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ÖgeTheorizing creativity in İstanbul's local electronic music scenes(Graduate School, 2024-07-08)Electronic music cultures are cultural phenomenon experienced since the 1990s in fluid communal forms around the world. The concept of "scene" cluster these fluid communal forms in a comprehensive and researchable way. This master thesis aims to theorize the concept of creativity within Istanbul's local electronic music scenes, focusing on bass, experimental, queer, and techno scenes. The theorization of creativity provides a framework to analyze the scenes and its multiple facets, alongside the archival attempt formed in this thesis to record the participants of these living urban cultures in the scope of Istanbul. The study combines etic (outsider) and emic (insider) perspectives that have formed over the long-term participation of the researcher in the field from 2014 to 2024. Via nourishing from previous field experiences that consisted of participant observation, production analysis, semi-directed interviews with local producers, and tracking of new releases and events, this study employed multiple methods to delve into the concept of creativity in its aspects. The ethnomusicological framework split into two to examine Istanbul's local electronic music scenes in its sociocultural and musical dimensions. The sociocultural dimension provides a chronological overview of Istanbul's musical nightlife, policies and regulations that organize the daily flows based on a previous fieldwork focused on Istanbul's music business professionals, and detailed examinations of key participants, venues, and scenes of Istanbul's local electronic music circuit based on long-term participance in the field. The musical dimension explores the theorizing of creativity in different aspects based on instances and representative cases from Istanbul's local electronic music scenes. The study explores creativity through social interaction and urban dynamics while categorizing musical practices into music technologies, production, and performance. Music technologies are foundational for production and performance, with affordability being a critical indicator. Limited access to these technologies fosters creative and communal efforts that can be theorized through affiliations of the participants with collaboration/networking, crack culture, and open-access culture. For theorizing music production, the research focused on how creativity is linked with the place via a locality's sonic representations and emotional landscapes. Istanbul's musicians reflect their environment through sonic elements like field recordings, culturally specific sounds, and popular culture references. Producers create complex emotional landscapes with advanced production techniques, such as distortion and polyrhythmic structures, that form a sense of place. Istanbul's social and economic conditions influence performance practices. The decreasing number of venues has led to creative adaptations, including having events at non-licensed spaces, using events/venues between scenes, and transforming performance types. These adaptations help sustain local scenes and foster continuous evolution. This comprehensive approach provided an ethnomusicological framework for understanding creativity in Istanbul's electronic music scenes. This research aims to serve as a primary study for future work on Istanbul's electronic music ecosystem.
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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.
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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.
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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.
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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.
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