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ÖgeEclectic Approaches of Paul Hindemith as exemplified in his Sonata for Two Pianos(Graduate School, 2023-06-15)This thesis will focus on Paul Hindemith's Sonata for Two Pianos and attempt to exemplify its eclectic approaches as well as technical and stylistic parallels, and influences, both from the piece's past and future. Examples that predate the piece do not necessarily mean they are direct references, but should be perceived as having common ancestors, much like how Darwinian evolution trees are understood, and examples that postdate the piece do not necessarily mean they have been directly influenced, but rather that the original work foreshadowed certain concepts that were meant to appear in due time. Paul Hindemith is one of the most important and prolific composers of the 20th century along with Stravinsky, Bartok and Schoenberg and a very rare figure in the music history who has succeeded to combine being a performer, conductor, composer, theorist, and an inspiring teacher. His enormous output has contributed to the repertoire of almost every instrument. Although Hindemith was one of the most important and prolific composers of the 20th century, his works did not receive as much attention from many musicologists and performers as his contemporaries. The purpose of this thesis is to renew interest in Sonata for Two Pianos, which deserves to have a significant high standing in the piano repertoire. The Sonata for Two Pianos is the clear evidence of Paul Hindemith's compositional and harmonic language and has the ability to expand the pianists' knowledge of contemporary piano repertory from a different point of view. Paul Hindemith's Sonata for Two Pianos should be considered as a piece that should be played more frequently in piano recitals and studied more deeply by musicologists. In addition, Hindemith's eclectic compositional approach in his works needs to be examined thoroughly. The methods used in this thesis are qualitative analysis and comparative analysis on the works before and after Hindemith's Sonata for Two Pianos in addition to a score analysis.
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ÖgeA stylistic and structural analysis of flute concerto by Krzysztof Penderecki(Graduate School, 2023-09)In this study, the artistic path and the important works of Krzysztof Penderecki (1933-2020) are examined. The majority of this thesis is concerned with a stylistic analysis of the Concerto for Flute and Chamber Orchestra (1992). This concerto is a recent example of Penderecki's current usage of stylistic synthesis. This study attempts to show how he employed diverse components within the context of a single piece of music and how Penderecki combined/synthesized the tradition and modernity regarding compositional techniques unique to this concerto. Through a rigorous stylistic, textural, and motivic examination, the study will assist to highlight the work's unifying compositional techniques. In addition, since the analysis of the flute concerto provides detailed information of its content and structural features, this study constitutes a source for flute students, musicologists, and performers. The study opens with a biographical sketch that reveals necessary information about Penderecki's varied compositional technique as well as his musical philosophy. Penderecki employed numerous compositional approaches while investigating a universal language. He explored diverse modern composing approaches, notations, styles, and genres, such as sonorism, serialism, and neo-Romanticism. Since the creation of Strophen in 1959 at the "Autumn of Warsaw" festival, he showed amazing courage in discarding all remains of musical history, as well as extraordinary ingenuity in finding undiscovered sound components of music, which immediately secured him a prominent position on the Polish musical scene and opened the way to international renown. As his compositions evolved, he progressively began to phase out avant-garde composing approaches. Throughout the 1980s, he discovered his own musical pluralism, a chromaticism that is largely polyphonic without tonality, but with themes and motifs that allow for counterpountal interaction. Penderecki smoothly blended such extremes into the mainstream of his particular musical language, which he termed "synthesis" thanks to his superior craftsmanship. The studies and interviews show that for Penderecki, the art must be rooted in a uniting experience. Thus, synthesis not only refers to a composition approach, but might also combine old themes with new musical techniques, or be a synthesis of contemporary and traditional techniques that would communicate directly to audiences. The first chapter also includes a discussion of Penderecki's literary work, Labyrinth of Time. Five Addresses for the End of the Millennium, a compilation of five speeches held between 1993 and 1996. It was written both as the composer's personal declaration on the condition of art at the turn of that century, and as a response to critics who, in the mid-1970s, criticized his shift from experimentation to a more melodic expression in his music. Here we understand that the Penderecki's labyrinth symbolizes his artistic journey between the past and present. The third chapter of this study explores the Concerto for Flute and Chamber Orchestra from a structural and stylistic point of view, and aims to explain how Penderecki combines his avant-garde and neo-Romantic approaches in his "synthesis" through this work. Penderecki claimed that he always wrote his own music, creating a language that he used to communicate with the audience that appealed to their cultural memory. The work integrates traditional compositional approaches that give a chance for addressing this bridge between the artist and the listener. The fundamental strategy to the research was inspired by Jan La Rue, Guidelines for Style Analysis 2nd edition, 1992, (first published in 1970 New York: W. W. Norton), which is introduced in detail at the beginning of the third chapter. LaRue has developed a concept of style that permits the careful examination of each musical element. The main technique entails separating the music into its constituent sound, harmony, melody, rhythm, and growth (acronym SHMRG) for analytical purposes, utilizing the author's concept formula. The results obtained by applying these guidelines for style analysis are summarized in the fourth section. The concerto covers musical materials which are built carefully on selected intervallic combinations with a tendency for dissonances such as minor seconds. These materials are repeated and developed throughout the entire piece creating the whole structure. Continuous transformations and development of the initial material create an expressive and dramatic tension. When Penderecki discusses tonality, he refers to tonal centralization as opposed to traditional major-minor tensions. In addition to the dense and heavy orchestration influenced by the Romantic composers, his mastery in contrapuntal writing is demonstrated in his polyphonic dialogues between single instrumental groups. His sonoristic experiences have influenced Penderecki's timbral imagination. He makes use of the flute's many tone colors by using extreme registers, varied articulations, and varying tempos. In a chamber-like approach, the solo flute is juxtaposed against a large orchestra in such a way that its textures remain mostly transparent. In conclusion, Concerto for Flute and Chamber Orchestra all in all exemplifies Penderecki's synthesis idea, which involves taking a few steps back from the parametric and sonic extremities of the past half-century, and looking at history as a whole to find possible creative steps forward. One cannot deny that this flute concerto is a significant contribution to the instrument's repertoire, while there is a lack of flute-centric concerti in the late modern repertoire. The resulting method of the analysis is particularly extensive and effective for flute performers, scholars and researchers interested in stylistic concerns within the context of broader artistic or historical studies.
