Hasan

This study aims to provide a comprehensive evaluation of the concept of soundscape and its development within scientific and artistic fields in Türkiye. Attributed to R. Murray Schafer (1977), the notion of the soundscape has undergone diverse transformations since its emergence in the 1970s and found varied interpretations and applications across disciplines such as history, musicology, architecture, urban planning, and psychology. However, studies on sound in Türkiye have encountered challenges due to the absence of institutional structures and scientific leadership, resulting in fragmented interactions and limited awareness of these conceptual developments. This article focuses on the historical background of sound studies, the multifaceted approaches to the soundscape in different disciplinary contexts, and the complexities stemming from the translation and interpretation of this concept.The historical background of sound studies reveals the evolution of sensory practices and objects in diverse cultural contexts throughout history. For example, ancient Greek philosophy bestowed privileged status upon vision as the noblest sense, relegating other senses to secondary positions. Nevertheless, paradigm shifts have occurred regarding the emphasis placed on various senses during different historical periods. For instance, the Renaissance witnessed a heightened recognition of touch alongside the rise of humanism and materialism, leading to a renewed appreciation for the significance of tactile experiences. These historical developments laid the groundwork for a deeper understanding of sound and its profound influence on human perception and the environment.&nbsp;The soundscape has been explored and developed within different disciplinary frameworks, each contributing distinctive perspectives. In the realm of architecture, the field of architectural acoustics (i.e., acoustic engineering) scrutinizes the acoustic environments created by human interventions. This field encompasses the domains of noise control and room acoustics, which investigate the acoustic properties of architectural spaces. In recent years, advancements in computational capabilities have facilitated the creation of software programs that enable acoustic simulation, providing virtual platforms for replicating sound within various environments. Within the Turkish context, a limited group of researchers have dedicated efforts to the development of such software, which is now extensively employed by architects and acoustic experts (Öziş ve ark., 2004).Within the field of musicology, subdisciplines such as ethnomusicology, historical musicology, urban musicology, and contemporary music deal with the topics of soundscape. The domain of art, particularly composition and contemporary music, engages with soundscape as a means of investigating the sonic dimensions of different settings and integrating them into creative processes. Artists employ soundscapes as a tool for exploring the auditory qualities of various environments, fostering collaborations among musicians, artists, and researchers, thereby yielding innovative sonic expressions and novel perspectives on the world.Psychology has assumed a significant role in comprehending the perception and interpretation of sound. Research conducted within the fields of sensation and perception, as well as psychoacoustics, has provided valuable insights into how humans perceive and process auditory information (Şengül-İnal ve Sümer, 2018). Soundscape studies in psychology explore the psychological and cognitive aspects of sound perception, illuminating the influence of sound on emotions, well-being, and spatial awareness (Can ve Ozcevik, 2008; Çakır ve İlal, 2017; Özçiftçi ve ark., 2021).&nbsp;The field of history has also encompassed soundscape studies through investigations into the history of senses, sound history, and anthropology. By examining historical sources and cultural practices, researchers can reconstruct the sonic landscapes of different time periods and societies, thereby shedding light on the cultural significance of sound and its role in shaping human experiences.In conclusion, this study presents an interdisciplinary assessment of soundscapes within the Turkish context by encompassing the historical backdrop of sound studies, the diverse disciplinary approaches to soundscape analysis, and the complexities arising from the translation and interpretation of this concept. By highlighting the paramount importance of sound and its pervasive impact on various facets of human life, this study contributes to the ongoing discourse on the significance of soundscapes and their potential applications within academic, artistic, and professional domains. The integration of the soundscape into these fields fosters a deeper understanding of the auditory dimensions of the built environment, the cultural significance of sound, and the ways in which sound shapes human experiences. The interdisciplinary nature of soundscape studies allows for fruitful collaborations and knowledge exchange between researchers, artists, architects, musicians, psychologists, and historians, promoting a holistic approach to the study of sound. Moving forward, further developing the institutional frameworks and scientific leadership within sound studies in Türkiye is imperative for nurturing an inclusive and collaborative environment for research, artistic expression, and societal engagement. By doing so, the transformative power of sound can be harnessed and innovative approaches can be fostered to enhance the sonic qualities of human environments, ultimately leading to improved well-being and a richer understanding of the surrounding world.&nbsp;

“Sound–scape–“ Studies in Türkiye

Erdinç

Res. Assist.

Nazife

Prof. Dr.

Cenk

The manner of thinking and philosophy of the ancient Greek civilization was preserved similar to a museum in a dried up or dull style after the end of the Great Roman Empire in the west under the barbarian invasion until the collapse of the eastern part of the empire centered on Constantinople. Many sources state that Rome inherited the Greek heritage in general but did not lead to much progress in the field of philosophy. Another aspect that is worth examining is the current issue on music. The Byzantine music theory staunchly adhered to the ancient Greek style of conveying music theory, thereby exemplifying the dull preservation mentioned earlier. The reasons underlying the fact that music theory studies were less intense during the Byzantine period are the church and the worship-centered use of music. In this context, music theory itself in Byzantium aims to convey the sacred texts, and musical patterns that contain religious meanings were not considered warmly or, at least, did not need to be questioned theoretically. Nevertheless, very few theorists in the medieval Byzantine period preserved, reiterated, and maintained substantial knowledge of ancient Greek music theory. Manuel Bryennios (M𝛼𝜈o𝜐𝜂𝜆 B𝜌𝜐𝜀𝜈𝜈𝜄o𝜁/Manouel Bryennios; circa 1275–1340) is one ¯ of the important theorists who brought the knowledge of Ancient Greece to the Renaissance by blending his music theory studies in Medieval Byzantium with the music practices of Byzantium. He was a Byzantine scholar, music theorist, and humanist under the reign of Emperor Andronikos II Palaiologos (1282–1328). This study examines the less known life and historical significance of Bryennios. First, the paper presents a brief overview of the history and tradition of medieval Byzantine music. The next section describes available data on Manuel Bryennios and elucidates the place and historical importance of his theoretical works in Byzantine music theory. According to the information obtained, Manuel Bryennios acted as a representative of the theoretical school based in Constantinople. His students included aristocrats, such as Theodoros Metokhites (Θ𝜖o𝛿𝜔𝜌o𝜁 M𝜀𝜏o𝜒𝜄𝜏𝜂𝜁; 1270–1332), who was the mesazon¯ (chief minister) of the Byzantine Emperor Andronikos II Palailogos. He is understood as one of the last great music theorists. In this period, which can be called the Renaissance of the Palaiologan Period, arithmetic and geometry along with related sciences, astronomy, and music theory formed the Quadrivium, which comprises the sciences taught at the highest level of education. However, a few scholars of the Palaiologan period did not confine themselves to the teachings of ancient authorities, engaged in compiling original commentaries on these authorities, and, in certain cases, even suggested a break with tradition. The music theory studies of Bryennios have survived up to the present day as a large number of manuscripts since the 14𝑡 ℎ century. Giovanni Francesco Burana translated these manuscripts into Latin in the 15𝑡 ℎ century on behalf of the Italian mathematician, philologist, and translator Giorgio Valla and the most important music theorist of the 16𝑡 ℎ century, Italian Franchino Gaffurio. Bryennios’ work has earned a reputation in the medieval world for being the most outstanding and comprehensive source of ancient Greek music theory. This work, which is known as the Harmonica, maintains its unique and distinguished place among the Byzantine texts as one of the most important works that provide information about the ancient Greek music to Renaissance scholars today. In terms of the 14𝑡 ℎ-century Byzantine music theory, two schools are mentioned. The first, whose written sources date back to the 11𝑡 ℎ and 12𝑡 ℎ centuries, is the tradition of Hagiopolites, which has been the subject of many research until today. The second other is the theoretical school, which was developed in a Constantinople-based intellectual studies center represented by elites such as Georgios Pakhymeres ( Γ𝜀𝜔𝜌𝛾𝜄o𝜁 Π𝛼𝜒𝜐𝜇𝜀𝜌𝜂𝜁, 1242–ca 1310) and Manuel Bryennios. Although this theoretical school, which was developed on the basis of the Quadrivium of Ancient Greece, is important for the Greek language, handbooks addressing church practice are only practical music guides. The parallel existence of these two teachings gives the impression that the two traditions are ultimately trying to complement each other. Bryennios’ work is renowned for being a comprehensive compilation of classical Greek music theory. In Christian Eastern Rome, many of the ancient Greek teachings were problematic, because the name Hellen was associated with paganism. However, we find that Bryennios’ music theory writing has been re-examined and has an important place in the humanism movement of the Italian Renaissance. The Greek Science of Harmonics (Harmonics) was preserved and eventually transferred to the Italian Renaissance by Byzantine scholars who not only copied ancient texts but also made editorial interventions, offered interpretations, and produced their syntheses. With this research on the life of Manuel Bryennios, the esteemed theorist of the Byzantine period, the study expects that interest in the research on Byzantine music in Turkey will increase. In this manner, the study aims to enrich intercultural studies by considering important figures and works in the history of music theory in our geography.

Manuel Bryennios: A Theorist of Byzantine Music

İbrahim

Assist. Prof. Dr.

Elif

Assoc. Prof. Dr.

Folk literature undergoes transformations in form, content, and function, reflecting changes in genre and ideological perspectives. These adaptations, seen in opera librettos, incorporate various approaches like quotation, reference, allusion, reflection, imitation, collage, montage, and rewriting. Orhan Asena’s play, "Gods and Humans (Gilgamesh)," staged in 1954 with music by Nevit Kodallı, was later adapted into an opera in 1963. Ahmed Adnan Saygun, on the other hand, composed the Gilgamesh opera based on the classical text, crafting the libretto himself between 1964 and 1979.The production process involves the recontextualization of the subject by the composer and librettist, resulting in new forms and content that can be understood through an intertextual perspective. Intertextual references connect with the old literary tradition, invoking national and universal emotions. Works based on the Gilgamesh epic are thus defined as rewriting. Orhan Asena’s play, created during the 1950s amid political and social transformations, reflects a narrative where the gods side represents outdated systems hindering progress. This forms the basis for the Gilgamesh opera’s structure.Both Kodallı and Asena maintain the hero prototype in the epic, depicting Gilgamesh as a multifaceted character—ruler, lover, friend, and mortal. The opera includes a passionate yet conflicted love and a friendship story, highlighting Gilgamesh’s mortality. Saygun, composing in the tumultuous 1970s, presents a Gilgamesh punished by the gods for his tyranny. The hero’s search for immortality leads to loss and transformation, evolving from a cruel king to an emotional hero who heeds the warnings of his people. The hero’s maturation, a transition from ignorance to wisdom in the epic, is portrayed through the Sufi way in Saygun’s opera. The struggle for self-purification leads to the transformation of fear of death into a pursuit of immortality, where death is not an end but a new beginning.&nbsp;The study explores how composers and librettists, influenced by their thoughts and the socio-political context, redefine the main message of the epic. Intertextuality parallels dramaturgical analysis, creating a model that interpreters can use in their roles. Incorporating drama art lessons in opera department curricula can enhance the theatrical success of singers on the international stage. To present an opera with high visual aesthetics, correct analysis of the dramatic structure is essential during staging, providing a reference source for understanding and interpreting the work effectively

Contemporary Interpretation of the Epic of Gilgamesh: Gilgamesh Operas by Nevid Kodallı and Ahmed Adnan Saygun

Nilgün

We come across the expression Huzur Temsilleri (performance in the presence of the sultan) in the narratives of people, especially actors, who witnessed the entertainment life of the Ottoman palace in the last quarter of the nineteenth century. In these narratives, we see that the expression Huzur Temsilleri is used to describe the performances made in the presence of the sultan at his command/will. It is possible to argue that the word temsil here is used for all kinds of performative representations. From pantomime to juggling, from Karagöz to meddah, from operetta, to tulûat, from animal acrobats toWestern-style theater, the genre diversity of the nineteenth century performances in the palace appears to be wide-ranging.From the second half of the nineteenth century, when trends began to change in the context of entertainment culture and especially theater art, traditional performance performers (especially Ortaoyunu performers) had to survive both economically and artistically. We can say that, among the crises experienced in various fields between the traditional and modern aspects of the Tanzimat period, this is perhaps the crisis that has produced the most creative results in the struggle for survival. Despite the negative arguments produced by the leading intellectuals of society against traditional performances, practitioners of traditional performing arts have engaged in a distinctive interaction with Western-style theater and embarked on new/experimental quests. Toward the last quarter of the nineteenth century, the creative pains of the crisis in the theater gave birth to the Tulûat Theater. The names we will discuss with their representations in the presence are the master performers of this new genre. We see that some of these masters were recruited to Muzıkâ-yi Hümâyun within the service of the Harem.However, taking part in the Muzıkâ-yi Hümâyun theater section did not mean immediately appearing in the presence of the sultan. Being talented was not enough in itself to play in the presence of the sultan, irade-i seniyye, meaning “the sultan’s order” was also necessary. For the irade-i seniyye to be issued, it was necessary to establish relationships with the right people, especially those close to the palace, as well as having a good record. Participating in the Muzıkâ-yi Hümâyun theater section was based on the observations, recommendations and evaluations of the current senior actors.After all, Muzıkâ-yi Hümâyun was a structure established with military organization and for military purposes. Therefore, the self-educated actors selected for Muzıkâ-yi Hümâyun, like those accepted here as students, were also subject to rank in this military hierarchy. Considering this situation, when we take this into account, we see that to perform for the huzur (royal presence), various ranks, orders, and titles appropriate to the seriousness and protocol of the palace were bestowed upon the actors, and they even performed in uniform. The contradictions between the demands of the palace and the dynamics of the theater are evaluated through examples.Moreover, the performance that took place in the presence of the sultan had an irregular timing depending on the rhythm of the harem, especially that of the sultan. The impact of the temporal intervention on the performance, which transforms the presence of the actor into a vigilant soldier, has been discussed concerning sudden representation requests/commands, abrupt beginnings, or abrupt endings in the performance. For an actor, what is worse than an uninterested spectator who is asleep, who is interested in the guest next to him, is the audience who is not sure whether to be there or not.This audience–player relationship has been opened to discussion with examples that will cause us to question the relationship between the spectator sultan and the performer. The sultan turns into a hypothetical spectator, that is, in the sense of the audience that is supposed to be there, but not certain to be there, based on the assumption that he is there. Moreover, how does even a small doubt about the presence of the audience affect the performance?The actor performing in the presence of the sultan and his performance has been interpreted in four aspects. The first aspect is focused on the timing and potential changes in the duration of the performance. The second aspect is transformative intervention concerning the content of the performance. The third aspect is how the relationship between the actor and their audience differs from the performances presented in front of the public. Fourth and lastly, we can observe that the act of watching becomes somewhat more complicated. The sultan watches not only the performers but also the other audience members present during the performance from a designated area, sometimes concealed by a screen or enclosure.

