DOCSLIB.ORG

Synthesis of Turkish Makam Music Scores Using an Adaptive Tuning Approach

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Synthesis of Turkish Makam Music Scores Using an Adaptive Tuning Approach SYNTHESIS OF TURKISH MAKAM MUSIC SCORES USING AN ADAPTIVE TUNING APPROACH Hasan Sercan Atlı, Sertan S¸enturk¨ Xavier Serra Music Technology Group Barıs¸Bozkurt Music Technology Group Universitat Pompeu Fabra University of Crete Universitat Pompeu Fabra fhasansercan.atli, barisbozkurt0 xavier.serra sertan.senturkg @gmail.edu @upf.edu @upf.edu ABSTRACT insufficient or flawed. In parallel, the mainstream notation editors are currently Music synthesis is one of the most essential features of mu- sic notation software and applications aimed at navigating digital designed for Eurogenetic musics. While these editors pro- music score libraries. Currently, the majority of music synthesis vide a means to compose and edit music scores in Western tools are designed for Eurogenetic musics, and they are not able notation (and sometimes in other common notation formats to address the culture-specific aspects (such as tuning, intonation such as tablatures), the synthesis solutions they provide are and timbre) of many music cultures. In this paper, we focus on the tuning dimension in musical score playback for Turkish Makam typically designed for 12 tone-equal-tempered (TET) tun- Music (TMM). Based on existing computational tuning analysis ing system, and they have limited support to render inter- methodologies, we propose an automatic synthesis methodology, mediate tones and mictotonal intervals. The wide use of which allows the user to listen to a music score synthesized ac- these technologies may negatively impact the music cre- cording to the tuning extracted from an audio recording. As a ation process by introducing a standardized interpretation proof-of-concept, we also present a desktop application, which allows the users to listen to playback of TMM music scores ac- and it might even lead to loss of some variations in the ex- cording to the theoretical temperament or a user specified refer- pression and understanding of the music culture in the long ence recording. The playback of the synthesis using the tuning term (McPhail, 1981; Bozkurt, 2012). extracted from the recordings may provide a better user expe- For such cases, culture-specific information inferred rience, and it may be used to assist music education, enhance music score editors and complement research in computational from music performances may significantly improve mu- musicology. sic score synthesis by incorporating the flexibility inherent in interpretation. In this study, we focus on the tuning and 1. INTRODUCTION temperament dimensions in music score synthesis, specif- ically for the case of Turkish makam music (TMM). Turk- A music score is a symbolic representation of a piece of ish makam music is a suitable example since performances music that, apart from the note symbols, it contains other use diverse tunings and microtonal intervals, which vary information that helps put those symbols into proper con- with respect to the makam (melodic structure), geograph- text. If the score is machine-readable, i.e. the elements ical region and artists. Based on an existing computa- can be interpreted by a music notation software, the dif- tional tuning analysis methodology, we propose an adap- ferent musical elements can be edited and sonified. This tive synthesis method, which allows the user to synthesize sonification can be done using a synthesis engine and with the melody in a music score either according to a given it, the users get an approximate real-time aural feedback tuning system or according to the tuning extracted from on how the notated music would sound like if played by a audio recordings. In addition, we have developed a proof- performer. of-concept desktop application for the navigation and play- Currently, most of the music score synthesis tools ren- back of the music scores of TMM, which uses the adaptive der the audio devoid of the performance added expression. synthesis method we propose. To the best of our knowl- It can be argued that this process provides an exemplary edge, this paper presents the first work on performance- rendering reflecting theoretical information. However, the driven synthesis and playback of TMM. music scores of many music cultures do not explicitly in- For reproducibility purposes, all relevant materials such clude important information related to performance aspects as musical examples, data and software are open and pub- such as the timing, dynamics, tuning and temperament. licly available via the companion page of the paper hosted These characteristics are typically added by the performer, in the Compmusic Website. 