Simay

Res. Assist.

<div>The Russian society of 1880 -1900’s has the effect of modernization, industrialization and social change which have been effecting the social life since the beginning of the century. According to French sociologist Emile Durkheim’s theory, during the transition from the traditional society to modern society the way the individuals perceive their life and their system of values change. As a result of this change, individuals are dragged into a search of meaning, hopelessness and purposelessness. According to Pierre Bourdieu’s theory of capital, individuals own economic, social and cultural capitals, which enable them to cope in social arena and which determine their social class. With the change of social dynamics, these types of capitals may pass into different social classes and the individuals try not to lose the capitals they own. Anton Chekhov’s great plays “Ivanov”, “The Seagull”, “Uncle Vanya”, “Three Sisters” and “The Cherry Orchard” provide great examples about the social life of 1880-1900’s Russian society and individuals’ inner world. The purpose of this article, is to examine Chekhov’s great plays in terms of the theories mentioned above. Literary and artistic works should be considered in terms of the social, economic, political, historical, and traditional characteristics of the society they belong to. According to this, in order to work with 19th century Russian literature or theater, the characteristics of the Russian society at that time should be understood. In this article, while trying to discover the social characteristics of 19th century Russian society, theories of social scientists have been used, with the aim of providing an eligible article about the Russian society of the 1880–1900’s transformation years in Chekhov’s plays through cooperation with the social sciences theories of Emile Durkheim and Pierre Bourdieu. Emile Durkheim claims that, through the transformation from the traditional society (mechanical solidarity) to modern society (organic solidarity), individuals lost their system of values and understanding. Individuals could no longer explain the meaning of life and themselves in terms of their previous meaning system. The kinship bonds weakened and individuals became lonely. As a result of the collapse of the system, in terms of individuals being used to understanding themselves and their environment, they underwent a psychological breakdown. With no meaning or purpose, they became depressed, lonely, and unhappy. In Chekhov’s plays, we see many examples of these lonely and aimless individuals. Pierre Bourdieu, another social theorist, claims that individuals own economic, social, and cultural capital. Economic capital refers to the financial wealth and things that can be converted to financial wealth. Social capital refers to social networks individuals own, which have value in terms of their positions in the society. Cultural capital refers to the knowledge, skills, tastes, material belongings (like a piano or a big bookshelf), or attitudes people obtain when they belong to a particular social class. Through the social transformation of societies, the forms of capital, especially economic capital, may pass from one social class to another. In 19th century Russia, economic capital had passed from the aristocratic class to the bourgeois class. The aristocrats who had lost their economic capital tried to maintain their cultural and social capital, which, for them, symbolized their previous standard of living and their position in society. For example, in “The Cherry Orchard,” Andreyevna does not want to sell the orchard, although her family needs money; the orchard is her cultural capital and symbolizes her previous prosperity. Similarly, other aristocratic characters in “The Three Sisters,” “Uncle Vanya,” “Ivanov,” and “The Seagull” behave the same way and try to maintain their standard of living, even though their economic capital has decreased. The examples mentioned above and many other aspects of both social theories will be studied in this article.</div>

Chekhov Plays in Terms of the 19th Century Russian Social Transformation: The Examples of “Ivanov,” “The Cherry Orchard,” “Three Sisters,” “The Seagull,” and “Uncle Vanya”

Erdem Nusret

Assist. Prof.

<div>Born in 1698, Metastasio is one of the prominent figures of 18th century opera. Based on the importance given to dualities in Cartesian thought, the dramaturgical relationships in his dramas are frequently reduced to dualities. In this article, Artaserse is analyzed in terms of its moral dramaturgy, which describes the processes by which ethical discussions shape the drama, and a multi-axis approach that refuses to reduce the relationships between characters to dualities, is proposed. Metastasio was greatly influenced by the Arcadian Academy and Cartesian philosophy, and they can be considered the main pillars on which his dramas stand. As an anti-baroque school, the Arcadian Academy’s adherents harshly criticized the extravagancy of form and style and the immoralities of baroque poetry and drama, campaigning for a new ethical model and style based on simplicity and order while the Cartesians and rationalists were proposing an analytical approach to human feelings to reestablish the roles of feelings and reason in the determination of human behavior. We can observe the Cartesian influence in Metastasio’s work in his emphasis on human feelings, as Cartesian thought gave great importance to the recognition, observation, description, analysis, and classification of feelings. Considering the space dedicated to feelings in his dramas, Binni defines Metastasio as a poet of not action but feelings (Binni, 2016, p. 333). The poet dedicates a lot of time to expose the characters to different combinations of situations and relationships that evoke different feelings that are described and analyzed meticulously, and a proper understanding of his dramas depends on a correct interpretation of this structure. The classification of human feelings in Cartesian thought is not without an ethical scope. While feelings cannot be abhorred or ignored in any way, they must be understood well in order to be dominated and submitted to a rational discipline. Accordingly, Metastasio’s characters analyze their feelings and try to dominate them. Their decisions’ moral value depends on this reasoning. In order to understand their feelings in a Metastasian drama, a good understanding of the relationships between the characters is critical, since the specific positions in different relationships are what determine their feelings. The complex structures in Metastasio’s dramas can be analyzed in dualities (Strohm, 1998), reason-feeling being one of the most important of them. Characters try to stick to the ethically correct decisions in a sort of ethical quest (Cotticelli and Maione, 2009, p. 71), trying to dominate their feelings with the force of reason. The characters’ endeavors to reconcile their feelings with their duties is the focus of Metastasian drama. Feldman (2007, p. 249) points out that Artaserse typifies Metastasio’s plots in its continual oscillations between the demands of public duty and private desire. She points to an ethical hierarchy, with obligations that point ever upwards, and she states that this scalar movement places public concerns above private ones (2007, p. 251). Strohm (1997, p. 21) also argues that Artaserse elaborates on a dynastic crisis. He points out that the placement of love relationships at the margins of this conflict makes Artaserse a potentially more political drama. A detailed analysis of the drama reveals that a great part of it is dedicated to the characters’ struggling between feelings and morality. Therefore, I find it inadequate to define Artaserse as a dynastic crisis drama. I argue that the dynastic crisis is nothing more than the pretext of the plot, and that the correct definition is not a political drama but a moral one. I believe that Metastasio’s service at the Habsburg Court caused an overestimation of the political side of his dramas as a central theme in his oeuvre, and that Artaserse is a good example to argue otherwise. An extensive and detailed study of his other works, using a different attitude, might help us gain new insights. Artaserse reveals four different relationships, which I define as axes that influence the characters: politics, family, love, and friendship. Unfortunately, different schematizations in literature using arrows to show the relationships between the characters, binding them in pairs (Feldman, 2007, p. 251; Gallarati, 1984, p. 40), are far from clarifying this structure, since they cannot reflect the ethical hierarchy and the conglomerations around different values. It is clear that a schema capable of visualizing the multi-axis structure is due. In Artaserse, the characters—once they have secured the duty on the higher scale of the hierarchy—try to save what is at stake at lower levels, refusing to forgo any of them, which are all equally valuable. This shows that although there is a hierarchy between duties, there is no binary categorization as private and public, and all of them are equally indispensable. I propose that a multi-axis approach that does not reduce the dramaturgical structure to dualities is the most appropriate way to understand Metastasio’s Artaserse. This multi-axis approach is proposed as an alternative way to understand Metastasio’s moral dramaturgy; while claims that adopting a similar approach to his other works will contribute to our understanding of his dramaturgy will be tested in future studies.</div>

Multi-Axis Approach to the Moral Dramaturgy in Metastasio’s Artaserse

Çağrı

<div>Camille Saint-Saëns’ bassoon sonata, which is a fixture in the graduation screening curriculum of almost all conservatories, is considered to be one of the most difficult pieces of music to play . Bassoon players have a high risk of making mistakes when they play using common finger positions, especially when the difficult positions in the 3rd octave transition are played. The facilities in the positions shown in this article considerably reduce the likelihood of error. The aim is to present some alternative positions that may occur from above difficulties. Camille Saint-Saëns’ bassoon sonata is even now one of the most important sonatas; it is still played in every competition in the world. Even though this work is technically difficult, most bassoon players find it to be a pleasant challenge. In the exams, both the juries and the students are aware of the usual trouble spots. Most of them still remain unsolved and risky but this can be improved by the musicians. Alternative positions to those taught in conservatories can be deployed or we can develop and apply resonance, intonation, and sound quality with some keys to be added to the basic technical positions. For instance, First movement, 30–31. Bars: The numbers next to the notes indicate the octave of the note. The fingering chart, underneath the notes with hard passages of the work, was prepared by using the “Essentials of Bassoon Technique,” which was prepared by Lewis Hugh Cooper and Howard Toplansky. In addition, this article describes the importance of this sonata, why was it written in the last year of his life, where was it written, and to whom it was dedicated. Saint-Saëns was influenced by the local music in the countries to which he travelled during the last period of his life. The best example of this tranquility and simplicity is the way Saint-Saëns structures the Sonata for Bassoon, the last of the three pieces. Sonatas usually follow a tried and trusted style of three movements: an assured, enthusing first movement, a slow middle movement, and a fast finale. Saint-Saëns turns this model on its head for this piece. A fast first movement is followed by an even faster second and then the final movement is marked Adagio. Saint-Saëns probably wrote this last movement as a swan song, a farewell from a composer who was now seen as yesterday’s man. If so, then perhaps the Saint-Saëns of the 1880s, celebrated as the greatest of all French musicians, could not resist one last fanfare, and this sorrowful goodbye is given a final, laconic flourish. During my student years, the most challenging issue when playing bassoon was the transitions of the third octave voices and their very different positions in relation to each other. Due to this, even working for hours on scales was not enough to get over some of the passes. The reason for my research and studies in this area is to help students and my colleagues. I have found that my students can master a lot of difficult positions if they use my chart. In their concerts they are more relaxed and confident with the bassoon. As a result, it is not so difficult to play Camille Saint-Saëns’ bassoon sonata by applying the finger charts found in this article. The positions I have shown are very easy to perform in fast passages. It is useful to use basic finger positions in both legato and slow passages.</div>

Position Recommendations for Saint-Saens’ Op.168 Sol Major Bassoon and Piano Sonata

Sevil

Assoc. Prof.

<div>When one discusses violin education in Turkey, Ekrem Zeki Ün is the first name to be mentioned. As the third generation of violinists in his family, he was a devoted teacher and composer as well as a prominent musical figure in Turkish art and music life. He was one of the first Turkish violinists to perform important violin concertos with orchestras around Turkey, introducing them to the Turkish public. Like his grandfather Santuri Hilmi Bey, who played an important part when Fasl-ı Cedid was established as well as his father Osman Zeki Bey, who was the first concertmaster of Turkey, Ün continued the family tradition of participating in new musical establishments in his native land. He was assigned as director of the Musiki Muallim Mektebi (School of Music Education), which was established by the order of Mustafa Kemal Atatürk. Ekrem Zeki Ün taught violin and viola classes at İstanbul University State Conservatory and conducted the Istanbul University Student Orchestra for several years. İzzet Nezih Albayrak, Seyfettin Asal, Burhan Duyal Sedat Ediz, and Enver Kopelman are among his students who also applied themselves to music education. Ün devoted himself to composition from his early years. Despite living concurrently with the generation of composers called the Turkish Fifths (Ulvi Cemal Erkin, Cemal Reşit Rey, Ahmet Adnan Saygun, Hasan Ferit Alnar, Necil Kazım Akses), he was unfortunately not included among them. This did not interfere with or disturb his composing. He composed both small and large works, such as suites, sonatas, and concertos for different instruments and groups. In this study, Ekrem Zeki Ün’s attributes as a violin teacher and composer are researched. This paper provides comments on interpreting and suggestions on practicing his solo violin compositions “Yudumluk” and “Theme and Variations.” Yudumluk; a suite of five short movements for solo violin, is suitable for both professional and young violinists in the early years of their studies. As a piece that contains many traditional Turkish folk tunes, comas, and rhythms, “Yudumluk” can create a bridge between Western methods of violin education and Turkish music. “Giriş-Introduction” starts with quiet slurred notes and develops with indications of double stops within the lyrical theme. This movement allows the interpreter to work on the basic right-hand motion as well as good tone production. “Alp Ertunga,” which is the second movement of the suite, is rather fast and rhythmical. The comas developing within the melody will help to improve the coordination of left and right arms while playing sixteen notes with accents. “Dede Korkut’tan Masal-Fairytale from Dede Korkut” is the middle movement of the suite. This movement should be performed at a mild speed with a soft but resonated sound. Sustained vibrato is preferably used with combinations of finger-wrist and arm vibrato for a fulfilling sound. “Suss Dinle Rüzgarı” (Shhh Listen to the Wind) creates an image of a leaf flying and dropping in the wind. Therefore, the notation will need to be performed with equal string changes toward the melodic direction. Trills must end on time rhythmically and the performer must reach the theme without adding any accents to the approaching melody. “Oy Giresun” is the last movement of the suite. Its irregular rhythmical structure gives the feeling of the regional folkloric dance. Left-hand spiccatos and right-hand staccatos, which are indicated, will improve the technical abilities of the performer within a joyful rhythmical structure. “Tema ve Çesitlemeler” (Theme and Variations) is a solo violin piece that demands many technical and artistic abilities from the performer. Octaves, trills, and sudden dynamic changes within rhythmical surprises are indicated. Therefore, studying and performing this piece requires stable technique varieties with extended concentration. Ekrem Zeki Ün was a valuable violin teacher and composer. He served his country by channeling his knowledge and talent to benefit both his students and future performers of his work. In conclusion, Ekrem Zeki Ün’s solo violin compositions “Yudumluk” and “Theme and Variations” improve both technical and musical skills of the interpreter. In order to introduce these valuable compositions to the young generation of violinists, a literature search was done for this article. The scores of “Yudumluk” and “Theme and Variations” can be found in the library of the Istanbul University State Conservatory.</div>

