Abstract
This research is about examination of perceptual dimension created by acoustic phenomena in sine wave installation scomposed by minimalist composer La Monte Young between 1967-91. It has been observed that these phenomena create beats and sounds that are not produced by devices, such as acoustic beats, combination tones and standing waves. Aim of the research is to determine characteristics of the perceptual dimension created by Young with these acoustic phenomena and their effects on the listening experience. All installations were examined, acoustic phenomena were cal culated and their roles in experience were discussed. The findings were supported by author’s fieldwork in Young’s Dream House. As a result, it has been seen that harmonics are designed to be source of acoustic beats of very frequent and differ ent values and combination tones that allow for infinite sound possibilities. Standing waves, on the other hand, create different sonic fields in space. Standing waves invite the participant to explore different areas where certain frequencies or combinations are heard more intensely. As the participant entered different standing wave areas, integrated with the work with his/her presence and movement, thus rising to an active position in structuring of the experience.
References
- Bloomey, P. (2008). Sine Waves and Simple Acoustic Phenomena in Experimental Music: With Special Reference to the Work ofLa Monte Young and Alvin Lucier (Doctoral dissertation, University of Western Sydney). google scholar
- Duckworth, W. (1995). Talking Music. London: Schirmer Trade Books. google scholar
- Everest, F.A. (2001). Master Handbook of Acoustics. New York: Mc-Grawhill. google scholar
- Gann, K. (1993). La Monte Young’s The Well Tuned Piano. Perspectives of New Music, 31(1), 134-162. google scholar
- Grimshaw, J. (2011). Draw a Straight Line and Follow It: The Music and Mysticism of La Monte Young. Oxford: Oxford University Press. google scholar
- Helmholtz, H. (1885). On the Sensations of Tone. London: Longmans, Green and Co. google scholar
- Howard, D.M. & Angus, J.A.S. (2006). Acoustics and Psychoacoustics. London: Focal Press. google scholar
- Riley, T. (1993). La Monte and Marian 1967, Pennsylvania: Bucknell University Press. google scholar
- Rogers, G. (2004). Interdisciplinary Lessons in Musical Acoustics: The Science-Math-Music Connection. Music Educators Journal, 91(1), 25-30. https://doi.org/10.2307/3400102 google scholar
- Rossing, T., & Moore, R., & Wheeler, P. (2014). The Science of Sound. New Jersey: Pearson. google scholar
- Young, L.M. (1960). Lecture 1960. The Tulane Drama Review, 10(2), 73-83. google scholar
- Young, L.M. (1969). Selected Writings. New York: Ubu Classics. google scholar
Abstract
Bu araştırma, minimalist besteci La Monte Young’ın 1967-91 yılları arasında bestelediği sinüs dalga enstalasyonlarında akustik fenomenler aracılığıyla yaratılan algı boyutunun incelenmesini konu edinir. Bu fenomenlerden akustik vuruşlar, kom binasyon tonları ve duran dalgaların cihazlar tarafından üretilmeyen vuruşlar ve sesler yarattığı görülmüştür. Araştırmanın amacı Young’ın bu akustik fenomenlerle yarat tığı algısal boyutun özelliklerini ve bunların dinleme deneyimindeki etkilerini tespit etmektir. Bestecinin tüm enstalasyonları incelenmiş, akustik fenomenler hesaplan mış ve deneyimdeki rolleri tartışılmıştır. Bulgular, yazarın Young’ın stüdyosu Dream House’da yaptığı alan çalışmasıyla desteklenmiştir. Sonuç olarak armoniklerin, çok sık ve farklı değerde akustik vuruşa ve sonsuz ses olasılığına imkân veren kombi nasyon tonlarına kaynak olacak şekilde tasarlandığı görülmüştür. Duran dalgalar ise uzamda birbirinden farklı sonik alanlar yaratmıştır. Duran dalgalar, katılımcıyı, belli frekansların veya kombinasyonların daha yoğun şekilde duyulduğu birbirinden farklı alanları keşfetmeye çağırmaktadır. Farklı duran dalga bölgelerine girdikçe, bireyin kendine sunulan ses olasılıklarını aştığı, varlığı ve hareketiyle eserle bütünleştiği, böylelikle deneyimin yapılandırılmasında aktif bir konuma yükseldiği görülmüştür.
References
- Bloomey, P. (2008). Sine Waves and Simple Acoustic Phenomena in Experimental Music: With Special Reference to the Work ofLa Monte Young and Alvin Lucier (Doctoral dissertation, University of Western Sydney). google scholar
- Duckworth, W. (1995). Talking Music. London: Schirmer Trade Books. google scholar
- Everest, F.A. (2001). Master Handbook of Acoustics. New York: Mc-Grawhill. google scholar
- Gann, K. (1993). La Monte Young’s The Well Tuned Piano. Perspectives of New Music, 31(1), 134-162. google scholar
- Grimshaw, J. (2011). Draw a Straight Line and Follow It: The Music and Mysticism of La Monte Young. Oxford: Oxford University Press. google scholar
- Helmholtz, H. (1885). On the Sensations of Tone. London: Longmans, Green and Co. google scholar
- Howard, D.M. & Angus, J.A.S. (2006). Acoustics and Psychoacoustics. London: Focal Press. google scholar
- Riley, T. (1993). La Monte and Marian 1967, Pennsylvania: Bucknell University Press. google scholar
- Rogers, G. (2004). Interdisciplinary Lessons in Musical Acoustics: The Science-Math-Music Connection. Music Educators Journal, 91(1), 25-30. https://doi.org/10.2307/3400102 google scholar
- Rossing, T., & Moore, R., & Wheeler, P. (2014). The Science of Sound. New Jersey: Pearson. google scholar
- Young, L.M. (1960). Lecture 1960. The Tulane Drama Review, 10(2), 73-83. google scholar
- Young, L.M. (1969). Selected Writings. New York: Ubu Classics. google scholar
Details
| Primary Language | Turkish |
|---|---|
| Subjects | Music (Other) |
| Journal Section | Research Article |
| Authors | |
| Publication Date | December 25, 2024 |
| Submission Date | October 22, 2024 |
| Acceptance Date | December 18, 2024 |
| Published in Issue | Year 2024 Volume: 11 Issue: 2 |
