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.
Imagine an orchestra. The instruments of the musicians in the orchestra are pebbles, bamboo sticks, a bucket of water, strings attached to a wood, jug, glass glasses, hammer, nail, saw, grater, wind chime and birds flying in the hall. Now you are asked to write an essay for this orchestra. How will you write? How can you create a notation for this orchestra that is not chorded to the 440 Hz standard even though you have spent all of our training to learn the standard music theory and make music for standard orchestras? Your entire career and years of accumulation on the 440 Hz standard A sound does not help you write a composition for these simple instruments. Or let's say they came to you with an offer like this. There is a forest. There are trees, birds, flying insects, the river in it. You were asked to note the sounds of the forest on a rainy day and were offered $ 10 million in return. Can you note the forest? The number offered is quite large. Alluring. But how will you do it?
OK. Today's music is like abstract painting. Maybe a math pattern can be created at the end. So would this pattern work in the first place? If it worked, wouldn't all musical works be nearly identical? So what makes the difference in abstract painting? Is it enough to say the painter's life experience, feelings and thoughts? What makes the painting abstract?
Could it be that what makes the painting abstract is that it is not possible to explain the subject that the painter wants to tell in terms of object origin? Could it be that he also needed to discover undertones that had never been used before? A similar situation is like it cannot be explained with the methods, melodies and rhythms known in modern music. The composer describes the subject with previously unused articulations and sounds.
Some anthropomorphic and zoomorphic instruments of pre-Columbian America
Ocarina from the North Pacific and flute from the Caribbean, both 500 BC - 300 AD
Bells and rattle, both 300 BC to 300 AD
These were important musical instruments for the Pre-Columbian culture. Music is a form of communication. It is actually the origin of the language. Each language contains a musical form in itself. It has its own rhythm. However, the tuning of these instruments is different from the 440 Hz we know today. Of course, the people who produced music with these instruments did not hear the voices differently than we do. However, the methods of expression were different. From this point of view, there are different instruments and different notation methods in all main cultures of the world. In Turkish music, for example, there are 9 intermediate voices between two sounds (F and G). They call this "koma".
Since the subject is dynamic music theory, it should include all known music genres and notations, as well as abstract music or music in a style and method that has never been done before, or provide them with a vision. Otherwise, the scope of dynamic music theory would not have covered all of human music again. But what is needed is to include all the music. It should even be able to go beyond this and have the flexibility to express natural sounds.
Although the notation I mentioned resembles the notation structure of Chinese music, it is clear that it does not include contemporary abstract music and/or natural sounds. #1 Chinese music
What I meant by Dynamic Music Theory was not a purely mathematical expression of music. However, it is clear that some regulations are necessary. Music theorists have tried to adapt music entirely to series, geometry, and differential geometry. As a result, it is of course possible to explain the pattern of a work with a mathematical structure. But the formation phase from start to finish may not be mathematics. Music cannot be expressed as mathematics throughout. This is mainly because thoughts and emotions do not always move according to a math sequence. The point I try to emphasize is that all sounds are music and / or any object can be used as a musical instrument. Therefore, while the current music theory cannot cover these, it is not possible for it to lead to the music of the future and to form a vision.
While we do not advocate that the new music theory we will develop will be entirely mathematical; I argue that it must be parallel with science. Sounds are the subject of physics. In physics, all sound patterns can be expressed and calculated. Therefore, I tried to express that a musical theory can be developed parallel to physics by including semiology. I look at the subject from this point of view.
I think I've written enough explanation about why Dynamic Music Theory is necessary. No one can stand alone under the new music theory with such wide scope. (No one can handle such a comprehensive new music theory alone.)
Let's go back to the rainforest project and try to examine the sounds here. According to the music theory we have, we have 12 tones (sounds). It is not possible to score the sounds we hear in such a narrow space of theory of music. If we use the Turkish music system; There are 9 intermediate sounds between the two sounds. Unfortunately this is not enough in the system. Because there is actually an infinite number of frequencies between the two sounds. In other words, there is an infinite amount of intermediate tones between the two sounds. The number of frequencies between F and G is infinite when there is contemporary abstract music or when there are natural sounds.
The way to overcome this problem would be to use frequencies. We cannot solve this with familiar symbols that point to a very limited range of sounds. At this point, I am not saying let's use the wave equations. Of course, with a complete analysis, it is theoretically possible to calculate all sounds, frequencies, decibels and the reflected sound waves in the forest to which object they generate sound waves. However, even if we know that we can achieve a perfect result when we turn music into a complete theory of physics, we lose the practice of using it. For this reason, it should be the first step to increase the number of sounds in the two sound ranges to a level that will not lose its practicality, while reserving the power of physics in some projects when necessary. Indeed, the purpose of the discussion here is not to give a complete theory of music. On the contrary, it is to give clues about the scope of dynamic music theory and to emphasize new visions and horizons that it will open to the understanding of music. The issue of how sign language will be and how it can be adapted more easily is an area that should be discussed extensively.
If we leave aside the issue of how those instruments with fixed and limited frequency range can develop over time and reach intermediate tones; I question how we should focus on the frequency range of natural objects or the violin reaching infinite intermediate tones between 196 Hz and 659.3 Hz. The failure of graphic notation comes from the weakness of the information transmission capacity depending on the usage pattern. It did not bring much flexibility to the notation (for example it is not possible to indicate 441.108 Hz in graphic notation which means it is impossible to show 24 semitones in graphic. If semitones reach to 72TET than again it is fully impossible to draw it in graphic notation. Graphic notation is a kind of |×| Gestalt effect on 24 or more semitones in abstract contemporary. it is impossible to indicate 440.17 Hz for example.). In terms of richness of expression, very little did go beyond classical notation. Individual ones could not provide a clear statement. It closed the wide door that it could open as a result of combining it with standard notation. What kind of benefit did it bring to notation for instance between the sounds (frequencies) C & D? I don't know what kind of symbol language should be for Dynamic Music Theory. However, it is clear that the symbol language must be compatible with the frequencies. I think that the features of sound waves other than the frequency such as decibel, pitch, wavelength, pressure, velocity, distribution area, density, aeroacoustics, bioacoustics and psychophysics qualities will be very useful in some cases.
* Personally I solve notation problem with spectogram notation. I use freq.and decibels. If needed than I add Penderecki graphic notation signs.
It is clear that in order to give a vision to the music of today and the future, it is necessary to have a dynamic, plasticity, non-rigid, non-solid and compatible theory.
A brief evaluation:
While all genres of music in the classical understanding give people an unreal aesthetics, peace and joy, and accelerate the separation of people from nature and reality, contemporary abstract music criticizes and emphasizes the separation of the human being with the atonal sounds it offers, and also criticizes reverse evolution of human being into wild conformism; High-level works produced with natural sounds emphasize the importance of the way humans return to nature and reality.
"If the letters of the alphabet were sufficient, the language of mathematics would not be born" Avni Erbey
Discussion:
For notation, we can draw a scale between 20Hz and 20KHz frequency horizontal lines, mark the partitions including decimal notation and write symbols on it. But the question is, what are the counterparts of these frequencies in instruments? Have musicians been trained for this technique? Also, how are decimal frequencies obtained by using the instrument? What is the detail articulation and its corresponding frequency range? It is a huge project to analyze all of these on instruments and to train musicians. It may not be sufficient to write the notation on the frequency scale and add accent symbols.
