![]() The thought process of this dialogue between music and poetry reading is analyzed and presented using the protocol developed on the third chapter. ![]() The chapter deals with the question of how melodic development (seyir) can be seen and may be used as the generator of intensity in makam-based performances. The fourth chapter Affective Affinities presents the analysis of a poetry and music dialogue (for the context of a conference presentation). ![]() The protocol may be used by other researchers interested in the field of taksim and modal compositions music analysis. The chapter closes with the placement of this research in the field of digital humanities and the didactic importance of this particular dynamic representation in the field of makam music education.Ĭombining the findings of the first two chapters, the third one presents the Protocol of Transcription and Analysis and offers a step-by-step toolbox on how to transcribe, analyze, annotate and present taksim and makam based performances. It is followed by a discussion, argumentation and documentation of the detailed graphic presentation of melismatic and intervallic movement on makam maps, the layers of analysis as well as the outcome of combining pentagram, makam map, annotations, real-time audio synchronization and animation. The chapter covers the creation of (logarithmic intervallic) makam maps and their use as a background on graphic representations of computer-generated melodic contours. The second chapter Visualizing Synesthesia uses the findings of the first one and offers a solution on how to present makam performances’ spatial characteristics of melismaticity and microtonality an element especially important for analysis, presentation and comprehension of melodic gravity, due to the loss of information when transcribing taksim or compositions to the quantized character of pen`tagram notation. Based on those findings, the chapter concludes with the machining of an apparatus for developing taksim phrasing, drawing parallels with elements of language such as rhythmic spelling, grammar and syntax. The surprising findings not only allow for comprehendible and reusable pentagram taksim transcriptions, but, furthermore, the chapter decodes temporal structure of taksim performances. The first chapter Rhythm in Taksim, deals with the part of the question of how to register free-rhythm taksim temporal characteristics on the score for further analysis. The structure of the essay is organized in chapters, following the four papers submitted for publication during the course of the research. This research is based on recordings of celebrated makam masters of the 20th-21st century and along with the insights from interviews with masters of the field, constitute the framework on which, the practical and theoretical conclusions are presented. The essay highlights the significance of manual transcription and analysis for individual development, given the limited time and interaction between tutor and student in the contemporary context of makam education at the conservatory level. Hence, the work attempts to create a dynamic system for the representation of modality, avoiding the misunderstanding introduced with the use of pentagram notation. Furthermore, the developed animated melodic contours, visualize the melismatic nature of the genre complementing the audio-synced ethnographically informed transcriptions. Interviews with masters in the field, added valuable insights and emphasized the significance of metaphorical language, and the transmission of knowledge in the master-apprentice (Meşk) educational model. The output of each analysis serves as an absent teacher. Departing from manual transcription and analysis of celebrated performances and taking the route from praxis to theory, the essay deciphers elements of performance and develops those to tools for makam music education. The essay at hand attempts to narrow the empirical and methodological gap between praxis and theory in the field of makam music education, using taksim (improvisation) and composition recordings as its vehicle.
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