Suggestions on the Interpretation and Practice of “Yudumluk” and “Tema ve Çeşitlemeler"

Ulaş Rıfat

<div>Muzika-i Hümayun, which was established within the Westernization movement during the Ottoman period as an equivalent to the Mehter Bandosu, was a highly supported institution where the early stages of Western classical music were founded. Although many studies have been conducted on this institution, few have focused on a specific point. Unfortunately, research conducted on instruments in general does not provide sufficient information for musicians, music students, and music lovers who are curious about the histories of instruments. As an educator, I wanted my students to embrace the double bass more; thus, the main focus of this study is to teach them its history as well as help them find traces of their own culture in it. Research has shown that the double bass was first introduced to the Ottoman Empire through concerts given by a Western classical orchestrasent by the French king François I as a gift to Sultan Süleyman II in 1543. A striking point was that the double bass was not yet in its current form and structure; further, an instrument belonging to the viol family, considered the ancestor of the double bass, was also present in this orchestra. The aforementioned orchestra performed three concerts with the permission of Sultan Süleyman II, and all the musicians were later presented with gifts. The exhibition of the two double basses used by the Makam-ı Hilafet Philharmonic Orchestra the music room of the Dolmabahçe Palace has been an important resource for this study. On investigation of the double bassses, no labels or signs showing the name of the workshop and the country in which these instruments were produced were found inside the instruments. The T.B.M.M. inventory numbers were 64/1890 and 64/1891, with the numbers 1890 and 1891indicating the possible purchase dates. The luthier (a string instrument repairman) who was consulted for more detailed information revealed that these double basses had “pear shoulders which was a feature of the ones produced in Germany at the end of the 19th century. Photographs obtained from historical documents showed that aside from the two double basses found in the Dolmabahçe Palace, another one, built by the luthier family Jaquet, and quite different with its broad shoulder, could be registered at the Istanbul University State Conservatory. This study also suggests that the whole bibliography on the history of the double bass within Turkey shouldbe included in our syllabus. Based on the most valuable surveys on the double bass and double bass players, this study is also the first research on the history of the instrument in Turkey. The Makam-ı Hilafet Philharmonic Orchestra which flourished after the development of the Muzika-i Hümayun providedvaluable data on the double bass and double bass players. It was seen that all the players were Levantine musicians of Italian origin. As a result, it can be ssumed that the Italian style of playing was used. It can also be concluded that this style of playing was taught in institutions like the Sıbyan Mektebi, where Levantine teachers used to work. With the great efforts of Donizetti Pasha, who was the founder of Muzika-i Hümayun, the orchestra had reached a professional level and had started to give regular concerts. After his death soon after, he was succeeded by Callisto Guatelli, also known as Guatelli Pasha. Research shows that Guatelli was the first musician with a double bass education to work officially for the Ottoman Empire. Guatelli Pasha had studied with Francesco Hiserich, the author of “Metodo per Double bassso” (Double basss Method) in Parma, Italy. The orchestra, whose repertoire during the establishment of the Mızıka-i Hümayun mostly included military anthems, began performing a more complex repertoire throughout the following years. When the double bass parts of a march from the repertoire of the first years of the Muzika-i Hümayun was compared with those of a piece chosen from the repertoire of Makam-ı Hilafet’s European tour, it was seen from the comparative difficulties that the level of proficiency in playing had increased. Undoubtedly, this increase was made possibleby the facilities provided for Western classical music. Overall, this article, by focusing on the role of the double basss in Western classical music during the Ottoman period double bassbefore the proclamation of the Republicdouble bass sheds light on how the first stepstoward the Republic were taken and which instruments were played by whom in which styles.</div>

Doublebass in the Ottoman Empire Music Institutions

YAZI ÇAĞRISI

Bedirhan

Emine

The concept of power has always been seen as referring to politics, and when power is mentioned, political power usually comes to mind. But in reality, power is everywhere. When we consider Michel Foucault’s paradox that knowledge produces power and power produces knowledge, the ubiquity of power gains even more significance. This study, which aims to investigate the power dynamics inherent in music—an art that is both highly abstract and potent in its influence—proceeds from this hypothesis and includes the composer, who is the creator of music, within its scope. Following document analysis used as the data collection tool, the information obtained is summarized and interpreted using descriptive analysis, one of the qualitative data analysis methods. Before moving on to the element of creative power belonging to the composer, which is one of the internal power dynamics of music, the intrinsic power of music—its inherent authority due to its existence and significance for powers—is explained to contextualize the importance of music for powers. Subsequently, the internal power dynamics and the notion of creative power are discussed. Based on the perspective of ideologues who have studied the philosophy of art and view art and music as tools for class struggle, the importance of art and music for political powers is expressed. In the phenomenon explained with two examples from Turkish music history, the reforms of the II. Mahmud period and the musical revolution of the Republic of Turkey period are discussed to illustrate the importance of music for political powers; in this reciprocal relationship, the significance of the power of music, due to its ability to influence masses, is emphasized.&nbsp;At this point, the concept of patronage comes into play, positioning the composer, the creator of music, in an important role. Political powers enhance their own authority by materially and morally supporting composers. The composer, whom we refer to as holding creative power, is sometimes equated with God in some studies and interpreted as a reflection of God’s creativity in others. With this particular attribute, the composer gains respect in the social order and, through the power paradox he creates, manages to control the other elements of music. For example, the times when a performer feels free are only as much as the composer allows.In this study, which focuses on the notion of power as a phenomenon related to the political economy and sociology of music, the creative power of the composer who produces music is discussed. In addition to the intrinsic power derived from the existence of music, the study addresses the power of the composer, the "creator" of music, and this power is termed creative power. This form of power, due to its ability to influence masses, has the capability to support or undermine political power in matters such as determining or changing culture. When examining the notion of creative power, it is observed that the source of authority is based on artistic creation, and at this point, it is sometimes equated with God in some studies and interpreted as a reflection of God’s creativity in others. Subsequently, it is seen that in order to manifest its power, creative power consolidates and perpetuates its authority by operating a mechanism of consent created through dynamics such as performers, orchestras, conductors, and political power. In both Turkish music and Western music practices, the composer continuously reminds his authority and power by creating the illusion of freedom among his subjects, much like political power does, through the power paradox he creates. Considering this feature, it is concluded that creative power is at the forefront of music; it is the sole instigator of the process that starts and ends with itself, and it perpetually declares that others can only be victorious to the extent that it desires.&nbsp;

Müzikte İktidar Dinamikleri: Yaratıcı İktidar

Tuğrul

Çaykovski’nin Eserlerinde ve Birinci Piyano Konçertosunda Rus Halk Müziği Etkileşimi

Ceyla

This paper explores the significant shift in musical composition and performance brought about by graphic notation in the context of New Music. Unlike traditional notation, which often confines performers to a predetermined path set by the composer, graphic notation int-roduces elements of chance and indeterminacy, thereby offering a unique freedom of expres-sion. This approach aligns with the postmodernist rejection of fixed meanings and embraces a more interactive, multi-layered exploration of musical texts.Rooted in the deconstructive philosophy that fragments the reality upheld by modernism, postmodernism redefines the role of the artist and the work. In music, this manifests through compositions that employ graphic notation, transforming the work into an open text subject to the interpretation and creativity of the performer. This shift is reminiscent of the medieval neume notation system, where the exact pitch and rhythm were not specified, leaving room for interpretative flexibility.The research methodology includes a comprehensive literature review and descriptive analysis. The literature review focuses on previous academic work on the use of graphic notation and postmodern influences in New Music. The descriptive analysis examines specific examples of New Music compositions utilizing graphic notation, detailing how these notations express musical elements and influence the role of the performer.Graphic notation in New Music represents a significant departure from traditional notation by emphasizing performer involvement and interpretative freedom. This method aligns with postmodern aesthetics, where the music’s meaning is not fixed but constantly evolving through performance. Graphic notation allows for a more abstract and original platform, providing performers with a broader interpretative space beyond conventional boundaries. This flexibility is crucial for aleatoric music, characterized by its ever-changing structure influenced by performers and random factors.The study also highlights the historical evolution of notation systems, drawing parallels between medieval practices and contemporary approaches. It emphasizes how graphic nota-tion’s flexibility challenges traditional boundaries, fostering a postmodern aesthetic that values indeterminacy and multiplicity.&nbsp;This paper concludes that graphic notation and aleatoric music significantly contribute to the postmodern transformation of musical composition and performance. By embracing indeter-minacy and performer agency, these practices challenge traditional notions of fixed musical works and highlight the dynamic, evolving nature of music. This represents a rebirth for both the work and the performer, positioning them as co-creators in the musical experience.

Yeni Müzikte Grafik Notasyon: Yapıt ve İcracı İçin Bir Yeniden Doğuş?

H. Özgür

Koray

The opportunities created by industrialization and advancing technology from the twentieth century to the present have also brought about a process of increased efficiency in music. Developments in instrument making have achievedgreat success in researching, developing, producing, and distributing the necessary tools and materials. The interactive relationship between composer and performer has significantly enriched the instrument’s repertoire, leading to the inclusion of many new performance techniques in practice. Some of these techniques are now referred to as standard playing techniques. Standard notation has been expanded with different notations to express new techniques, and this usage varies from composer to composer. Traditional notation was inadequate to express new demands, and it became necessary to design a series of newsymbols and expressions to adapt to newmusical concepts. Traditional compositional understanding was rejected. Instead, the use of ambiguity, improvisation, unpredictable sound, and conditions emerged. All these required a new notation with a radical approach that would completely abandon traditional symbols and expressions. All these expressions greatly benefited from the artists’ imagination and creativity, providing them with the greatest possible freedom of interpretation. Technological advancements that accelerated instrument production have also added many new features to instruments based on the demands of performers and composers. The efforts to obtain different timbres through electronic instruments or electronic devices attached to these instruments have initiated a period where electronics guide music. The double bass began to gain the characteristic of a solo instrument in the 19th century. Composers started to write more original and independent parts for the double bass in their works, giving it more prominence, and the number of solo works for the double bass increased. The musical changes of the 19th century opened the doors to the Contemporary Period as the century drew to a close. The Contemporary Period generally began with the more experimental turn of trends and inclinations present in the Romantic Period, along with the work aimed at these. While some composers preferred to use the traditional harmonies and timbres that had developed throughout the 19th century, others pursued the new and unconventional. These composers began to base their works on elements such as rhythm, texture, tone, and timbre instead of traditional musical elements like harmony and melody by seeking out non-traditional sounds. The changes in musical style, taste, and preferences in the Contemporary Period have also given instruments new identities in terms of performance and practice, with efforts and searches to produce new, different, and unconventional sounds and timbres. These sound production methods and performance styles vary from instrument to instrument and are developed according to the physical capabilities of each instrument. While bass sounds have constituted an indispensable element of music from the past to the present, during this period, the large body of the double bass has also served as percussion, giving rise to new techniques, introducing new aesthetic understandings to music, and adding new expressive techniques to composition. All these developments have led to the emergence of new performance practices and techniques applied to the double bass in unconventional ways. The methods of producing sound from the instrument, obtained by exploring ways outside of traditional performance practices, are referred to as "Extended Performance Techniques" (Extended Instrument Techniques). These new techniques and developments in performance practices naturally change the role of performers as well. Extended performance techniques, characterized by the blending of musical styles and the use of instruments in ways that push the boundaries of their conventional sound characteristics, attribute new characters and features to the instrument and performer beyond their traditional identities. Explaining how these techniques are classified and expressed, and how they are applied in performance practices, will be an important resource for double bass performers and composers who want to gain knowledge in this area.

Kontrbasta Genişletilmiş Tekniklerin İcra Pratikleri Açısından İncelenmesi

Hande

&nbsp;The methods created for instrument education aim to help students gain and develop their psychomotor skills. Due to the systematic structure of the methods, these methods are also widely used in instrument education fields. The data sources of the research consist of the 1st Book of the New Method for the Double Bass method, which is widely used in double bass education. The 1st Chapter of the method was examined in line with the scope of the research. This study is descriptive in nature and the content analysis model, one of the qualitative research methods, was preferred during its execution. The data of the research was obtained by using “the document scanning” technique. In this study, the double bass playing positions and techniques in the section were examined; the content of the method in terms of education, the extent to which it covers the right and left hand techniques required for playing the double bass; the technical and musical features of the exercises and etudes were investigated. The New Method for the Double Bass method written for the double bass, was written by Franz Simandl (1840-1912), born in Bohemia and one of the most influential double bassists in the history of the instrument. Although more than a century has passed since his death, the method is still used as a standard study of technique and hand positions.The New Method for the Double Bass method, Book 1, Chapter 1 contains a total of 155 exercises. The method begins with an introduction to the parts of the double bass. At the beginning of the chapter, there is information about the student’s position while playing the double bass, how to hold the bow, how to pass the bow, tuning the double bass and the signs used for the bow. It was written with the "Semitone" approach, and all positions are explained through this approach. The notes themselves to be used for each position and the enharmonics that may appear on the staff are introduced. In the introduction of the new position, exercises were written separately for each string, where all strings were used in transition, only the notes of the new position were included, and exercises where previous positions were included in the use of the new position. Only eighth, crotched, dotted crotched, minim, dotted minim, semibreve and dotted semibreve note values are included in the exercises. It was written with the aim of practicing only the positions in the left hand. Right hand techniques are not included in this section. No information is given about the dynamics and their application. There is brief information about the 6th Position regarding the flageolet sounds. Other flageolet sounds are not included. There is no metronome use or tempo references. It is seen that 3/4, 4/4, sebare, 3/2 and 6/8 time signatures are used. Only Major Scales are included in the position introductions. There are no arpeggio studies in the book.&nbsp;The etudes and exercises applied to left hand techniques in the first part of the book aim at the basic holding position of the left hand. These etudes ensure the acquisition of intonation skills and their correct application with tonal studies consisting of intermittent and consecutive sounds.Inaddition,thetechnicalinformationrequiredforleft handtechnique, such as the use of positions both alone and by transitioning with each other, is also discussed in detail in the book. The aim of the first part of the book is to ensure that a student who has just started playing the double bass can understand the features of the instrument within a certain logical framework. When evaluated in this direction, the exercises written in the "Half Position" approach do not pose a problem if they are not melodic. The detache bow technique was used until all Major scales and positions were learned. Since the exercises in the book are written in a gradual manner, from simple to complex, it is recommended that the studies be followed in order. In line with the data obtained by analyzing the exercises and etudes in this method, which standardizes most of the basic techniques still used today, it is aimed to ensure that the method is used effectively by instructors. It is thought that in double bass training, accompanied pieces and melodic etudes of equal difficulty should be included along with the achievements in this method. This book, in which position information is given in a very detailed and effective manner, is a valuable resource in the double bass literature.

