Thomson's (2021) article proposes that a musical sound is a tone characterized by a regulated pitch and
timbre. This is created through the periodic vibrations of instruments, which the performer primarily
controls. However, it is more complex than asserting that certain sounds are automatically musical and
others are not. Any sound, ranging from the melodious jingle of a bell to the sharp bang of a door, can
be incorporated into the auditory structure of music.
According to Cappelen's music lexicon, "sound" is used in Norwegian jazz, pop, and popular music to
refer to a different sound image characterized by the ensemble, instrumentalist, or singer. This individual
sound is determined by a combination of arrangement technique, personal voice or instrument
treatment,and rhythmic and melodic elements, strongly emphasizing timbre. However, there currently
needs to be comprehensive terminology to analyze sound (Dybo, 2002, p.16).
In contrast, Lars Lilliestam suggests that "sound" has different meanings depending on the context in
which it is used. For example, in the context of music, "sound" refers to a total sound image, which
includes elements such as instrumentation, playing styles, timbre, singing style, rhythm, harmony, and
balance of instruments (Dybo, 2002, p.17).
As an instrumentalist, shaping one's signature sound differs from that of vocalists. Combining amplifiers,
effects pedals, and various instruments is a joint for guitarists and bassists to achieve personal
expression during performances. In contrast, pianists need this opportunity and are subject to the piano
quality provided at each venue. This often leads to challenges, such as using a digital piano due to an
out-of-tune or poorly-maintained instrument. Esteemed instrumentalists, such as Tigran Hamasyan,
Herbie Hancock, and Esbjørn Svensson, are recognizable for their distinct playing styles. However, the
challenge for pianists lies in developing a signature sound that reflects their expression. This thesis will
explore my journey in discovering their unique sound as a pianist.
The signature sound is a unique style of music that distinguishes a musician from others. It is a result of
the personal interpretation and musical experiences that a musician has accumulated over time.
Musicians with a signature sound often have a loyal fan base, making their music easily recognizable. In
this chapter, I will explore the concept of signature sound in music and how it is developed over time.
"The Jazz Language: A Theory Text for Jazz Composition and Improvisation" (Haerle, 1980) is a
comprehensive guide that aims to help musicians develop their unique sound by exploring the language
of jazz improvisation. Haerle emphasizes the importance of understanding the underlying theory of jazz
music to create a personal style that is both expressive and technically proficient.
"The Advancing Guitarist" by Mick Goodrick and "The Jazz Language: A Theory Text for Jazz
Composition and Improvisation" by Dan Haerle aim to assist musicians in developing their unique sound
and style. However, there are some differences between the two books. The Advancing Guitarist is
exclusively for guitarists, while The Jazz Language applies to various jazz instruments. The Jazz
Language also covers a broader range of topics, including harmony, melody, rhythm, and form, whereas
The Advancing Guitarist focuses more on exercises and techniques. Both books emphasize the
significance of creativity, personal expression, and a solid foundation in music theory and technique.
Improvisation is also a common theme in both books, with guidance on developing improvisational skills
and techniques to create a unique style. Both books encourage musicians to explore different genres
and styles to expand their musical vocabulary and develop a distinctive play approach.
Figure 3. "Ravi Shankar in 1955", 2016, by Getty Images.(https://time.com/4284939/ravi-shankar-sitar-history/)
Figure 4. "Tigran Hamasyan", 2015, by Alfonso Salgueiro. (http://www.alsalphotography.com/blog/2015/2/12/tigran-hamasyan)
In this chapter, I explain this project's theoretical and artistic basis. This includes both theories that have
been acquired in connection with the implementation of the project.
In the article, En drøfting av analytiske perspektiver i tilknytning til soundbegrepet by Tor Dybo (2002,
p.15), defined sound where he refers to citations by Cappelen and Lars Lilliestam.
Lilliestam notes that a musician's sound encompasses their notes and unique characteristics. While
Cappelen's citation emphasizes the importance of sound in specific genres, Lilliestam's citation provides
a broader and more detailed explanation of the various elements contributing to a sound image in music.
Overall, both citations address the concept of sound in music, with Cappelen's citation providing a more
focused perspective on the term "sound" within specific genres. In contrast, Lilliestam's citation takes a
broader approach.
