemporary classical practices, which is the first stream, with the improvisational nature and rhythmic subtleties of jazz, being the second stream, and produce a "third stream" that was neither one or the other but one that was in the midway. This thesis aims to examine the ways in which Third Stream combined certain elements from both kinds of music. It will look into the compositional tools Schuller used to achieve his musical objective, define the technical hardships faced while doing this and investigate how the composer attempted to solve these. To do this, musical pieces written by Schuller that make use of mixed instrumentation consisting of jazz and classical instruments and musicians, will be formally and harmonically analyzed, by utilizing several analytical tools. These analyses will be supported first by research regarding the historical development of both jazz and classical music, a short survey of the hybridization of the two that took place before Third Stream and a look at the biography of Gunther Schuller himself, to understand personal aspirations, musical, social and personal background that led to his coining the concept. The main discussion, however, will be a comparative one about the definition of the Third Stream and its development in the following decades in reference to several statements by Schuller and his close circle of colleagues who adopted the concept in their music, followed by discussion on several criticisms it received by other scholars. The thesis will be concluded with a brief discussion that will relate the previous material to the musical analysis of the three selective pieces, by pointing out the aspects that the criticisms remain strong and those that they lack. Lastly, several suggestions for future academic and artistic research will be shared.
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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.