“New Method for the Double Bass” (Franz Simandl) 1. Kitap, 1.  Bölümünün Detaylı Analizi

Mahmut

The 20th century was a transformative period for music history; advancements in science and technology during this era led to the adoption of innovations in musical expression and aesthetics. Composers developed experimental approaches such as atonality, polytonality, modality, and twelve-tone techniques, pushing beyond the limits of tonal systems. In this process, the field of electronic music expanded, and technological innovations had a significant impact on composers (Hecht, 2022, p. 1-2). Individualism also came to the forefront, musicians rejected the musical rules of the past and engaged in experiments that influenced international artistic movements; large-scale social and political uncertainties deeply affected the music of this period (Say, 1997, p. 467; İlyasoğlu, 1999, p. 202).&nbsp;Igor Stravinsky, recognized as one of the most influential composers of the 20th century, consistently paved the way for innovations throughout his musical career. From 1908 to 1923, he composed works reflecting Russian musical traditions, then transitioned into the Neoclassical period, adding a modern interpretation to the traditions of classical period composers. Notable works from this period include his violin concerto, ’Symphony of Psalms’, and ’Capriccio’. After 1953, he was influenced by Anton Webern’s serial techniques and adapted them techniques into his own compositions (Say, 1997, p. 375). The Neoclassical period holds a significant place as an effort to reinterpret past musical eras within a modern framework, and it has made a rich contribution to the art of music (Say, 1997, p. 483; Kütahyalı, 1981, p. 34; Burde, 1992, p. 392).The influence of the Neoclassical movement in Igor Stravinsky’s compositions became particularly prominent from the early 20th century. Inspired by the works of 18th century Italian composers like Pergolesi, Stravinsky used manuscripts from this period and blended 18th century musical forms with modern ideas thought in his works (Say, 1997, p. 483). This effect is clearly seen in compositions such as ’Octet for Wind Instruments’ composed in 1923 and ’Concerto for Piano and Winds’ which appeared in 1924. In these works, Stravinsky created a bridge between the old and the new, seeking "unity in diversity" and successfully employing this concept in his musical formations (Burde, 1992, p. 388). This process deepened his Neoclassical understanding; his works were shaped more through traditional forms specific to the Baroque period like ’sonata da camera’ and ’sonata da chiesa’, rather than the classical sonata form. Stravinsky’s affinity for to the rondo form of this period determined the structural characteristics of his works and solidified his Neoclassical approach.The foundations of Stravinsky’s Neoclassical style were also reinforced by the counterpoint technique used in his compositions. This approach is particularly evident in works such as ’Symphony for Wind Instruments’, ’Octet for Wind Instruments’, ’Concerto for Piano’, and ’Sonata for Piano’. In these works, Stravinsky engaged in a new creative process using pure counterpoint, not merely to enrich the music, but to seek clarity and precision, turning back to Bach in his compositions (Burde, 1992, p. 391). By adopting this approach, Stravinsky initiated a movement in the 1920s that was joined by other European musicians. Together, they merged the musical elements of the Renaissance and Baroque periods with modern musical thought in order to create a Neoclassical aesthetic (Mimaroğlu, 1995, p. 146). This demonstrates how Stravinsky’s compositions exhibit a stylistically rich and complex structure, integrating both traditional and unexpected elements.In this research, the first movement of Igor Stravinsky’s neoclassical work "Concerto for Piano and Winds" was analyzed both musically and structurally. The study aimed to thoroughly examine the musical structure of the piece, highlighting Stravinsky’s contributions to the concerto genre and the work’s place within his neoclassical approach. The significance of the research lies in illuminating the evolution of Stravinsky’s musical language and the characteristic features of the neoclassical period, thereby offering innovative perspectives to the music literature. Additionally, this study demonstrates how the use of the piano in the work transcends the typical soloist role, establishing a rich dialogue with the orchestra.&nbsp;Some qualitative research methods were used in this study, including document analysis techniques. Books, articles, theses, and other publications related to Igor Stravinsky and the piece were reviewed, and the score along with several audio recordings were analyzed to identify its structural features and prominent musical elements. Using document analysis techniques, books, articles, theses, and other publications related to Igor Stravinsky and the work were reviewed, and the score and audio recordings of the work were analyzed to identify its structural features and prominent musical elements. The findings reveal Stravinsky’s subjective approaches to harmonic structures and musical materials, as well as the innovative perspectives he brought to the concerto genre with this work. Additionally, it was determined that the work deviates from the classical concerto form by integrating elements of the Baroque concerto grosso, such as the interplay between the soloist and the ensemble. Specifically, Stravinsky introduces innovations like his subjective approach to harmonic structures, the use of polyrhythms, and distinctive orchestration techniques that blend the piano and wind instruments uniquely. These elements not only reflect Baroque influences but also contribute to the piece’s distinctive neoclassical character, expanding the concerto genre beyond its traditional boundaries.&nbsp;

Igor Stravinsky’nin “Concerto for Piano and Winds” Adlı Eserinin Birinci Bölümünün İncelenmesi

Barış

This study investigates the new guitar techniques developed in the 20th century period through analyses of works. In the content of the study, it is presented with the artistic conceptions of the 20th century period and examples of the works of the composers of the period. The 20th century period is divided into two as modernism and postmodernism. In the 20th century period, in which many movements took place, innovative approaches emerged in many fields of art. Expanded instrument techniques in the field of music are among these innovations. With the Expressionism movement and then postmodernism, it is seen that extended instrument techniques and contemporary/graphic notations are used to create special timbres in the works. Composers, especially in the second half of the 20th century, construct their works with innovative, unusual (motifs) and avant-garde elements. In this study, while analysing the use of extended techniques on the guitar, the composers of 20th century music, Karlheinz Stockhausen, György Ligeti, Iannis Xenakis, Krzysztof Penderecki’s works are handled with extended instrument techniques and contemporary / graphic notation. In the works of K. Stockhausen "Gruppen" for 3 orchestras, G. Ligeti "Atmospheres", I. Xenakis "Metastaseis", K. Penderecki "Threnody for the Victims of Hiroshima", it is observed that the use of extended instrument techniques, contemporary / graphic notation and avant-garde elements.Looking at the development of guitar music, Francisco Tarrega made significant achievements in the technical development of the guitar in the 19th century. In the 19th century, he made significant contributions to right and left technique. Tarrega made many studies on guitar technique and had an important role in the development of techniques such as “Apoyando”, “Left hand legato”, “Tirando”, “Bare”, “Tremolo”, “Harmonic”, “Pizzicato”, etc., which are expressed as “traditional guitar technique”. In the 20th century, guitarists such as Agustin Barrios and Andres Segovia had an influence on the first half of the development of guitar music. In the first half of this period, there appear traces of the Romantic period. Also, thanks to Segovia, composers of the Spanish ecole, who were not guitarist composers, composed works in the field of guitar. In the second half of the 20th century, composers included special effects and used extended techniques. In 20th century guitar music, extended instrument techniques are used in the works of composers such as Leo Brouwer, Alberto Ginastera, Francis Kleynjans, Roland Dyens, Paulo Bellinati, Nikita Kushkin. In this period, extended guitar techniques such as “Pulp”, “Unghia”, “Tapping”, “T.R.(non-rezonans)”, “Bend”, “Tambour”, “Portamento”, “Bartok Pizzicatosu”, “Slap”, “Sul tasto”, “Sul ponticello” developed. While composers use extended instrument techniques to create special effects, they also fictionalise the music with unusual and avant-garde elements. In this study, extended guitar techniques are analysed in Roland Dyens "Libra Sonatine" "A Night in Tunisia", "Fantasie", Paulo Bellinati "Jongo", Leo Brouwer "La Espiral Eterna", Alberto Ginastera "Sonata".&nbsp;It is observed that "Libra Sonatina" has a modal structure, "Sul tasto, Sul ponticello, Dedillo, Tambour, Rasgueado, Bend, Slap" techniques are used, and detailed explanations are made for the special effects in the piece. When the final sentences of the sections of the piece are analysed, it is seen that the final sentences of the first and second sections end with fading and special effects are used, while in the final sentence of the last section, fully extended techniques are used. In "A Night in Tunisia", it is observed that "Tambour, Pulp, Slap, Tapping" techniques are used, while in "Fantasia" techniques such as "Tambour" are used. When Dyens’ writing style is analysed, it is determined that he frequently used extended techniques in his works that he wrote and arranged. "Tambour" (Percussion) technique is used in Bellinati’s "Jongo". In Brouwer’s "La Espiral Eterna", a detailed explanation is included for special effects, it is a work equipped with avant-garde elements; it is observed that special effects, Pizzicato, Tapping techniques and contemporary/graphic notation are used. In Ginestara "Sonata", special effects such as "Whistle", Rasgueado technique and Contemporary/Graphic Notation are used. In Kushkin "Usher Valse", "Bartok Pizzicato", "Bend", "Vibrato" techniques are used. In Kleynjans "A L’aube du Derneir Jour", it is seen that special effects are used in the first part, special effects are used in the second part (bell sound), "Tambour, Slap, Bend" techniques are used. The piece ends with special effects. It was observed that Kleynjans and Brouwer’s pieces use special effects more than the other pieces analysed, and the use of contemporary/graphic notation is at the forefront.&nbsp;

20. Yüzyıl Genişletilmiş Gitar Tekniklerinin Seçilmiş Eserler Üzerinde İncelenmesi

İlker

Enstrüman Çalmanın Genç Yetişkinlerin Saldırganlık ve Strese Yatkınlık Düzeyleri Üzerindeki Etkisi

Ezgi

&nbsp;In music, the 20th century is an era of unprecedented pluralism and diversity. Until the 20th century, composers could in one way or another be categorized within a musical period or movement, whereas contemporary composers, and often even their individual works, create or attempt to create a musical world of their own. The reckoning and breaking ties with the past has never been as strongly as in this century. The 20th century, an era of diversity in every musical element such as composition, style, form, and genre etc., also exhibits great variety in instrumental playing techniques. This diversity is clearly manifested in string instrument techniques, particularly in violin playing techniques. In contemporary music, traditional violin techniques, such as trill, tremolo, vibrato, and pizzicato etc., have been reshaped and diversified. These techniques have shed their former secondary roles, functioning almost as accessories, and have been transformed into primary musical material. At the same time, numerous techniques that were not used before the contemporary period (such as white noise, scratch tone, electronics etc.) have been introduced into the violin repertoire during this era. One of Finland’s most important gifts to contemporary music, Kaija Saariaho was born in Helsinki in 1952 and died in Paris in 2023 after forty-one years of musical creation and research in Paris. Interested in music and composition from elementary school, she enrolled in the Sibelius Academy of Music in 1976 and began serious composition studies under Paavo Heininen. During her student years at the Academy, she formed a group with fellow students such as Magnus Lindberg and Esa-Pekka Salonen, striving for the development of contemporary music, free from the constraints of traditional music. From the late 1970s onwards, she became part of a larger and more influential new music movement by participating in the Darmstadt International Summer Courses for New Music. During this period, she continued her studies at the Freiburg University of Music to work with Brian Ferneyhough who taught at the Darmstadt Summer Courses, and Klaus Huber. In 1982, she attended the courses at IRCAM (Institut de Recherche et Coordination Acoustique/Musique, Institute for Research and Coordination of Acoustics/Music), one of the central institutions for 20th-century computer music and electro-acoustical music experimentation and research, and then settled in Paris to continue her work mainly at IRCAM where she lived for the rest of her life. In her journey from the Sibelius Academy to the contemporary music society called Korvat Auki!, featuring Magnus Lindberg and Esa-Pekka Salonen, to the Darmstadt International Summer Courses for New Music — one of the most important movements in contemporary music in the 20th century — and to IRCAM, where the pulse of contemporary music, especially electronic music, has been beating since 1977, Kaija Saariaho’s works are a reliable field of research both in terms of understanding the different dimensions of contemporary music in general and, in particular, in terms of understanding the process that violin playing techniques went through in music after 1950 and in which ways these techniques were used by contemporary composers. 	In this study, Kaija Saariaho’s violin works have been analyzed through the lens of new/extended violin techniques, and the new violin techniques used in the works have been shown by quoting selected passages. The analysis has identified that the composer utilizes a wide palette of new violin techniques such as tremolo, glissando, sul ponticello, sul tasto, bariolage, harmonics, microtones, scratch tone etc. from the first measure to the last measure of a large-scale work such as the violin concerto titled Graal Théâtre. However, this variety of extended techniques is not limited to his large-scale works. For example, in a solo violin piece such as Nocturne (written in parallel to the violin concerto), which lasts about 6 minutes, the new technical palette used in Graal Théâtre is enriched with techniques such as left hand pizzicato and harmonic trill. The simultaneous use of advanced techniques such as left-hand pizzicato, harmonic trill, glissando, sul ponticello, scratch tone at some points in works such as Calices (2008) and Bon Vent (2018) is a concrete indication that the composer does not use the new techniques as a display of virtuosity or as decorative elements of secondary importance, but sees and employs them as primary means of expression and essential musical components. In addition, the use of electronics in her works ... de la Terre (1991) and Frises (2011) highlights Kaija Saariaho’s mastery of computer music and electronic music, which have been significant areas of study and research in post-1950 music, and it has been determined that these works are primary sources for tracing the reflection of these 20th-century techniques in the violin repertoire.