Huzur Temsilleri: Performances in the Ottoman Palace in the Presence of the Sultans

Ahmet

Leonard Bernstein is an important musicians of 20𝑡 ℎ century music history who played an active role in developing the art of music in the United States. His interest in music started at the age of ten thanks to an old and worn upright piano given to him by his aunt Clara. After his primary and secondary education, he studied piano and composition at Harvard University. He became interested in composing due to the American composer Aaron Copland, with whom he’d met during his university education. Throughout his life, Bernstein composed works in many musical genres such as symphony, opera, ballet, and chamber music, as well as film scores and musicals in particular. During his tenure as music director of the New York Philharmonic Orchestra between 1958-1969, he conducted the world’s leading symphony orchestras and became an important conductor recognized worldwide. Bernstein won many music and television awards for the soundtracks and musicals he composed, and he also produced various television programs in order to pioneer the development of classical music in the USA.Since his youth, Bernstein had been interested in popular music genres such as jazz and Latin American music, and his compositions were greatly influenced by his interest in these music genres. Alsop (2013) stated that Bernstein had admired books and words and had devoted his life to connecting the dots between words and sounds. In this respect, Alsop described Bernstein’s compositions as a mixture of poetry and piano concerto with a dramatic and interesting expression. However, Bernstein, who had a special interest in dogs, tried to explain his love and interest toward them in some of his works. In this context, he dedicated some of his works for solo instruments, especially for brass instruments such as the horn, trumpet, trombone, and tuba, to dogs. Bernstein’s solo trombone piece Elegy for Mippy II is one of the most important solo works in the trombone repertoire. Playing the piece on stage without accompaniment and by tapping one foot on the ground can make the performance memorable for the audience. In addition, Senff (1976) stated that the piece can be performed as an encore after a recital, in a solo performance, or with an orchestra, thus revealing the importance the piece has for trombone players. This piece lasts about two minutes and presents some technical and musical challenges to the performers.&nbsp;Solo works are very important in terms of embodying the characteristic structure of the instrument for which they are written. In addition, solo works can help performers recognize the characteristic structure of their instrument and increase their interest in it. Leonard Bernstein’s Elegy for Mippy II is one of the most important solo works for the trombone repertoire that trombone players can perform without accompaniment.Solo works are very important in terms of embodying the characteristic structure of the instrument for which they are written. In addition, solo works can help performers recognize the characteristic structure of their instrument and increase their interest in it. Leonard Bernstein’s Elegy for Mippy II is one of the most important solo works for the trombone repertoire that trombone players can perform without accompaniment.In this respect, some study suggestions have been made to performers in order to resolve the technical and musical challenges in the work. In addition, knowing the sociocultural characteristics of the period in which the work was composed and the life of the composer are very effective for developing the perception of how musical expression is created in a musical work, as these affect musical style (Özkeleş, 2019). In this respect, this study provides information about Leonard Bernstein’s life and musical life with the aims of combining the spiritual integrity of the work with the musical expression of the performer and of correctly and effectively interpreting the work. However, the academic studies on Leonard Bernstein’s musical life in Türkiye are seen to be insufficient, with no Turkish or foreign sources found for resolving the technical and musical difficulties that ocur in his solo trombone piece Elegy for Mippy II. When considering this situation, this study is believed to have great importance for trombone players. The study aims to contribute to the Turkish literature on resolving the technical and musical difficulties in Leonard Bernstein’s solo trombone work Elegy for Mippy II and to give performers a different perspective on the performance of the piece by sharing general information about Bernstein’s musical life.

Examining Leonard Bernstein’s Elegy for Mippy II

Yusuf

The stage is where musicians showcase the results of their hours, days, weeks, or even months of arduous and demanding effort. In this context, one of the most negative emotions musicians face after overcoming the challenges of rigorous practice is stage fright. To help musicians cope with stage fright and minimize its impact on their performances, various solutions have been developed, with research also having been and continuing to be conducted on this subject (Montealegre García, 2023; Gök Akkılıç, 2020; Kıraç Sabzehzar, 2020; Bağdağ &amp; Bolat Başoğlu, 2018; Sarıkaya, 2018; Sağlam &amp; Girgin, 2019; McGrath et al., 2017; Özgür, 2017; Kabakçı, 2016; Nagy, 2014; Topoğlu, 2013; Studer et al., 2011; Çimen, 2001; Kee, 1993; Havas, 1973).&nbsp;One such research effort is attributed to Kató Havas, whose life mission was to conquer stage fright. She believed that musicians should unlock the full power of music by releasing tension from their minds and bodies, allowing this power to be fully conveyed to the audience (Times, 2019; Khana, 2023). When considering Havas’ unique perspective toward stage fright, importance is had in examining her insights from an artist’s point of view and integrating them into existing research on this subject. This study aims to explore stage fright from the perspective of the artist and with a particular focus on violinists by considering Kató Havas’ viewpoint. The study seeks to answer questions such as how stage fright is understood from Kató Havas’ perspective and what solutions she has suggested. The research employs the document analysis method, which is defined by Sak et al. (2021) as the collection, review, and analysis of various documents as the primary source of research data.While this study primarily addresses factors that can induce stage fright during performances, it also draws connections to research on minimizing the anxieties a musician may experience leading up to a performance. Topoğlu (2013) defined stage fright as a concept encompassing anxiety, fear, and worry and often involving a multitude of simultaneously experienced emotions. Within the scope of this research, stage fright is defined as the intense anxiety, apprehension, tension, and stress musicians experience due to various reasons when they are required to perform or as they are performing.&nbsp;Havas (1973) regarded stage fright as one of the most destructive elements in performing arts, including acting, dancing, singing, public speaking, or playing a musical instrument. Within the specific context of violinists, she identified a primary reason for these fears as the inability of many violinists to establish tolerable, let alone active, physical self-confidence during performances. She emphasized the development of this physical self-confidence to primarily occur through violin education. Reviewing research on stage fright reveals a predominant focus on its psychological causes. Havas’ unique perspective on stage fright and her particular emphasis on the importance of physical self-confidence distinguish her and her research from others.As a result, while analyzing Havas’ views on this subject, connections were made with similar studies and the results were evaluated comparatively. As a result of these evaluations, the majority of studies on stage fright were noted to have focused on the psychological aspects of stage fright in terms of cognitive, behavioral, and emotional aspects. Sense of physical confidence, which is one of the points Havas focused on and considered important in this regard, comes to the fore. In this context, she focused on a sense of physical confidence in order to prevent stage fright, tried to produce solutions for musicians in general and violinists in particular, and emphasized a sense of physical confidence to come about through violin training. This view of Havas has also been supported by other studies. In this regard, educators are thought to have a great duty toward preventing stage fright in Havas’ opinion. In line with this, the more educators develop their students to be technically competent and equipped, the more this will prevent future physical problems, especially stage fright. Havas’ views on stage fright were not limited to physical confidence: Educators should also support students throughout their education, not only with technical and repertoire studies but also with performance-oriented studies. In conclusion, Havas’ studies on stage fright and her views on this subject are considered important and can be improved. Within the scope of this study’s results, the suggestion can be made that further research should be conducted that analyze her technical studies on the violin in detail.&nbsp;

Stage Fright from Kató Havas’ Perspective: An Assessment on Violinists

Ferhat

Repetition, an almost universal element of music, offers unique opportunities for performers who aim to create effective musical interpretations, but also poses some challenges. This study has been written to point out that the issue of “repetition” is a topic worth considering, especially in terms of music performance. This paper focuses on the performative interpretation of repeated passages (i.e., “returns”) within a musical narration and aims to discuss the topic through a review of selected performance analysis studies and cognitive researches from contemporary literature. The paper explores the impact of subtle variations in elements such as micro-timing, dynamics and articulation that naturally occur during the performance of recurring thematic passages. It presents arguments and findings from the existing body of research and literature on how these variations can affect listeners’ perception, both cognitively and aestheticallyA central focus throughout the article is the three primary parameters performers can manipulate, whether consciously or not, to either differentiate repetitions or to meticulously avoid differentiating them: micro-timing, articulation, and dynamics. Regarding micro-timing, the article reviews performance analysis studies that analyzed the subtle timing profiles between thematical repetitions in performances of works by composers like Mozart, Chopin, and Schumann. These studies revealed performers enact repetitions across a broad spectrum, from near-identical replications to substantially differentiated variations bordering on improvisation. An interesting observation was that veteran performers of earlier periods exhibited freer timing variations between repetitions compared to later performers of the recording era. Overall, it was observed that greater variability tended to emerge in the treatment of lower hierarchical levels like individual notes and chords, rather than at the higher-level elements such as phrasing. This aligns with cognitive research indicating listeners pay closer attention to fine details when passages are repeated. In terms of articulation and dynamics, the article emphasizes the importance of considering both the formal structural context and narrative emotional context of the passage being repeated. Even subtle expressive adjustments that reflect shifts in a passage’s role or meaning within the unfolding musical narration can highlight recontextualizations for the listener. For instance, performance analyses examining how performer Sokolov performs the repetitions of the main theme in Chopin’s Polonaise Op.40 No.1 show the delicate dynamic shading between repetitions. Additionally, experimental studies confirm that choices between legato versus staccato articulation induce different perceptual and emotional responses in listeners.The perceived “acceptability” of performers’ choices regarding differentiating or precisely replicating repetitions depends on factors like the historical/social context of the music genre, the work’s structure, audience expectations, and so forth. Broadly, literal repetitions provide coherence and structural emphasis, aiding cognitive processing and clearer form perception for listeners. Introducing variations imbues each repetition with distinctiveness, unexpectedness, and a sense of narrative development, creating an impression of intentionality that prompts renewed attentive listening from audiences.&nbsp;While repetition may appear deceptively simple on the surface, it harbors a wealth of interpretative intricacies and yields various aesthetic outcomes that demand careful consideration. When repeating a passage within a work, the performer’s conscious or unconscious aesthetic choices regarding precisely replicating or subtly differentiating the repetition will shape the resulting impact of interpretation. However, definitive prescriptions for these choices remain elusive, given the inherent complexity of artistic endeavors. The nuances of repetition interpretation do not lend themselves to formulaic solutions universally applicable in all scenarios. Nevertheless, analytically contemplating the effects of one’s performance decisions regarding repetitive passages, in a work-specific manner, can prove beneficial for performers seeking to create more impactful listening experiences. Carefully evaluating how choices pertaining to repetition treatment will influence cognitive and aesthetic outcomes, within the particular context of a given work, can lead to richer, more thoughtful interpretations. In summary, while musical repetition may seem deceptively simple, it in fact presents opportunities and challenges for nuanced interpretation that performers should recognize and thoughtfully harness to enable more effective musical expression. A deliberately analytical approach toward evaluating and selecting repetition interpretation strategies can empower performers to make aesthetically sensitive choices that create more compelling listening experiences.

Playing The Musical Repetition: Cognitive and Aesthetic Effects Created Through Performance

Fatma

Öğretim Görevlisi Dr.

