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ÖgeAn evaluation of the art songs for soprano voice by Turkish composers of the Early Republican period in a vocal technique perspective(Graduate School, 2024-01-15)The presence of Western art song in Turkey can be traced back to the Ottoman State before the establishment of the Turkish Republic in 1923. There was an intense attempt to integrate the genres and norms of Western classical music into the musical culture of the country after the establishment of the republic. This era includes the period when Atatürk's principles were set and applied in all fields and marks a profound time in music revolution. One of the aims of this revolution was to raise composers so that they would produce works in the form of Western classical music blending with the cultural and folkloric characteristics of the country. Since there was very limited opportunity to receive music education in the 1920s, the Ministry of Education organized auditions to choose talented students and give them scholarship so that they could study at European conservatories. Consequently, many musicians were given governmental scholarships to study in European music schools. On their return, they started composing for the purpose of forming the national repertory of works in different forms of Western classical music. Besides grand forms such as symphonies, concertos, operas and oratorios, small-scale works were also composed. Turkish art song, which had its structural basis on the Western art song, is one of these small-scale musical forms. These composers most of whom were given grants to study music abroad arranged Turkish folk songs for voice and piano; besides, they composed art songs in Turkish based on the poems of contemporary poets of their time as well. Among several poets whose works were used as lyrics of these art songs, Faruk Nafız Çamlıbel, Ahmet Haşim, Cahit Külebi, Melih Cevdet Anday, Orhan Veli Kanık, Necip Fazıl Kısakürek and Necdet Evliyagil come to the fore as the outstanding poets in the history of Turkish literature. Besides Ahmed Adnan Saygun, Cemal Reşid Rey and Necil Kazım Akses, who are considered as belonging to the Turkish Five, Ahmed Samim Bilgen, Faik Canselen, and Ferit Hilmi Atrek also composed Turkish art songs. As all other voice registers, soprano register has certain features which may hinder or enhance the quality of singing in vocal compositions, depending on the treatment of the vocal line and vowel/consonant properties of the lyrics. In this study, the art songs of early republican Turkish composers are analyzed in terms of vocal performability for the first time in order to invite composers to consider vocal features of the soprano register in addition to informing singers with this voice range for a more aware interpretation. Regarding this analysis, musical excerpts from the songs are categorised as either vocally friendly or vocally challenging. It is hoped that these findings will shed light on composing for the soprano voice and the works of early republican Turkish composers will find a solid place both in recital repertoire and the curricula of the music institutions in Turkey.
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ÖgeA reconstructivist account of the new music scene in Türkiye(Graduate School, 2024-02-08)This study offers a multi-layered inquiry into the yeni müzik scene, exploring the localized discourse and practices of new music in Türkiye. It adopts a relational perspective, encompassing both micro and macro-level relationships to provide a comprehensive understanding of this 21st-century urban cultural phenomenon. The methodological approach employed in this study aligns with John Dewey's inquiry, emphasizing a dynamic and collaborative approach to knowledge generation. It involves the flexible utilization of multiple research methods, often simultaneously and in a non-linear fashion, tailored to the specific research needs. Drawing from the social study of music, ethnography, the historical method, and critical theory, this inquiry incorporates a diverse set of tools and ideas to address different research questions and problems. The first perspective (Chapter 2) is methodologically grounded in critical readings in 20th-century Eurogenetic Art Music, primarily sourced from the extensive body of new musicological literature. This approach enables