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ÖgeMultipart music transcription using deep neural networks(Graduate School, 2025-04-17)This research presents a comprehensive framework for automatic music transcription, specifically designed to replicate the auditory capabilities of a "trained ear" in identifying and interpreting complex musical interactions. Traditional Turkish instruments, Qanun and Oud, are used as the focal point of this study, addressing challenges associated with polyphonic music transcription in non-Western musical contexts. Using a foundational corpus and advanced machine learning models, the research aims to bridge the gap between traditional auditory analysis and contemporary computational approaches. The study emphasizes the importance of crafting a robust yet basic corpus capable of simulating essential auditory tasks while capturing the unique timbral and harmonic characteristics of these instruments. A pivotal aspect of this research is the development of a specialized corpus designed to emulate the core perceptual abilities of a trained ear. The corpus incorporates systematic combinations of musical notes played by Qanun and Oud, including sustained tones, chromatic sequences, and randomized patterns. These combinations simulate a wide spectrum of musical scenarios, encompassing monophonic and polyphonic textures as well as overlapping harmonic interactions. Despite its basic design, the corpus provides a detailed representation of the dynamic interplay between the two instruments, enabling computational models to learn critical aspects of pitch recognition, timbral distinction, and harmonic understanding. The corpus generation process begins with the systematic recording of individual notes and their combinations. Each recording captures the transient and sustained qualities of the Qanun and Oud, highlighting their contrasting timbres, the bright and resonant sound of the Qanun versus the dark and mellow tone of the Oud. This structured approach ensures that the data set reflects real-world auditory challenges, such as identifying simultaneous pitches and distinguishing between overlapping harmonic structures. Inclusion of randomized patterns introduces an element of variability, further improving the corpus' ability to mimic real-world musical performances. To analyze and transcribe the complex interactions captured in the corpus, a Deep Neural Network (DNN) and a Convolutional Neural Network (CNN) were developed. These models are trained using a carefully curated feature set, including the Short-Time Fourier Transform (STFT), Constant-Q Transform (CQT), Spectral Centroids (SC), and Band Energy Ratio (BER). Each characteristic contributes to a holistic representation of audio signals, capturing their temporal, spectral, and energetic characteristics. The integration of these features enables the models to extract meaningful insights from the data, such as note onset times, harmonic structures, and timbral nuances. The DNN architecture consists of six layers, each optimized to handle the multidimensional nature of the input data. Its ReLU activation functions and softmax output layer allow the model to classify 37 distinct musical notes across three octaves. Meanwhile, the CNN model leverages its convolutional layers to analyze spectrogram images, offering an alternative approach to learning musical patterns. The CNN architecture is particularly effective in identifying visual representations of audio signals, such as pitch contours and harmonic structures, making it a valuable complement to the DNN. Transient detection and onset analysis are critical components of this framework, providing the temporal precision necessary for accurate music transcription. Transients, characterized by rapid changes in amplitude and frequency, mark the beginning of new sound events, such as the attack phase of a note. Onset analysis further refines this process by pinpointing the exact start times of these events, enabling the models to capture intricate rhythmic and melodic details. In traditional instruments such as the Ud and Kanun, the acoustically limited sustain durations often led to a misinterpretation by the model, where sustained notes—despite being musically longer—were incorrectly classified as rests. To address this issue, a heuristic method was developed. By utilizing data-driven statistical analysis, the time segments misclassified as rests were reinterpreted to better align with plausible note durations. As a result, note lengths were represented more realistically, leading to a notable improvement in the overall transcription accuracy. The proposed framework has shown significant success in transcribing two-part music played by Qanun and Oud, achieving high accuracy in pitch and timbral recognition. The corpus, though basic in construction, has proven effective in capturing the essential harmonic and melodic characteristics of these instruments. This foundational work provides a solid foundation for further advancements in the transcription of more complex musical frameworks, such as Maqam music, which features intricate microtonal scales. Research has broad implications for the fields of musicology, auditory science, and machine learning. By bridging traditional musical practices with modern computational tools, the framework contributes to the development of culturally informed auditory systems, advancing the field of automatic music transcription. Furthermore, the corpus and models developed in this study can serve as valuable resources for musicians, educators, and researchers, fostering a deeper understanding of diverse musical traditions and enhancing the accessibility of non-Western music in digital formats. This study demonstrates the potential of combining basic corpus design with advanced machine learning techniques to achieve robust and accurate music transcription. By focusing on Qanun and Oud, the research highlights the importance of culturally specific datasets in addressing the unique challenges of non-Western music transcription. The proposed framework not only replicates the critical auditory capabilities of a trained ear, but also provides a scalable foundation for future research in complex musical systems. Through this work, significant progress has been made in bridging the gap between traditional auditory analysis and modern computational approaches, offering new avenues for exploring and preserving the rich diversity of the global musical heritage.
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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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