My compositions and performances are entangled with my primary research focus:
Auditory frictions of anthropocentric universalism tied to the Occidental transnationalism; ecocosmopolitics and affect of sound in postcolonial ignorance towards the projections of the Global South; silences that manifest through the secular and Islamic nativeness in central Anatolian and Southeast Asian social assemblages and agglomeration of the individual schematics of auditory imaginaries.
Primary Subjects of interest:
Sound Studies | Eco-cosmopolitanism | Anthropocene | Sound in Central Anatolian Islamic and Secular Imaginaries | Colonialism | Timbre | Dynamic Pitch Perceptions | Noise & Silence | Cross modal auditory perception | Schematism & Attention Schema Theory | Virtuality–Actuality–Potentiality | Affect Theory | Qualia | Hard Problem of Consciousness | Post-humanism | New Materialism | Non-Reductive Physicalism | Epiphenomenalism | Illusionism | Indeterminism & Hard-Incompatibilism | Neo–Riemannian Theory.
Dissertation: Bilir, Canbekir. “The Composer’s Mind Through the Looking Glass: An Analysis of Pitch-centricity in Zaide/Adama” ProQuest Order No. 13881788, Cornell University, 2019.
Permanent Link: https://doi.org/10.7298/dg79-8z81
Peer-Reviewed Paper “MC Rhetoric in Beethoven Symphonies.”Porte Akademik Journal: Research on Music and Dance. Fall 2014, 10 – 74 – 87. SSN: 2146 – 2453, Accession Number: 2014 – 71682, RILM secondary journal
Permanent Link: porte akademik, Fall 2014 issue
(scheduled) Paper presentation
“Becoming Virtual, Becoming Ephemeral: when silence is heard via John Cage's art and philosophy”
American Comparative Literature Association 2021 Annual Conferences
(scheduled) Paper presentation
“Pitch, Schematism, and Isomorphism in Zaïde /Adama”
European Music Analysis Conference (EuroMAC 10), Tchaikovsky Conservatory Moscow, Russia. scheduled to September 2021.
“Smelling the Sound: Attention and Centricity in Cross-modal Compositional Contexts and Central Anatolian Islamic Rituals”
Association of Asian Studies Conference, panel “Returns: Rituals of Remembrance Genealogies of Artistic Practice in Asia,” July 1 – 4, 2019, Bangkok, Thailand
Performance, installation, and paper presentation
“Decolonizing Emotion in Creative Processes: Nostalgia 30-note hand crank music box”
commission for (Re)Making Memory, Southeast Asian Studies Conference at University of Michigan, Ann Arbor, April 6, 2019
“Listening to the Resonance of Apparitions: Zaide/Adama by Mozart/Czernowin”
American Comparative Literature Association 2018 Annual Conferences, panel “Beyond the Human Psyche: New and Critical Approaches to Violence and Trauma in Global Anglophone Literatures” at University of California, Los Angeles, CA, 2018
“MC Rhetoric in Beethoven Symphonies”
Istanbul Technical University International Music and Theory Symposium, Istanbul, Turkey, 2013
Selected Lectures and Colloquia
Guest Lecturer, Galant Style Schemata on Classical Guitar
A lecture on Galant Style music composition and analysis. Discussions on schematism and Galant schemata in light of theories of music, philosophy, and cognitive science; compositional analysis from W.A. Mozart, M. Giuliani, L. Bocherini, F. Sor, J.S. Bach, Aiva Artificial Intelligence Virtual Artist. Main course book is Robert Gjerdingen, Music in the Galant Style (Oxford: Oxford University Press, 2007). Final lecture for Music 2101 Theory Materials & Techniques 1, taught by Roger Moseley. Cornell University, 2018.
Composer presentation, Harvard University Composers Colloquium, 2017
Guest Lecturer. Transformations in Franz Schubert’s “Erlkönig” D.328
A lecture on comparative analysis of Schubert’s Erlkönig with J.F. Reichardt’s Erlkönig (1973), application of Neo-Riemannian Theory with demonstrations on piano and classical guitar transcription of Reichardt Erlkönig by Can Bilir. Main course book is Richard Cohn, Audacious Euphony: Chromaticism and the Triad’s Second Nature (Oxford: Oxford University Press, 2012) Music 2102 Theory, Materials, & Techniques 2, taught by Roger Moseley. Cornell University, 2017.
Guest Lecturer and Composer in Residence
Three lecture presentations in a semester, a concert performed by Can Bilir, new compositions and improvisations on self-built and modified guitars, readymade objects, and music box. for Music 1202: Classical Music from 1750 to the Present, taught by Professor Rebecca Harris Warrick. Cornell University, 2017.
Abstract Entries for RILM (Répertoire International de Littérature Musicale)
Clayton, Martin. “Local Practice, Global Network: The Guitar in India as a Case Study.” In Theorizing the Local: Music, Practice, and Experience in South Asia and Beyond. New York: Oxford University Press, 2009; pp. 65 – 78. 2014
Conner, Ted. “Structural ornaments: Transcending binaries in Elizabethan and Jacobean music.” Journal of the Viola da Gamba Society of America 42 (2005): 19 – 75. 2014