Kaija Saariaho’nun Keman Eserleri Işığında Çağdaş Keman Tekniklerinin İncelenmesi

Göknil

In the process of music from the earliest ages to the present day, we see many innovations and changes from note writing to the harmony system, from the change of instrument forms to the development of instrument playing techniques. Along with the changing civilization, art has become a mirror of all these developments and changes in proportion to the development of social consciousness and culture. From the Middle Ages to the Renaissance, from the Baroque Age to the Classical Age and until the 20th century, wars, political history, economic revolutions, popular uprisings, the industrial revolution, new inventions, developments in the world of medicine, these changes, along with the wars in the world, political history, economic revolutions, popular uprisings, the industrial revolution, new inventions, developments in the world of medicine, have created the need for renewal and opposing currents in science, philosophy, literature, music and all different disciplines of art. When we look at the entire history of humanity, the concepts and values that enable a society to live in a certain order weaken over time and need change and renewal. At this point, it becomes inevitable for societies to turn to new ideas and new pursuits. In the second half of the eighteenth century, we can see how this changed as a result of great and rapid changes. In the previous century, the understanding of art was completely dominated by the palace, but towards the end of the century, as a result of the movement in society, it is seen that it slowly but surely began to change. The transition of art from one class to another, the replacement of ornaments in painting and music with thought and expression is the beginning of a great change. This search for new ideas and new concepts is the harbinger of the “Age of Enlightenment”. Again, the popular uprising that erupted at the end of the century and started with the French Revolution is the beginning of a movement to spread a pioneering thought, with the realization that a person’s mind and thoughts should not be ruled by an authority other than himself. This is the desire to add value to one’s life with one’s intellect and cultural structure, the desire for a new beginning that emerged with a kind of enlightenment impulse, and a view completely opposed to the system of thinking and acting with the ideas of an authority. It is an effort to take art and the cultural values of society out of the confines of the palace and put them within the reach of the people, the middle class. The reason why we are talking about this great 19th century movement is that we will also talk about the innovations in music and works of Ludwig van Beethoven, who is considered an important musical revolutionary of this era. While talking about his works, especially without ignoring the political and social conditions of his time. Because the mastery of Beethoven’s works and the innovations he brought to music led to the emergence of a musical understanding beyond his time. In addition to introducing innovations to music as a form in his own time, the fact that he made a name for himself as a pianist with an advanced playing technique brought the symphony form, as composers call it, to an unattainable place in the generations that followed him. His serious interest in philosophy and literature, and his friendships with important poets and writers of his time enabled him to incorporate his own worldview into his music. For this reason, he was a musician who emphasized that morality and virtue, unity and solidarity are the most valuable concepts that humanity should possess, and drew attention to the richness of nature and love, thought and knowledge. In addition to the innovations he brought to some forms in music, the fact that he was open to innovations in other European countries, that he researched and took them into consideration, were among the main reasons that carried his compositional skills forward. The first reason why the German engineer and inventor Johann Nepomuk Mälzel and Ludwig van Beethoven, who was the owner of many inventions during his lifetime and also pursued other inventions and contributed greatly to their development, came together in all this mobility in Europe was a musical partnership. This partnership caused these two names not to meet for a long time as a result of a great controversy, but in the following years, when Beethoven was close to losing his hearing completely, he was reunited with the help of Mälzel. With this second meeting, we see a process of great importance in music history. If we divide this process into certain headings; we can examine how political changes and wars throughout the century were seen by an artist, how much they transferred them to their works, and the dynamics that inspired inventors like Mälzel and enabled them to transform their inventions into art. From the time when Mälzel and Beethoven came together due to a big concert and the accompanying performances, to the time when Beethoven decided to use metronome markings in his works definitively, to the time when Mälzel designed an invention that could have a small effect on the aural deprivation of this composer whom he respected greatly, and before that, the reasons why their professional relationship was shaken after a project in which these two important names took part together are the topics that will be gathered under the headings.

Ludwig Van Beethoven ve Johann Nepomuk Mälzel’in Metronom Üzerinden İlişkisi

Seyhan

Before performing a work, it is very important to have the necessary information about the work, to know the composer and the composer’s musical language as well as the work. Knowing the period of the work, the playing styles and styles of that period increases the capacity to interpret the work. For example, in order to perform a work from the Romantic period, knowing the musical style characteristics of the Romantic period will be a pioneer in interpreting the work according to a Romantic school of music. Similarly, in order to interpret a work with characteristics of the impressionistic period, knowing the style of the music of the impressionistic period shows that the work should be interpreted according to the style characteristics of the period. Enescu, the composer under consideration, can also write a work that exhibits characteristics of a different period other than the period in which he lived according to his compositional creation. There is no obligation for a composer to write a work belonging to the period in which he lived. In short, just because he lived in the romantic period, he may not write a composition with the characteristics of the romantic period. In this case, it is very important to know the composer and his musical language in order to interpret the work properly. G.Enescu, the Romanian composer discussed in this study, is a versatile composer who has his own musical language and can compose in different styles. However, his flute and piano piece Cantabile et presto was written on a specific commission and has elements of French impressionist music. The reason for this can be said to be the influence of his masters Faure and Massenet, from whom he learned French music. For this reason, before introducing the work, the biography of the composer, with whom he worked and the characteristics of impressionist music were mentioned at the beginning of the study. The work was written in 1904 as an examination piece for flute students of the National Conservatory of Paris and revised in 1921 and 1940. The piece, which has an important place in the flute repertoire and competitions, was dedicated to P. Taffanel and the difficulty level was set as six out of ten. The work, which occasionally has a brief romantic sparkle in it, can be described as a French period piece with a high level of difficulty, showing the technical characteristics of the flute, especially based on the use of color (www.tomplay.com/flute-sheetmusic/enescu/cantabile- et-presto-flute-score). Published by Enoch; International Music Company, Bulgarian State; Ashdown; Kalmus; Southern Music Company; G. Schirmer, the playing time is 5’45" minutes. The mood of the piece can be characterized by the contrast between the two sections. This contrast in mood between the two sections shapes the overall dynamic and emotional structure of the piece. This is a work that requires control over the flute, with explanations of tone colors, dynamics, articulation, intonation and certain issues that reveal musicality. In this study, the meaning of the different tone colors that need to be explored on the flute is explained and examples of exercises to be done for this are given. The defining characteristics of the piece are explained and how to play the phrases in the piece that require rubato in accordance with the rubato character. The general form and structure of the work due to the fact that it is a Morse Impose work were explained, information was given about the school it belongs to and impressionist flute music was mentioned. In the second part of the study, important points are explained with examples taken from the notation in order to contribute to the interpretation of the work. All explanations deemed necessary for the performance of the piece in the French flute music school in accordance with the style characteristics of the period it reflects are supported by literature sources. Cantabile et Presto is one of the most important works of the flute repertoire, displaying the technical skills and expressive power of the performer in one breath, despite being a two- movement, short work. The aim of the study is to be a useful and qualified source for the performers, students and teachers who want to benefit from this information.&nbsp;

George Enescu’nun Hayatı, Müzik Dili, Cantabile et Presto Eserinin Belirleyici Özellikleri

Serkan

Frank Martin’in Quatre Pieces Breves İsimli Eserinin Analizi ve Performans Önerileri

Sonat

Batı Müziğinden Seçilmiş Eserlerde Altın Oranın Grafik Analizi

Cihan

Ozan

Yavuz

Müzik Performansında Ritmik Karmaşıklık Ölçümleri Üzerine Karşılaştırmalı Bir Çalışma

Elif

Arda

Muammer Sun holds an important place in Contemporary Turkish Music as one of the third-generation composers of Turkish Republic. Born in 1932, Sun developed an early interest in music and worked to refine his craft. He is particularly known for his works that aim to build a bridge between traditional Turkish music and Western music. His piece titled Three Pieces for Violin and Piano is among his most frequently performed chamber music works. This piece is often included in concert programs both in Turkey and internationally. Additionally, it is one of the most recorded chamber music works by Turkish composers, which reflects its popularity and valueSun composed Three Pieces for Violin and Piano in 1955, during his second year as a student, while studying harmony and counterpoint with the renowned Turkish composer Ahmed Adnan Saygun. Six years after composing it, the piece was published by the State Conservatory Press, and throughout his life, Sun never felt the need to change a single note. This fact suggests his satisfaction and contentment with the work.In 1972, Sun adapted this piece for orchestra and added a section for solo violin titled Taksim. This new work became known as Four Pieces for Violin and Orchestra or Suite for Violin and Orchestra.&nbsp;The first performance of Three Pieces for Violin and Piano was given by the composer and his friend Ersan Alper at the conservatory concert hall while he was still a student. The piece has since been recorded on compact disc by Suna Kan-Ferhunde Erkin, Jülide Yalçın Dittgen-Yeşim Gökalp, Atilla Aldemir-Şevki Karayel, and Sevil Ulucan-Gülnare Şekinskaya.The performance of a piece often requires detailed preliminary research in various areas. First, the work to be performed should be analyzed formally and harmonically. This process continues by reviewing the details of the printed or, if available, manuscript version of the piece. When pianistic studies begin, previous recordings can guide the performer and play an important role in shaping the performance.Harmonically, this piece can be said to be composed using Kemal İlerici’s “Quartal Harmony” system. Sun, who instinctively used quartal harmonies in his earlier compositions, was introduced to Kemal İlerici by his chamber music teacher Orhan Barlas. He then learned this system from İlerici while continuing his composition education at the State Conservatory.&nbsp;When Sun composed this piece, he was studying harmony and counterpoint with Ahmed Adnan Saygun but lacked experience in form and musical analysis. Despite this, the piece displays a mature structure in terms of form. Formally, Türkü consists of a theme and three variations following an introduction. Each variation is connected by a bridge. Şarkı is composed in a song form frequently used in traditional Turkish music (A B C B). Sections A and B are in the Segah maqam, while section C is in Eviç maqam. Köçekçe follows a compound A B A form and is in the Karcığar maqam, with bridges between sections.Upon examining the score published by the State Conservatory, some typos are observed. Dynamics, pedal markings, notes, rests, accidentals, legato ties, and octave indications, which appear to be missing, misplaced, or incorrect, are presented with supporting evidence.In terms of piano performance, suggestions have been made to make it easier for pianists to execute certain passages or to better convey what is written in the score. Recommendations, such as having the other hand play notes intended for one hand, aim to reduce the risk of errors in large leaps or to achieve the desired note values. While making these adjustments, care was taken to ensure that the musical lines remained intact and that the music was not negatively impacted. Additionally, a few fingerings and pedal indications were proposed.The most important clue regarding the performance of this piece is an anecdote in which Muammer Sun, listening to a rehearsal by Fethi Kopuz and Mithat Fenmen before a concert, expressed that he wanted the piece to be played not like Chopin, but more roughly, with vigor and vitality.&nbsp;The composer specified the tempo of each piece with a metronome marking and clearly indicated tempo changes within the pieces. When comparing the recordings of the piece with the tempo markings specified by the composer, it is concluded that the recording by Suna Kan and Ferhunde Erkin is the closest to the original indications.