1 by using his or her knowledge of the music, in the con- The rest of the paper is structured as follows: Section text of the performance. Some aspects of the performance, 2 gives a brief information of TMM. Section 3 presents such as the tuning and temperament, may differ due to the an overview of the relevant commercial music synthesis musical style, melodic context and aesthetic concerns. In software and the academic studies. Section 4 explains the performance-driven music styles and cultures, the “theo- retical“ rendering of a music score might be considered as 1 http://compmusic.upf.edu/node/339 methodology that adapts the frequencies of the notes in a Name Flat Sharp Hc machine readable music score to be synthesized and the Koma 1 preparation of the tuning presets. Section 5 explains the Bakiye 4 music score collection, the implementation of the method- Kuc¸¨ uk¨ mucennep¨ 5 ology and the desktop software developed for discovering Buy¨ uk¨ mucennep¨ 8 the score collection. Section 6 wraps up the paper with a brief discussion and conclusion. Table 1: The accidental symbols defined in extended West- ern notation used in TMM, their theoretical intervals in Hc according to the AEU theory. 2. TURKISH MAKAM MUSIC 3. BACKGROUND Most of the melodic aspects of TMM can be explained by the term makam. Each makam has a particular scale, Many commercial music notation software tools such as which gives the “lifeless” skeleton of the makam (Signell, Sibelius 3 , Finale 4 and MuseScore 5 support engraving 1986). Makams are modal structures (Powers, et al., 2013), and editing the accidentals used in Turkish makam music. which gains its character through its melodic progression However, they provide no straightforward or out-of-the- (seyir in Turkish) (Tanrıkorur, 2011). Within the progres- box solution for microtonal synthesis. For example, Mus- sion, the melodies typically revolve around an initial tone eScore only supports synthesis of 24 tone-equal-temperament (bas¸langıc¸ or guc¸l¨ u¨ in Turkish) and a final tone (karar in system, which is not sufficient to represent the the intervals Turkish) (Ederer, 2011; Bozkurt et al., 2014). in either TMM practice or theory. Karar is typically used synonymous to tonic, and the Mus2 6 is a music notation software specifically de- performance of a makam ends almost always on this note. signed for the compositions including microtonal content. There is no definite reference frequency (e.g. A4 = 440Hz) It includes a synthesis tool that allows users to playback to tune the performance tonic. Musicians might choose to music scores in different microtonal tuning systems such as perform the music in a number of different transpositions just intonation. In addition, Mus2 allows the users to mod- (ahenk in Turkish), any of which might be favored over ify the intervals manually. Nevertheless, manually spec- others due to instrument/vocal range or aesthetic concerns ifying the intervals could be tedious. In addition, the pro- (Ederer, 2011). cess may not be straightforward for many users, which do There are several theories attempting to explain the ma- not have a sufficient musical, theoretical or mathematical kam practice (Arel, 1968; Karadeniz, 1984; Ozkan,¨ 2006; background. Yarman, 2008). Among these, Arel-Ezgi-Uzdilek (AEU) There exists several studies in literature for automatic theory (Arel, 1968) is the mainstream theory. AEU the- tuning analysis of TMM (Bozkurt, 2008; Gedik & Bozkurt, ory is based on Pythagorean tuning (Tura, 1988). It also 2010) and Indian art musics (Serra` et al., 2011; Koduri presents an approximation for intervals by the use of Holde- et al., 2014). These studies are mainly based on pitch rian comma (Hc) 2 (Ederer, 2011), which simplifies the histogram analysis. Bozkurt et al. (2009) analyzed the theory via use of discrete intervals instead of frequency ra- recordings of masters in 9 commonly performed makams tios. “Comma” (koma in Turkish) is part of daily lexicon by computing a pitch histogram from each recording and of musicians and often used in education to specify inter- then detecting the peaks of histograms. Considering each vals in makam scales. Some basic intervals used in AEU peak as one of the performed scale degrees, they compared theory are listed in Table 1 (with sizes specified in commas the identified scale degrees with the theoretical ones de- on the last column) fined in several theoretical frameworks. The comparison th showed that the current music theories are not able to ex- Since early 20 century, a score representation extend- plain the intervallic relations observed in the performance ing the traditional Western music notation has been used as practice well. a complement to the oral practice (Popescu-Judetz, 1996). Later, Bozkurt (2012) proposed an automatic tuner for The extended Western notation typically follows the rules TMM. In the tuner, the user can specify the makam and in- of AEU theory. Table 2 lists the accidental symbols spe- put an audio recording in the same makam. Then, the tun- cific to TMM used in this notation. ing is extracted from the audio recording using the pitch The music scores tend to notate simple melodic lines histogram analysis method described above. The tuning and the musicians follow the scores of the compositions as information is then provided the user interactively, while a reference. Nevertheless, they extend the notated “musi- she/he is tuning an instrument.