This research aims to determine whether there were any similarities or differences in the visual arts of painting, architecture, sculpture, and music between the 18th and 20th centuries. In addition, another purpose of the research is to reveal whether there was artistic interaction between the two civilizations during the aforementioned dates.The main problem statement for this research is determined as follows: Are there any similarities or differences in visual arts and music between European countries and the Ottoman Empire between the 18th and 20th centuries, and if so, what are they?In order to reach the findings of this research on whether there are similarities or differences between European countries and the Ottoman Empire in terms of visual arts and music between the 18th and 20th centuries, the following sub-problem issues were addressed:What were the characteristics of visual arts, and music in Europe and the Ottoman Empire throughout the the 18th century? During this century, was there any artistic interaction between European nations and the Ottoman Empire?What were the characteristics of visual arts, and music in Europe and the Ottoman Empire throughout the the 19th century? During this century, was there any artistic interaction between European nations and the Ottoman Empire?What were the characteristics of visual arts, and music in Europe and the Ottoman Empire throughout the the 20th century? During this century, was there any artistic interaction between European nations and the Ottoman Empire?This research is considered to be important for both the fields of music history and art history as it serves as a source and determines the situation. Although there are many sources related to art history and music history in the literature, this study is also important because it compares the aesthetic qualities of two civilizations that were in different geographies at the same periods in a certain historical interval.This research is limited by the following limitations:The countries that were on the European continent and the Ottoman Empire from the 18th to the 20th centuries.The characteristics of visual arts and music culture of European countries and the Ottoman Empire during these centuries,Painting, architecture and sculpture from visual arts,The resources identified and accessible as a result of the literature review.This study, which used qualitative research methods used, has the characteristics of descriptive research and is based on general survey model. The research data collected through literature review and document analysis techniques were analyzed using inductive and descriptive methodologies.For this research, first of all, a literature review was conducted in libraries, especially in the Islamic Research Center Library of the Turkish Religious Foundation in Istanbul. As a result of these searches, a large number of books and encyclopedias and encyclopedia articles were found on topics such as European history, Ottoman history, art history, music history, European art, Ottoman art, Ottoman music, Western music. Afterwards, national and international publications were searched in various databases and data related to the research topic were acquired from the sources such as articles and papers. In addition, the database of the National Thesis Center of the Council of Higher Education was also searched and academic theses dealing with the research topic were examined. The data collected from all these sources was analyzed using inductive and descriptive approaches, yielding study findings.In this study, the development of European countries and the Ottoman Empire in terms of visual arts and musical elements between 18th and 20th centuries was first examined within each century and then comparisons were made between the two civilizations. As a result of these comparisons, it has been determined that in terms of visual arts, intellectual movements in Europe and religion in the Ottoman Empire were determinant; in Europe, while escaping from the traditional and always trying to discover the newer in music, the Ottoman Empire tried to preserve its traditional music for a long time; as at the end of the seventeenth century, interactions between the Ottoman Empire and Europe, which experienced breaks and pauses, began to be seen in terms of visual arts and music.

A Comparative Examination of European Countries and the Ottoman State in the Context of Visual Arts and Music (Between the 18th and 20th Centuries)

İvan

The world repertoire of oral musical works (songs) undoubtedly has a very rich diversity. This diversity includes folk songs and original songs. Each original song is usually composed in the language(s) that its composer speaks very well. In order for each song to be aesthetic, listenable and easy to sing, it is very important to know and take into consideration the composition techniques/approaches when creating the song.The results of a research conducted on Muammer Sun’s choir songs examined in this study also show the importance of harmony between words and music. Despite the positive results in the research on Sun, it seems that there is not enough research on this subject, even though the problems of harmony between words and music in composing original songs of Turkish polyphonic music composers are frequently mentioned among musicians.In this research, which focuses on how Sun uses lyrics and musical features together in his songs, four original songs of the composer, which have not been examined before, were analyzed within the framework of his theory and this theory-based method and findings were revealed. Sun’s theory (1997, p. 63), which he determined as the three subjects of prosody and based on three elements (meter harmony, high pitch harmony, semantic harmony/phrase emphasis) used the analysis method of the four songs included in this study. has determined.As a result, it was determined that the four songs analyzed were compatible with Sun’s theory. In other words, Sun applied the theory he determined while composing his own songs. It was revealed that the harmony of meter, high pitch and semantic of the four songs examined in terms of prosodic and musical aspects were mostly compatible in terms of lyrics and music. It has been determined that the composer paid great attention to rhythmic harmony (except for deviations in a few words) in the melodies he created based on the lyrics.&nbsp;The harmony of high pitches in the four songs is delivered almost where it should be, with very rare deviations. While some stressed syllables should be given a high sound, they are melodically given a lower sound. In such cases, when the stressed syllables are considered in terms of pitch harmony, even though they are given to a lower sound melodically, they still give the feeling of being strong/stressed because they are placed in the strong (or relatively strong) time of the measure. This approach is not interpreted as wrong and is sometimes used in song.The majority of the stressed syllables of the words in the poem are placed in the strong or relatively strong tenses of the measures, and some stressed syllables are placed in the weak tenses of the measures/units, which are not preferred. Since some words are long, double stress is given as primary and secondary stress. Sentence stresses are sometimes seen as single, sometimes as two or three. The sentence stresses, which are more than one in songs, consist of either primary and secondary (one is given to a higher pitched voice, the other to a deeper voice) or stresses of equal importance. These emphases are given to the same sound. The peak emphasis of all poems is placed in an appropriate place in each song according to the meaning of the poem.When the vocal fields in songs are examined in terms of other musical structures, it is obvious that the vocal characteristics of the singers are taken into consideration. The intervals/meters in the melodies generally consist of intervals/meters that can be sung easily. The tonal/modal structures of the songs are consistent and were composed with three approaches: tonal, modal and maqam. When we look at the songs in terms of meter usage, only 2/2, 3/2, (single measure of 1/2), 2/4, 3/4 and 4/4 measures are used; Incorrect measurements were not used.&nbsp;In short, Muammer Sun composed his four original songs by paying maximum attention to the rules of prosody and other musical structures (sound field, interval structure, etc.). Finally, such an approach is important in terms of the memorability of the song melodies, easy singing, and the listener’s understanding and liking the song better, and if they love it, adding it to their lives.&nbsp;

Examination of Prosodic and Musical Structures of Muammer Sun’s Original Songs

Ezginur

Throughout history, human mobility in the form of migration has expanded geographic boundaries, catalyzing transformations and diversification in societal landscapes. Migration can either be a deliberate act or an involuntary consequence of political, economic, and social upheavals. In the contemporary world-system, migration has become a critical subject for examination and discussion. It exhibits diverse dynamics in terms of causes and types. Voluntary and forced migrations, as well as internal and external migrations, influence cultural processes in distinct ways. Especially for those compelled to migrate due to health and safety risks, natural disasters, or conflicts, both material and moral losses are inevitable.This study specifically focuses on Uzbeks who migrated from Afghanistan to Turkey, shedding light on their forced migration resulting from the perilous conditions and conflict in their home country. Notably, a voluntary inclination towards cultural exchange and adaptation has been observed, particularly among Uzbek relatives who previously migrated and settled in various Turkish cities such as Istanbul, Ankara, and Eskişehir.Historically, Uzbekswere brought to different parts of Turkey by Turkish aircraft during the Uzbek genocide byRussia. A review of the literature within the scope of this study reveals that research on Uzbek immigrants from Afghanistan predominantly concentrates on Hatay and Şanlıurfa. The primary area of residence for Uzbek immigrants, particularly in Istanbul, is Zeytinburnu, which, due to its cosmopolitan character, receives immigrants from various countries. However, the immigrant population of Syrian, Afghan, and Turkish origin is notably concentrated in Zeytinburnu.This research places significant emphasis on making sense of the adaptation processes of Uzbek immigrants in Turkey and their interaction with their new environment. It is evident that, in addition to the apprehension they felt when leaving Afghanistan, there was a palpable eagerness to come to Turkey, primarily driven by the unfavorable living conditions in Afghanistan. Afghanistan has been experiencing deteriorating health and security conditions, exacerbated by the escalation of terrorist attacks, particularly in the context of rising ethnic conflicts. Afghanistan’s diverse ethnic landscape has given rise to ongoing cultural conflicts and assimilation attempts. With its history of conquest by Arab, Indian, and Turkish rulers, the country is home to various ethnic groups, including Pashtuns, Tajiks, Hazaras, Turks(Uzbek, Turkmen, Kazakh, Kyrgyz), each representing distinct Turkic backgrounds. Consequently, the concept of a unified Afghan nation or ethnicity remains elusive.In this study, concepts such as space, transportation, and reconstruction hold paramount significance in the examination of musical practices among Uzbek immigrants from Afghanistan during engagement ceremonies. Music plays a pivotal and integrative role in the cultural adaptation process of individuals. In this context, temporal and spatial dimensions serve as crucial indicators and variables in the creation, transmission, and transportation of cultural memory. It is evident that Uzbek immigrants who arrived in Istanbul in 2016 and Eskişehir in 2018 brought the musical practices associated with engagement ceremonies and weddings from their home country and reconstituted their musical traditions in their newfound surroundings.Findings from this study reveal that Uzbek immigrants from Afghanistan, as part of the process of cultural interaction and change resulting from migration, willingly engage with and adapt to the local dance and music practices in the areas they have settled. Particular emphasis is placed on the opening dance with a Turkish song and traditional Ankara music and dance, which are pivotal components of this adaptation process. The traditional instruments prevalent in Afghan musical culture, including the Rubab, Dutar, Gıjek, Tabla, Dombra, and Duara (Circle), reflect the multicultural ethnic structure of Afghanistan and its interactions with neighboring cultures. This diversity manifests in the incorporation of musical elements and instruments from Indian, Arabic, and Western cultures in Afghan songs.

An Immigrant Ceremony During The “Habitat Transference” and Reconstruction Process: The Case of Eskişehir Uzbek/Afghan Engagement

Onurcan

Melody and rhythm are the two major elements of music and correspond to the concepts of makam and usûl, respectively, in Turkish music theory. One may say that Turkish music is transferred through both oral and written traditions, which is similar to many musical cultures. Edvars, which play an important role in the elucidation of Turkish music from the historical perspective and the transference of Turkish music theory from past to present, are also crucial in terms of understanding the concepts of makam and usûl. Specifically, usûl, which was transferred in written form through the edvars, were also transferred through the meşk system, which can be evaluated within the framework of oral tradition. Usûl, which serves a pedagogical function in the meşk system, also perform multiple functions such as determining the formal structure of the composition process and forming the rhythmic structure to be performed. The concept of usûl has changed throughout the history of Turkish music, it has been forgotten and replaced by newly created usûl over time. Usûl refer to pattern measures that consist of certain beats and bear special names. With the emergence of the distinction between Turkish classical and folk music, especially with the effect of the musical revolution that emerged during the Republican period in Turkey, the current understanding of usûl found a response in the tradition of theory called Turkish classical music. This can be explained by the results such as including the usûl in Turkish classical music theoretical studies, and in education, performing the usûl through works in the Turkish classical music repertoire. The pedagogical, formal, and rhythmic functions of usûl is evident in the Turkish classical music tradition Following studies on Turkish folk music conducted with this period, studies that aimed to establish Turkish folk music theory were initiated and began to use the concept. This understanding, which was put forward by Muzaffer Sarısözen by determining the measures of compiled Turkish folk music songs, consists of an understanding that explains the double and triple beats that comprise the measures instead of stereotyped measures with special names and strokes such as the existing Turkish classical music usûl. Sarısözen put forward his thoughts on usûl in a book entitled Türk Halk Musikisi Usûlleri (Turkish Folk Music Usûls), which was published in 1962. Although no common understanding on the procedure of studies on Turkish folk music theory emerged during the Republican period, many studies explain the subject of usul by referring to Sarısözen. In this manner, the current study infers that the concept of usûl in the Turkish folk music tradition has been appropriated from Turkish classical music. Thus, it aims to elucidate the use of the concept of usûl in the Turkish folk music tradition by associating it with the concept of appropriation, as used in various fields. This concept, which is mainly associated with copyright in music, can be explained as a cultural behavior toward the appropriation of different elements of music (e.g., instruments, sound systems, genres, and vocalization style) given the cultural and sociological backgrouns of music. It was aimed to rapidly implement innovations during the establishment of the Republic of Turkey and spread them to cultural life. At this point, the implementation of such innovations on cultural elements with historical depth is a behavior that aims to create the impression that a new situation or phenomenon is, in fact, old. This situation can be described as a form of invention of tradition, as proposed by Hobsbawm and Ranger (2006)t. Given the historical depth of the concept of usûl, the study stresse the necessity of using the historical method. Toward this end, the study scanned the literature and used a comparative method due to the fact that various approaches are used to examine usûl on the basis of the distinction between Turkish classical and folk music.&nbsp;