Muammer Sun’un “Keman ve Piyano İçin Üç Parça” Başlıklı Eserinin Piyano İcra Pratiği Açısından Değerlendirilmesi

Bir Kavram, Çoklu Uygulamalar: Notasyon Kullanımı Üzerine Bir Ornek Uygulama  Calısması: Dark Bright

Ruba

Ludwig van Beethoven stands out as one of the most influential figures in music history, transforming the musical understanding of the European aristocracy through a serious artist identity. He laid the foundations of modern piano music by turning the piano into an instrument for expressing deep emotions. His creativity transcends existing norms, providing a new freedom of expression by challenging the rigid rules of previous musical periods. By moving away from the dynamics of the traditional harpsichord school, Beethoven developed a style that offered emotional richness and dynamism on the piano. Baroque influences are evident in many of Beethoven’s works, particularly in his use of fugue. His innovative structure in sonata form and complex musical language have made him a unique figure in music history. Beethoven utilized fugue not just as a standalone form but as a tool that enriches sonata structure, thereby enhancing the depth of music. Beethoven’s music pushed the boundaries of emotional expression as well as technical execution, laying the groundwork for romantic music. By adapting orchestral characteristics to the piano, he developed rich dynamics and profound means of expression. This innovative approach has inspired both his contemporaries and future generations. Beethoven’s thematic development methods have influenced many significant composers, including Berlioz, Liszt, Wagner, Brahms, Mahler, and Schönberg. The emotional and intellectual climate brought about by the French and American revolutions greatly affected Beethoven’s music. His works emphasize themes of universal brotherhood and humanity, embodying the essence of romantic music. Notable examples include the “Eroica” and the “Ninth Symphony,” with Eroica transcending classical forms and the Ninth Symphony encapsulating deep emotional expression and epic narrative in music. Beethoven’s compositions carry universal themes and establish a profound relationship between musical events and concepts. His music merges classical and Romantic elements, serving as a rich source of inspiration for future generations. By offering wide pitch ranges and technical innovations, he enriched the expressive possibilities of the piano. Moreover, Beethoven’s contributions to the piano played a crucial role in the evolution of the instrument, making it a technically rich means of expression. He pushed the piano’s potential to its limits, providing unprecedented sonority and dynamic richness. In particular, through his sonatas and piano concertos, he explored the piano’s technical and emotional depths, expanding the boundaries of this instrument. The piano, under Beethoven’s influence, transformed from a mere instrument into a medium for emotional expression. This transformation offered a depth and variety previously unexperienced in piano music, opening new ways for subsequent generations. In Beethoven’s works, technical elements have become tools serving expression rather than objectives in themselves. This perspective ensures that listeners focus primarily on the deep and intense expression of Beethoven’s music. This view reveals that Beethoven’s music provides not only technical mastery but also a powerful emotional experience. Listeners are affected not just by Beethoven’s technical skill but by the profound and intense narratives he presents from the very first notes (Eren, 2014). In conclusion, Beethoven is regarded as one of the greatest figures in music history. His works present a rich combination of classical and romantic elements, serving as an inspiring resource for future generations. Beethoven’s music, blended with universal themes and abstract thoughts, creates an important legacy that reflects the emotional and intellectual depth of music. In this context, Beethoven’s musical understanding and creativity hold critical importance, both in his own time and in subsequent periods. His works should be considered not just as compositions, but as contributions that changed the course of music history. In this respect, Beethoven’s music offers a universal language capable of influencing both the past and the future.&nbsp;

Zamanın Ötesinde Bir Besteci: Ludwig van Beethoven’in Evrensel Müzik Anlayışı ve Piyano Sonatları

Emre

Sıtkı

&nbsp;The arabesque music debates that have been going on for nearly half a century in Turkey are still valid today. In order to determine the starting point of this music, researchers focus on the sociological and political fractures in Turkish society in the historical process. The change and transformation movements that took place in the last century of the OttomanEmpireandarecalledtheTanzimatperiodareevaluatedinthiscontext.DuringtheTanzimatperiod,traditional Turkish music wasrelegated to the background, and the music supported by the palace was Western music. This process accelerated the introduction of traditional Turkish classical music to foreign elements. Arabic music, which rose in the last period of the Ottoman Empire, can be seen as one of these foreign elements. Haydar Tatlıyay (1890-1963) is an important figure in twentieth-century Turkish classical music who stands out as both a violin performer and a composer. In addition to many corporate and private musical works in Turkey, considering the close friendships he established with Arab countries and musicians, the names he sometimes gave to his works that evoke Arab culture, and his personal musical tastes towards Arabic music, he is one of Turkey’s most popular musicians of the recent period. It is not a surprise that the name Tatlıyay comes to the fore in arabesque music discussions, which is one of the topics of research and discussion. Discussions about arabesque music continue around the impact of music on the individual, and therefore on society, and the names that played a role in the spread of this genre in Turkey. This article focuses on the reasons why violin player and composer Haydar Tatlıyay is considered among the pioneers of arabesque music by many researchers, and aims to make a detailed evaluation beyond the brief information given about these reasons. In his article for the Republic Period Turkey Encyclopedia, Oransay (1983, p. 1507) stated that the development of Arabic music started in the 1850s and spread especially in cities such as Cairo, Damascus and Aleppo. Oransay, who defines Arabic style performance as the repetition of very short musical expressions one after the other and the movement of the human voice with the instruments, particularly drew attention to the performances made from the upper eight. He underlines that Tatlıyay is an important musician in the spread of this style, which he defines as Arabic style. Tatlıyay, who took part in four films throughout his career, is his peak project in this field, the 1959 film "Ben Bir Günahsızım". In addition to being the musical director of the film, the artist also composed special musical pieces for the film and took part as a violin performer. In the discussions, the role of the cinema industry in the spread of arabesque was emphasized. This emphasis was effective in determining the focus of the article, and also made it necessary to focus on the relationship between melodramas and arabesque films, which were popular in the years when the examined film was released. In the movie "Ben Bir Günahsızım", which can be seen as Tatlıyay’s top project in the cinema industry, the answers to the questions "What are the indicators of the arabesque elements in Tatlıyay’s musical identity and how were they established?" were deemed important in terms of identifying the arabesque elements in the composer’s musical identity. In the film, the relationship between scenes and the music accompanying them are the scenes was especially emphasized, the representation of lifestyles and social segments through music are examined, and Haydar Tatlıyay’s role in the process of constructing arabesque elements is focused on. The context is placed at the center of the qualitative evaluations based on the structural analysis performed. The problem of the research is whether the structural arabesque indicators in the artist’s performance can be determined through a certain performance. In this study, it is aimed to provide explanations to the problem, which is of particular interest to disciplines such as sociology and social psychology, within the framework of the field of recent music history. The qualitative research method was preferred as a method in this study because it enables the parameters affecting the phenomenon to be considered together. In line with the purpose of the research, it was necessary to exhibit an interpretive perspective in the examination of the phenomenon that took place in a geography and history where the indicators of arabesque music were not yet definite. The research sample was selected purposefully. The document used in the analysis of arabesque elements, the film "Ben Bir Günahsızım", is the only film in which Tatlıyay took part as a music designer and performer after his musical identity was definite. The only sample used in the study is the sample type that can be expressed as atypical, sparse, special or unique. The role of the cinema sector has been emphasized in the discussions on the spread of arabesque. This emphasis was effective in determining the focus of the article, and it made it necessary to examine the relationship between melodramas and arabesque films, which were popular in the years when the film was released. In the content analysis, the relationship between the film scenes and the music accompanying the scenes was emphasized, the musical representation of the lifestyles and social segments reflected in the film was interpreted, and a structural analysis was carried out by focusing on Haydar Tatlıyay’s role in the construction of arabesque indicators.

Türkiye’de Arabesk Müzik Tartışmalarında Haydar Tatlıyay ve “Ben Bir  Günahsızım” Filmi

Buket

Semih

&nbsp;The digital revolution embraced by the developing technology and art world is causing an interesting and complex interaction betweenmusicandartificialintelligence.Thisstudyaimstoexploretheevolutionofartificialintelligenceand music and the deep interaction between these two disciplines. The study examines the defining of artificial intelligence, the turning points behind the introduction of computers to music, the effects of this evolution on the world of music, and the relationship between artificial intelligence and its special context with music. It also provides a perspective on the interaction between music and artificial intelligence today by examining how technological innovations and algorithms that emerged with electronic music have transformed the music creation processes. It particularly examines artificial intelligence applications related to electronic music, examines the use of these applications in music creation, and their effects on the music industry and music culture.&nbsp;The aim of this study is to understand the effects of artificial intelligence, especially on electronic music practice, and to predict its potential future effects by examining the historical development in the field of artificial intelligence and music and the relationship between these two disciplines in detail.&nbsp;The importance of the research is to understand how this field plays a critical role in the evolution of art and cultural transformation by revealing its profound effects on present and future musical creation, performance and perception.The research assumes that technological progress shapes music, electronic music is identified with artificial intelli gence, and artificial intelligence has innovative potential in music creation.&nbsp;This study is based on the survey model. Oneoftheprominentfeatures of survey studies is that they have high validity due to the fact that the data of such studies are collected from various sources and detailed information is provided on the subject. Another important characteristic is that the data is obtained from many people. In this research process, the aforementioned information was obtained from journal articles and various online sources and artificial intelligence applications used for music were reached. The universe of the research consists of artificial intelligence applications used for music, and the sample consists of applications called Aıva, Magenta Studio (V1.0), Wavtool, Boomy, Orb Producer Suite 3. In the study, the relationship between artificial intelligence and electronic music was addressed, Aıva and Suno programs were used and the works called “Elekronik Rüzgârlar, Ezgilerin Zaman Yolcusu: Dijital Anadolu Rüyası and Mystical Sands” were created. The works created also constitute the limitations of our study.&nbsp;In this study, content analysis methods were used. Content Analysis; the methodology of the Aiva and Suno applica tions has beenconveyedbysystematically analyzing written and spokenmaterials. Thepotential of artificial intelligence in music production was examined through advanced technology applications such as Suno and Aiva. As a result, the contributions of artificial intelligence to artistic production open new horizons for both musicians and listeners by ensuring the integration of creativity with technical processes.&nbsp;In terms of the intersection of AI and music, our research has detailed the innovative approaches that AI provides in music production. AI makes significant contributions to music composition and production through complex data analysis and deep learning techniques. Applications such as Suno and Aiva have demonstrated the ability of AI to analyze and reproduce different musical genres. These technologies are opening up new perspectives on both the creative and technical aspects of music and are playing a decisive role in its evolution.As a result, the contributions of AI to artistic production open new horizons for musicians, listeners and the music industry by integrating creativity with technical processes. AI applications in the field of music reduce the service burden on the field, especially for composers in the music industry, and help. However, it should not be overlooked that AI systems bring together melodies that are completely present in the system, independent of emotion, in terms of creating music. Of course, it is known that music created by humans is a pattern sequence created by motifs accumulated in the mind of humans. From this perspective, humans are also beings that carry an AI element. The most important element that distinguishes humans from “Artificial” Intelligence is the “emotion” element. Therefore, music productions required for advertisements, films, series, promotions, etc. can make the use of AI suitable for the sectors that make up the music industry. However, the fact that the human factor is always undeniable in creating a musical work should not be ignored. From this perspective, it is thought that AI brings positive contributions from an industrial perspective, but will not bring the same positive contributions from the concept of art.

Yapay Zekâ Uygulamalarının Müzik ve Müzik Endüstrisi Üzerine Etkileri

Stacy

Caz Yorumunda Klasik Müzik

Uğur

This research is structured on the following primary problem: Howcanthecharacteristics of the perceptual dimension created by acoustic phenomena in La Monte Young’s sine wave installations be explained? The hypothetical answers are as follows: Young focused on the acoustic beats, combination tones and the standing waves. The sine waves, unlike the other composite waveforms, have a single frequency component, so when they are heard loudly and continuously, they allow for more distinct acoustic beats and combination tones to emerge. At the same time, they create standing wave patterns in an enclosed space. A participant can feel different standing wave patterns as him/her explore the interior. In this way the participant discovers the connections that emerge beyond those in the foreground in the listening experience. The aim of this research is to determine the characteristics of the perceptual dimension created by Young with acoustic phenomena in his sine wave installations and their effects on the listening experience. Qualitative research was conducted, and after a literature review, quantitative data on the acoustic phenomena in the installations were obtained with simple mathematical operations. The notes taken during a fieldwork at the Dream House, in 2022 were also used to study acoustic phenomena and their role in the experience of the participant.As a result, first, it was understood that the composer reduced his tools to only sine waves. It was seen that the three basic requirements for creating acoustic phenomena in installations were high sound level, continuity and sine waves. Both the reduction of the number of sounds and their reduction to their purest structural components are the results of the desire to prioritize acoustic phenomena in composition. This research has thus drawn attention to a new source of the minimalist reduction. Young’s reduction of sounds to the sine waves, to allow a dimension of perception to be experienced through acoustic phenomena, is suggested as a new source of the minimalist reduction. Thus, a new research and discussion plane for minimalism in music opens. The fact that the acoustic phenomena cannot be easily distinguished at first sight, but are discovered through focus or bodily movements, as in the standing wave experience, is the way to open the doors of perception. This approach has dissolved the distinction between the work and the listener, taking the individual out of a passive position and rising him/her to an active participant role in structuring the experience. In the experience of the participant, rhythms, new sounds and melodies are waiting to be discovered. While acoustic beats create beats and rhythm in this dimension of perception, combination tones provide infinite sound possibilities. In particular, the fact that the prime number harmonics that emerge as combination tones are not included among the waves of installations has shown that the experience of the participant is richer and more diverse than the waves obtained by the sound devices. During the experience, when the participant moves into this dimension of perception, can hear beats, rhythmic patterns and new sounds. At the same time, the participant can create their own music as he/she enters standing wave fields or repeats certain movements. Thus, this dimension of perception encouraged by the installations completely changes the traditional listening style and the role of the listener.This research proposes the analysis of the acoustic phenomena as a new context for the study of minimalist music analysis. It is believed that this article will be inspiring for future research both by suggesting a desire to transcend the limits of perception through acoustic phenomena as a source of minimalist reduction and by drawing attention to the new analytical context.

