MARC Record from marc_columbia

LEADER: 02744cam a22003613i 4500
001 15539147
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006 m o d
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008 210707s2021 nyu|||| om 00| ||eng d
035 $a(OCoLC)1261044586
035 $a(OCoLC)on1261044586
035 $a(NNC)ACfeed:legacy_id:ac:np5hqbzknt
035 $a(NNC)ACfeed:doi:10.7916/d8-d8j3-py62
035 $a(NNC)15539147
040 $aNNC$beng$erda$cNNC
100 1 $aYildirim, Onur.
245 10 $aPhonetics-based Techniques in My Compositional Methodology, and Two Compositions :$bŠÀ {karāz} for large ensemble and eschaton according to bēl-rē’u-šu for percussion trio /$cOnur Yildirim.
264 1 $a[New York, N.Y.?] :$b[publisher not identified],$c2021.
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
300 $a1 online resource.
502 $aThesis (D.M.A.)--Columbia University, 2021.
500 $aDepartment: Music.
500 $aThesis advisor: Bradford Garton.
520 $aThis dissertation explores various ways of working with acoustic analyses of speech in music composition. The first chapter presents an overview of whistled languages and discusses their potential to act as blueprints for optimizing phonetic data for compositional use. The second chapter details my workflow for incorporating formant and fundamental frequency analysis data from the phonetics software Praat into my compositional methodology. Broadly inspired by the ways in which whistled utterances transform spoken language, the workflow consists of an analysis phase in Praat followed by the conversion, optimization and orchestration of the extracted phonetic data in the computer-assisted composition environments OpenMusic and bach. Also included in the dissertation are two compositions that are both informed by phonetics. The first composition, ŠÀ {karāz} for large ensemble, contains, among the various ways it attempts to instrumentally imitate speech, a section that is constructed with the help of the workflow described in the second chapter.
520 $aThe second composition, eschaton according to bēl-rē’u-šu for percussion trio, engages in a deconstruction of the established roles of speech and instruments in my music, in which the performers are, at times, asked to imitate the sounds of percussion instruments with their voice, in an attempt to blur the line between speech as “the imitated” and instruments as “the imitators.”.
653 0 $aWhistle speech
653 0 $aSpeech--Analysis
653 0 $aPhonetics
856 40 $uhttps://doi.org/10.7916/d8-d8j3-py62$zClick for full text
852 8 $blweb$hDISSERTATIONS