Appropriating “Usûl” in the Tradition of Turkish Folk Music

Seta

Öğretim Görevlisi

The positive contributions of tonal voice exercises, thought to be aimed at Western vocal training techniques, for the vocal muscle are emphasized in vocal education lessons, which are still debated in Turkish music conservatories. In this context, the DoctorVox device, assumed to warm and pose the voice quickly, is used in Western and Turkish music fields. for voice development. It was aimed to provide a favorable outcome for the participants. The study used a mixed method that included objective and subjective research methods.In this study, selected vocal exercises were applied using the DoctorVox device, and two instructors and performers who were experts in Turkish and Western music, using different formant patterns, participated. Quantitative data were presented in the context of objective and subjective analysis of data obtained in the Customized Praat Program by recording voice in a constant studio setting.In addition, the literature review was divided into four sections: (a) determination of the basic vocal exercises to be used based on the movement properties imparted to the muscle, (b) existing resources on the Laxvox tube, (c) existing resources on the DoctorVox device, (d) qualitative research by examining the literature on measurement and evaluation. The rules have been included in the study.The features of the ascending and descending exercises performed with piano accompaniment have been considered to improve the participants’ performance as a sport. Tonal exercises are used in the training program and chosen with the aim of developing the vocal muscle. In this context, comas that can realize the Turkish music style are not available in the musical structure of the exercises. While participant BTM01, a Western music performer and instructor, practiced the exercises with the opera singing formant, participant TSM01, a Turkish music performer and instructor, performed the exercises using the chest voice register using nasal support (in Turkish music, some vocal users could not sing with nasal support due to their different techniques; this problem is the main topic in the field of Turkish music singing and still needs to be studied).Before the study, the “Turkish Singing Voice Handicap Index” was answered by the participants, their physical and vocal health were validated, and the exercises began. In the 0th week, recordings were collected before the selected vocal exercises were applied using the DoctorVox device. After the selected exercises were practiced regularly 1 day a week, the last measurements were made in the eighth week, and voice/sample recordings of the two instructors were obtained.Selected exercises practiced using the DoctorVox device were performed outside (outside the mask) and inside (inside the mask) the DoctorVox device to ensure accurate implementation and vocal position. Only voice samples of the “glissando” exercises were recorded among the exercises studied. Apart from “glissando,” [a], [e], [i], [o] vocals (BTM01 participant A5/TSM01 participant F5) were recorded at the start of the study (0th week) and at the end of the study (8th week). The data obtained from their measurements were analyzed in line with the determined parameters, and the results were revealed.The values of fundamental frequency, jitter, shimmer, harmonic noise ratio, pitch, and maximum phonation time measured in the Customized Praat Program, as well as the objective measurement values of voice range, improved in this 8-week sample study with two participants.The subjective measurements of the “Turkish Voice Handicap Index” revealed that the participants’ vocal health and breathing support were adequate. Their condition improved, and their voices warmed and improved rapidly using the DoctorVox device without excessive effort; they felt more comfortable. They improved on high notes, physical and mental bonding became easier, and confidence grew. It was observed that the participants’ motivation and professional goals improved, such as delivering performances and adding new pieces to their repertoire.The use of the selected vocal exercises as a vocal training method will help eliminate the existing negative claims and literature, particularly in the use of Western vocal exercises in Turkish makam music.

Use of the DoctorVox Device for Basic Vocal Exercises Contribution to Performance

Tuğba

One of the pioneers of the 20th-century avant-garde theatre is undoubtedly the Polish theatre director and theorist Jerzy Grotowski. The fame of the director, who started his theatre career in the Theatre of 13 Rows, a small theatre of the period, exceeded the borders of his country and time. Even though he is justifiably associated with and widely known for his Poor Theatre, attesting to a performance style aiming at purifying itself from unnecessary elements and all the excesses such as elaborate makeup, costume, language, or props, Grotowski had developed and changed paradigms of his theatre throughout his career, introducing new insights into the performative arts.It is possible to examine Grotowski’s understanding of theatre, which he developed by constantly changing it within the framework of new ideas during his theatre career of more than forty years, in five distinct phases. These phases are respectively Production (Performance) Theatre between 1957-1969 when Poor Theatre was conceptualized; Participation Theatre or Paratheatre between 1970-1976; Theatre of Sources between 1976-1982; Objective Drama between 1983-1989; and his latest project Theatre as a Tool or Ritual Arts. As the diversity of theatre practices shows, Grotowski did not remain indifferent to the dynamics of life and its demanding nature and instead of adopting an orthodox attitude, he chose to constantly update his understanding of theatre.Grotowski achieved global fame after the publication of the book Towards a Poor Theatre which he published in collaboration with his fellow theatre practitioners such as Eugenio Barba and Ludwik Flazsen. In the book, while he conceptualizes his poor theatre, Grotowski also brings strong criticisms to the theatre of the time that he labels as ‘rich theatre’ which is rich in faults as he puts it. He also propagates the need for a theatre that is cleansed of other arts, fed by the very primitive roots of theatre itself. Between 1957-1969 Grotowski directed plays from Polish, Indian, and English Literature that were reworked in line with the tenets of Poor Theatre. Among others, an adaptation of the Indian tale Shakuntala, Stanislaw Wyspianski’s Akropolis, and Christopher Marlowe’s Dr. Faustus became the epitomes of his Poor Theatre.In the second phase of his theatre career, Participation Theatre which is also labelled as Paratheare, Grotowski completely removed the distinction between auditorium and stage that he had already blurred in the early stages of Poor Theatre. Bringing people from different cultures and backgrounds together, Grotowski aimed at creating an ‘encounter’ that he defined as the essence of theatre. Following Paratheatre activities, Grotowski shifted his focus to Theatre of Sources in which he worked with a multi-national group of 36 people from various countries. Using ‘source techniques’, he aimed at stripping away elements that various cultures imposed and reaching the source of life. Soon after the Theatre of Sources, Grotowski embarked on a new experiment under the title of Objective Drama by once again turning to ancient rituals of various cultures, this time, to reveal the objective impact of them on the participants of the projects. While his Objective Drama project was still in progress, as of 1985 Grotowski already planted the seeds of a new idea which was Art as a Vehicle. Marking the final stage of his theatre life, Art as a Vehicle, as the name suggests, enunciated the idea that art itself is not an aim or a product of a process but rather a means to discover during execution.As the variety of his activities suggests, Grotowski never stuck to any idea for a long time. Instead, he kept updating himself and his theatre carrying it beyond Poor Theatre. This paper aims to trace five phases of Grotowski’s theatre career by reflecting on examples from his projects and practices.

Poor Theatre and Beyond: An Overview of Jerzy Grotowski’s Theatre

Yakup

Ash Mind; The Emergence of Extinction within the Mind

Zeynep

Book Review of Logostan Kurtulmak 20. Yüzyıl Dramında Karşı-Anlatı

Tufan

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Mehmet

In the performance of maqam music, various styles of oud performance can be seen in the unique musical culture of many different geographies, from Iran to the coasts of North Africa and from Anatolia to the Balkans. Among this wide geographical spectrum, Istanbul has been one of the musical centers where the oud instrument has been frequently used, especially since the 1850s. Yorgo Bacanos was one of the most prominent oud players of 20th-century Istanbul. He was born in Istanbul and spent his entire life in this city as a musician who deeply influenced all oud players of his era, as well as those that came after him. Due to having taken part in many recordings and worked at Istanbul Radio for many years, a wide variety of examples of his performances have survived to the present day. His superior improvisational skills, frequent use of ornamentation, ease in preforming passages requiring technical mastery and agility, and unique right-hand plectrum technique are the main features of Bacanos’ performances. These performative characteristics may have resulted in some extreme examples being encountered in Bacanos’ recordings in terms of musical interpretation.This study aims to reveal the theoretical performative elements behind Yorgo Bacanos’ performance of the aranağme [short instrumental passage between verses in Turkish music] at the end of the song “Gülşen-i Ezhar Açtı Her Yana,” in which he accompanied Hafız Kemal and Sadettin Kaynak. In line with this, the study first compiles some information about Yorgo Bacanos the performer and the music culture centered in Istanbul in order to prepare the groundwork for the analysis. The study then applies the performance analysis method, which includes the five subheadings of pitches and maqam lines, motivic variations, ornamentation techniques, instrument positions, and form analysis, to comparatively analyze the aranağme performance of the article’s subject against the original notes in the repertoire.The study’s analysis determined the two-part aranağme to have been transformed into four parts through Bacanos’ interpretation. Even before the first measure has been completed, Bacanos can be said to have hastily created a motive and started to create variations with a unique tempo. Thus, a very different and original performance emerges from the original score after a while. Bacanos’ ability to create melodies that are quick and that contain different rhythmic patterns during a performance is a feature that is frequently encountered in his taksim [classical Turkish] performances. Bacanos reflected the basic characteristics of his unique oud playing (e.g., upbeat melodies, rhythmic melody sections) in his compositions. The use of I-V-I chords in the last part of the recording, which resembles a small cadence, can be explained by the fact that Bacanos had borrowed slightly from Western music as a result of his piano training.Yorgo Bacanos is observed to have achieved a clean and bright tone in this masterful interpretation of the aranağme. The ease of Bacanos’ performance, which challenges the technical possibilities of the oud, reveals his comfort in creative performance and his command of the instrument. With Bacanos’ strong sense of rhythm and the self-confidence that comes from having internalized the ağır aksak usul [a tempo in 9/4], which is frequently used in fasıl [Turkish overture/series of compositions in the same maqam] performances, he was able to easily diversify the arrangement by using a variety of motives. Thanks to his agility in his right-hand technique and his improvisational skills, Bacanos created a passage that is extremely difficult to perform while also managing to adhere strictly to the usul [tempo]. The absence of any accompaniment other than his own instrument on the record may be considered to have allowed Bacanos to interpret freely. However, in order to fill the gap created in the recording by the relatively short duration of the song, he recomposed the four-measure piece live during the performance and extended it to eight measures. Bacanos’ aranağme performance is an attractive example of musical interpretation.

An Analysis of Yorgo Bacanos’ Performance of “Mahur Aranağme”

Emine

The early 20th century was a time of new directions for the art genres in Russia as well as in the rest of the world. This period was known as the time of modernism for Russian art history, with avant-garde being the most remarkable discipline of art in that century. At the beginning of the 20th century, many avant-garde circles were formed in Russian art, one of these being OBERIU, which existed between 1927-1930. OBERIU was an acronym and name for a group of poets, writers, and philologists who were the pioneers of Russian avant-garde art. In the Russian language this abbreviation stands for “Association for Real Art”(ОБЭРИУ – Объединение реального искусства) . Daniil Kharms and Alexander Vvedensky were the most popular and well-known writers of OBERIU. In the 1920s, the group put forward a new theatrical approach. In their manifesto announced at an art night in Dom Pechati [The Press House], they rejected the usual theatre traditions and explained their theatral visions. In their artistic discipline was clearly seen the absurdist elements such as the absence of determinism and causality, unresolved endings of plays, senselessness of dialogues, and gestures.Similarities between the Western theatre of the absurd and OBERIU theatre plays got the attention of critics in the 1990s. The term “theatre of the absurd” had been put forward by Martin Esslin in 1961. In his book, Esslin showed the similar techniques in some plays by Western dramatists such as Samuel Beckett, Eugene Ionesco, and Jean Genet, who lived and wrote during the same years. One common opinion of critics was that the plays of these dramatists had come about as a reaction to World War II. The plays of the theatre of the absurd are very different from realist theatre plays. Generally, these plays express the meaningless of life, show irrational worlds, and demonstrate the nonsense of human life. In Jean-Philippe Jacquard’s (1991) book Daniil Harms et la fin de l’avant-garde russe [Daniil Harms and the End of the Avant-Garde Russia], he revealed the common aspects between the plays of the theatre of the absurd and the OBERIU theatre. In his detailed book, Jacquard classifies the techniques to the works from the Theatre of Absurd and to OBERIU plays by comparing the works of Daniil Kharms (the founder of OBERIU) and Eugene Ionesco. Jacquard and some other Western and Russian critics pointed out how the plays by the OBERIU group had expanded the time horizons of the theater of the absurd. After all, Esslin had not drawn any definite time or country boundaries when he had coined the term and grouped absurdist works under one title. Esslin had also associated the theatre of the absurd with the traumas World War II had left on humanity, but the members of OBERIU were witnesses of World War I who’d continued to suffer the results of the Great War after the Revolution in 1917, as well as the totalitarian rules of government. Artists of the theatre of the absurd had experienced similar traumas before and after World War II. As a result, these traumas affected these artists’ works. This study examines Vvedensky’s play “Christmas Tree at the Ivanovs” based on Jacquard’s propositions in order to observe the commonalities of OBERIU and the plays of the theatre of the absurd.

