dc.contributor.author | Yarman, Ozan Uğraş | |
dc.date.accessioned | 2021-03-02T16:17:47Z | |
dc.date.available | 2021-03-02T16:17:47Z | |
dc.date.issued | 2020 | |
dc.identifier.citation | Yarman O. U. , "Search for an optimal tonal-system for an authentic Turkish soundscape", Near-Eastern Musicology Online (NEMO), cilt.5, sa.9, ss.73-111, 2020 | |
dc.identifier.other | vv_1032021 | |
dc.identifier.other | av_36b9b1c7-0dc0-4e24-8ee7-b0da1f40770a | |
dc.identifier.uri | http://hdl.handle.net/20.500.12627/2826 | |
dc.identifier.uri | http://nemo-online.org/wp-content/uploads/2020/11/(INTERNET)%20NEMO%20no.%205-9-1%20-%20Ozan%20Yarman%20(Search)%20201104S.pdf | |
dc.description.abstract | This study is the continuation of an older musicological work I had co-authored with Bozkurt et al. [2009, JNMR:38/1 pp.45-70], where I now analyze the match between several more alternative theoretical models and the histogram peaks of collated pitch measurements from audio recordings in 9 makam categories by prominent Turkish musicians. Previously, these histogram peaks were pitted against 53-tone Equal Temperament (53-tET), Yekta-Arel-Ezgi-Uzdilek (the 24-tone Pythagorean tuning in force), Yarman-24a (its notable substitute), Karadeniz-41 (a subset of 106-tET) and Yavuzoğlu-48 (in 48-tET). This time, new results indicate an outstanding marksmanship in the contrivance of 79 MOS 159-tET (my 79-tone Qanun tuning) above all others. A “Just Noticeable Difference” (JND) of solely 7-8 cents (¢) unweighted maximum divergence from the histogram peaks – in comparison to the as much as “half a comma” corresponding divergences of the contending 60-tET, 65-tET and 72-tET from the same peaks – enables 79 MOS 159-tET to outclass its competition. When size is an issue however, the “bulk vs. peak-matching performance” of the mentioned three immediate rivals to the 79-tone Qanun tuning are over the top and analogous to each other. All the same, the minimalist Yarman-24 a-b-c-d variants (as direct replacements for Arel-Ezgi-Uzdilek) do, despite being about thrice as sparse, deviate from the measured peak values by only “one comma” at most while performing reasonably. The key question therefore is: “Why triple the number of conventional tones just to gain half a comma finer granularity for makams that would still remain coarse?”. Likewise, one may ask: “Why double the number of tones whilst technically not managing to overcome the need for commatic alterations?” The findings are discussed in terms of which fixed-pitch approach is more optimal for traditional and modern practice in Turkish Classical/Art/Folk music.Keywords:Tuning, temperament, music theory, makam, maqam, pitch measurement, histogram peak, computational musicology | |
dc.language.iso | eng | |
dc.subject | Müzik | |
dc.subject | Müzik Bilimleri | |
dc.subject | Museology | |
dc.subject | Music | |
dc.subject | Visual Arts and Performing Arts | |
dc.subject | Social Sciences & Humanities | |
dc.subject | Sosyal ve Beşeri Bilimler | |
dc.subject | Sanat | |
dc.subject | SANAT | |
dc.subject | MÜZİK | |
dc.subject | Sanat ve Beşeri Bilimler | |
dc.subject | Sosyal Bilimler (SOC) | |
dc.subject | Sanat ve Beşeri Bilimler (AHCI) | |
dc.title | Search for an optimal tonal-system for an authentic Turkish soundscape | |
dc.type | Makale | |
dc.relation.journal | Near-Eastern Musicology Online (NEMO) | |
dc.contributor.department | İstanbul Üniversitesi , Devlet Konservatuvarı , Müzikoloji Bölümü | |
dc.identifier.volume | 5 | |
dc.identifier.issue | 9 | |
dc.identifier.startpage | 73 | |
dc.identifier.endpage | 111 | |
dc.contributor.firstauthorID | 2511720 | |