ideas

Out of the workshop

“Don Quixote & The Windmills” (Early Winter, 2012)
My talent towards cinematic sound–music workmanship in response to Derya Önlü’s request for background music + effects to her stage and decoration homework, that went far beyond an ordinary theatrical enactment due to my fastidious nature (entirely in Turkish).

“Ra-Dü-Se” Notation for “Ra-Dü-Se” Solfège (Autumn, 2011)
A monography on the emergence of the “Ra-Dü-Se” Solfège originally cast by Mustafa Kemal Karaosmanoğlu as well as its evolution (also owing to my contributions), leading to the “Ra-Dü-Se” Notation of my own devising which is very suitable for the expression of maqam music scores via electronic communications (entirely in Turkish).

Prozody-wise wholesomely corrected İstiklal March (Spring-Summer, 2011)
The proud Turkish National Independence March whose flagrant Prosodical errors I have entirely corrected with respect to the original Aruz metrical foot of the poem without the need at all for new orchestration, and which I have transposed to the more singer-friendly D Minor Tonality (entirely in Turkish).

Nişabureyn maqam & Devr-i Aryan usul (Spring, 2010)
Visual exposition of the “Nişabureyn” maqam and “Devr-i Aryan” usul of my own devising that I employed in my first Turkish Classical music composition in Peşrev form (entirely in Turkish).

Day of Wrath – Dies Irae (Autumn, 2010)
Turkified/Islamified translation of the 13th Century Latin eschatological hymn attributed to the pen of Thomas Celano (entirely in Turkish).

A critique against Nail Yavuzoğlu’s music theory assumptions (Summer, 2009)
A critique on the weighing of the arguments advanced by Nail Yavuzoğlu within the context of his 48-tone Equal Temperament maqam theory trial (entirely in Turkish).

“Yarman-36”: A new tuning for Turkish Maqam music (Spring, 2009)
Triple layer bike-chain of 12-tone “temperament ordinaire”s; whose perfect fifth intervals can be tuned through listening by ear to the beats that are simply one or two per second; an impeccable mathematical construct; intricate Baroque-style tuning for both maqams and Western music (entirely in Turkish).

A critique against Erol Sayan’s music theory views/arguments (Spring, 2009)
A criticism of the views/arguments by Erol Sayan appearing in the text of his Middle East Technical University Classical Turkish Music Ensemble presentation titled “Türk Müziğinde Ses Sistemleri Önerileri” (entirely in Turkish). 
Critique of Ayhan Zeren’s notions on beats (Spring, 2008)
A critique review answering Prof. Dr. Ayhan Zeren’s notions on the subject of beats in Turkish Maqam music which he advanced in the Congress titled "Türk Müziği’nde Uygulama ve Kuramdaki Sorunlar ve Çözümleri” (entirely in Turkish).

Maqams of “Türk Musikisi Nazariyatı Dersleri” (Spring, 2008)
An MS EXCEL work showing all the maqams in Hüseyin Saadettin Arel’s “Türk Musikisi Nazariyatı Dersleri” (1968) via Holderian comma units.

Ney Pitches Flash™ (Autumn, 2005)
A Flash™ design developed with the help of Dutch Physicist Dr. Paul de Haas that displays and sounds the ney pitches of Abdülbaki Nasır Dede.

79-tone qanun recipe (2005)
Technical-theoretical details of the 79-tones to the octave qanun built according to my instructions by the Izmirite smith Ejder Güleç and his sons, example recordings on this qanun, and a microtonal font for the 79-tone tuning.

Hydraulichord (Autumn, 2004)
A revolutionary tuning pin design as a continuation of my UltraTonal piano project and once again based on hydraulic technology.

Ratchet Tuning Peg (Autumn, 2004)
A tuning peg design for qanuns based on the ratchet technique.

Kantemir Font (Summer, 2004)
Font of the famous 18th Century Turkish Maqam music Letter-notation.