Towards the Theater of the Absurd: Absurd Elements in OBERIU’s Plays in the Case of Vvedensky

Written by Safiyuddin Abdulmumin Urmawi in the first half of the 13th century, Kitab al-Adwar [The Book of Cycles] is considered one of the earliest works of music theory to systematically employ maqam names similar to those in use today. Urmawi’s work laid the foundation for a unique system of music theory known as the ilm al-adwar [Theory of Cycles] that remained in use until the end of the 15th century. This system is characterized by its use of special structures called adwar [cycles, singular dawr] and unique Abjad notation technique. Within the tradition of the Theory of Cycles, Urmawi and subsequent theorists provided mathematically detailed explanations of pitch ratios. Until recently, the Abjad notation was generally considered a notational system for representing the pitches of the Pythagorean 17-tone tuning system that had been calculated in the works of these theorists. However, interpreting Abjad notation in this manner presents certain challenges when trying to understand certain aspects of the music theory system of that era. Based on a comparative analysis of the writings of Urmawi and his successors, this article aims to propose a solution for how the Abjad notation should be interpreted in its authentic form.The theorists of the Theory of Cycles tradition wrote their treatises at a time when music theory was still considered a branch of mathematics and studied interval ratios through various arithmetical calculations based on the proportions of an imaginary string (monochord), a practice that had continued uninterruptedly from Ancient Greece until their time. Starting with Urmawi’s Book of Cycles, they especially focused on the Pythagorean 17-tone tuning. In their writings, they used the Hisab al-Jummal [Abjad numerals that assign numerical values to the Arabic alphabet’s 28 letters] to number the pitches resulting from the division of the monochord in accordance with the Pythagorean 17-tone tuning. However, they also used the same numeral symbols as the so-called Abjad notation while explaining the maqamic structures in the rest of their works. Therefore, modern literature generally considers the abjad notation as a system that represents the pitches demonstrated by the ratios of the monochord. However, upon close examination of Urmawi’s and his followers’ treatises, this assumption appears to be questionable.&nbsp;The article discusses the issues that arise in interpreting certain aspects of the Theory of Cycles when using Abjad notation as a fixed pitch sequence and questions the validity of this modern understanding. As a solution, the article suggests that the Abjad notation should be interpreted in terms of lahniyyat [melodic intervals]. In support of this argument, the article provides many quotations from historical treatises.In the Theory of Cycles system, the cycles (i.e., scales) are formed by sequencing the melodic intervals (i.e., T [tone], C [mujannab], and B [limma]) in various orders. Therefore, the primary function of Abjad notation is to display the order of these three melodic intervals. Since this notational system is written in Hisab al-Jummal, these melodic intervals can be easily understood through the interval between the notational symbols, which are basically numbers. In this system, B intervals are represented by consecutive notes (i.e., numbers; e.g., 1-2, 2-3, 3-4). C intervals are represented by the skipping of one note (e.g., 1-3, 2-4, 3-5), and T intervals are represented by skipping two notes (e.g., 1-4, 2-5, 3-6). Therefore, unlike modern notational systems, this system seems to have been designed to represent intervallic relationships between notes rather than the notes themselves.In conclusion, the argument is made that the Abjad notation, rather than being intended to represent the pitches of the Pythagorean 17-tone tuning system, was instead a flexible system that indicated the arrangement of melodic intervals (T, C, B). These intervals were not treated as specific intervallic units with absolute values but rather as a spectrum of approximate values, each of which could vary according to the melodic sequence. Furthermore, many theorists from the Theory of Cycles tradition, including Urmawi, stated that the differences within the spectrums do not make a significant aural difference regarding the melodic composition.Abjad notation has played an important role in the narratives of maqamic music theory for nearly two centuries as a reader-friendly system that facilitates the recognition of the ‘melodic intervals’ that constitute the ‘Cycles’, without the need for complex mathematical operations. As discussed in the article, the interrelation between the Abjad notation and the concept of lahniyyat supports previous studies that have suggested this notational system should not be considered as a fixed division of pitches.

The Abjad Notation and the Presentation of Cycles

Sonat

&nbsp;This study aimed to determine this piece, which was composed within the scope of the project and based on violin education in terms of right- and left-hand behaviors, position knowledge, and level in violin education. In this manner, this work, which was brought to the Turkish violin repertoire, is important, because it is considered useful in terms of introducing the work to educators and students at the point of which level of violin education can be examined and the techniques it contains. The study used the scanning model to formulate the conceptual framework. Data about the works were obtained through document analysis and a questionnaire with items rated using a five-point Likert-type to educators. In determining the level of the piece composed in the research, open-ended questions were asked about each movement of the piece to four violin educators in Akdeniz University Antalya State Conservatory. According to the results obtained from the findings for the first subproblem, the work includes detaché, legato, martelé, staccato, and tremolo bow techniques, which are basic bow techniques, and spiccato bow techniques, which is considered a high level. Especially for structure in the first movement, a few educators stated that the entrance passage will be played with detaché, while others stated that playing the martelé using the bow technique would be more appropriate. At this point, the result revealed that the character of the piece is decisive and that bow techniques may differ when the stage is passed to the presentation, that is, to the stage of playing the piece as required, after the working stage. Similarly, in the introductory sequence of the third movement, although dotted notes can be played as detaché or staccato during the working and cleaning of sounds, they need to be used as a broadcast spiccato in the actual presentation of the piece. According to the results of the second subproblem, the study finds that the work includes position shifting, pizzicato, and flageolet as left-hand techniques. The pizzicato performance, which is mentioned only in the second movement of the piece, is kept very plain and simple, such that students can easily play it in a slow tempo. As viewed in measures 31 and 32 in Figure 14, quarter notes are used, which helps students to play comfortably and clearly. The flageolet technique, which is another technique used in the work, is mentioned in the 37th and 38th measures only in the second movement. The passage, which began with the natural flageolet with open wire, continues with the artificial flageolet created using the first finger. The study considered that students in the 3rd or 4th year can easily play this passage. Upon examining the shifting, which is another left-hand technique, the study observes that the work is generally within the limits of the first position; however, no notes higher than the B note exist in each section, except for a few places. This situation creates the idea that nearly the entire piece can be played in the first position. However, as in the entrance of the third section, starting in the second position is preferable to avoid putting the fast passage into a risky situation by changing strings or using the third position in certain places to refrain from disturbing the timbre integrity, as demonstrated in the 21st measure of image 14. In this manner, a more qualified piece can be played. As cited in the last example, the shifting of the first, second, and third positions was preferred to avoid unnecessary string changes and timbre integrity throughout the piece. Evidently, finger numbers, position transitions, and bows preferred by the researcher are unique to the researcher; thus, other performers or educators can rearrange them according to preference. The results for the third subproblem indicate that the piece can be played/taught in the 3rd or 4th year of violin education, which garnered various opinions from educators. In other words, the target behavior and difficulty of each section vary within the piece. Although the first movement of Onur Özmen’s “Op.41 Sonatina for Violin–Piano” was found suitable for 3rd-year students, the educators mentioned that the third movement was suitable for 4th-year students. Apparently, these preferences are not rules and may vary according to the readiness, development, and work pace of students. Moreover, based on the results, the study infers that Onur Özmen’s work is suitable for playing in the first year of violin education in terms of right- and left-hand techniques, note values, and position knowledge. The piece can evidently be used in the Turkish violin repertoire, which is scarce and not written specifically for educational purposes.

Onur Özmen’s Op. 41 Violin–Piano Sonatina and Its Level

Çağatay

Köksal

Muhlis Sabahattin Ezgi composed operettas by synthesizing Turkish music modes and rhythms with Western musical techniques and is recognized as one of the significant representatives of Turkish operetta history, having pioneered the accompaniment of Turkish music using the polyphonic capability of the piano. Among the operettas he composed, Ayşe Opereti [Aisha Operetta] stands out as one of the significant works of the Republican Era. It was met with considerable interest during its performances and achieved success through the public’s love for it. Muhlis Sabahattin Ezgi’s tendencies to often incorporate themes from Turkish cultural life and to compose works by synthesizing Turkish and Western music in his operettas were highly influential in popularizing and disseminating the operetta genre to wider audiences in Türkiye. Ayşe Opereti was written with these characteristics and is considered a significant operetta of the Republic (Arpad, 1947; Sait, 1933; Taranç, 2005).The entirety of the text and the majority of the musical notation of Ayşe Opereti are some of the composer’s works that have not survived to the present. Therefore, no definitive evidence is found regarding the exact date when the work was composed. However, the composer did divide his works into three periods, with Ayşe Opereti being observed to belong to the period between 1921-1935. Alongside operettas such as Çaresaz, Zühre, and Kelebek Zabit, which he also composed and were staged by the Istanbul Operetta Company as the most popular ensemble of the Constitutional Period, Ayşe Opereti was also staged by this ensemble in 1922 (Aksoy, 1986; And, 1970; Taranç, 2005). In this regard, considering the initial staging of the operetta, the work is believed to have been written and composed in the early 1920s.&nbsp;After the proclamation of the Republic, Muhlis Sabahattin Ezgi, who also founded the Süreyya Operetta Ensemble that played a significant role in the development and popularization of the operetta genre in Türkiye, achieved considerable success by staging Ayşe Opereti in many cities with the operetta ensembles he established in subsequent years. In addition to this work being staged by private operetta ensembles established in Türkiye, it was also adapted for radio by Lütfullah Sururi in 1966. The only data remaining in the archives is this radio recording. On top of this, Ayşe Opereti was also adapted for Turkish cinema as the film Ayşem (Saydam, 1968). In 2000, the actress Gülriz Sururi revised the text based on the radio recording and staged it in 2006 (Başkır, 2006; Sururi, 1977; Taranç, 2005).Presently, Yunus Emre Bozdoğan, an actor, writer, and director, has also adapted Ayşe Opereti for the stage based on the text Gülriz Sururi revised, with Yusuf Yalçın, a member of the Cukurova State Symphony Orchestra, having rearranged the music. The work was included in the repertoire for the first time in the history of the State Opera and Ballet in the 2018-2019 season and was staged by the Ankara State Opera and Ballet on February 27, 2019.This study aims to examine from both a musical and historical perspective Ayşe Opereti, which was written and composed by Muhlis Sabahattin Ezgi, an important representative in the history of Turkish operettas. The study also aims to reveal the contribution and significance of the work to the Turkish operetta literature. Because no previous study has comprehensively examined Ayşe Opereti, this research is considered significant for its potential to fill this gap in the field. This descriptive research was prepared using the case study model and used the survey method to access the data related to Muhlis Sabahattin Ezgi, who is directly relevant to the research topic. The findings were then compiled. In addition, access to the vocal scores of the work was obtained through personal interviews and official correspondence with Yusuf Yalçın, a member of the Cukurova State Symphony Orchestra and an arranger of the score. As a result, the study examines the musical characteristics of the work through the vocal scores, with the research taking personal notes while watching a performance to allow the modal and tonal structures of the performed pieces to be determined.&nbsp;The research findings reveal Ayşe Opereti to represent one of the earliest examples within the repertoire of Turkish operettas from the Republican Era, when compositions were created by employing a synthesis of Western musical techniques and Turkish musical modes. Furthermore, the study has determined that all the compositions included in Ayşe Opereti possess a readily comprehensible structure, and thus their melodies exhibit a memorable characteristic. Five compositions are based on modal systems, while seven compositions are composed within the tonal system. The staging of Ayşe Opereti is believed to have been incorporated into the annual programs of private and municipal theaters in order to reach a wider audience, thus potentially contributing to the promotion of Turkish composers and their works. Additionally, the compositions featured in Ayşe Opereti are thought to be able to contribute to the vocal training of students studying singing at conservatories and faculties of music within universities, as well as to enrich the literature on Turkish vocal works. Therefore, this study recommends that these compositions be included in the repertoire.

Muhlis Sabahattin Ezgi and the Turkish Operettas of the Republican Era: Ayşe Opereti

İsmail

A Conceptual Exploration on the Interplay of Unconscious in Musical Creativity

Serdar

Dancing at the Dawn of Agriculture

Bahadırhan

This research ponders on the evolving landscape of noise studies, compiling and scrutinizing various definitions of noise. The focal point of this investigation is the field of music sciences, where diverse authors offer distinct perspectives on the intricacies of noise. Through a chronological exploration of these perspectives, the study elucidates the consistency and uniqueness of each author’s approach within their disciplinary paradigm, collectively forming a compilation of noise discourse.The thought sequence derived from these approaches underscores the inherent complexity in defining noise. Authors grapple with multifaceted elements that complicate the conceptualization of noise. One prominent theme is the subjectivity inherent in the perception of noise. The interplay between individual experiences and the sonic environment shapes the understanding of noise, reflecting the highly personal nature of this auditory phenomenon.Technological advancements emerge as another influential factor in the evolving discourse on noise. Authors recognize the direct impact of technology on noise in modern daily life. The advent of technologies such as tape recording, signal amplification, and transmission has not only altered the representation of noise but has also paved the way for entirely new systems of musical representation. This technological paradigm shift has led to noise transcending its traditional role, directly metamorphosing into a musical entity.Moreover, the study sheds light on the cultural dimensions woven into the fabric of noise studies. The cultural context shapes both the production and reception of noise, influencing its categorization and interpretation. As noise intertwines with the fabric of contemporary life, its representation in music becomes a product of cultural influences. This intersection of noise and culture becomes a crucial element in the broader understanding of noise as a dynamic and evolving concept. Additionally, the research emphasizes the interdisciplinary nature of noise studies, exposing the lacuna in comprehensive perspectives.&nbsp;Moreover, the article delves into the intricate temporal dynamics of the delineation between noise and music. It meticulously traces the historical trajectory wherein the once distinct boundaries separating noise and music have progressively eroded, allowing noise to permeate and intertwine with the very fabric of musical expression. The nuanced exploration of this evolution reveals a fascinating interplay between divergent sonic elements that were once considered disparate.&nbsp;The narrative unfolds against the backdrop of a shifting musical landscape, where the porous nature of these boundaries emerges as a central theme. It illuminates how noise, once relegated to the outskirts of musical discourse, has assertively infiltrated the hallowed realm of music. This infiltration challenges preconceived notions and prompts a reevaluation of the traditional dichotomy between order and chaos, harmony and discord. At the heart of this evolving paradigm lies the emergence of ’noise music’ as a profound manifestation. The term encapsulates the transformative journey of noise from an external disruptor to an integral component of musical composition. This evolution challenges the conventional understanding of music, urging scholars and enthusiasts to reconsider established norms.The compiled definitions presented in this research portray noise as a remarkably versatile and flexible concept, transcending limitations even within a confined scope. This versatility underscores the dynamic nature of noise thinking in the field. Within this flexibility, the intricate relationship between noise and music finds its reflection in the literature.In conclusion, this research serves as a valuable resource for contemporary researchers seeking to engage with the complexities of noise. By weaving together diverse perspectives from notable authors, the study not only provides a comprehensive overview of the historical trajectory of noise studies but also highlights the persistent challenges and evolving nature of noise discourse within the field of musicology. The interdisciplinary approach advocated by the authors encourages scholars to adopt a holistic view, recognizing the multifaceted dimensions that contribute to the ever-expanding complexity of noise studies.&nbsp;

The Definition of Noise and How it Relates to Music: A Literature Review

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Emre

Assoc. Prof.