Load more

Recommended publications
  • Automatic Dastgah Recognition Using Markov Models
    Automatic Dastgah Recognition Using Markov Models Luciano Ciamarone1, Baris Bozkurt2, and Xavier Serra2 1 Independent researcher 2 Universitat Pompeu Fabra, Barcelona, Spain [email protected], [email protected], [email protected] Abstract. This work focuses on automatic Dastgah recognition of mono- phonic audio recordings of Iranian music using Markov Models. We present an automatic recognition system that models the sequence of intervals computed from quantized pitch data (estimated from audio) with Markov processes. Classification of an audio file is performed by finding the closest match between the Markov matrix of the file and the (template) matrices computed from the database for each Dastgah. Ap- plying a leave-one-out evaluation strategy on a dataset comprised of 73 files, an accuracy of 0.986 has been observed for one of the four tested distance calculation methods. Keywords: mode recognition, dastgah recognition, iranian music 1 Introduction The presented study represents the first attempt in applying Markov Model to a non-western musical mode recognition task. The proposed approach focuses on Persian musical modes which are called Dastgah. Several different approaches to the same task have already been documented. In 2011 Abdoli [3] achieved an overall accuracy of 0.85 on a 5 Dastgahs classification task by computing similarity measures between Interval Type 2 Fuzzy Sets. In 2016 Heydarian [5] compared the performances of different methods including chroma features, spectral average, pitch histograms and the use of symbolic data. He reported an accuracy of 0.9 using spectral average and Manhattan metric as a distance cal- culation method between a signal and a set of templates.
    [Show full text]
  • How Was the Traditional Makam Theory Westernized for the Sake of Modernization?
    Rast Müzikoloji Dergisi, 2018, 6 (1): 1769-1787 Original research https://doi.org/10.12975/pp1769-1787 Özgün araştırma How was the traditional makam theory westernized for the sake of modernization? Okan Murat Öztürk Ankara Music and Fine Arts University, Department of Musicology, Ankara, Turkey [email protected] Abstract In this article, the transformative interventions of those who want to modernize the tradition- al makam theory in Westernization process experienced in Turkey are discussed in historical and critical context. The makam is among the most basic concepts of Turkish music as well as the Eastern music. In order to analyze the issue correctly in conceptual framework, here, two basic ‘music theory approaches' have been distinguished in terms of the musical elements they are based on: (i.) ‘scale-oriented’ and, (ii.) ‘melody-oriented’. The first typically represents the conception of Western harmonic tonality, while the second also represents the traditional Turkish makam conception before the Westernization period. This period is dealt with in three phases: (i.) the traditional makam concept before the ‘modernization’, (ii.) transformative interventions in the modernization phase, (iii.) recent new and critical approaches. As makam theory was used once in the history of Turkey, to convey a traditional heritage, it had a peculi- ar way of practice and education in its own cultural frame. It is determined that three different theoretical models based on mathematics, philosophy or composition had been used to explain the makams. In the 19th century, Turkish modernization was resulted in a stage in which a desire to ‘resemble to the West’ began to emerge.