Finally, Moore argues that sound in rock music can be analyzed through other elements of the piece,
such as lyrics or instrumentation. He suggests that studying the relationship between sound and other
aspects of the music can provide insights into the music's overall meaning and affective impact. Moore's
framework for analyzing rock music emphasizes the importance of sound in conveying meaning and
emotion in rock music. As a result, scholars and listeners can develop a deeper understanding of this
crucial musical genre's cultural and social significance by focusing on sound as a critical element of rock
music.
The present discourse holds relevance to the current master's thesis, which aims to explore how
elements of raga contribute to creating a signature sound. This text underscores the significance of
analyzing sound in music to understand its cultural and social relevance comprehensively. By utilizing
Moore's analytical framework, one can delve into the analysis of raga music and assess how the
physical properties of sound, cultural and social context, and the interplay between sound and other
musical elements culminate in creating its distinctive signature sound. Such an approach can enable a
deeper understanding of raga music and its broader cultural and social context.
One of the critical aspects of developing a signature sound as a jazz musician, according to Haerle, is
the ability to combine different musical elements in a coherent and personal way. This involves a deep
understanding of harmony, melody, and rhythm and the ability to improvise and adapt to different
musical situations. Throughout the book, Haerle provides numerous exercises and examples
demonstrating how to incorporate different musical elements into one's playing and develop a unique
sound. For instance, he discusses the importance of exploring other harmonic options and
experimenting with different chord voicings to create a distinctive harmonic palette. He also emphasizes
the importance of developing a personal approach to improvisation, which involves a combination of
technical proficiency and creativity (Haerle,1980, p.16).
Goodrick's (1987) book, "The Advancing Guitarist," offers a comprehensive guide to help guitarists
develop their unique sound through technical proficiency, creativity, and personal expression. In the
book, Goodrick stresses the importance of building a solid foundation in music theory and technique to
create a technically proficient and expressive style.
According to Goodrick, one of the key aspects of developing a signature sound as a guitarist is the
ability to navigate the fretboard. Goodrick introduces the "grid system," a visualization technique that
allows players to explore new harmonic and melodic possibilities and develop a unique approach to
playing the guitar. Goodrick emphasizes the importance of creativity and personal expression in creating
a signature sound, encouraging players to explore different musical styles and genres and incorporate
elements from these styles into their playing. He also suggests experimenting with different scales,
modes, and chord progressions to develop a unique harmonic palette.
Some of the concepts in the book, such as the grid system, which involves visualizing the fretboard as a
grid of squares to navigate the guitar fretboard, can be adapted to the piano by visualizing the keys
similarly. In addition, the book's emphasis on developing a solid foundation in music theory and
technique also applies to pianists, as these are essential elements for any instrumentalist to master.
However, it is important to note that some of the techniques and exercises presented in the book are
geared toward guitarists and may not be directly transferable to the piano. Nonetheless, pianists
interested in developing their unique sound and style can still benefit from the broader concepts and
ideas presented in "The Advancing Guitarist" and adapt them to their instrument.
Ravi Shankar, a renowned sitar player, and composer, is known for revolutionizing Indian classical music
and introducing it to the Western world (The Times of India, 2016). In his book "Raga Mala" (Shankar,
1999), he provides insights into the intricacies and nuances of Indian classical music, including the
importance of thoroughly studying each raga or musical mode. By mastering these nuances, musicians
can develop their own unique sound within the context of the traditional raga system. While Shankar
does not explicitly focus on developing a signature sound, his emphasis on studying the fundamentals
and intricacies of Indian classical music can certainly inform and inspire musicians seeking to create a
distinctive and recognizable style.
In "Raga Mala," Shankar shares his experimentation with different playing techniques and approaches.
He emphasizes the significance of exploring various techniques and strategies to find one's unique voice
and style. Additionally, Shankar stresses the importance of practice and dedication in developing a
signature sound, highlighting that persistence and commitment are crucial in achieving a distinctive and
recognizable sound.
Shankar's examples of developing a signature sound in "Raga Mala" underscore the significance of
studying each raga thoroughly, experimenting with different techniques and approaches, and practicing
diligently. By focusing on these elements, musicians can create a distinctive and recognizable sound
that is uniquely theirs. Therefore, Shankar's insights can serve as a valuable guide for aspiring
musicians seeking to develop their own unique style and sound.