a comprehensive examination of the concept of new music within global contexts, with a specific focus on its resonance within local settings. The concept of new music, when considered on a global scale, emerges from a historical trajectory rooted in 20th-century Eurogenetic Art Music. It has since evolved into a pervasive international field of musical expression, driven by processes of institutionalization, globalization, and digital interconnectedness throughout the 21st century. By closely scrutinizing this musical landscape, the chapter concerns how related notions, including contemporary music, various facets of musical modernism, Neue Musik, and vernacular avant-garde practices, have intersected and coalesced, giving rise to a broader, more flexible conception of new music in contemporary discourse. The second perspective (Chapter 3) delves into the intricate socio-cultural history of yeni müzik as a localized concept within the broader context of contemporary music in Türkiye. The chapter serves as a historical account, combining sources of historiography and ethnography to provide a chronological exploration of events, ideas, actors, and musics. This account considers yeni müzik as an alternative and counteractive force in relation to the prior institutionalization of the Eurogenetic Art Music tradition in Türkiye and the national school of composition known as Turkish Contemporary Music. The reading reveals that early 20th-century synthesis discourse, rooted in a fusion of Common Era Practices of art music with reimagined local elements, initially propagated pre-modern aesthetic values, while politically, it was grounded on nation-state ideology. These values underwent aesthetic challenges in the 1950s through the endeavors of pioneering modernist composers, while only later facing institutional negations starting with the yeni müzik discourse in the late 20th century. Yeni müzik's emergence introduced an alternative paradigm within Contemporary Turkish Music, informed by a distinct episteme that drew from the critical tradition of Neue Musik, American vernacular avant-garde practices, and globalization. This transition resulted in the alternative formation of a compositional scene of yeni müzik, as evidenced by institutional developments. However, the study also highlights the limitations of the institutional and social artistic environment, which has provided shared ground for yeni müzik and the national school of Turkish Contemporary Music, having a continuous relationship, facilitating collaborations and intersections among institutions and musicians. The final perspective (Chapter 4) concerns the current state of yeni müzik after two decades of localization and institutionalization, exploring its meanings and conditions from both local and global perspectives. Drawing on the insights of composers and a critical examination of prevalent thought patterns, this collective inquiry seeks to reveal the social and aesthetic challenges facing yeni müzik. The chapter first dissects the socio-economic challenges yeni müzik faces, emphasizing its isolation due to constraints in financial resources, performance opportunities, audience engagement, and mechanisms of documentation. Within this isolation, yeni müzik emerges as a composer-oriented realm, strongly defined by the professional identity of its creators and the act of composition. The subsequent section investigates the 'post-everything' condition of yeni müzik, underlining its pluralism and value-free conceptualizations. It argues that the 'post-everything' condition allows it to be a fluid and inclusive discourse in transcending cultural and stylistic boundaries, yet also a polysemic and sometimes functional concept that may lack in-depth considerations. As the chapter reveals, yeni müzik also remains rooted in the critical tradition of Neue Musik, shifting from socially constructed value to a well-designed sound object and a subject of research. The chapter ends with composers' reflections on the dominant saturated aesthetics rooted in both continental modernisms and the American vernacular avantgarde tradition, encompassing a wide array of contemporary international trends and well-worn ideas. Drawing inspiration from Adorno's influential essay, this subchapter ultimately poses critical inquiries regarding the 'aging of yeni müzik' and its artistic significance.