Rimsky-Korsakov, one of the most famous composers of the Russian five, was born in 1844 and passed away in 1908. In 1962, he met Balakirev, the founder of the Russian five and studied composition with him. He was influenced by the orientalism movement and he incorporated different rhythm, melody, mode, harmony, and orchestration techniques in his works. In his works, he profited from Russian folk music and in his operas, he dealt with Russian-specific subjects. His symphonic suite, Scheherazade, which he composed in 1888, inspired by the tales of One Thousand and One Nights, is the most outstanding work of Russian orientalism. Today, the work which is considered as one of the most staged pieces is a work in which a tale is synthesized with music, and Eastern melodies are at the forefront. Although it was not composed as ballet music, it was choreographed and staged.The work consists of 4 movements 1) Prelude: The Sea and Sinbad’s Ship 2) Ballade: The Kalandar Prince 3) Adagio: The Young Prince and The Young Princess 4) Finale: Festival at Baghdad.&nbsp;Korsakov’s writing style, which reflects Eastern culture, has some similarities with Tamara, one of Balakirev’s early works. In Korsakov’s Scheherazade, it is known that he was influenced by a melody named “Akh, Dilav!’’ which is Balakirev’s traditional Georgian song. The sense of rhythm and the descending movement of the melody in the second movement of the work show striking similarities with the structure of “Akh, Dilav’’ in Balakirev’s draft book. One Thousand and One Nights, which has been translated into many languages and been an inspiration to film, opera, ballet and every branch of art, includes folk literature genres of wide geography. According to the story, when Sultan Shahriar finds out that his wife betrayed him, he executes her and begins to hate all women. He marries a different woman every day and executes her the next day. Scheherazade, the eldest daughter of one of the Sultan’s officials, prepares a plan to save herself and other girls, and she marries Sultan Shahriar and begins to tell him a tale every night. However, every night, she ends the tale in its most captivating part and promises to complete the story the next night. Because the tales are very attractive and intriguing, Shahriar postpones Scheherazade’s execution every day to hear more of the stories. At the end&nbsp;of the 1001st night, Scheherazade finishes her tales and says that she is ready for the punishment that will be given. Shahriar, on the other hand, is very impressed by these tales and abandons his brutal plan.The bassoon solos in the second movement of the work are one of the most important works of national and international orchestral exams. Accurate interpretation of solos requires musicality and technical skill. The first of these solos starts in the second movement of the work at the 5th bar. It requires every sound to be shaped very carefully, and requires that articulations are heard. For the ups and downs in the melodies to be heard, it must be played flexibly adhering to the expression “ad libitum”. The second solo of the same movement is a cadence in which technical and musical skills are at the forefront. It starts at the 323rd bar of the work. The solo, which starts as a lento in the same bar, ends as a ritardando at the end of the bar and returns to the first tempo in the second bar with the conductor’s beat. It is based on the acceleration and retardation of the movement. This movement must be played steadily and unhurriedly. The melody repeats similarly 3 times.This study is aimed to give general information about Rimsky-Korsakov’s Symphonic Suite, Scheherazade, to examine the bassoon solos in the second movement of the work and to offer solutions for the technical and musical difficulties encountered in the interpretation of these solos.

Research of Bassoon Solos in Rimsky-Korsakov’s Scheherazade Symphonic Suite

Banu

Assist. Prof.

The violin family reached its present form in the 17th and 18th centuries with the development process in history. The viola, a member of the violin family, was overshadowed with accompaniment pieces during the early periods. With the prominence of chamber music and orchestral works, the viola began to gain value, leading to solo compositions. Georg Philip Telemann composed the first viola concerto. The F Major Viola Concerto that was later composed by Carl Ditters von Dittersdorf, Johannes Christian Bach’s Viola Concerto, and Karl Stamitz’s Viola Concerto were also included in the viola repertoire. In the 20th century, the viola solo repertoire was composed by important composers of the period, namely Paul Hindemith, Bela Bartok, and William Walton.After the viola attained a solo identity, viola artists began emerging. In addition to those who started their education with the viola, some artists started with the violin but continued with the viola. Recently, some artists who graduated from violin departments have gone on to be viola players in orchestras. In this study, information is given to students who switch from violin to viola to ensure an easy and mindful transition process. The suggested methods and recommendations considering research and experiences are evaluated in seven headlines.1- Differences between Violin and Viola 2- Instrument and Bow Selection 3- Grip 4- Reading the C Clef 5- Intonation 6- Obtaining a Quality Tone 7- Vibrato1- Differences between Violin and ViolaThe violin and viola differ in terms of size, length, strings, and clef. These lead to differences in grip and playing techniques for the two instruments. Violin, which has a soprano timber, is played using the treble clef, whereas viola, which has an alto timber, uses C clef. Considering its size, the viola has a different tone than the violin, with chords five notes lower and thicker strings.2- Instrument and Bow SelectionViola selection should be made according to the student’s hand and arm structure. To determine the viola’s suitability to the arm structure, it is held in the playing position; the snail is grasped with the left palm, in which case the arm should be flat and comfortable. Handle thickness should be appropriate to the hand structure. The choice in bow should be made according to the dimensions of the instrument.3- GripThere are differences in grip between the violin and viola. Since the viola is a larger and wider instrument, the arms must be distant from each other. The left arm should be more open than with the violin, and the wrist position should be kept at a wide angle. For the left-hand fingers to move freely on the touch, the viola’s balance must be maintained, keeping the thumb free and straight without squeezing and ensuring it moves with the entire hand in position transitions. Since the viola bow is heavier than the violin’s, the fingers must be kept in a slightly more open position.4- Key ReadingWhile the violin is played with the treble clef, the viola is played with the C clef and treble clef on high pitches. Students transitioning from violin to viola experience the challenge of clef differences. For adapting to the clef in a short period, sight-reading should be practiced.5- IntonationIntonation is the most important stage of the transition process. For correct resonance of full tones, they should be pressed more mildly than with the violin. In this process, major–minor scales and arpeggios, as well as exercises selected from Schradieck and Sevcik methods, provide the basic studies for intonation.6- Obtaining a High-quality ToneFor a qualified tone, balance at the resonance point is important. The speed and pressure must be balanced correctly. The weight of the right arm should be evenly distributed over the fingers. The softening of the string changes by wrist movements and the continuation of the weight given while pulling the string is vital in tone formation.7-Vibrato Vibrato is necessary for musical expression. A good tone needs consistent, uninterrupted vibrato. The speed and extent of the vibrato should be based on the musical characteristics of the performed piece.ConclusionFor a smooth switch from violin to viola, students must know the differences between the two instruments. Due to the large size of the viola, differences in grip require rightand left-hand exercises. The study aims to help the transition process by highlighting the technical differences between the violin and viola despite their physical similarities. This research examined and utilized published and online resources on the subject.

Basic Methods in Transition from Violin to Viola

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Özgün

Ozan Evrim

There are a lot of new studies that can be done on this subject since there are few academic studies about the instrument than other art branches both in our country and in the World. Sound production and tonal differences between different quality instruments are also one of these research topics. The purpose of this research is to develop a tool to test different properties of a given violoncello. The properties tested are the variety of color, vibrato production, capacity of volume, equality of sound among different registers, characteristic tone. The study is designed as descriptive research. Several professors of cello and a volunteer undergraduate student have participated in the study. Handmade cellos were used for the research. The model of this research is a single scan model from general screening models. Qualitative findings have been gathered by scanning sources. In collecting these data, native and foreign books, theses, articles, reports and etc. related to the subject have been utilized. In addition, experts with over ten years of lecturing experience in conservatory have been consulted about the criteria of instrument evaluation. Quantitative data have been obtained by a string instrument rubric (YÇR). In this study which is descriptive research, instead of the universe-sample model, a study group was established in accordance with the type of research. The study group of the study consists of; three different handmade cellos, six expert lecturers on the field and a volunteer undergraduate student from Cello Arts of Music Department of Conservatory of a state university in Central Anatolia. For the research purposes, expert opinions have been taken and literature has been examined thus the evaluation criteria have been determined as the loudness of the instruments, diversity of the sound color, the equality of the sound on different strings or registers, and the vibrato production. To evaluate these criteria, appropriate pieces have been selected with field experts. Afterward, the student who would take part in research has studied the pieces individually. After this process, the student has been asked to execute his performance with three different handmade cellos. Video recording has been done in order to observe and examine the performance of the student with different instruments. The records of the students’ performance with different instruments have been evaluated comparatively by six experts from the State Conservatory Cello Arts. Experts have not been told which instrument was which, and have been asked to evaluate as “instrument 1-2-3”. In the evaluation process, the String Instrument Evaluation Form (Rubric), which had been developed by the researchers and evaluated by expert opinions, has been used to evaluate the sound characteristics of the instrument in seven criteria. Findings based on differences between performances from different instruments have been discussed by the experts. Quantitative data obtained by the String Instrument Evaluation Form have been analyzed by SPSS (Statistical Package for the Social Sciences) data processing software. Rubric, the graded scoring key, has been successfully applied in this study as an evaluation method that allows objectivity at a measurable level. By providing a scoring chart according to the success levels in the evaluated criteria, it has enabled accurate scoring. According to the obtained data, the total scores of the three cellos compared in this study has been close to each other and they have had similar results according to the experts. However, they have been separated from each other by their performances between criteria. These differences have been able to be distinguished clearly by the detailed scoring system of the Rubric. The rubric has been able to reveal the instruments with similar sound characteristics and distinguish the strengths of them. It has revealed the difference in sound characteristics between old and new instruments. The research also has shown that the rubric is a useful method to reveal the weaknesses of the instruments in order to improve them in the future.

The Usage of Rubric in Evaluation of Different Properties of Cellos

Sibel

In musical performance, performing a piece from memory has undeniable importance because it affects the performance. Interpretation from memory, which starts during the education period of musicians continues also during their professional lives. Once the piece to be performed is memorized, one can then move to internalization and interpretation phases. Performing from memory plays an important role in developing performers’ ideas about execution more freely and contributes to deeper, more meaningful sharing of music with the listeners. This article presents important data on how musicians can improve themselves in the subject of memorization. In order to interpret a piece successfully, it is important to learn and memorize it first. Memory is made up of three components: Sensory, short and long term. Long term memory is made up of two components: Declarative and procedural. In the process of memorization, there are four components in effect: Visual (photographic), acoustic, motor (kinetic/fingers), and analytical (intellectual) memory. Each of these four components has a different function. It is necessary that they are all used together and that a strong memorization skill is acquired as a result. Visual (photographic) memory is the cognitive recollection of visual information. Every person has different levels of this kind of memory. Acoustic memory is an involuntary part of the memorization process. It is invaluable for musicians. Motor (kinetic/finger) memory is when movements are recorded during the performance of a piece. It is not an adequate or trustworthy method for dependable memory. Analytical (intellectual) memory is related to cognitive aspects. The ability to do musical analysis is part of the functions of this memory. The process of memory consists of perception, interpretation of sensual perception and the process of putting them together in a meaningful way. Because experienced interpreters are able to perceive works deeply and apply conscious practice strategy, they are able to create a qualified and meaningful interpretation. When a composition is placed in one’s mind with every little detail, placement/internalization is the most procedural part of the memorization process. An experienced musician uses his/her cognitive memory in addition to his/her acoustic memory in order to internalize a composition. He/she then can execute dependable memorization. The repetition of the technical and musical details of the composition to be performed makes the protection of the memorization possible.&nbsp;In performances without the protection of memorization, motor (kinetic/finger) memory is engaged. This memory is not protected with cognitive awareness. The result is inadequate, unconscious, insecure and automatic memorization. Memorization protection&nbsp;methods should be applied systematically and consciously in order for strong memorization to occur. Perception, placement/internalization, and protection make up the storing part of the memorization process. The aim is a mistake-free recollection. A multi-dimensional recollection is a sign that the memorization is secure.&nbsp;In the article, the relationship between memorization and anxiety is also addressed. Performance anxiety is a sensation while performing for the audience. It may be as strong as to end careers for many performers. One of the most important reasons of performance anxiety is that the memorization is either inadequate or strong. A performer experiencing this problem will have more anxiety on stage. This anxiety triggers the fear of forgetting and the fear of forgetting effects the performance negatively. The performance of a performer lacking the self-confidence can seriously fall apart. In order for this problem not to occur, the four components that affect the memorization process should be utilized together and attentively as much as possible, the works to be performed should be practiced with awareness in a planned and programmed way. The composition should be divided into sections and motives paying attention to the structural form of the piece. Memorization made in this way would be especially beneficial in difficult and long works.&nbsp;Some other ways to overcome performance anxiety are yoga, Alexander Technique, muscle relaxation exercises, and breathing techniques. In the article, a literature search regarding this subject is made and factors effective for healthy and secure memorization are addressed. According to this, it’s suggested that the notes of the piece to be performed should be written first by looking at the score and then from memory. Memorization of the left and right hands parts separately can also be beneficial. In addition, the composition that is being memorized should be practiced slower than the original tempo and this would also be beneficial for secure and strong performance. One of the most effective ways in terms of memorization for the performer is mental work. The playing of the piece mentally without an instrument with the feeling of the whole sensory and motor memory is especially beneficial for the memorization of long, difficult technical passages. In this article, suggestions towards the improvement of the memorization process are presented.