One of the key elements of Hamasyan's signature sound is his use of complex rhythms and time
signatures. He frequently employs irregular time signatures such as 5/4, 7/8, and 9/8, which are
common in Armenian folk music. These intricate rhythms add a sense of unpredictability and excitement
to his music, allowing him to explore various moods and emotions. Tigran Hamasyan attributes much of
his musical style to Armenian folk music, stating that "a lot of it comes from folk, especially Armenian folk
music." This influence is apparent in his approach to arranging jazz standards. In addition, his notes
incorporate elements of odd meters, polyrhythmic songs, and dances, all of which he has studied
since discovering Armenian music (Jazzwise, 2020).
Hamasyan also incorporates extended techniques into his piano playing, including percussive strikes
on the keys, prepared piano, and glissandos. These techniques help to create a rich, textured, dynamic,
and expressive sound. In addition to his piano playing, Hamasyan is known for his distinctive singing
style. His vocal performances frequently incorporate Armenian folk singing techniques such as melisma
and microtonal inflections. This unique approach to singing adds yet another layer of texture and
complexity to his music. Hamasyan's signature sound is also characterized by using electronic
and experimental sounds. He frequently incorporates synthesizers, samplers, and other
electronic instruments into his compositions, creating a hybrid sound that blends traditional acoustic
instruments with modern technology (Schumann, 2020).
Hamasyan's innovative approach to music earned him critical acclaim and numerous awards including
the prestigious Thelonious Monk International Jazz Piano Competition in 200 (Westphal, 2006). In
addition, he has released several acclaimed albums, includin "Mockroot" (2015) and "An Ancient
Observer" (2017), which showcase his signature soun and his ability to blend diverse musical influences
into a cohesive and compelling whole. Tigran Hamasyan's signature sound is characterized by a fusion
of traditional Armenian folk music with jazz and other contemporary styles, complex rhythms, the use of
Armenian folk instruments, virtuosic piano playing, and a willingness to experiment and push
boundaries. Hamasyan's music reflects his deep respect for his Armenian heritage while
demonstrating his commitment to innovation and originality.
The examples of Ravi Shankar and Tigran Hamasyan demonstrate the importance of studying a musical
tradition's fundamentals and intricacies while experimenting with new techniques and approaches to
develop a signature sound. Shankar emphasizes the significance of mastering the nuances of each raga
or musical mode. At the same time, Hamasyan draws inspiration from traditional Armenian folk music
and blends it with jazz and contemporary styles. Both musicians highlight the importance of practice,
dedication, and persistence in achieving a distinctive and recognizable sound. These insights can serve
as a valuable guide for aspiring musicians seeking to create their own unique style and sound. As
demonstrated by the success of Shankar and Hamasyan, mastering the fundamentals and
experimenting with new techniques can lead to innovation and critical acclaim in the music world.
Music production is deeply influenced by cultural context and tradition. The practices, values, and beliefs
of a particular culture shape the creation and consumption of music. Cultural context can include many
factors, such as historical events, religious practices, social structures, and geographical location.
Musical traditions are also a critical aspect of cultural context, providing a set of conventions and stylistic
elements that shape musical expression (Markos, 2022). Music is an integral part of daily life in many
cultures and has a specific purpose or function, such as accompanying rituals or expressing emotions.
For example, in African music, rhythm is often used to convey messages or tell stories (Vallena, 2021).
In Western classical music, harmony and melody are emphasized to create a structured and harmonious
composition (Rich, 2019).
Musical traditions also play a significant role in shaping the production of music. These traditions
can include instruments, scales, or rhythmic patterns unique to a particular culture. For example, the
pentatonic scale is standard in Chinese music and creates a distinctive sound recognizable worldwide
(Gutierrez, 2023). Navigating cultural context and tradition in music production requires understanding
music's cultural and historical roots and an awareness of contemporary musical trends and innovations
(Treloyn, 2016). It is essential to honor the tradition of a particular musical style while also allowing for
experimentation and exploration of new musical expressions.
One approach to navigating cultural context and tradition in music production is to draw on the principles
of a particular musical style while also incorporating elements from other musical genres and cultural
contexts. African music is rooted in African societies' traditions and cultural practices. African music is
characterized by a rhythmic complexity that reflects African societies' complex social structures and
cosmologies. The use of drums and other percussion instruments, which have a long history in African
culture, is a fundamental element of African music. Moreover, the call-and-response form of African
music, in which one musician or group sings or plays a phrase, and another responds with a different
word, reflects the communal nature of African societies (Pizà, 2023, p.3-6).
