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ISTANBUL TECHNICAL UNIVERSITY  GRADUATE SCHOOL OF ARTS

AND SOCIAL SCIENCES

Ph.D. THESIS

NOVEMBER 2019

MUSIC NON-LITERATE VIRTUOSI:

TH Dr. Erol Üçer Center for Advanced Studies in Music

Music Program

NOVEMBER 2019

ISTANBUL TECHNICAL UNIVERSITY  GRADUATE SCHOOL OF ARTS

AND SOCIAL SCIENCES

MUSIC NON-LITERATE VIRTUOSI:

THMETAL BAND PERFORMER

Ph.D. THESIS

Hale Fulya SOANCI

(409092004) Dr. Erol Üçer Center for Advanced Studies in Music

Music Program

Advisor: P

Co-Advisor: Dr. Paul Alister WHITEHEAD

KASIM 2019

ALAYLI METAL GRUBU

Doktora Tezi

Hale Fulya SOANCI

(409092004) : P iv v

Defense : ..............................

Izmir Dokuz Eylül University

Assoc. Prof. Dr. Ilke Boran ..............................

Istanbul Mimar Sinan University

Thesis Advisor : ..............................

Istanbul Technical University

Co-advisor : Dr. Paul Alister WHITEHEAD ..............................

Istanbul Technical University

Jury Members : Prof. Dr. Alper Maral .............................

Ankara Fine Arts University

Assist. Prof. Dr. Eray ALTINBÜKEN ..............................

Istanbul Technical University

Assist. Prof. Dr. Pierre HECKER ..............................

Marburg University

, a Ph.D. student of ITU Graduate School of Arts and Social Sciences student 409092004, successfully defended the thesis/dissertation entitled

MUSIC NON-

PERFORMERshe prepared after fulfilling the requirements specified in the associated legislations, before the jury whose signatures are below.

Date of Submission : 12.11.2019

Date of Defense : 29.11.2019

vi vii To my beloved husband Alp, and my patient daughters Anka and Lidya viii ix

FOREWORD

When I embarked this journey of a lifetime some people call a Ph.D., I was not mature enough to grasp the responsibility that has to accompany the procedure. The task of knowing virtually everything about a chosen field and contributing to the vast sea of scholarship is indeed noble, but also tremendously difficult. There were many moments of despair, hasty study periods of dogged determination, long years of being burdened with a monumental workload, struggling to salvage time besides everyday cares, work and career, childraising and social life. In short, I have lived with the heart chilling intimidation a person feels looking at a huge mountain and planning how to scale it, or the sword of Damocles forever swinging over my head, for years. Now that my 4-year-old daughter is quoting phrase do back to me, I finally saw the light at the end of the tunnel. It is hard to grasp this sense of intense euphoria: I did it, I have really accomplished something in this life, useful for others as much as for my own existence. Although, in the end, the title is granted to one person, there were loving people who walked along with me during this remarkable journey. It was a fateful decision for Alp S to hold my hand for life while I was only beginning my doctoral studies and he remained my best friend and confidante throughout the years it took me to complete this dissertation. He deserves the doctoral degree of patience and perseverance as my constant companion, the best of husbands and fathers. My mother Filiz helped me out in the tightest corners of my life and has stoically battled time and circumstances to enable me to concentrate on writing. My wonderful adopted parents Tülay and Enver have taken over many of my everyday burdens, so that I could work despite my difficult routine. My two little ones remained healthy and slept as much as they could, I apologize that I had to favor my eldest child, this dissertation, over them: I know when they are older and would read these lines, they will understand. Last but not least, I wish to be able to find praise words enough to express my gratitude to Bü: his faith in me was unparalleled and he kept me going in a way only the best of friends could.