Memorization in Classical Western Music Performance

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Conservatorium-Konservatoryum is an open access, peer-reviewed, scholarly journal published biannually in June and December by Istanbul University, State Conservatory. The manuscripts submitted for publication in the journal must be scientific and original work in Turkish or English.

The journal targets national and international audiences, has both national and international members in the editorial board, and aims to enhance international author contributions. 

Conservatorium-Konservatoryum aims to contribute to the theoretical framework supporting art practice in the fields of music, musicology and performing arts and, to extend our country’s share in international collaborations. Music, musicology and performing arts constitute the main focus area of the journal. Besides, the journal welcomes manuscripts from the fields related to the main focus area, such as aesthetics, psychology, biomechanics, physiology, neuroscience, electroacoustics and organology as well. 

The target group of the journal consists of academicians, researchers, professionals, students, related professional and academic bodies and institutions.

There are no article processing charges or submission fees for any submitted or accepted articles. All expenses of the journal are covered by the Istanbul University.

As of 2024, the print version has been stopped. The journal has become an online-only publication.

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Conservatorium

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Conservatorium-Konservatoryum is an open access, peer-reviewed, scholarly journal of Istanbul University, State Conservatory. The journal targets national and international audiences, has both national and international members in the editorial board, and aims to enhance international author contributions. Conservatorium-Konservatoryum aims to contribute to the theoretical framework supporting art practice in the fields of music, musicology and performing arts and, to extend our country’s share in international collaborations. Music, musicology and performing arts constitute the main focus area of the journal. Besides, the journal welcomes manuscripts from the fields related to the main focus area, such as aesthetics, psychology, biomechanics, physiology, neuroscience, electroacoustics and organology as well. The target group of the journal consists of academicians, researchers, professionals, students, related professional and academic bodies and institutions.

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Editor should consider publishing correction if minor errors that do not effect the results, interpretations and conclusions of the published paper are detected. Editor should consider retraction if major errors and/or misconduction that invalidate results and conclusions are detected.Editor should consider issuing an expression of concern if there is evidence of research or publication misconduct by the authors; there is evidence that the findings are not reliable and institutions of the authors do not investigate the case or the possible investigation seems to be unfair or nonconclusive. The guidelines of <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> and <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> are taken into consideration regarding correction, retractions or expression of concern.

To guarantee that all papers published in the journal are maintained and permanently accessible, articles are stored in Dergipark which serves as a  national archival web site and at the same time permits LOCKSS to  collect, preserve, and serve the content.Additionally, authors are encouraged to self-archive the final PDF version of their articles in open electronic archives with  that conform to standards of Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>). Authors should provide a link from the deposited version to the URL of IUPress journal website.

Conservatorium-Konservatoryum is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, the <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, the <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>, and the <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a>All submissions must be original, unpublished (including as full text in conference proceedings), and not under the review of any other publication synchronously. Authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.Each manuscript is reviewed by one of the editors and at least two referees under double-blind peer review process. Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unnethical behaviors.All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. In accordance with the code of conduct we will report any cases of suspected plagiarism or duplicate publishing.

Ethics

Conservatorium-Konservatoryum adheres to the highest standards in research ethics and follows the principles of international research ethics as defined below. The authors are responsible for the compliance of the manuscripts with the ethical rules.<ul><li>Principles of integrity, quality and transparency should be sustained in designing the research, reviewing the design and conducting the research.</li><li>The research team and participants should be fully informed about the aim, methods, possible uses and requirements of the research and risks of participation in research.</li><li>The confidentiality of the information provided by the research participants and the confidentiality of the respondents should be ensured. The research should be designed to protect the autonomy and dignity of the participants.</li><li>Research participants should participate in the research voluntarily, not under any coercion.</li><li>Any possible harm to participants must be avoided. The research should be planned in such a way that the participants are not at risk.</li><li>The independence of research must be clear; and any conflict of interest or must be disclosed.</li><li>In experimental studies with human subjects, written informed consent of the participants who decide to participate in the research must be obtained. In the case of children and those under wardship or with confirmed insanity, legal custodian’s assent must be obtained.</li><li>If the study is to be carried out in any institution or organization, approval must be obtained from this institution or organization.</li><li>In studies with human subject, it must be noted in the method’s section of the manuscript that the informed consent of the participants and ethics committee approval from the institution where the study has been conducted have been obtained.</li></ul>

It is authors’ responsibility to ensure that the article is in accordance with scientific and ethical standards and rules. And authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.All the authors of a submitted manuscript must have direct scientific and academic contribution to the manuscript. The author(s) of the original articles is defined as a person who is significantly involved in “conceptualization and design of the study”, “collecting the data”, “analyzing the data”, “writing the manuscript”, “reviewing the manuscript with a critical perspective” and “planning/conducting the study of the manuscript and/or revising it”. Fund raising, data collection or supervision of the research group are not sufficient roles to be accepted as an author. The author(s) must meet all these criteria described above. The order of names in the author list of an article must be a co-decision and it must be indicated in the <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/E47507E0212B4C309F2786007561DCE8" target="_blank">Copyright Agreement Form.</a> The individuals who do not meet the authorship criteria but contributed to the study must take place in the acknowledgement section. Individuals providing technical support, assisting writing, providing a general support, providing material or financial support are examples to be indicated in acknowledgement section.All authors must disclose all issues concerning financial relationship, conflict of interest, and competing interest that may potentially influence the results of the research or scientific judgment.When an author discovers a significant error or inaccuracy in his/her own published paper, it is the author’s obligation to promptly cooperate with the Editor-in-Chief to provide retractions or corrections of mistakes.

Editors evaluate manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors. They provide a fair double-blind peer review of the submitted articles for publication. They ensure that all the information related to submitted manuscripts is kept as confidential before publishing.Editors are responsible for the contents and overall quality of the publication. They must publish errata pages or make corrections when needed.Editor does not allow any conflicts of interest between the authors, editors and reviewers. Only he has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers evaluate manuscripts based on content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors. They must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective.Reviewers should identify the relevant published work that has not been cited by the authors. They must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the Editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the Editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The reviewers are not allowed to have copies of the manuscripts for personal use and they cannot share manuscripts with others. Unless the authors and editor permit, the reviews of referees cannot be published or disclosed. The anonymity of the referees is important. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.The editor hands over the papers matching the formal rules to at least two national/international referees for double-blind peer review evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

Peer Review

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by Editor-in-Chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, citizenship, religious belief or political philosophy of the authors and ensures a fair double-blind peer review of the selected manuscripts.The selected manuscripts are sent to at least two national/international external referees for evaluation and publication decision is given by Editor-in-Chief upon modification by the authors in accordance with the referees’ claims.Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers’ judgments must be objective. Reviewers’ comments on the following aspects are expected while conducting the review.<ul><li>Does the manuscript contain new and significant information?</li><li>Does the abstract clearly and accurately describe the content of the manuscript?</li><li>Is the problem significant and concisely stated?</li><li>Are the methods described comprehensively</li><li>Are the interpretations and consclusions justified by the results?</li><li>Is adequate references made to other Works in the field?</li><li>Is the language acceptable?</li></ul>Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees is important.

LanguageThe language of the journal is both Turkish and American English.Manuscrıpt Organızatıon and FormatAll correspondence will be sent to the first-named author unless otherwise specified. Manuscpript is to be submitted online via <a href="http://istanbul.edu.tr:8080/en/journal/cons/home" target="_blank">http://istanbul.edu.tr:8080/en/journal/cons/home</a> and it must be accompanied by a cover letter indicating that the manuscript is intended for publication, specifying the article category (i.e. original article, review etc.) and including information about the manuscript (see the Submission Checklist). In addition, a <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/E47507E0212B4C309F2786007561DCE8" target="_blank">Copyright Agreement Form</a> that has to be signed by all authors must be submitted.1.    Conservatorium is a peer-reviewed journal published biannualy in June and December by the Istanbul University State Conservatory. Manuscripts must be submitted until the 15th of March for the June issue and until the 15th of September for the December issue.2.    Original articles, reviews and essays that were not published before or sent to another journal for evaluation are published in the journal. Manuscripts, derived from unpublished theses or proceedings should be indicated with an explanatory footnote in the abstract section. For Turkish articles, the principles of Turkish Language Association are taken into consideration.3.    Manuscripts should include Turkish and English abstracts about 150-200 words and three keywords. The abstracts should include the rationale, scope and method of the work, as well as the results obtained. In case that the manuscpript is in Turkish, an extended abstract about 600-800 words must be included as well. Extended abstract is not required for manuscripts in English. The main title, as well as the abstract and bibliography titles should be in bold and capital letters,aligned to the center. Other subheadings, introduction and result titles should be in bold style, with only the first letters capital and aligned to the left side. Manuscripts should be between 3000 - 8000 words, including summaries, main text and references, but excluding footnotes. All foreign language words should be written in italic style.4.    The main text should be written in Times New Roman 12 pt. font size with 1,5 line spacing. Paragraphs should be justified aligned. Turkish titles should be 10 words at most. Additional blank lines should be placed before each subheading, but not between paragraphs. No paragraph should be indented. Footnotes are just for comments and additional information, not for showing sources; they must be numbered consecutively from the beginning to the end, placed at the bottom of pages, and written with 10 pt. font size with 1 line spacing and justified. Page numbers should also be in the bottom right, written with 11 pt. font size.5.    The names of writers should be placed one line below the article title, and title, affiliation, address, phone and e-mail address should be given with a star (*) footnote. Any terminology and/or acronyms specific to the writer/text should be explained in their first use with a footnote.6.    Visual materials and musical examples should be numbered such as Figure/Table 1. ..., and; all of them should be aligned in the center with short explanations. All visuals should have highresolution (with a resolution of at least 300dpi) and should be sent separately in JPG format. Placements in the text can be changed according to the page layout, if needed.7.    A <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/73CDD398BA1B4124A1C4B17C39FBC664" target="_blank">title page</a> including author information must be submitted together with the manuscript. The <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/73CDD398BA1B4124A1C4B17C39FBC664" target="_blank">title page</a> is to include fully descriptive title of the manuscript and, affiliation, title, e-mail address, postal address, phone and fax number of the author(s) (see The Submission Checklist).8.    The citations and bibliography should be indicated according to the international APA format. For further information, see the References section on web site.9.    Copies of the related issue will be sent to the authors and referees on their demand. It is possible to access issues of our journal from the library of the Conservatory and <a href="https://iupress.istanbul.edu.tr/en/journal/cons/issues" target="_blank">https://iupress.istanbul.edu.tr/en/journal/cons/issues</a>10.  All the responsibility for the published article belongs to the author. Either published or not, the articles that are sent to the journal will not be returned. The writers of published articles finally sign the prepared letter.