Similarly, Indian classical music is deeply rooted in India's cultural and spiritual traditions. For example,
the raga, a melodic structure that forms the basis of Indian classical music, reflects the spiritual and
philosophical underpinnings of Indian culture. Likewise, the use of microtones, intricate ornamentation,
and improvisation, integral to Indian classical music, is also informed by the cultural and philosophical
values of Indian society (Pizà, 2023, p.44- 57). Western music, on the other hand, has evolved in
response to changing cultural, social, and technological factors. As a result, western music has been
influenced by various cultural traditions, including African, Indian, and Middle Eastern music (Thomas,
2023). Moreover, musical notation, unique to Western music, has enabled Western composers to
create complex and intricate musical compositions that are impossible to perform without a
written score.
Cultural context and tradition play a significant role in shaping musical styles and genres. The interplay
between the cultural context and practice informs the creation of new musical expressions while
preserving a particular society's cultural heritage. The examples of African, Indian, and Western music
illustrate how cultural context and tradition have influenced the development of musical styles and
genres. As music continues to evolve and adapt to changing cultural and technological factors, it is
essential to recognize the role of cultural context and tradition in shaping musical expressions.
In conclusion, the importance of developing a signature sound in music production cannot
be overstated. This involves navigating the complex interplay between cultural context and tradition while
allowing for experimentation and innovation. Cultural context encompasses many factors, including
historical events, social structures, religious practices, and geographical location, while tradition provides
a set of conventions and stylistic elements that shape musical expression. Developing a signature sound
that is innovative and rooted in tradition requires understanding a musical style's cultural and historical
roots and an awareness of contemporary musical trends and innovations. The examples of African,
Indian, and Western music illustrate how cultural context and tradition have influenced the development
of musical styles and genres. As music continues to evolve and adapt to changing cultural and
technological factors, it is crucial to recognize the role of cultural context and tradition in shaping musical
expressions. Ultimately, navigating cultural context and tradition in music production requires a delicate
balance between honoring the tradition of a particular musical style while also allowing for
experimentation and exploration of new musical expressions.
In the book "Rock: The Primary Text: Developing a Musicology of Rock" (Moore, 2001), Allan F. Moore
aims to develop a conceptual framework for analyzing rock music. One key aspect of this framework is
the concept of sound. According to Moore, sound is a fundamental aspect of rock music that needs to
be more noticed or analyzed. He argues that sound can convey meaning in ways different from lyrics or
other forms of musical expression and that sound should be given greater attention in analyzing rock
music. Moore suggests that sound in rock music can be analyzed in several ways. First, he notes that
the physical properties of sound, such as pitch, timbre, and rhythm, can be essential elements in
creating the overall sound of a rock song. These elements can convey emotional or affective
qualities central to the music's meaning. Second, Moore emphasizes the importance of
considering sound's cultural and social context in rock music. He notes that different rock music styles
are often associated with other artistic movements or subcultures and that the sound of a particular rock
song can be linked to broader social and political issues.
Haerle introduces the concept of "licks" to develop one's musical vocabulary. He suggests transcribing
and practicing other musicians' solos but also encourages players to adapt and personalize these licks
to create unique phrases and ideas. "The Jazz Language" is a valuable resource for any musician
looking to develop a personal style in jazz improvisation (Haerle,1980, p.19). Haerle emphasizes the
importance of understanding the theory and language of jazz music. His practical exercises and
examples make this book essential for cultivating their unique musical voice.
Throughout the book, Goodrick provides numerous exercises and examples demonstrating how to
incorporate different musical elements into one's playing and develop a unique sound. He stresses the
importance of creating a personal approach to improvisation, which requires technical proficiency,
creativity, and a deep understanding of the music being played. Goodrick's focus on the importance of
understanding music theory and technique, along with practical exercises and examples, makes this
book an essential tool for those seeking to cultivate their unique musical voice.
Tigran Hamasyan is an Armenian jazz pianist and composer who has gained international recognition
for his unique and innovative approach to music. His music is characterized by a fusion of traditional
Armenian folk music with jazz and other contemporary styles, resulting in a distinctive signature sound.