Akustik Yoluyla Algı Kapılarını Açmak: La Monte Young’ın Sinüs Dalga  Enstalasyonları

Sercan

Reharmonization is a creative and technical process that allows a piece to take on a new musical identity by rearranging its existing harmonic structure. This concept is applied across various genres, from international art music to jazz, ethnic music, and popular music. Reharmonization not only alters the harmonic structure of a melody but also plays a crucial role in fostering creativity in composition and improvisation. The technique provides an alternative perspective to the melodic and harmonic structure of a piece, giving it a unique identity within the creative process of music. Through reharmonization, the musical texture of a melody may be transformed, evoking emotional experiences related to the spiritual qualities of the piece for listeners. Reharmonization impacts not only the melodic and harmonic structure of a piece but also enriches its musical expression from both the performer’s and listener’s perspectives. It offers a wide range of interpretive freedom for performers, especially in improvisational contexts, while promoting the dynamic preservation of musical ideas and enabling musicians to use their expressive skills and creativity in unique ways, leading to a deeper understanding of music. This study aims to examine the theoretical and practical aspects of reharmonization techniques in detail and explore their applications in musical pieces, providing innovative approaches for music educators, students, and musicians to use these techniques more effectively. Additionally, it aims to contribute to the field of reharmonization studies within the national context. Using a general survey model, this descriptive research investigates the applications of reharmonization techniques on musical works. While the universe of this study encompasses various practices employed in the reharmonization process, the sample focuses on II-V-I chord progressions, secondary dominants, and dominant chains within these practices. Document analysis was employed to gather information on reharmonization applications, and document analysis was also used to analyze the data. In the reharmonization process, the primary degrees of the song were determined based on melodic patterns and chordal and non-chordal tones. Then, secondary degrees were identified, taking into account the types and functional characteristics of chords in the primary degrees. Both primary and secondary degrees were harmonized using II-V-I chord progressions, secondary dominants, and dominant chains to create a coherent structure in harmony with the melody. To maximize chordal diversity, the use of minor b5 and minor 6 chords on the II degree and major 7, major 7(b5), major 7(#5), major 7(b9), and major 7(#9) chords on the V degree was included. In the representation of chords on the staff, letter symbols (A-B-C notation) were used, while Roman numerals (functional harmony) and figured bass (figured notation) were preferred for degree representation, with chord names included in the explanations. Chords that constitute the primary and secondary degrees of the song were placed in the melody part, while the reharmonized chords were shown in the piano part concurrently with the melody. The results of the study, which examines the theoretical and practical aspects of reharmonization techniques on song applications in detail, are as follows: Reharmonization of primary degrees in various ways based on melodic structure enriched the harmonic structure within the existing tonality and increased the variety of chord progressions. The use of secondary degrees in accordance&nbsp;with the type and function of primary degrees added different colors to the harmonic structure; reharmonizations with secondary degrees maintained melodic and harmonic coherence by adhering to the melodic line of the song. Commonly used II-V-I chord progressions in reharmonization were applied to both primary and secondary degrees in a manner consistent with the melody, enhancing the smoothness of chord transitions, and the successive use of multiple chord progressions within the melodic and rhythmic structure added depth to the harmonic structure. The use of the enharmonics of melodic tones resulted in a variety of chord types, such as minor b5, minor 6, major 7(b9), and major 7(#9), contributing to the diversity of chords used in reharmonization. The use of secondary dominants and dominant chains on primary and secondary degrees, either separately or together, created an increased sense of tension and resolution, thereby enhancing the musical expression of the piece.&nbsp;

Eserlerin Yeniden Armonilenmesi Sürecinde Akor İlerlemeleri ve İkincil Dominantlar

Furkan

This study examines the influence of the Italian folk theater tradition of commedia dell’arte on the opera Don Giovanni, written by Lorenzo Da Ponte and composed by Mozart. The origin of the opera Don Giovanni can be traced back to the play El burlador de Sevilla y convidado de piedra, written by the Spanish Golden Age writer Gabriel Téllez under the pseudonym Tirso de Molina. Don Juan, the protagonist of this play, is a very popular figure who has been reworked by many artists in many different approaches over time and has become a part of the world cultural heritage. The study analyzes the development of possible interactions between the original text of the figure of Don Juan as well as its reinterpreted versions and commedia dell’arte in the historical process and how these interactions are reflected in the opera Don Giovanni.The study was conducted using the literature review method, one of the qualitative research methods. In this context, studies on the concepts of Don Juan, commedia dell’arte and Don Giovanni were reviewed. It was determined that there are also studies on the relationship between these concepts in the literature. However, it was seen that there are a limited number of studies on the subject in the Turkish literature. It was understood that the studies mostly focused on the musical structure of the opera. However, this study deals with the dramatic structure of Don Giovanni opera and analyzes the formation process of this structure in detail within its historical process. In this way, data will be provided to the stagers and performers who are thinking of staging the opera as well as to the researchers who are working on the subject.&nbsp;Studies on the relationship between commedia dell’arte and opera have extensively examined the historical development of these two art forms and their interactions with each other. Pirotta (1955) examined the historical development processes and relationships between commedia dell’arte and opera and argued that both forms aim to entertain the audience depending on the performers’ skills. Trahan (2012) investigated the relationship between the Spieltenor repertoire and commedia dell’arte traditions and suggested that Spieltenor roles have similar characteristics to the stereotypical characters of commedia dell’arte. Chaffee and Crick (2015) provide a comprehensive overview of the history, characteristics and development of commedia dell’arte, examining the influence of this theater form on great names such as Shakespeare, Molière, Goldoni and its contributions to modern theater. Wilbourne (2016) examines the contributions of the commedia dell’arte to the development of Italian opera and its echoes in 17th-century opera, revealing the impact of the vocal performances of the commedia dell’arte on the dramatic narrative of opera and the way audiences perceive opera.The study mainly focuses on how the characters, plot and dramatic elements of Don Giovanni may have been influenced by commedia dell’arte. In this context, for example, the character of Leporello is clearly a reflection of the archetype of the comic servant from commedia dell’arte. In addition, elements such as disguise, serenading with mandolin accompaniment and the use of small comic lines similar to lazzi also reveal the direct effects of commedia dell’arte on the opera.&nbsp;Another finding reached within the scope of the study is that the theatrical approach of Goldoni, who is seen among the important writers who reshaped commedia dell’arte, was a source of inspiration in the creation of Don Giovanni opera and this approach was indirectly reflected in the opera. In this context, in parallel with Goldoni’s theatrical approach, the dramatic structure of Don Giovanni opera has evolved from a structure in which two main classes are represented as noble/aristocratic and peasant/servant to a three-layered structure. This structure is revealed more clearly and colorfully through the actions of the central characters. While Leporello and Masetto from the lower class have bass voices, Don Ottavio from the upper class is a tenor. Don Giovanni is in between these two classes with his baritone voice.The study also deals with Don Giovanni’s transitivity between the opera buffa and dramma giocoso genres. It is stated that opera buffa contains social criticism and parodic elements, while dramma giocoso combines humorous and serious elements. Mozart constructed his opera in a structure that is both entertaining and thought-provoking and used these genres by blending them in Don Giovanni.In conclusion, this study aims to contribute to a deeper understanding of the opera Don Giovanni and to a more consistent and aesthetic performance of future performances. Furthermore, by revealing the historical development process of the Don Juan figure of commedia dell’arte and its effects on the opera Don Giovanni, it provides important data on how opera works can be interpreted in a historical and cultural context.

Don Giovanni Operasında Commedia Dell’arte Etkileri

&nbsp;In the last fifty years, the human body has become increasingly prominent in the academic field and a central topic in modern social sciences. Popular topics such as organ transplantation, stem cell research, nanotechnology, plastic surgery, cyborg life forms, and artificial intelligence have reinforced this interest. This, of course, has produced many theoretical structures from economics to politics, science to art. Undoubtedly, one of the most prominent theories in the field of sociopolitics is biopolitics created by Foucault. This view, which puts the body at the centre, focuses on the domination strategies established through the body. Performance art, which is created through a focus on the body, both sees the body as a means of struggle and transforms the body itself into a work of art.&nbsp;In other words, both biopolitics and performance art center on the body. However, although there are qualified studies in both fields, there is almost no research that combines the two fields. Especially the pure form of the body, that is, its naked state, has been overlooked in this relationship. This article, above all, aims to make this visible by combining these two fields. In this context, how the biopolitical domination of the female body is challenged by the dissident stance of performance art is analysed through the phenomenon of nudity. For this purpose, the 1970s, when performance art was accepted as an independent art (Wark, 2009: 1), was chosen as the boundaries of the study. Methodologically, a poststructuralist perspective was followed both because Foucault epistemology forms the basis of the study and because performance art is itself a postmodern art.&nbsp;The article consists of eight sections in total, excluding the Introduction and Conclusion. In the section on The Body and the "Women’s Body", the etymological and conceptual explanation of the body is given and its meaning in social sciences is examined. In addition, the distinction between biological sex and gender is mentioned. In the section on biopolitics, the importance of the body as a means of production and management since ancient times is emphasised and its political evolution is evaluated. In this context, Foucault’s views are referred to and the transformation of the body after the eighteenth century is mentioned. The basic concepts of biopolitics, biopower, anatomopolitics of the body and biopolitics of the population are discussed. In the Panopticon section, it is mentioned how the prison model designed by Jeremy Bentham has been integrated into society by expanding its sphere of influence in the modern world. In parallel to this, the concepts of control apparatus, discipline and normalisation are introduced. In the section on Identity and Truth, the biopolitical relationship between identity-truth-subject is evaluated. The view that truth consists of a discourse produced by power and that it provides its legitimacy with these truths is evaluated. It is stated that identity is also produced by the discourses of power in a parallel manner, and even the words used by individuals to define themselves are determined by power.&nbsp;In the section "The Female Body” as a Prison, the relationship between gender and discipline is analysed based on Foucault’s view that "The soul is the prison of the body" (Foucault, 2000, p. 68). The discrimination against women is made concrete with examples from a wide range of fields from religion and mythology to modern social life. In this framework, it is claimed that: While power controls society, "society" controls women. Thus, women are subjected to strong oppression by both power and society: While power subjectivises men and turns them into objects, it turns women into the object of the object through double-sided control. Thus, the woman is imprisoned in her own body.&nbsp;In the Performance Art section, the emergence of performance art centred, above all, on the body as a means of a dissident tool of rebellion, its political stance and its relationship with gender are examined. On the other hand, it is emphasised that the most unique thing that distinguishes performance art from all other arts is that the artist themself can turn into a work of art (Allain and Harvie, 2006, p. 370; Hallensleben, 2010, p. 10). Naked Truth: Women’s Own Body section analyses the ways in which performance artist women resist gender domination through their bodies.The last section of the article, Examples, is devoted to the cult projects of the 1970s. The iconoclast orientations and aesthetic strategies of female performance artists who use their naked bodies as both a political weapon and an artistic tool are evaluated through examples. In this context, Mirror Check (Joan Jonas, 1970), Glass on Body Imprints (Ana Mendieta, 1972), Woman Rising (Mary Beth Edelson, 1973), S.O.S. Starification Object Series (Hannah Wilke, 1974), Interior Scroll (Carolee Schneemann, 1975) are analysed.In conclusion, the research findings have shown that the strategy of nudity in performance art has an important place in women’s struggle for identity. The "female body" has evolved from object to subject, from passive to active, from spectator to performative through performance art.

Biyopolitik Bir Kavram Olarak “Kadın Bedeni” ve Protest Bir Tavır  Olarak Performans Sanatında Çıplaklık

İbrahim

This study offers a comprehensive analysis of William Shakespeare’s Hamlet through Jacques Derrida’s concept of the specter and his approach of "hauntology." The foundation of this analysis is Derrida’s treatment of specters not merely as supernatural entities, but also as forces that shape social structures and act as political instruments of pressure. The aim of the study is to examine the presence of the specter in theater as a metaphor, using the theoretical tools developed by Derrida to explore its effects within social and political contexts.&nbsp;In Spectres of Marx, Derrida reinterprets the concept of the specter, explaining how the repressed or forgotten traces of the past and history continue to "haunt" present-day social and political structures. From this perspective, the ghost in Hamlet carries a deeper political significance beyond merely being the spirit of a character’s father. The ghost of the king exerts tremendous pressure on Hamlet, pushing him toward revenge and action. However, this pressure simultaneously creates inertia; Hamlet becomes a figure constantly postponing and hesitating. In this context, Derrida’s concept of the specter plays a key role in understanding Hamlet’s actions on both individual and political levels.This study, centering around Derrida’s notion of hauntology, analyzes how specters infiltrate social structures and how individuals react to these structures. Within this framework, the ghost of the king in Hamlet is interpreted not only as a supernatural entity but also as a political force exerting pressure on Hamlet. The appearance of the ghost shapes Hamlet’s actions, but this influence is paradoxical. The ghost both compels Hamlet to act and simultaneously drives him into inaction. Hamlet continuously hesitates regarding avenging his father, and the presence of the ghost serves as both an incentive and an obstacle.This contradiction can be explained through Derrida’s concept of the specter. The specter is a figure that, while not truly present, still makes its presence felt. Just like the repressed events of history, the specters of the past shape the actions of the present. In this sense, Hamlet emerges as a character confronted with the specters of the past. The king’s ghost prompts Hamlet to question both his individual identity and his political stance. The specter pushes Hamlet toward a quest for justice; however, this pursuit of justice ultimately traps Hamlet in a state of hesitation, leading to inaction.Using the methodologies of textual analysis and content analysis, this study not only examines the impact of specters on individuals but also discusses how social structures are transformed in the process. The specter’s influence on individuals drives them both to inaction and resistance. In Hamlet, this dynamic is reflected in how the character is caught between seeking revenge and navigating hegemonic structures. Hamlet is both a figure seeking his father’s revenge and one who continuously postpones that revenge, reassessing his relationship with political and social structures.&nbsp;One of the conclusions of this study is that, as Derrida asserts, the concept of the specter is not confined to individual psychology but also haunts social and political structures. Specters bring elements of the past that have been forgotten or repressed into the present, shaping both the actions of individuals and the functioning of social structures. In Hamlet, the king’s ghost can be viewed as a representation of this process. While guiding Hamlet’s individual actions, the specter also shapes the play’s political and social context.&nbsp;In conclusion, this study interprets Derrida’s concept of the specter through Hamlet, discussing how individuals’ relationships with social structures are transformed and what political insights emerge from this transformation. The specter’s influence on individuals emerges as a force that both leads them into inaction and drives them toward resistance. The process of spectralization in Hamlet forces individuals to reconsider their relationships with social structures, with the specter leaving a powerful mark on both social and political frameworks.