Author Guidelines

Before beginning the online submission process please read the Information for Authors and make sure you have the followings available:Cover letter to the editor<ul type="disc"> <ul type="circle"> <li>The category of the manuscript</li> <li>Confirming that “the paper is not under consideration for publication in another journal”.</li> <li>Including disclosure of any commercial or financial involvement.</li> <li>Confirming that the statistical design of the research article is reviewed.</li> <li>Confirming that last control for fluent English was done.</li> <li>Confirming that journal policies detailed in Information for Authors have been reviewed.</li> <li>Confirming that the references cited in the text and listed in the references section are in line with APA 6.</li> </ul> </ul><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/E47507E0212B4C309F2786007561DCE8" target="_blank">Copyright Agreement Form</a>Permission of previous published material if used in the present manuscript<a href="http://cdn.istanbul.edu.tr/FileHandler2.ashx?f=titlepagetemplatecons_636996631925328492.docx" target="_blank">Title page</a><ul type="disc"> <ul type="circle"> <li>The category of the manuscript</li> <li>The title of the manuscript both in Turkish and in English</li> <li>All authors’ names and affiliations (institution, faculty/department, city, country), e-mail addresses</li> <li>Corresponding author’s email address, full postal address, telephone and fax number</li> <li>ORCIDs of all authors.</li> </ul> </ul>Main Manuscript Document<ul type="disc"> <ul type="circle"> <li>The title of the manuscript both in Turkish and in English</li> <li>Abstracts (150-200 words) both in Turkish and in English</li> <li>Key words: 3 words both in Turkish and in English</li> <li>Extended Abstract (600-800 words) in English (only for Turkish articles)</li> <li>Main article sections</li> <li>Grant support (if exists)</li> <li>Conflict of interest (if exists)</li> <li>Acknowledgement (if exists)</li> <li>References</li> <li>All tables, illustrations (figures) (including title, description, footnotes)</li> </ul> </ul>Manuscript Submission<ul type="disc"> <li style="text-align: left;">DergiPark manuscript submission site of the journal is: <a href="https://dergipark.org.tr/tr/journal/29/submission/step/manuscript/new" target="_blank">https://dergipark.org.tr/tr/journal/29/submission/step/manuscript/new</a></li> <li style="text-align: left;">The manuscript must be submitted through the account of the corresponding author. The account of authors other than the corresponding author or someone else who is not included as an author in the work must not be used for submission. All correspondence regarding the submission is made with the corresponding author through e-mail via the DergiPark system.</li> <li style="text-align: left;">While uploading Main Document, make sure that the main document has no information that clarify the author’s identity. Due to double blind peer review, Main Document must not include Title Page, the name of author or any other detail that can disclose the author identity. </li> </ul><ul type="disc"> </ul>Files to be uploaded separately<ul type="disc"> <li>Copyright Agreement Form</li> <li>Permissions obtained for previously published material if used in the present manuscript</li> <li>Title page</li> <li>Main Manuscript Document</li> </ul><ul type="disc"> <ul type="circle"> <li>The title of the manuscript both in Turkish and in English</li> <li>Abstracts (150-200 words) both in Turkish and in English</li> <li>Key words: 3 words both in Turkish and in English</li> <li>Extended Abstract (600-800 words) in English (only for Turkish articles)</li> <li>Main article sections</li> <li>Grant support (if exists)</li> <li>Conflict of interest (if exists)</li> <li>Acknowledgement (if exists)</li> <li>References</li> <li>All tables, illustrations (figures) (including title, description, footnotes)</li></ul></ul><ul type="disc"> </ul>

Although references to review articles can be an efficient way to guide readers to a body of literature, review articles do not always reflect original work accurately. Readers should therefore be provided with direct references to original research sources whenever possible. On the other hand, extensive lists of references to original work on a topic can use excessive space on the printed page. Small numbers of references to key original papers often serve as well as more exhaustive lists, particularly since references can now be added to the electronic version of published papers, and since electronic literature searching allows readers to retrieve published literature efficiently.Reference Style and FormatConservatorium – Konservatoryum complies with APA (American Psychological Association) style 6th Edition for referencing and quoting. For more information:-    American Psychological Association. (2010). Publication manual of the American Psychological Association (6th ed.). Washington, DC: APA.-    <a href="http://www.apastyle.org" target="_blank">http://www.apastyle.org</a>Citations in the TextCitations must be indicated with the author surname and publication year within the parenthesis.If more than one citation is made within the same paranthesis, separate them with (;).Samples:More than one citation;(Esin et al., 2002; Karasar, 1995)Citation with one author;(Akyolcu, 2007)Citation with two authors;(Sayıner &amp; Demirci, 2007)Citation with three, four, five authors;First citation in the text: (Ailen, Ciambrune, &amp; Welch, 2000) Subsequent citations in the text: (Ailen et al., 2000)Citations with more than six authors;(Çavdar et al., 2003)Citations in the ReferenceAll the citations done in the text should be listed in the References section in alphabetical order of author surname without numbering. Below given examples should be considered in citing the references.Basic Reference TypesBooka) Turkish BookKarasar, N. (1995). Araştırmalarda rapor hazırlama (8th ed.) [Preparing research reports]. Ankara, Turkey: 3A Eğitim Danışmanlık Ltd.b) Book Translated into TurkishMucchielli, A. (1991). Zihniyetler [Mindsets] (A. Kotil, Trans.). İstanbul, Turkey: İletişim Yayınları.c) Edited BookÖren, T., Üney, T., &amp; Çölkesen, R. (Eds.). (2006). Türkiye bilişim ansiklopedisi [Turkish Encyclopedia of Informatics]. İstanbul, Turkey: Papatya Yayıncılık.d) Turkish Book with Multiple AuthorsTonta, Y., Bitirim, Y., &amp; Sever, H. (2002). Türkçe arama motorlarında performans değerlendirme [Performance evaluation in Turkish search engines]. Ankara, Turkey: Total Bilişim.e) Book in EnglishKamien R., &amp; Kamien A. (2014). Music: An appreciation. New York, NY: McGraw-Hill Education.f) Chapter in an Edited BookBassett, C. (2006). Cultural studies and new media. In G. Hall &amp; C. Birchall (Eds.), New cultural studies: Adventures in theory (pp. 220–237). Edinburgh, UK: Edinburgh University Press.g) Chapter in an Edited Book in TurkishErkmen, T. (2012). Örgüt kültürü: Fonksiyonları, öğeleri, işletme yönetimi ve liderlikteki önemi [Organization culture: Its functions, elements and importance in leadership and business management]. In M. Zencirkıran (Ed.), Örgüt sosyolojisi [Organization sociology] (pp. 233–263). Bursa, Turkey: Dora Basım Yayın.h) Book with the same organization as author and publisherAmerican Psychological Association. (2009). Publication manual of the American psychological association (6th ed.). Washington, DC: Author.Articlea) Turkish ArticleMutlu, B., &amp; Savaşer, S. (2007). Çocuğu ameliyat sonrası yoğun bakımda olan ebeveynlerde stres nedenleri ve azaltma girişimleri [Source and intervention reduction of stress for parents whose children are in intensive care unit after surgery]. Istanbul University Florence Nightingale Journal of Nursing, 15(60), 179–182.b) English Articlede Cillia, R., Reisigl, M., &amp; Wodak, R. (1999). The discursive construction of national identity. Discourse and Society, 10(2), 149–173. http://dx.doi.org/10.1177/0957926599010002002c) Journal Article with DOI and More Than Seven AuthorsLal, H., Cunningham, A. L., Godeaux, O., Chlibek, R., Diez-Domingo, J., Hwang, S.-J. ... Heineman, T. C. (2015). Efficacy of an adjuvanted herpes zoster subunit vaccine in older adults. New England Journal of Medicine, 372, 2087–2096. http://dx.doi.org/10.1056/NEJMoa1501184d) Journal Article from Web, without DOISidani, S. (2003). Enhancing the evaluation of nursing care effectiveness. Canadian Journal of Nursing Research, 35(3), 26-38. Retrieved from http://cjnr.mcgill.cae) Journal Article wih DOITurner, S. J. (2010). Website statistics 2.0: Using Google Analytics to measure library website effectiveness. Technical Services Quarterly, 27, 261–278. http://dx.doi.org/10.1080/07317131003765910f) Advance Online PublicationSmith, J. A. (2010). Citing advance online publication: A review. Journal of Psychology. Advance online publication. http://dx.doi.org/ 10.1037/a45d7867g) Article in a MagazineHenry, W. A., III. (1990, April 9). Making the grade in today’s schools. Time, 135, 28–31.Doctoral Dissertation, Master’s Thesis, Presentation, Proceedinga) Dissertation/Thesis from a Commercial DatabaseVan Brunt, D. (1997). Networked consumer health information systems (Doctoral dissertation). Available from ProQuest Dissertations and Theses database. (UMI No. 9943436)b) Dissertation/Thesis from an Institutional DatabaseYaylalı-Yıldız, B. (2014). University campuses as places of potential publicness: Exploring the politicals, social and cultural practices in Ege University (Doctoral dissertation). Retrieved from Retrieved from: http://library.iyte.edu.tr/tr/hizli-erisim/iyte-tez-portalic) Dissertation/Thesis from WebTonta, Y. A. (1992). An analysis of search failures in online library catalogs (Doctoral dissertation, University of California, Berkeley). Retrieved from http://yunus.hacettepe.edu.tr/~tonta/yayinlar /phd/ickapak.htmld) Dissertation/Thesis abstracted in Dissertations Abstracts InternationalAppelbaum, L. G. (2005). Three studies of human information processing: Texture amplifica&#173;tion, motion representation, and figure-ground segregation. Dissertation Abstracts International: Section B. Sciences and Engineering, 65(10), 5428.e) Symposium ContributionKrinsky-McHale, S. J., Zigman, W. B., &amp; Silverman, W. (2012, August). Are neuropsychiatric symptoms markers of prodromal Alzheimer’s disease in adults with Down syndrome? In W. B. Zigman (Chair), Predictors of mild cognitive impairment, dementia, and mortality in adults with Down syndrome. Symposium conducted at the meeting of the American Psychological Association, Orlando, FL.f) Conference Paper Abstract Retrieved OnlineLiu, S. (2005, May). Defending against business crises with the help of intelligent agent based early warning solutions. Paper presented at the Seventh International Conference on Enterprise Information Systems, Miami, FL. Abstract retrieved from http://www.iceis.org/iceis2005/abstracts_2005.htmg) Conference Paper - In Regularly Published Proceedings and Retrieved OnlineHerculano-Houzel, S., Collins, C. E., Wong, P., Kaas, J. H., &amp; Lent, R. (2008). The basic nonuniformity of the cerebral cortex. Proceedings of the National Academy of Sciences, 105, 12593–12598. http://dx.doi.org/10.1073/pnas.0805417105h) Proceeding in Book FormParsons, O. A., Pryzwansky, W. B., Weinstein, D. J., &amp; Wiens, A. N. (1995). Taxonomy for psychology. In J. N. Reich, H. Sands, &amp; A. N. Wiens (Eds.), Education and training beyond the doctoral degree: Proceedings of the American Psychological Association National Conference on Postdoctoral Education and Training in Psychology (pp. 45–50). Washington, DC: American Psychological Association.i) Paper PresentationNguyen, C. A. (2012, August). Humor and deception in advertising: When laughter may not be the best medicine. Paper presented at the meeting of the American Psychological Association, Orlando, FL.Other Sourcesa) Newspaper ArticleBrowne, R. (2010, March 21). This brainless patient is no dummy. Sydney Morning Herald, 45.b) Newspaper Article with no AuthorNew drug appears to sharply cut risk of death from heart failure.(1993, July 15). The Washington Post, p. A12.c) Web Page/Blog PostBordwell, D. (2013, June 18). David Koepp: Making the world movie-sized [Web log post]. Retrieved from http://www.davidbordwell.net/blog/page/27/d) Online Encyclopedia/DictionaryIgnition. (1989). In Oxford English online dictionary (2nd ed.). Retrieved from http://dictionary.oed.comMarcoux, A. (2008). Business ethics. In E. N. Zalta (Ed.). The Stanford encyclopedia of philosophy. Retrieved from http://plato.stanford.edu/entries/ethics-business/e) PodcastDunning, B. (Producer). (2011, January 12). inFact: Conspiracy theories [Video podcast]. Retrieved from http://itunes.apple.com/f) Single Episode in a Television SeriesEgan, D. (Writer), &amp; Alexander, J. (Director). (2005). Failure to communicate. [Television series episode]. In D. Shore (Executive producer), House; New York, NY: Fox Broadcasting.g) MusicFuchs, G. (2004). Light the menorah. On Eight nights of Hanukkah [CD]. Brick, NJ: Kid Kosher.

<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/E47507E0212B4C309F2786007561DCE8" target="_blank">Copyright Agreement Form</a> <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/AF43DB87852D4C59968EBAF632AEC01E" target="_blank">Title page</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/7262DDB640D7494DB83A7FA91EBB7AE4" target="_blank">Author Form</a>

Ensure that the following items are present:●    Cover letter to the editor•    The category of the manuscript•    Confirming that “the paper is not under consideration for publication in another journal”.•    Including disclosure of any commercial or financial involvement.•    Confirming that last control for fluent English was done.•    Confirming that journal policies detailed in Information for Authors have been reviewed.•    Confirming that the references cited in the text and listed in the references section are in line with APA 6.●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/E47507E0212B4C309F2786007561DCE8" target="_blank">Copyright Agreement Form</a>●    Permission of previous published material if used in the present manuscript●    <a href="http://cdn.istanbul.edu.tr/FileHandler2.ashx?f=titlepagetemplatecons_636996631925328492.docx" target="_blank">Title page</a>•    The category of the manuscript•    The title of the manuscript both in Turkish and in English•    All authors’ names and affiliations (institution, faculty/department, city, country), e-mail addresses•    Corresponding author’s email address, full postal address, telephone and fax number•    ORCIDs of all authors.●    Main Manuscript Document•    The title of the manuscript both in Turkish and in English•    Abstracts (150-200 words) both in Turkish and in English•    Key words: 3 words both in Turkish and in English•    Extended Abstract (600-800 words) in English (only for Turkish articles)•    Main article sections•    Grant support (if exists)•    Conflict of interest (if exists)•    Acknowledgement (if exists)•    References•    All tables, illustrations (figures) (including title, description, footnotes)

Issue Type	Regular
Editor(s)	Tufan Karabulut
Cover (PDF)
Full Text (PDF)
Front Pages (PDF)