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ÖgePaying for premium: A critical look into technical audio quality in streaming services(Graduate School, 2024-08-19)The digital revolution has profoundly reshaped both the production and consumption of music on a global scale. The widespread adoption of mobile music streaming services has facilitated this transformation, offering users a convenient and seemingly boundless access to vast music libraries. These platforms have evolved beyond simply providing music access, offering premium packages that promise not only enhanced audio quality but also a lot of value-added features designed to elevate the user experience. These features include playlist creation capabilities, personalized song recommendations based on individual listening habits, and seamless offline listening functionalities. Moreover, the promise of better sound quality has become a key part of marketing, encouraging users to choose paid subscription models (often called "First Class" or "Premium"), rather than settling for lower audio quality and free-ads users experience. Recent research, however, building upon a foundation of prior studies, has cast doubt on the universality of this perceived distinction on audio quality. The findings suggest that individuals lacking specialized training or access to high-fidelity sound systems may struggle to notice subtle differences in certain audio qualities. Furthermore, the advancement of compression technologies like MPEG, Ogg-vorbis, and AAC has played a crucial role in ensuring a satisfactory listening experience even at lower compression ratios, further blurring the lines between varying sound qualities for the average listener. Given that smartphones and similar devices serve as the primary access point for music streaming for a vast majority of consumers, this discrepancy between promised and delivered audio quality warrants critical examination. Specifically, two key concerns emerge: • Can consumers readily notice deviations from the promised audio quality? • Are music producers and artists subject to any restrictions regarding the upload of low-quality audio files? Therefore, this study undertakes a critical evaluation of the veracity of streaming service providers' claims regarding the audio quality delivered through their premium services. Additionally, it assesses the extent to which music producers and artists can upload low-quality audio files without limitations. By focusing on two of the most prevalent global music streaming services world-wide and two local streaming services from Turkey, this investigation aims to shed light on the validity of these claims and the potential disconnect between promised and actual audio quality delivered to consumers. The findings of this study reveal that the premium options offered by these platforms do not consistently deliver the pledged audio quality, and low-quality audio files can indeed be uploaded without customer notification. Despite this discrepancy, consumers continue to subscribe to paid services, suggesting a potential acceptance or unawareness of the gap between promised and actual audio quality.
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ÖgeEvaluating the functionality of attributes in 3d sound with semantic differential scale on three dimensions:Importance, comprehensibility and noticeability(Graduate School, 2024-08-01)This dissertation proposes a methodology for selecting and ranking sound attributes for 3D sound according to their functionality. Functionality is operationalized as a semantic differential scale with three dimensions such as importance, comprehensibility, and noticeability. A group of 20 expert assessors is presented with 51 attributes. They grade these attributes while listening to some 3D sound excerpts according to the provided scale. The dimensions have weights assigned to them by the results of a prior experiment. By using these weights, the weighted average scores of the attributes are calculated. This weighted average score is labeled as the functionality score, and attributes are ranked from 1 to 51 according to their functionality scores. In the end, top 20 most functional attributes are discussed in more detail.
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ÖgeForce transducer piano keys as an innovative approach for piano pedagogy(Graduate School, 2022-06-01)This study aims to reveal the necessity of new approaches in piano education and to present an innovative technology that can be applied in this direction. According to Newton's impulse-reaction principle, everything that the pianist feels in her/his fingertip while playing the piano is reflected on the piano key side in the same way. Although pianists and piano educators find it difficult to put these feelings into words, piano keys can transform these reflected feelings into data through the right sensor design. Measuring the forces applied to the piano keys can objectively examine many arguments for better piano playing. Within the scope of this thesis, piano keys are converted into force transducers. The method behind transforming a piano key into a force transducer is that attaching sensors called strain-gauges to the points of the piano key determined as a result of calculations, with specified angles. Strain-gauges are extremely sensitive to changes in length on the surface to which they are attached. They create circuits that produces voltage changes. Via these voltage change values, the amount of straining (mainly due to bending) at certain points of the piano key can be observed and recorded. This way, the forces applied to piano key can be evaluated. Due to the data gathered from the tests with the force transducer piano key, temporal variations of keys's displacements and strain values on keys with various types of playings such as forte staccato, forte legato and piano legato are obtained. It is observed that the force is applied for a shorter time in staccato and longer in legato. In piano and forte playing, the difference in the slope of the time-displacement curve is detected. In piano playing, less strain on the tip of the key is detected. With the data collected from a trill (a musical ornament consisting of a rapid alternation between two adjacent notes) played with different techniques, the change in technique is reflected in the recorded data. Successive transients in the piano key and the mechanism when the key is pressed and the different stages of the mechanism's operation can be observed in the graphics. This system, which is created within the scope of this thesis, can be applied to adjacent keys, succeeds in providing an process that is not different from an ordinary piano experience visually or tactilely to the pianist and is able to produce sensitive and reliable data. With further improvements to be implemented on this new, patent-pending system, the proposed methodology can play an important role in re-defining piano pedagogy.