Derrida’nın Hayaletleri ile Hamlet’i Yeniden Sökmek: Hayaletleştirme

Alper

Remziye

Şarkıcılardaki Performans Anksiyetesinin Yönetiminde Kullanılabilecek Bitkisel Yaklaşımlar Üzerine Bir Değerlendirme

Yeşim

This study was conducted to address a gap in the literature concerning the connection between the actor’s body and creativity from the perspective of the functioning of the nervous system. Approaching the body as a holistic entity, where the unseen emotions, sensations, thoughts, and character structure become visible, provides crucial insights into the actor’s creativity. It also helps establish a solid foundation for their practice. By examining neuroscience-based theories and practices, particularly the Feldenkrais Method, this study investigates the parallel functioning between them. The focus shifts from a dualistic view that separates mind-body or inside-outside performance to a more integrated approach grounded in scientific principles, emphasizing the central role of the body in acting practices.Through a holistic approach to the body, Kohut’s (1977) concept of self and self-perception and Maslow’s (1970) idea of self-actualization are explored to provide a general framework. This perspective emphasizes the embodiment of the self and highlights the importance of approaching the body from different angles. The study underscores that the actor’s creativity is rooted in their self, making the awareness and understanding of the self essential. To examine the layers that constitute the self, the study discusses the layers of consciousness that are the objects of attention and awareness. It highlights the importance of conscious attention as a critical component of creativity, focusing on its significance in the actor’s process of creating more impactful, authentic, and profound performances. Damasio (1994, 2000), a leading figure in neuroscience, argues that the self forms through the interaction of the body, brain, and environment, with the body playing a central role in emotion, sensation, thought, and behavior. He elucidates how communication between the body and brain shapes the self within the framework of the nervous system, shedding light on the body as more than just a moving entity but a receiver of sensory information that is integral to the formation of self-consciousness. The notion of the "feeling of knowing," activated by the body’s receptors and noticed through conscious attention, emphasizes the importance of sensory information in creating original and creative characters for actors. Concepts such as body maps, somatic markers, and the "as-if body loop" are crucial for understanding how neurological processes inform the actor’s answers to the question of "how." Body maps are not merely schemas for movement or muscle activation but represent neural pathways that form behaviors through multisensory input. The central role of the sensory-motor system is highlighted. It is further noted that the sense of self is recorded in these maps, drawing attention to how the self becomes embodied through a scientific lens. In this way, the study examines the operation of habitual body maps in the light of neuroscience and their influence on the actor’s practice. The Feldenkrais Method, which approaches the self holistically and emphasizes the sensory-motor system, is investigated as a system that accesses body maps and reorganizes habitual patterns through developmental movement processes. Feldenkrais argues that the greatest obstacle to creativity is habitual patterns, which are body maps formed through neural pathways. He highlights how emotions, sensations, thoughts, and movements are intertwined, forming habitual records of actions and behaviors that are stored in the brain, thus fixing sensory-motor systems and limiting potential. The restriction of potential through habitual body maps also limits the self. Thus, concepts like self-awareness, self-perception, and self-actualization are shown to be equivalent to the utilization of one’s potential. Feldenkrais’ concept of the "self-image," which he defines as the perception of the self, is argued to be self-perception. This study focuses not on an exhaustive examination of the Feldenkrais Method but on its relevance to creativity from the perspective of neural connections, sensation, and movement.The study also explores the parallels between Stanislavski’s system of physical actions, which starts from movement, and the Feldenkrais Method, which uses movement as a tool to go beyond habitual body maps to reach potential. In conclusion, the study reveals the connection between body and self and how this relationship affects the actor’s creativity from both neuroscience and practical perspectives. The body is found not to be an object but the foundation of self, where information from sensory receptors, directed by consciousness, and the importance of sensory feedback are highlighted. Thus, the actor’s bodywork is not merely about repeating movements or enhancing flexibility but about establishing the connection between sensory feedback and movement to unlock creativity and the potential of the self. As the actor investigates their own self, they also construct the self of the character they create. The key to avoiding the repetition of habitual patterns lies in first discovering one’s own body-self/potential. Expanding the actor’s potential enhances their creativity and ability to make choices, enabling the creation of new and unique selves for every character.&nbsp;

Benlik Algısının Oyunculukta Dönüşümü: Beden Benlik

In this article, will be examined Chant Public devant deux chaises électriques, of French theater writer Armand Gatti. The analysis of this play is based on how space and time concepts are operated by Armand Gatti. As known, Armand Gatti, memorized by various events in France this year for his 100th anniversary of birth, used many political, historical, and social events as the subjects for his theater plays, such as the ’68 Generation, the Vietnam War, the Guatemalan Civil War or Spain of Franco. As can be seen, history is an indispensable element of Gatti’s theater. In this case, there is an effort to understand history, because history is the stage of man for French writer. His play entitled Chant public devant deux chaises électriques is analyzed in this article in a perspective that puts not only the historicity but also the usage of space/place at the center. The subject of this play is not a narration of a personal witnesses but a story that his father always narrated to him. Gatti operated the tragic story of two Italian workers, Sacco &amp; Vanzetti who immigrated to America in the early 1900s, in this play.The first part of this study brings together theatrical elements and determines the general frame about the relation between theater and history which is a crucial characteristic of Armand Gatti’s theater. Gatti’s most important feature at this point is that he creates a current between fiction and reality, basing it on a true historical story. In this case, for Chant public devant deux chaises électriques, he prefers the connection between theater and history not as an element of attraction on the stage but as an example of the use of time and space. Therefore, to make Gatti’s theater understandable are also given the basic factors that constitute his theater and his style. In the second half of the article, the play is examined by its unique characteristic such as building a bridge between the past, the present and the future. As a theater technique, the real audience of the play experiences a play in a play; in other words some of the actors appears as spectators-actors. At the same time, these spectators-actors on stage identify with the real persons (and witnesses) in the Sacco &amp; Vanzetti story which orients them to experience a kind of “catharsis” as seen in tragedy. This part of the article also intellectualizes the conception of place: Gatti’s play, assumed to be staged simultaneously in five different cities, gives weight the usage of stage as a main element of theater. There is a different time course in each city: this main diversity bring forth the differences and intersections observed between time and space perceptions about Sacco &amp; Vanzetti’s story. Therefore also in the second part of this study, direct examples, and citation from the play abovementioned reveal in detailed way the French author’s approach to the Sacco &amp; Vanzetti phenomenon and illustrate his thoughts on the usage of time and place.In this case, Gatti reflects all the emotions of the human being and his destiny. In fact, as a play the elements of Gatti’s work, are so powerful that it usually crosses the moral and social borders of society: and as a writer he presents a complex theater genealogy in which time and space intertwine and theater meets reality. As a consequence, it can be easily said that the complicated relation between time, space and historicity and also morality presented in Chant Public devant deux chaises électriques by Gatti is one of the most interesting and efficient examples of the usage of historicity in French theater of 20th century. In conclusion, it is underlined that Gatti’s play entitled Chant Public devant deux chaises électriques offers a truly convenient examples of time and space usage on stage. Ultimately, it is shown in this study that Gatti’s treatment of Sacco&amp;Vanzetti’ story is not only as a historical event, but also as the story of man’s search for freedom, as a reflection of migrant movements and struggle for justice. In this perspective, Chant Public devant deux chaises électriques is very precious to understand in a better way the theater of Gatti and his political and historical approach to the relationship between human and morality.

Sacco ve Vanzetti’yi Yeniden Canlandırmak: Armand Gatti’nin Chant Public Devant Deux Chaises Électriques Adlı Oyununda Tarihsellik

Sitare

In direct proportion to the cultural diversity in the world language, dialect, local identity, sense of humour, body language and many other features that we can list are decisive in storytelling in the world of theatre. While these features are expressed only through dialogue in verbal plays, in musical theatre, music and songs reflect all these elements besides dialogues. In this context, musical theatre is an interdisciplinary type of stage art that tells a story integrated with verbal dialogue sections; that is, text, music, lyrics, dance and all other auxiliary elements of visual arts. It should not be confused with the concepts of opera, where music is the primary element, and musical play, where the flow of the play continues without loss of meaning if we remove the music from the text. In musical theatre, the components are organically connected to each other. Unlike musical plays, when a song or dance section is removed from a musical theatre piece, the dramaturgical structure is disrupted and meaning is lost. In this respect, music and song in musical theatre are not only used in order to emphasise the scene in question, but also to serve the whole story dramaturgically. The poetic connection between music and lyrics is an important issue, which varies from song to song. However, each composer and lyricist develops it in their own way by working together. Once this connection is established, the music begins to tell the story. At this point the translator takes on a task almost more challenging than that of the lyricist. He/she is now both the lyricist and the guardian of the story. In this respect, the translator or researcher who wants to translate in musical theatre should have a good knowledge of music and literature as well as language competence, as well as some singing practice in order to understand the performer. An examination of the classic works of the musical theatre repertoire reveals that there is almost always a poetic connection between lyrics, music and the text. In musical theatre, lyrics and music are of equal importance with the text. In this context, as mentioned above, if the lyrics are removed from the music, one of the main elements that tell the story disappears. Since lyrics are of primary importance in storytelling and atmosphere formation, song translation in musical theatre should be done in a way to facilitate the performer’s job by preserving the characteristics and culture of the target language. Since the primary task of musical theatre is to tell a story, problems that arise as a result of loss of meaning in translation, deformation of melody and rhythm, and difficulties experienced by the performer interrupt the atmosphere that the author and composer are trying to create. In a musical theatre work, it should be one of the primary duties of the translator to have technical and practical competence in the disciplines specific to musical theatre in order to tell the story close to the original and to ensure that the transitions between the episodes do not disrupt the dramatic action. In this context, the translator or researcher who is interested in song translation in musical theatre should become competent in the subjects pertaining to the song genres of musical theatre and should proceed according to the details that the composer and lyricist have carefully considered together when translating the libretto into the target language. Grease, the main example of the study, is a comedy musical in the genre of farce written by Jim Jacobs and Warren Casey (1971). It takes its name from the subculture of the young working class living in the United States in the 1950s. The atmosphere of the musical, which deals with peer pressure, politics, personal core values and love, is largely determined by early rock’n roll music. Grease can be considered as a nostalgic return to the Hollywood musicals, which were on the verge of extinction. Since the early 1970s, film musicals, which suddenly began with a song and continued with dance scenes in the streets, had been gradually declining in number due to rising production costs, changing audiences and failed attempts to adapt popular stage musicals to the big screen. However, the success of the film version of Grease (1978) proved that there was still a worldwide audience for musicals. Although the stage production of Grease was quite nostalgic with songs such as Beauty School Dropout and Alone at a Drive-in Movie, the producers added songs such as Hopelessly Devoted to You and You’re The One That I Want, which sounded more like the music of the 1970s than the 1950s, and achieved commercial success and were listened to by large audiences. The Turkish translation of the ballad song Hopelessly Devoted to You and rhythm song You’re the One That I Want, which are still popular today, is the result of the translation process and the subsequent staging of the musical while working with the students I teach at the Istanbul University State Conservatory Musical Theatre Department. This study deals with song translation in the discipline of musical theatre, which is one of the popular genres of performing arts. The main purpose here is to explain the story that the author and composer want to tell, while translating the work into Turkish without distancing it from the original. This is done by explaining the types of songs specific to the discipline of musical theatre, within the scope of Peter Low’s pentathlon principle (singability, sense, naturalness, rhyme, rhythm). The study analyses the source and target librettos of the musical Grease, which has been translated into twenty languages and performed in more than thirty countries, and argues for the importance of a singable libretto. The holistic approach in the conclusion contributes to the performer by identifying language- and culture-based obstacles in the performative and narrative dimensions of musical theatre, expanding the boundaries of translation studies in this field with a multifaceted analysis.

Müzikal Tiyatroda Şarkı Türleri ve Şarkı Çevirisi: Grease Müzikali Örneği

Gökçe

Ballet comprises athletic performance, alongside visual and aesthetic features that are ubiquitous to all performing arts. The technical skill and quality of the dancer’s performance have long been central to the art of ballet (Fenmen, 1986; Alnıaçık, 1990). Ballet training is the systematic application of regular movements. A ballet class, whose regular movement combinations have become stereotyped and developed over the centuries, consists of three parts; bar work, center work and jumps. Ballet lessons are like ballet training. The ballet class is the dancer’s training, the preparation of his body for technical development and movement. Since ballet is a performance-based art, it requires regular and many repetitions (Alnıaçık, 1990; Gontijo, 2015; Subaygil, 2017; Evgin, 2022). During bar and center exercises in ballet class, dancers perform a sequence of movements including plié, battement tendu, battement tendu jeté, rond de jambe, battement fondu, battement frappé, rond de jambe en l’air, petit battement, battement développé, and grand battement respectively, as documented in academic publications (Alnıaçık, 1990; Grant, 1995; Evgin, 2022). The purpose of the review study is to examine scientific publications with training content covering the academic dance movements that form the basis of ballet. It aims to make a systematic analysis of training and exercise programs that include ballet movements in the literature. The training and practice activities used by ballet dancers to achieve their artistic performance were evaluated together with scientific publications. The study was carried out in the form of a systematic review and the databases Google Scholar, Taylor Francis, National Thesis Center, Proquest and EBSCOhost were used to obtain national and international publications. The keywords "ballet training", "ballet exercises" and "ballet movements" were identified and filtered. Full-text studies in Turkish and English were selected, and publications in other languages were not included. In order to examine current scientific studies on ballet, studies with publication years between 2001 and 2023 were preferred. Studies published before 2001 were not included. In the analysis of the publications included in the compilation, training programs to improve ballet technique and publications on ballet training were examined in two types. Publications that improve ballet technique, publication type, subject content and training program design are detailed. The general characteristics of the participants in the scientific studies and the ballet movements included in the training and exercise programs are classified. As a result of scanning electronic databases, 113 scientific studies involving ballet were found. Following the review, it was decided to systematically analyze 64 scientific studies for the synthesis study. There are a total of 33 publications on training programs that improve ballet technique. Topic distribution of training programs that improve ballet technique; the ballet method is conditioning through stretching and mind-body connection. Publications on ballet training consist of a total of 31 scientific studies. There are five different participant distributions: ballet dancers, modern dancers, children, people with health problems and sedentary people. Ballet movements are divided into seven types of exercise: bar, middle work, port de bras, ballet stretching, ballet balance, leaps and point work. About the type of ballet exercise, it was assumed that bar and center exercises were included in all participant groups. In the publications that included ballet dancers as participants, center exercises were used most often. Of the publications that included ballet movements, 13 had plié, 11 had battement tendu, 7 had battement tendu jeté, 9 had rond de jambe, 8 had battement fondu, 6 had battement frappé, 2 had rond de jambe en l’air and 9 had battement développé. It was noted that 3 of them had petit battement movement and 9 of them had grand battement movement. As a result of the compilation, it was seen that it is possible to use ballet movements as an exercise for modern dancers, children and adults who are healthy or have health problems. The planning of ballet movements according to the different characteristics of the participants shows that the field of ballet as a training practice is expanding. Ballet has been shown to support the physical development of participants who are not ballet dancers. The study of ballet methods makes it possible to identify movement characteristics in detail and to design training plans that are appropriate for the target group. Thus, it may be possible to select ballet movements for different training programs to improve physical fitness.