    [Show full text]
  • I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D
    Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I.
    [Show full text]
  • Cilt 6, Sayı 1, Nisan 2019 E-Kafkas Journal of Educational Research Volume 6, Number 1, April 2019
    KAFKAS ÜNİVERSİTESİ E-Kafkas Eğitim Araştırmaları Dergisi Cilt 6, Sayı 1, Nisan 2019 E-Kafkas Journal of Educational Research Volume 6, Number 1, April 2019 e – ISSN : 2148 – 8940 Sahibi Prof. Dr. Murat TAŞDAN Editör Dr. Öğr. Üyesi. Ali İbrahim Can Gözüm Editör Yardımcıları Doç. Dr. Özgür AKTAŞ Yazı İşleri Müdürü Turgut URTANUR Dizgi – Düzenleme Arş. Gör. Hüseyin YILMAZ Arş. Gör. Sevda KILIÇ İnternet adresi : http://dergipark.gov.tr/kafkasegt E – posta adresi : [email protected] Yazışma adresi : Kafkas Üniversitesi Dede Korkut Eğitim Fakültesi Merkez Kampüs 36100-KARS İÇİNDEKİLER Konservatuvar Müzik Bölümü Öğrencilerinin Nota Yazım Programlarını Kullanım Durumunun İncelenmesi (Kars Kafkas Üniversitesi Örneği). Examination of the Usage Status of the Notes of the Conservatory Music Department Students (The Case of Kars Kafkas University) Hüseyin YILMAZ ............................................................................................................................................... 1-10 Konservatuvar Müzik Bölümü Öğrencilerinin Mesleki Açıdan Akıllı Telefon Kullanımları Üzerine Bir İnceleme. The use of smart phones in the professional sense of Conservatory Music Department Students. Şerif GAYRETLİ ............................................................................................................................................... 11-23 Annelerin Çocuk Kitaplarının İç ve Dış Yapı Özellikleri ile İlgili Görüşleri View of Mothers on Internal and External Structures of Storybooks Vedat BAYRAKTAR .........................................................................................................................................
    [Show full text]
  • A Method for Tonic Frequency Identification of Turkish Makam Music Recordings
    A METHOD FOR TONIC FREQUENCY IDENTIFICATION OF TURKISH MAKAM MUSIC RECORDINGS Hasan Sercan Atlı Barıs¸Bozkurt Sertan S¸enturk¨ Bahc¸es¸ehir Universitesi¨ Koc¸ Universitesi¨ Universitat Pompeu Fabra hsercanatli barisbozkurt0 sertan.senturk @gmail.com @gmail.com @upf.edu ABSTRACT Pitch distributions (such as pitch histograms and pitch- class histograms) are commonly used in automatic tonic Karar is the final tone in the Turkish makam music performances. identification (Gedik & Bozkurt, 2010; Chordia & S¸enturk,¨ The karar frequency, hence the concert pitch varies among perfor- 2013). In (Krumhansl & Shepard, 1979) 12-dimensional mances due to the existence of many diapasons in Turkish makam music, instead of a single standard one. Correct estimation of the pitch frequency distribution are used to study euro-genetic karar frequency is critical for many computational tasks such as musics. Pitch distributions are also used for relevant tasks tuning analysis, audio-score alignment and automatic transcrip- such as key detection and chord recognition (Gomez,´ 2006) tion. We present a new karar frequency identification method for euro-genetic musics. that is based on detecting the last note in the recording and esti- mating its frequency. The method is applied on two large datasets For computational analysis of Turkish makam music of Turkish makam music recordings and shown to outperform the recordings, the distributions are computed from a melody state-of-the-art. feature such as fundamental pitch (Gedik & Bozkurt, 2010) or predominant melody (S¸enturk¨ et al., 2013). Gedik & Bozkurt (2010) have proposed the so-called makam his- 1. INTRODUCTION togram template matching (MHTM) method for automatic In Turkish Makam Music, the melodic dimension is ex- tonic identification.
