Music Graduate Program - Master Degree
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ÖgeIntroducing MEMO: Real time sound synthesis as a tool for interactive music system development(Social Sciences Institute, 2020-07-16)This thesis is concerned with the development and the roles of my interactive music system MEMO that was developed in Max software. Using the sound synthesis methods that I replicated in a novel and a customized way, such as live sampling, granular synthesis, time stretching, and embodying a statistical algorithm called game of life, MEMO is a system for real-time sonic deviation, which is responsive to the perform-er's output and it is able to engage in a dialogue with the performer or can be used solely as an instrument as well. In this thesis, with a practice-based research approach undertaken, I have reflected my own process of programming and explained the internal dynamics of MEMO by indicating the patching process in Max software and refer-ring to the theories of interactive music systems as well as sound synthesis methods. This thesis has three main research concerns: - Determination of MEMO's stance in the current literature of interactive music sys-tems and defining the relationships with the selected novel music systems. - The implementation of real-time sound synthesis methods as a model for interactive music systems, - Developing scenarios to control the system with fluency, - Development of a novel improvisation system and offer a self-reflective approach for designing interactive music systems. Throughout the course of this thesis, the background that led to this research, my aims as a performer and developer, the key theories of interactivity as well as the degrees that interactivity can occur, the evolution and a brief history of the sound synthesis methods that I have used in my system, my main methodological approach, the aesthetic need that this system addresses, the roles of MEMO and the technical process of developing MEMO are discussed in detail. Also, this thesis will conclude with a discussion about the future directions that MEMO can embody.
ÖgeApproach To Social Semiotic And Music Structure Of The Protest Songs In South Korea: Through The Anthem Of The Political Movement, "marching For Our Beloved"(Institute of Social Sciences, 2019)Since the late 20th century, protest songs have been the icon for the political and social protest movement in South Korea. The protest songs have worked as a multi-functional communication tool to bring attention to political protests in South Korea. The songs as the icon – like a national flag or a mascot – reinforce the communal identity of people, and they support to convey the nonverbal message which expresses the emotion, thought, and desire for encouraging people to participate in the protest. Furthermore, a role and a value of the protest songs have been modified as the social and political circumstances changed since the 1970s. The protest songs in South Korea were considered as an index for the political and social protest uprising. The songs in the 1970s and the 1980s were not only used as the rebellious force against the dictatorships but also as the informative force, which signified the social and cultural meaning as the nonverbal communicative force. The songs represented the ideology, thought, emotion, and identity of people through musical features such as rhythm, melody, and others. Moreover, the social circumstance and daily life in the late 20th century were embodied through the musical elements of the protest songs. Therefore, society and people's everyday life are able to be described and analyzed through the sonic lens of the songs. The protest songs signify the various social meanings and values through musical language.
ÖgeChanging Ways Of Self-expression: The Legacy Of Romanticism In Twentieth-century American Art Music(Institute of Social Sciences, 2019)Romanticism, from the nineteenth century onwards, dominated the artistic perception, mindset of creativity and even the ways of appreciation towards artworks by the public. It can mean so many things that it does not mean anything to many people, as its definition is considered to be highly problematic. Roughly, Romanticism represents the values of emotional expression, love of nature, individualism, nostalgia and many other aspects of interest. Coming to life in literature and painting, Romanticism passed through music limitlessly manifesting itself. Romantic Music not only directed the whole musical trend of the nineteenth century, it also played a leading role in the genesis of contemporary approaches like Serialism, Modernism and Minimalism. In this thesis, the elements which identify Romanticism will be examined, and the place that it occupied in the center of twentieth century will be studied with its causes
ÖgeUse Of Spectrogram Analysis As A Tool To Identify Formal Elements In Selected Works From Before And After The Common Practice Period(Institute of Social Sciences, 2019)Although musical analysis is conventionally score and listening based, we can now think of new ways to make analyses. This study is based on the assumption that spectrogram could be used to see formal designs of compositions. Such a use of technology is rare in that it is generally used not to analyse but to produce music. Because form must be thought together with many elements of music such as harmony, rhythm, tempo, themes, motives, dynamics etc. it could be claimed that spectrogram analyses could provide us with hints regarding the formal designs. In the introduction, the concept will thoroughly be explained along with methods and other analytical tools that would accompany the main analysis method. Therefore, introduction and methodology will be handled together. There will also be philosophical approaches to the concept of form and recent considerations regarding the contemporary music forms.
ÖgeEvaluation And Analysis Of Şarkı Form In Turkish Makam Music(Institute of Social Sciences, 2019)Song form, called şarkı in Turkish, is the most popular form in Turkish makam music. Nevertheless, it has gained its popularity much later than other forms, such as beste or kâr. Since makam music is considered to belong to the classical music, şarkı has become a part of the classical Turkish music repertoire. In this thesis, twenty selected şarkı pieces, starting from the 17th century to the contemporary era will be compared and observed using formal analysis. The analysis consist of two parts, theoretical and analytical sides. Concerning the analytical side, the şarkı examples appear beginning from the 17th century, according to Ali Ufki's score collection manuscript Mecmua-i Saz ü Söz. Regarding the theoretical side, according to the manuscripts of El-Kındi, Farabi, and İbn-i Sina, the theoretical studies date back to the 10th century. The analysis of the selected examples are based on the formal musical structure, such as melodic sentence separations as a musical scheme, lyrical preferences, and the overall musical flow.