Tonal or atonal structure is used in musical compositions. After giving examples of using the two together in the same composition, I named this usage format asymmetric formation.
When using atonality and tonality together, it can be used as superimposed sounds or between parts of the same composition.For example, while an instrument plays the notes in the abstract formation; another instrument may play notes of a tonal structure. The detail to note here is that the notation in the tonal structure uses the key sound of the atonal structure. It doesn't matter if it is minor, aeolian, major, chromatic, pentatonic, phrygian, mixolydian, etc. What is important is that the notation in the tonal structure uses a sound or key sound of the atonal (abstract) structure as the main key in order to ensure a consistent harmony. The rest of the arrangement belongs to the composer.
Sometimes the use of rhythm helps the "asymmetric formation" internal transitions.
The aim here is to familiarize the listeners who have been used to listening to tonal music for centuries to abstract music. While the development of music evolves from the tonal structure to the atonal structure, it also tends towards abstract expressions. The fact that the large audience is stuck in the tonal structure dating back centuries causes them not to keep up with the development of music. There is a correlation between the listened music and the spoken language. The brain activities of those who listen to music in tonal structure are weak, and their comprehension and language abilities cannot be developed sufficiently. The way to overcome this problem socially depends on the use of asymmetric formation in the language of music. Otherwise, the language of music will become more and more simpler, and human language and comprehension skills may become primitive in the reverse evolution process along with it. It is a serious concern that today's rap, hip-hop, pop, baroque and classical music listeners' declining language and thinking abilities tend towards simpler music in the future. The current situation is just like the fact that this huge mass, who cannot comprehend modern art, cannot understand abstract art at all. Their evolutionary situation is an indication of being stuck centuries ago.
Abstract expressions and tonal expressions with electronics and acoustics.
I share the most competent works in abstract expression. There are no more competent, more professional compositions, but there are studies at a similar level. Beyond this level is not available. Abstract language is stuck at this point. Although there are composers trying to overcome this blockage with different instruments, they realize that this is not technically possible after long efforts in composition or they do not realize it; they keep the same.
At this point, you can notice how the "Paleontological Stochastic" language I developed brought new expansions and possibilities. Before developing this language of expression, I wrote compositions for various instruments and small orchestras. Unfortunately, I have reached the limit where abstract language is stuck. Then I started using natural sounds. Of course, there can be no limit to the compositions written and prepared with natural sounds. I have used these natural sounds from a wide variety of areas, from cactus inner sounds, wind, river, planet, deep space, subway station, city sounds, etc. The challenge comes from writing essays on natural sounds. I do not think that the music, the language of expression is at this level yet. Perhaps at the next stage, the harmony of natural sounds and expression can be achieved. For this reason, I do not want to emphasize compositions in which I use natural sounds.
If I would express the subject technically through musical language; classical western music has the most primitive sound structure. Full sounds and half sounds. There is 1 semitone between two full notes and it is completely static. It tries to overcome this problem with melody. The melody is artificial. However, semitone is more in abstract music. It reaches up to 24 semitones between the two notes, which is interesting; 24 semitones are used in old Turkish music. But it is still static. However, there is no limit to the semitone in the sounds of nature and it is not static. In the Paleontological Stochastic narrative language, I first dynamically changed the static structure. Then I used electronic tools that would allow to go above 24 semitones. Thus, I got over the limit of 24 semitones and obtained a dynamic language of expression. Again, I must say that we are not yet ready for musical expression with natural sounds. In order to write a composition on a dynamic language with infinite semitones, it is necessary to reach that level.
I published Solo Violin's compositions. I think the difference in the language of expression has been observed among all other abstract contemporary works. This language of narrative exemplifies exactly what I want to express.
Unlike the paleontological language I used in the previous work, Violin Sonata, I tried using these tools and paleontological Stochastic language simultaneously in this study. In other words, I had the opportunity to hear the result of the work I performed in a closed environment while playing.
This work is yet one of the first examples of paleontological stochastic language. I am sure that other composers who have listened to this work will produce much more creative works using this method.
Structurally, although the abstract electro-acoustics that I created is included in the classical language, I recorded electronic devices and acoustic instruments separately in my early works. In the paleontological stochastic language, on the other hand, abstract electro-acoustics language is a unified order as it means a word. This layout is sometimes in the form of overlapping records; Sometimes it can be used as a compound.
Paleontology is the study of the history of life on Earth as based on fossils. Fossils are the remains of plants, animals, fungi, bacteria, and single-celled living things that have been replaced by rock material or impressions of organisms preserved in rock.
Traces of life can also be explored in the origin of sounds. As the evolutionary process of sound can be examined, it carries traces of the beginning or formation.
Understanding these traces also contributes to understanding the whole flow. For this reason, I gave this name, thinking that the name of paleontological abstract approaches would be appropriate for spectral and frequency-based studies on the origin of sound.
Stochastic means, randomly determined; having a random probability distribution or pattern that may be analyzed statistically but may not be predicted precisely.
In summary, the next breadth and possibilities of the abstract classical language that is stuck on the same ground and reached its limit is the Paleontological Stochastic language. As short PST.
"Each composer has made some progress in the history of music. This process continues until it reaches the expression of natural sounds."
I received a criticism from someone who read my article that I did not listen to Karlheinz Stockhausen works. Of course I know Karlheinz's work. Moreover, his work constitutes the reason for my electroacoustic studies. Every composer tries to make a way. It strives to expand its narrative expression. The place we all want to reach is more or less similar. We strive to reach the expression competence of nature. And we all leave steps taken in this direction. The others take these steps a little further.
There are similarities as well as differences between Karlheinz Stockhausen perspective and my point of view, which are quite natural. There is a fusion of tonal and atonal structures as well as a stochastic calculation in the narration with the asymmetric and paleontological Stochastic language. It is not static. In a way, it offers an uncertain dynamism. It is like the results of probability calculations in quantum physics. However, I haven't found a way to note this technique before played. It is possible to score the result. In that case, it creates a paradox when notated that our notation language is unfortunately static.
Stockhausen studies are also static. There is a difference between static works and dynamic expression that I am working on. In a way, my work is the next step of Stockhausen studies.
What do I mean when I say static? Once a work is composed and notated; produces the same result in each repetition. This situation presents a static, static expression that does not change. In dynamic study, it produces results with variable probabilities in repeating even if the same static notes.
Of course, I did not come up with this point of view myself. Every artist has sources of inspiration. I learned that Indian musicians whom I met and listened to in the 1980s, did not play the same composition over and over again in their own culture. In their culture, performing the same work the same way over and over was the same as death.