    [Show full text]
  • Audio Feature Extraction for Exploring Turkish Makam Music
    AUDIO FEATURE EXTRACTION FOR EXPLORING TURKISH MAKAM MUSIC Hasan Sercan Atlı1, Burak Uyar2, Sertan Şentürk3, Barış Bozkurt4 and Xavier Serra5 1,2 Audio Technologies, Bahçeşehir Üniversitesi, Istanbul, Turkey 3,5 Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain 4 Computer Engineering Department, Koç Üniversitesi, Istanbul, Turkey ABSTRACT For Turkish makam music, there exist several analysis tools which generally use only the audio as the input to extract the features of the audio. This study aims at extending such approach by using additional features such as scores, editorial metadata and the knowledge about the music. In this paper, the existing algorithms for similar research, the improvements we apply to the existing audio feature extraction tools and some potential topics for audio feature extraction of Turkish makam music are explained. For the improvements, we make use of the Turkish makam music corpus and the culture specific knowledge. We also present a web-based platform, Dunya, where the output of our research, such as pitch histograms, melodic progressions and segmentation information will be used to explore a collection of audio recordings of Turkish makam music. 1. Introduction To gain an analytical understanding about a music tradition and the relations between its descriptive attributes, it is useful and practical to get the help of the computational methods. Taking the advantage of the improvements in information retrieval and signal processing areas, we can organize large amount of data, navigate through large collections and discover the music genres, etc. By using the computational methods, more data can be processed in less time compared with the manual research methods.
    [Show full text]
  • Open Lapp Samuel Modelingintonation.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ENGINEERING SCIENCE AND MECHANICS AND SCHOOL OF MUSIC MODELING INTONATION IN NON-WESTERN MUSICAL CULTURES SAMUEL LAPP SPRING 2017 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Engineering Science with interdisciplinary honors in Engineering Science and Music Reviewed and approved* by the following: Matthew B. Parkinson Associate Professor of Engineering Design and Mechanical Engineering Thesis Supervisor Mark Ballora Associate Professor of Music Technology Honors Adviser Gary Gray Associate Professor of Engineering Science and Mechanics Honors Adviser Judith A. Todd Department Head P. B. Breneman Chair and Professor of Engineering Science and Mechanics *Signatures are on file in the Schreyer Honors College and Engineering Science and Mechanics Office. i Abstract Musical cultures around the world use tuning systems very different from the tuning system used in Western music. Comparing and contrasting intonation from various cultures could give insight into the question of learned versus innate preferences in the perception of music, and into the cultural development of musical traditions. However, methods for analyzing intonation in Western music have not been generalized to non-Western contexts. Flexible and non-discrete tuning used in cultures such as Arabic maqam music pose a chal- lenge for analyzing intonation. This paper attempts to generalize Stolzenburg’s “Periodicity” method and Gill and Purves’ “Similarity” method for microtonal music, and finds that they are ill-suited for the analysis of Arabic music. An alternative approach is developed, which analyzes the relative intonation of a series of consecutive notes. This approach reveals that Arabic intonation is fundamentally different from Western and Chinese intonation.
