…From social interactions to expressing emotions, the place of music in our lives is irreplaceable. Music is universal in all cultures and used as a means to express human creativity for thousands of years.

Selected Projects

  • Music Information Retrieval, Audio Signal Processing & Machine Learning

  • CompMusic

    CompMusic, Computational Models for the Discovery of the World's Music, is a research project funded by the European Research Council and coordinated by Xavier Serra from the Music Technology Group of the Universitat Pompeu Fabra. Read more…

    Computational Modeling of Improvisation in Turkish Folk Music

    Traditional music in Turkey has a profound practice of non-metered improvisational styles such as uzun havas in Turkish folk music. In this research, a new database of uzun havas and a system to predict the melodies in the uzun hava form, is built. Read more…

    Joint Recognition of Tonic and Raag in Indian Music

    In many non-Western musical traditions, such as North Indian classical music (NICM), melodies do not conform to the major and minor modes, and commonly use tunings that have no fixed reference (e.g. A = 440hz). The characteristics of almost all North Indian classical music are explained around melodic abstractions (modes) called raags. This research presents a novel method for joint tonic and mode recognition in NICM from audio. Read more…

    Expressive Tabla Modeling

    Tabla is a remarkable percussion, which has one of the most complex techniques and repertoire in the world. As an example, qaida is a structured improvisation form, where the tabla is used as a solo quasi-melodic instrument. In this research, model of qaida is presented. This work aims to explore computational models of creativity, realizing them in a system designed for realtime generation of improvised music. Read more…

    Bayan Sound Modeling and Synthesis

    Tabla is the most widely used percussion in Indian music, both as an accompanying and solo instrument. One of the techniques involves squeezing the membrane of bayan, the bass drum of tabla to modulate its ringing pitch. This technique adds a unique expressivity to the instrument and it is crucial in tabla performance.

    One of my active projects is the mathematical modeling of bayan strokes for different types of modulations and synthesizing them for real-time computer-generated tabla improvisation. Read more…

  • Interactive Music

  • Crossole

    Meaning crossword of music, Crossole is a musical instrument where music is visualized as a set of virtual blocks that resemble a crossword puzzle. In Crossole, the chord progressions are visually presented by these virtual blocks. By using Kinect sensing technology, the performer controls music by manipulating the blocks using hand gestures. Read more…


    Beatscape is a mixed virtual-physical environment for musical ensembles where sound objects interact with temporal waves to create rhythmic grooves. Musical outcomes in the virtual world are determined by the ensemble’s actions in the physical world. Part of the ensemble manipulates physical objects representing sounds while the other part triggers the sound objects by generating waves with hand gestures. Read more…

    Urban Remix

    UrbanRemix is a collaborative and locative sound project. The goal in developing UrbanRemix was to design a platform that would enable participants to develop and express the acoustic identity of their communities, and enable users of the website to explore and experience the soundscapes of the city in a novel fashion. Read more…

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    S. Şentürk. “Sesin Özgürleşmesi: Müzik Prodüksiyonu Teknolojileri.” Birikim Dergisi, 285:98–104, January 2013. [bib]


    S. Şentürk, A. Holzapfel, and X Serra, “An Approach for Linking Score and Audio Recordings in Makam Music of Turkey.” in 2nd CompMusic Workshop, pp. 95-106, 2012. [pdf] [bib] [presentation_pdf]

    M. Sordo, G. K. Koduri, S. Şentürk, S. Gulati, and X. Serra, “A Musically Aware System for Browsing and Interacting with Audio Music Collections”, in 2nd CompMusic Workshop, pp. 20-24, 2012 [pdf] [bib]

    S. Şentürk, S. Won Lee, A. Sastry, A. Daruwalla, and G. Weinberg, “Crossole: A Gestural Interface for Composition, Improvisation and Performance using Kinect,” in Proceedings of the International Conference on New Interfaces for Musical Expression, pp. 499-502, 2012. [pdf] [bib]


    S. Şentürk, “Computational modeling of improvisation in Turkish folk music using variable-length Markov models,” Master’s thesis, Georgia Institute of Technology, 2011. [pdf] [bib]

    S. Şentürk and P. Chordia. “Modeling Melodic Improvisation in Turkish Folk Music Using Variable-length Markov Models,” in Proceedings of ISMIR 2011, pp. 269-274, 2011. [pdf] [bib]

    A. Albin, S. Şentürk, A. Van Troyer, B. Blosser, O. Jan, and G. Weinberg, “Beatscape, a mixed virtual-physical environment for musical ensembles,” in Proceedings of the International Conference on New Interfaces for Musical Expression, pp. 112–115, 2011. [pdf] [bib]

    P. Chordia, A. Sastry, and S. Şentürk, “Predictive tabla modelling using variable-length Markov and hidden Markov models,” Journal of New Music Research, vol. 40, no. 2, pp. 105–118, 2011. [pdf] [bib]


    F. Bal Kocyigit and S. Senturk, “Acoustics in the partial deaf student school music classrooms.” In the Proceedings of Acoustics’08 Paris Conference, 2008. [pdf] [bib]


  • I’m currently writing about music and technology in Agos Şapgir.
  • S. Şentürk, “Google’dan Aramalara Otomatik Sansür,” Agos, vol. 853, pp. 16, 17 August 2012. [html] [pdf]

    S. Şentürk, “Pop Gürültünün İçinde Kayboluyor,” Agos, vol. 852, pp. 13, 10 August 2012. [html] [pdf]

    S. Şentürk, “Agos Sansürünün Geri Alınması Bir Kazanım mı?,” Agos Web, 31 January 2012. [html] [html2]

    S. Şentürk, “Zico’nun Ustalığı ile Milla’nın Dansı,” Agos Kirk, vol. 34, September 2011. [html] [png]

    S. Şentürk, “The King of Limbs,” Gazete Habertürk, 1 April 2011. [html] [png]

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