In my recent research that is built on my doctoral work, I critically examine the materiality of listening, new digital auditory media techniques, political ecologies, sound and silences in the conflicting productive forces of the industries, ordinary of the extraordinary in the common sense construction in digital and acoustic sound and music productions circulations and broadcastings, and abstractions of theoretical, timbral, cognitively schematic, and syntactic representations of sound-place crossings comparatively in Turkey and Thailand.
I apply and expand techniques and apparatuses of advanced auditory analyses, music theory, and sound studies through social sciences and digital humanities in light of (eco)cosmopolitanism (Kant 1795; Heise 2008), force, universalization, and provincialization (Latour 1993 & 2013; Chakrabarty 2000 & 2016) as auditory responses to monodirectional proposals for the sounds', noises' (Attali 1985), and silences' (Cage 1961; Said 1978, 1984; Trouillot 1995; Spivak 2010) role in the identity politics of the risk societies and environmental multiplicities within and beyond the discussion between the Anthropocene, Capitalocene, and Chthulucene, and dialectic materialism. I focus on commonsense projections of the so called universal the sound productions, live and digital media circulations, and soundscapes (Schafer 1977) via the scope of actual-virtual dichotomy and differences (Attali 1985; Deleuze 1968) and multiplicities (Spinoza 1992; Bergson 2001 & 1944; Deleuze & Guattari 1987; Bennett 2010), in relation to affect (Stewart 2007), place, state, and nomadic-posthumanistic entity (D & G 1987; Haraway 1985, 2016) of social imaginaries (Navaro 2002; Anderson 1983), as informed by the regional ordinary manifestations such as limited to the melancholia (Pamuk 2004; Gill 2017), ecological grief (Leopold 1953; Cunsolo 2018), and solastalgia (Albrecht 2005).
My doctoral dissertation, The Composer’s Mind Through the Looking Glass: An Analysis of Pitch-Centricity in Zaïde/Adama, examined the auditory counterparts of silenced women and incompleteness in the unfinished Mozart opera Zaïde and Chaya Czernowin’s opera Zaïde/Adama in light of philosophical, syntactic, and cognitive aspects of pitch, timbre, and event analysis. This study argue against the reductive projections of sound and imagination, initiating on the mind's dream state, through-the-looking glass state (Descartes 1641; Carroll 1871), and continuing on Leibnizian unit theories (Leibniz 1714), examines the proposals of analysis and synthesis (Kant 1781, 1787; Helmholtz 1954), and problems of singular conceptual proposals such as generative theory (Chomsky 1957), investigating through new critical trajectories of sound studies and cognitive theories with historical and comparative evidenced.
Primary Subjects of interest:
Sound Studies, (Eco)cosmopolitanism, Anthropocene, Sound in Islamic and Secular Frictions, Post-colonialism, Schematism & Attention Schema Theory, Virtuality–Actuality–Potentiality, Affect Theory, Hard Problem of Consciousness, Posthumanism, Dialectic Materialism, Non-Reductive Physicalism, Epiphenomenalism, Illusionism, Indeterminism & Hard-Incompatibilism, Music Cognition, Cognitive Schemata, Audio Illusions, Syntax and Generative Theory, Spectral Analyses, Ontology of Programming (Python 3 and Pure Data), Sound in Film, Game Music and Ludomusicology, Rock and Metal, Neo–Riemannian Theory, Galant Schemata.
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
“Becoming Virtual, Becoming Ephemeral: when silence is heard via John Cage's art and philosophy”
American Comparative Literature Association 2021 Annual Conferences
“Cosmopolitics of Pitch in Zaïde /Adama Fragments”
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