    [Show full text]
  • N-Gram Based Statistical Makam Detection on Makam Music in Turkey Using Symbolic Data
    N-GRAM BASED STATISTICAL MAKAM DETECTION ON MAKAM MUSIC IN TURKEY USING SYMBOLIC DATA Erdem Ünal Barış Bozkurt M. Kemal Karaosmanoğlu TÜBİTAK-BİLGEM Bahçeşehir University Yildiz Technical University [email protected] [email protected] [email protected] ABSTRACT sults is questionable. The paper presents classification results without cross-validation, uses limited and ques- This work studies the effect of different score representa- tionable data (20 pieces for each of 10 makam where data tions and the potential of n-grams in makam classification is represented with 12 notes in an octave while today’s for traditional makam music in Turkey. While makams notation uses 24 notes in an octave). Due to such defi- are defined with various characteristics including a dis- ciencies, a new work needs to be conducted exploring the tinct set of pitches, pitch hierarchy, melodic direction, potential of n-grams in automatic makam recognition typical phrases and typical makam transitions, such cha- from symbolic data. Our main contributions in this study racteristics result in certain n-gram distributions which are: in addition to the 12-TET (Tone Equal Tempera- can be used for makam detection effectively. 13 popular ment) representation used in [2], [9], we also used data makams, some of which are very similar to each other, represented using the official theory of makam music in are used in this study. Using the leave-one-out strategy, Turkey (TMMT) which uses 24 tones (unequally spaced) makam models are created statistically and tested against in an octave, and holding a larger database, and challeng- the left out music piece.
    [Show full text]
  • Western Listeners Detect Boundary Hierarchy in Indian Music: a Segmentation Study Tudor Popescu1,2*, Richard Widdess3 & Martin Rohrmeier4
    www.nature.com/scientificreports OPEN Western listeners detect boundary hierarchy in Indian music: a segmentation study Tudor Popescu1,2*, Richard Widdess3 & Martin Rohrmeier4 How are listeners able to follow and enjoy complex pieces of music? Several theoretical frameworks suggest links between the process of listening and the formal structure of music, involving a division of the musical surface into structural units at multiple hierarchical levels. Whether boundaries between structural units are perceivable to listeners unfamiliar with the style, and are identifed congruently between naïve listeners and experts, remains unclear. Here, we focused on the case of Indian music, and asked 65 Western listeners (of mixed levels of musical training; most unfamiliar with Indian music) to intuitively segment into phrases a recording of sitar ālāp of two diferent rāga-modes. Each recording was also segmented by two experts, who identifed boundary regions at section and phrase levels. Participant- and region-wise scores were computed on the basis of "clicks" inside or outside boundary regions (hits/false alarms), inserted earlier or later within those regions (high/low "promptness"). We found substantial agreement—expressed as hit rates and click densities—among participants, and between participants’ and experts’ segmentations. The agreement and promptness scores difered between participants, levels, and recordings. We found no efect of musical training, but detected real-time awareness of grouping completion and boundary hierarchy. The fndings may potentially be explained by underlying general bottom-up processes, implicit learning of structural relationships, cross-cultural musical similarities, or universal cognitive capacities. Everyday experience listening to music suggests that even music in unfamiliar styles appears to "make sense" to some degree, as opposed to sounding random.
    [Show full text]
  • The Effect of the Tuning System and Instrument Variables on Modal Dictation Performance
    Journal of Education and Training Studies Vol. 6, No. 1; January 2018 ISSN 2324-805X E-ISSN 2324-8068 Published by Redfame Publishing URL: http://jets.redfame.com The Effect of the Tuning System and Instrument Variables on Modal Dictation Performance Rasim Erol Demirbatır1, Hatice Çeliktaş1, Doruk Engür1 1Uludag University, Turkey Correspondence: Hatice Çeliktaş, Uludag University, Turkey. Received: October 24, 2017 Accepted: December 19, 2017 Online Published: December 28, 2017 doi:10.11114/jets.v6i1.2726 URL: https://doi.org/10.11114/jets.v6i1.2726 Abstract Ear training and musical literacy (ETML) education is one of the main dimensions of the bachelor degree program of music teacher education departments, which provides professional music education. In ETML education, hearing, sight-reading and dictation studies for Turkish music makams have an important place. In this study, it was aimed to investigate the effects of different instrument sources and tuning systems; namely, equal tempered or traditionally tempered, on the modal dictation performances of students in dictation exercises in the scope of ETML education. This research was conducted with 56 bachelor degree music education students who were taking ETML course. While equal tempered and traditional instruments (piano and kanun) were used as the sound source in the research, examples of equal difficulty level in Huseyni makam scale, which is one of the main makams of Turkish music, were used as dictation material. Both instruments were tuned in accordance with both the equal temperament and the traditional makam system so that four different dictation types were created. As a result of the research, it has been determined that the students are more successful when piano is used in dictation than kanun-dictated trials and in terms of tuning system, the students are found to be more successful with equal tempered system when compared with traditional tuning system.