It is customary that the Ph.D. word. I

will begin by pointing out that the circumstances have been drastically less than ordinary and I have managed to work wit for less than a year. In such a short term, I am thoroughly convinced that he has my best interests in mind. He has been responsive, chiding but supportive: for the first time in the entire process of completing my project and composing this dissertation, I did not feel solitary and exposed. I will forever remember the meeting we had in the MIAM studio antechamber after my first attempt at defending this work: it is ironic that I got to comprehend what I was doing in the very closure of the process leading to the doctorate. There are no words enough to thank for this: it is a lesson learned, for life. He did not give me a fish, he taught me how to fish, and I am very grateful. The same out of ordinary circumstances did not permit me to complete this dissertation with one of the two scholars who contributed most to my identity as an academician. x I wish I could have Assoc. Prof. Dr. Robert REIGLE close by, as he was close during the years I spent on this project. The latter of the two, Dr. Paul Alister WHITEHEAD, is like a father to me and has taught me so much about life as well as research, that I cannot think of either without him. Since the day I met Prof. Dr. Hasan Gürkan TEKMAN University Campus in 2013, he has been realistic and critical, and his expertise and high standards contributed so much to this work. I am sorry that he chose to step down, and would like to thank him from the bottom of my heart. Nonetheless, I was more than lucky to have Assist. Prof. Dr. Eray ALTINBÜKEN and Assist. Prof. Dr. Pierre HECKER Hocas as jury members, joined later by Prof. Dr. Alper MARAL to lend support and fair commentary: this project would not have come around without their contribution. I would also like to thank Prof. Dr. Songül K heartily, without her timely intervention, I could not complete this project. Aykut and Ilke Hocas found the time to attend and provide valuable insight for the defense procedure of this work, I happily extend my thanks to them. Last but not the least, my supervisors at the Foundations Development Department of : Prof. Dr. Zehra SAYERS, Arzu KIRAN and Dr. Zeynep Nevin YELÇE who were undaunted by the circumstances and have kept their faith and support strong. Without them, this project would have remained incomplete forever. Other names to specially mention who worked along with me lovingly for this project are Nursen Ç, Fatma M, Listana members past and present, my support, and sister Funda who even fulfilled her promise to take me to a Thailand holiday as a reward. Finally, I need to expand these thanks to where they are certainly due, all the metal community, musicians and audience of Istanbul and beyond, that have granted time and resources generously, so that I could commit them to history.

November 2019

xi

TABLE OF CONTENTS

Page

FOREWORD ............................................................................................................. ix

TABLE OF CONTENTS .......................................................................................... xi

ABBREVIATIONS ................................................................................................. xiii

LIST OF TABLES ................................................................................................... xv

LIST OF FIGURES ............................................................................................... xvii

SUMMARY ............................................................................................................. xix

ÖZET .............................................................................................................. xixi

1. INTRODUCTION PROJECT DESCRIPTION .............................................. 1

1.1 Background and Motivations ............................................................................. 3

1.2 Purpose of Study ................................................................................................ 5

1.3 Methodology ...................................................................................................... 7

1.4 Musicological Foundations: The Scholarship of Metal ................................... 13

1.5 Literature Review ............................................................................................. 16

1.6 Themes, Key Concepts, Definitions ................................................................. 21

1.6.1 Debating Art Music and Popular Music ................................................... 21

1.6.2 Global vs. Glocal ....................................................................................... 23

1.6.3 Connotations Of Virtuosity ....................................................................... 27

1.6.4 The Band Entity:Intra-Musical Communication and Creative Processes . 29

1.7 Chapters Overview ........................................................................................... 33

2. THE MUSICOLOGY OF METAL AND ITS PERFORMERS ..................... 37

2.1 ................................................................. 37

2.1.1 Genesis and Evolution .............................................................................. 38

2.1.2 Visual, Aural and Structural Elements ...................................................... 43

2.1.3 Metal as a Youth Subculture: Defining The ''Metalhead'' ......................... 47

2.1.4 ................................. 50

2.2 Discourse .......................................................................................................... 54

2.3 Turkish Metal: Past and Present ...................................................................... 58

2.3.1 Before 2010: Metal on the Rise ................................................................ 59

2.3.2 2013-2016: "A Dramatic Turn of Events" ................................................ 63

