Music Graduate Program - Doctorate
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ÖgeTemporality and Temporal Experience In Electronic Music Composition(Institute of Social Sciences, 2020)This dissertation aims to address and contribute the issues surrounding temporality and temporal experience in electronic music composition. Despite the current vast literature on electronic music composition research, it appears as though there is a necessity towards an extensive investigation on why temporality is a significant topic in this field and how it contributes to the compositional process. Such a necessity also implied the exploration of the theoretical background of electronic music composition to a wider extent, alongside discussing its impact on the formation of compositional strategies and methodologies. In order to fulfill such a necessity, the study has emphasized the exploration of temporality throughout the history of electronic music composition. By prioritizing the ontological significance of temporality, the study has initially focused on the arguments developed around subjects such as linearity, duration, causality and continuum. These topics were elaborated by disclosing various electronic music composers’ argumentations and the possibilities of expanding each theoretical perspective was vastly examined.
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ÖgeThe Structural Elements Of Timbral Coherence And Its Compositional Application(Institute of Social Sciences, 2020)This thesis aims to define 'timbral coherence' in its structural elements and develop an approach for formal analysis. Comparative analysis of cognitive studies on timbre, and the philosophy of musical gesture are the main sources to achieve this goal. Analyses of these studies are used to present a proposal for building new analysis methods. Chapter 1 presents a brief introduction of timbre, its historical and contemporary role in music, main definitions and topics concerning the nature of timbre. An initial definition of timbral coherence is proposed to determine a path and approach for following chapters. Cognition of timbre is examined through noteworthy studies in Chapter 2. First of all, an overview of notion timbral continuum, vertical and horizontal organization in composition is made. Subsequently, relation of timbre and horizontal structures is explained starting from the most basic components: pitch, intervals, and melody. Most importantly, relativity, memory and its grouping mechanisms are examined, which can be seen as the basis for devising the proposed approach.
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ÖgeSystematization For Harmonic Practices In Selpe Technique(Institute of Social Sciences, 2020)This study aims to identify the musical texture of traditional and contemporary Şelpe music, to present a new system to analyze the multipart musical creation of Saz/Bağlama using the Şelpe technique, and to provide practical performance symbols for Şelpe players. This study also aims to demonstrate structures of vertical textures, such as chords and their finger positioning on Saz/Bağlama's fretboard. In this systemization, the matrix diagrams of mathematics are used to display the coordinates of any kind of chords and their finger positioning on the fretboard. The features of the Matrix system in this systematization are quite different from the Matrix arrays of mathematics. The structure of this systemization is thoroughly explained, tested and presented by samplings such as analyses, arrangements, compositions, notations, figures, and tables. The multi-purpose aspect of this systemization was especially emphasized by showing samples of analyses, compositions, and musical accompaniments
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ÖgeMusic Non-literate Virtuosi: The "alaylı" Metal Band Performer(Institute of Social Sciences, 2019)This work explores the dialectics of institutionally trained versus self taught musicians who prefer to perform the popular music genre termed (heavy) metal. After careful thought, the Turkish adjective "Alaylı", denoting a possibly music non-literate musician who has acquired his/her skills through informal learning practices, is retained. Most "Alaylı" musicians are autodidact/self-taught, considering the majority of metal musicians whose accounts form the basis of the ethnographic data of this study. The default viewpoint is of an "Okullu" (schooled: classically trained) musician, who is accultured in metal music and subculture as an adult latecomer, thus observing from both an emic and an etic perspective. The main purpose of this work is to understand the advantages and disadvantages, satisfactions and frustrations of working with alaylı musicians: most common problems, cognitive process and cerebral differences between the schooled and the autodidact.
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ÖgeReclaiming Campania's Traditional Music: Aesthetic, Ethics And Technology(Institute of Social Sciences, 2019)The thesis investigates the use of electronic music composition as a vehicle to preserve endangered or neglected traditional music repertoires. The final goal is to define a set of guidelines for composers and sonic artists willing to engage with this particular type of recontextualisation. The guidelines include specific directions in terms of selection and collection of traditional elements as source material, different approaches for what concerns sound processing and compositional syntax, cultural engagement modalities and ethical issues entailed in the process. A related issue that the research also analyses is the possibility for electroacoustic music to reach a larger and more heterogeneous range of listeners through the use of traditional music components. The thesis uses as a case study the work undertaken on the traditional music of Campania, a region of Southern Italy. The compositional outcome of the research consists of 5 pieces: Lallum, Battente, Votata, L'Ultimo Fragile Soffio and 4 Palmi