Music Graduate Program - Doctorate

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  • Öge
    Temporality and Temporal Experience In Electronic Music Composition
    (Institute of Social Sciences, 2020) Görgün, Şehnaz İpek ; Karadoğan, Can ; Music ; Müzik
    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.
  • Öge
    The Structural Elements Of Timbral Coherence And Its Compositional Application
    (Institute of Social Sciences, 2020) Gümüş, Enis ; Altınbüken, Eray ; 627851 ; Music ; Müzik
    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.
  • Öge
    Systematization For Harmonic Practices In Selpe Technique
    (Institute of Social Sciences, 2020) Baysal, Ahmet Ozan ; Altınbüken, Eray ; 627520 ; Music ; Müzik
    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
  • Öge
    Music Non-literate Virtuosi: The "alaylı" Metal Band Performer
    (Institute of Social Sciences, 2019) Soğancı, Hale Fulya ; Karadoğan, Can ; 627522 ; Music ; Müzik
    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.
  • Öge
    Exploring Hand Interfaces Within New Digital Musical Instruments Research
    (Institute of Social Sciences, 2019) Kestelli, Sair Sinan ; Karadoğan, Can ; 600870 ; Music ; Müzik
    Increasing accessibility to hardware and software components such as powerful programmable microprocessors, industrial sensors and various programming platforms favours personal and institutional efforts for new digital musical instruments (DMI) research leading to many new DMIs being designed, developed, protoyped and even commercialized. Like their acoustic counterparts, most DMIs using hand gestures have their own 'specifically designed physical surfaces the performer is acting upon' such as those of well known commercialized examples like Roli's Seaboard or Artiphon's The Instrument 1. The physical interaction between the performer and such instruments happens mostly between the performer's hand gestures and a spatially limited 'musical surface' designed and manufactured specifically as part of the instrument. One of the ways to overcome this limitation and extend performance possibilities beyond a limited surface and space is to use on-body technologies such as hand wearables or hand interfaces. This study explores hand interfaces and wearables within new DMI research by presenting a general overview of DMI research with various approaches and discussions, reviewing prominent examples of data gloves with their use for both non-musical and musical purposes as well as musical gloves specifically designed and used for electronic music performance and focusing on hand interfaces with their unique dynamics, structure and taxonomy. As the main output of the study, a new DMI named 'Grain Harvester' was developed, which transforms the interaction between hand gestures and any physical surface or object into digital signal and uses the representing signal to generate sound without loosing tactile feedback.