2.3.3 Interviews: Making Sense of the Events ................................................... 70

2.3.4 Closure: Metal Scene as of 2018-2019 ..................................................... 75

2.4 Metal as a Global Phenomenon from the Turkish Perspective ........................ 77

2.4.1 Metal and Turkish society ......................................................................... 78

2.4.2 Metal and Islam ......................................................................................... 82

2.4.3 Writing Turkish Metal: Scholarly or Otherwise ....................................... 84

3. PARTICIPANT OBSERVATION: THE METAL BAND EXPERIENCE ... 87

3.1 The Meta-Narrative of Being Part of a Band ................................................... 89

3.2 Songwriting ...................................................................................................... 96

3.3 Recording ....................................................................................................... 102

3.4 Performance ................................................................................................... 112

xii

3.4.1 The Experience of a Band Within The Turkish Underground Scene ..... 116

3.4.2 On Stage: Thick Description of Performing Live ................................... 120

3.5 Social Context ................................................................................................ 128

3.5.1 Dr. Jeykll and Mr. Hyde .......................................................................... 129

3.5.2 Social Media: YouTube, Facebook, Instagram and Other Platforms ..... 132

3.6 Making a Release ........................................................................................... 135

4. ETHNOGRAPHIC FIELDWORK .................................................................. 141

4.1 Surveying ........................................................................................................ 144

4.2 Interviewing .................................................................................................... 152

4.3 Evaluating through Case Study and Grounded Theory Methods ................... 168

5. T-MUSICAL

COMMUNICATION .......................................................................... 175

5.1 Identity and Social Aspects ............................................................................ 176

5.2 ............................................ 195

5.2.1 Interviews ............................................................................................... 201

5.3 Contextualizing and Communicating Through Music: Music Theory, Jargon,

Skills, Expectations .............................................................................................. 209

5.4 Writing and disseminating music: frequently used media ............................. 212

6. CONCLUSIONS................................................................................................. 215

6.1 Okullu and Interactions: Fertile Ground for Making Music ................ 215

6.2 The Role of Education in Metal Music Making ............................................. 217

6.3 Global vs. Glocal: Mapping out The Turkish Case ........................................ 219

6.4 Follow-up Research ........................................................................................ 223

REFERENCES ....................................................................................................... 225

APPENDICES ........................................................................................................ 243

APPENDIX A: The Google and Spotify Data Regarding Metal Music ............. 245 ............................. 253

CURRICULUM VITAE ........................................................................................ 261

xiii

ABBREVIATIONS

MIDI : Musical Instrument Digital Interface

VST : Virtual Studio Technology

PA : Public Address System

DAW : Digital Audio Workstation

EP : Extended Play

PR : Public relations

iOS : internet Operating System

UPC : Universal Product Code

EAN : European Article Number

CD : Compact Disc

MP3 : Moving Pictures Expert Group-Audio Layer

USD : United States Dollar

Ed., Eds : Editor, editors

DIY : Do-it-yourself

GT : Grounded Theory

SAE : School of Audio Engineering

xiv xv

LIST OF TABLES

Page

Table 3. 1 : Accounting Overview ............................................................................. 138

Table 4. 1 : Survey data regarding questions 1-4, extracted from (Url 17) ............ 149 Table 4. 2 : Survey data regarding questions 1-6, extracted from (Url 17) ............ 150 Table 4. 3 : Survey data regarding questions 1-7, extracted from (Url 17). ........... 151

Table 4. 4 : Informants and their musical careers ................................................... 156

Table 4. 5 : Interviews overview. ............................................................................ 157

Table 5. 1 : Informants (Overviews). ...................................................................... 185

Table 5. 2 : Informants (Education) ......................................................................... 186

Table 5. 3 : Informants: Family Perception ............................................................. 187

Table 5. 4 : Informants: Attitude to metal music and subculture 1.......................... 188quotesdbs_dbs26.pdfusesText_32

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