    [Show full text]
  • Computational Analysis of Audio Recordings and Music Scores for the Description and Discovery of Ottoman-Turkish Makam Music
    Computational Analysis of Audio Recordings and Music Scores for the Description and Discovery of Ottoman-Turkish Makam Music Sertan Şentürk TESI DOCTORAL UPF / 2016 Director de la tesi Dr. Xavier Serra Casals Music Technology Group Department of Information and Communication Technologies Copyright © 2016 by Sertan Şentürk http://compmusic.upf.edu/senturk2016thesis http://www.sertansenturk.com/phd-thesis Dissertation submitted to the Department of Information and Com- munication Technologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA, with the mention of European Doctor. Licensed under Creative Commons Attribution - NonCommercial - NoDerivatives 4.0 You are free to share – to copy and redistribute the material in any medium or format under the following conditions: • Attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. • Non-commercial – You may not use the material for com- mercial purposes. • No Derivative Works – If you remix, transform, or build upon the material, you may not distribute the modified ma- terial. Music Technology Group (http://mtg.upf.edu/), Department of Informa- tion and Communication Technologies (http://www.upf.edu/etic), Univer- sitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain The doctoral defense was held on .................. 2017 at Universitat Pompeu Fabra and scored as ........................................................... Dr. Xavier Serra Casals Thesis Supervisor Universitat Pompeu Fabra (UPF), Barcelona, Spain Dr. Gerhard Widmer Thesis Committee Member Johannes Kepler University, Linz, Austria Dr.
    [Show full text]
  • WOMEN's MUSIC • FEMINIST MUSIC Cris Williamson: Circle of Friends (P
    LADYSLIPPER _•_[ HP__ /7 _^__. n j MJf_L_T_#. Winter 1991-1992 ECORDINGS • BY • WOMEN Table of Contents Our Holiday Gift to You 3 Reggae * Calypso 47 Ordering Information 4 Country 48 Order Blank 5 Folk * Traditional 49 More Free Gifts 6 Rock 55 Ladyslipper's Top 40 6 R&B * Rap * Dance 59 Gift Order Blank 7 Gospel 60 Gift Certificates 7 Blues 61 Donor Discount Club 8 Jazz 62 Musical Month Club 8 Classical 63 Especially Recommended New Titles 9 Spoken 65 Women's Spirituality * New Age 10 Babyslipper Catalog 66 Recovery 22 "Mehn's Music" 70 Women's Music * Feminist Music 23 Videos 72 Comedy 35 Kids'Videos 76 Holiday 35 Songbooks, Posters, Grab-Bag 77 International: African 38 Jewelry, Books 78 Arabic * Middle Eastern 39 Resources 80 Asian 39 Calendars, T-Shirts, Cards 81 Celtic * British Isles 40 Ladyslipper Mailing List 84 European 43 Be A Slipper Supporter 84 Latin American 43 Extra Order Blank 85 Native American 44 Artist Index 86 Jewish 46 About Ladyslipper Ladyslipper is a North Carolina non-profit, tax- We also distribute recordings on a wide variety of Donations are tax-deductible, and we do need the exempt organization which has been involved in many labels to book and record stores in the eastern sea­ help of friends to continue to grow. We have instituted facets of women's music since 1976. Our basic pur­ board states, from eastern Pennsylvania down two clubs to add some pizzazz to fund-raising, the pose has consistently been to heighten public aware­ through Florida.
    [Show full text]