Bale Antrenmanlarındaki Hareket Özelliklerinin Sistematik Derlemesi

@JOURNAL_BOX_CURRENT

Lale

Necati Giray is one of the important names of contemporary Turkish music. Composer and cellist Necati Giray stood out with his unique style and contributed various works to Turkish music. The composer has made great contributions, especially to the cello repertoire. Necati Giray has composed works for many instruments, including the cello, by making polyphonic works. Among these compositions, the work “Ağıt” has an important place in the composer’s creativity. The Arabic word for mourning poem, “Ağıt”, is mostly written in classical literature for the death of important figures. “Ağıt”, also known as “Mersiye” in Divan literature, is known as a folk song usually sung after a sorrowful event. Ağıt which have the same meter and rhyme scheme as folk songs, usually consist of 7, 8 and 10 syllables. The most common is 8 syllables. The “Ağıt” tradition is very old and is sung a lot in Anatolia. They are “Ağıt” in the form of mani, sung in 7syllable meter, seen in Azerbaijan and in Kars and Erzincan under the influence of Azerbaijan. The genre of “Ağıt”, which has a long history, is similar to “Lamento” in Western European music. The common point that unites “Lamento” in both Western European and Eastern music is its connection with religion. Church music in Europe developed first under the influence of folk music and then under the influence of world music. Church music in Western Europe and religious music in the East became the only professional music genres among the peoples of both sides. Thus, this musical genre, which has meanings such as mourning and lamentation, is called “Lamento” in Western Europe and is encountered in the works of European composers. An early example is Claudio Monteverdi’s “Lasciatemi morire” of Ariadne, the sole survivor of the lost Arianna. Other examples include Dido’s Lament (“When I am laid in the ground”) (Henry Purcell, “Dido and Aeneas”), “Lascia ch’io pianga” (George Frideric Handel, “Rinaldo”), “Caro mio ben” (Tommaso Giordani) can be counted. The obvious examples of “Lamento” in the works of Eastern composers are “Ağıt” and “Mersiye”, and they have also taken their place in the creativity of Turkish and Azerbaijani composers. Among the Turkish composers, Muammer Sun’s “Ağıt” for piano (1954), Ekrem Zeki Ün’s “Ağıt for Death” for choir, strings and percussion instruments (1971), Necdet Levent’s “Ağıt” for piano (1979), Necati Giray’s “Ağıt” for string instruments (1981) and the Azerbaijani composer Rehile Hasanova’s work “Mersiye” (“Ağıt”, 1993) for string instruments, wind instruments, vocal quartets and piano is a good example of these. In this sense, the work of Rehile Hasanova, who has made a name for herself with her style among contemporary Azerbaijani composers, “Mersiye” is of great importance. Azerbaijani musicologist and composer Prof. Dr. Ələsgərli evaluates R. Hasanova’s creativity as follows; “In many of R. Hasanova’s works, it is possible to trace the ancient traditions and characteristics of our people. The revival of the great ceremonial aesthetics in contemporary music is connected with the fact that composers are monuments of our people’s national and civil thought. In this sense, some of Rehile Hasanova’s works are ceremonial. These compositions are “Kosa Kosa” ballet pantomime, “Dervish”, “Sema”, “Kaside”, “Mersiye”, “Pirabadil” etc. Contemporary composer Necati Giray is an artist who has made a place for himself in Turkish music with his unique style. The composer has come to the fore with his polyphonic works by composing works in various musical genres and forms. Necati Giray’s works include works in different genres. Among these works, especially the piece “Ağıt” has an important place in the composer's creativity. The work has been rewritten in several versions by the composer. Forgotten beliefs and mourning ceremonies in history live on in compositions in the “Ağıt” genre. Necati Giray’s work “Ağıt” draws attention in terms of both composition and form. Various combinations of the work were made by the composer, and in this research, the trio of the work called “Ağıt” for three violins was examined and its form characteristics were analyzed.

Necati Giray’ın Üç Keman İçin “Ağıt” Triosunun Form Özellikleri

Kenan

&nbsp;Acting is an art in which not only physical performance but also vocal performance is of paramount importance. For this reason, actors must use their voices in a healthy, correct and effective manner throughout their lives. There are many ways in which actors use their voices in the process of role study and performance. According to the emotional and physical characteristics of the role to be portrayed, the way the actor uses the voice changes. For this reason, actors should have a healthy voice that is strong and flexible enough to play and interpret all kinds of character personalities. A healthy and strong voice is a voice that can accurately reflect the emotions in the performance of the role and can be heard well. The American Speech, Language and Hearing Association (ASHA) divides voice disorders into three main categories: organic, psychogenic and functional. Functional voice problems are voice disorders that do not involve an anatomical or neurological disorder, but occur as a result of misuse of the vocal organs. These problems affect an actor's vocal capacity, affecting pitch control and reducing vocal intensity. The main reasons why actors experience such voice problems are postural disorders, suppression of the natural voice, laryngeal hyperfunction, aestheticization of the voice, vocally abusive speaking habits, use of artificial voices and failure to use diaphragmatic breathing. When actors experience these problems, they can experience serious problems such as nodules, polyps, oedema, glottic closure insufficiency, vocal cord haemorrhage and vocal cord mucosal tears. The main negative effects of these problems on the actors' voices are pitch breakage, narrowing of the vocal range, excessive effort in voice production, hoarseness and vocal fatigue. There are also a number of factors that can cause players to experience sound problems. These factors can be divided into two categories: physical and environmental. Environmental factors include air quality, noise, humidity and the distance between the performer and the audience. Physical factors include laryngitis, pharyngitis, allergies, dehydration, infections, fatigue, irregular or insufficient sleep, medication and addictive substances such as cigarettes and alcohol. They should pay attention to vocal hygiene in order to improve and prevent vocal problems in the actors. In addition, they must do vocal warming cooling before each play and performance. Therefore, it is essential for actors to adopt a vocal exercise programme in the form of preperformance and post performance exercises, and to maintain it throughout their professional lives

Oyunculukta Ses ve Performans Sürecinde Yaşanan Fonksiyonel  Ses Problemleri

Ayşe

In this study, the aria form in Italian operas; by examining the development process in the Early, Middle and Late Baroque Periods, it is aimed to provide detailed information about various aria styles and the characteristics of the da capo form. Firstly, the birth of opera in the Baroque Period, the characteristics of the first operas composed and how the aria form emerged are discussed. Then, it was examined what kind of development process the aria structure went through in the Early, Middle and Late Baroque Periods. Information is presented about the dominance of the schools of Florence, Venice, Rome and Naples in the Early, Middle and Late Baroque Periods. The role and importance of the aria forms used by composers in the increasing prominence of vocal music in these three phases of Baroque is emphasized. In the research, data was collected by scanning the literature and using document analysis, one of the qualitative research methods. In this process, the development of the aria form has been explained in detail in the light of information obtained from sources such as books, articles, theses and lecture notes available in printed and digital media. The analysis is limited to the development of the Baroque Period Italian opera aria.Under the influence of the humanism movement in Florence, an attempt was made to return to ancient Greek music and its dramatic structure, and as a result, the art of opera was born with the combination of music and text. In the early 17th century, a musical element called aria emerged, as the understanding that opera should be told not only with music but also with the emotions and reactions of the heroes was at the forefront. Thus, the foundations of singing styles were laid in the Early Baroque Period. In the first operas, stories were generally told in a discourse5 style singing style. Techniques such as stile recitativo, stile rappresentativo and stile concitato have been the basic elements that shape the dramatic structure of opera art. Aria emerged as an innovation in Venice in the mid517th century and took two forms; It developed in strophic and da capo forms.By the Middle Baroque Period, a great progress was made in singing techniques thanks to the bel canto style. On the other hand, the recitative form differs from the aria with its freer rhythmic structure and storytelling function. In particular, the style called recitativo secco was used. At the end of the 17th century, arias began to be included more in both comic and serious operas. In this period, aria types; it has taken on different forms such as strophic songs, throughcomposed arias, and arias over an ostinato bass. Arias written in the fully developed da capo form began to be used instead of arias with a simple two5part structure.&nbsp;The Late Baroque Period was a period in which music deepened structurally and technically, the tonal system was established and arias diversified. One of the most important developments of this period was that Scarlatti, a representative of the Neapolitan School, contributed to the enrichment of orchestration, especially by developing the da capo aria form. In this period, arias; It is divided into various singing styles such as aria cantabile, aria di portamento, aria di mezzocarattere, aria di bravura, aria parlante, aria d’imitazione, aria all’unisono, aria concertata, aria senza accompagnamento and cavatina. On the other hand, the pasticcio opera genre emerged and gained popularity. Composers such as George Frideric Handel, Carl Heinrich Graun and Johann Adolph Hasse made great contributions to the musical structure of operas by deepening the aria form and style.In conclusion, it has been observed that the form of the aria, sung in a conversational style, with the text in the foreground at the beginning, was shaped by the musical technical tendencies of the composers and the influence of opera schools. In this process, as the difference between aria and recitative became clear, aria singing styles were classified and importance was given to the types of aria in which artists exhibited their improvisational abilities. At the end of the period, the most mature form of the da capo form, which was more developed in dramatic and musical terms, was reached. Thus, great contributions were made to the musical structure of operas by deepening the aria form and style. Since Baroque Period arias constitute a basic repertoire for voice training and concert performances, it is thought that the study will contribute to the education process of opera voice and music department students by better understanding the aria form.

Barok Dönem İtalyan Operasında Arya Formunun Gelişim Süreci

Selim

A jam session is a performance model based on group improvisation rooted in jazz. However, despite their significant role in jazz, jam sessions occupy a relatively limited space within jazz studies. Throughout jazz’s historical journey —from Storyville to concert halls, from party music to an art form, and from informality to university curricula—jam sessions have consistently remained at the core of innovation and creativity (Herzig &amp; Baker, 2014). The first objective of this paper is to examine jam sessions from historical and theoretical perspectives and highlight their significance within jazz. In this context, the paper relies on literature from jazz studies, sociology, and (ethno)musicology. The second objective is to emphasize the importance of ethnography, the foundational methodology of ethnomusicology, in studying jam sessions. This focus arises from the dominance of the Adlerian/positivist/formalist approach in musicology (Kerman, 1985), which primarily centered on completed musical works, neglecting improvisational music. However, as Rice (2014) points out, ethnomusicology approaches music as a process aiming to understand human interactions and behaviors through ethnographic methodology. The final objective is to contribute to the limited Turkish-language literature on jam sessions. Additionally, this paper suggests that beyond jam sessions, the findings can provide valuable insights for analyzing musician interactions across various musical genres, whether or not they involve improvisation.The section “‘Roots and Development’: Historical Dimension” first discusses the cutting session, a performance model that differs from the jam session by placing competition at its core. Dating back to the early 1900s in New Orleans, cutting sessions occurred at inter-group and individual levels, characterized by marching bands and solo pianists. The elements of competition and rewards (“learning,” “financial gain,” and “self-promotion”) found in cutting sessions have also endured within jam sessions. While jam sessions in the 1920s were often seen as after-hours gatherings for jazz musicians in major United States cities, those that had a lasting impact on jazz history emerged during the bebop era of the 1940s, particularly in Kansas City, Missouri, and New York. In this highly competitive period, leading musicians implemented measures and strategies to prevent &nbsp;inexperienced performers from disrupting the overall quality of performances. Although jam sessions originated in jazz clubs, efforts were made to adapt them into concert and recording contexts. However, the commercialization of jam sessions raised concerns about authenticity, as some argued that adapting them for concerts and recordings compromised their original essence. Despite their decline in significance after 1950, a survey conducted by Herzig and Baker (2014) among jazz musicians in the United States indicates that jam sessions have retained their importance, even if not exclusively within jazz clubs (e.g., in rehearsal spaces and private homes).The section “‘Sociomusical Construction’: Theoretical Dimension” explores how jam sessions, as a process, are socially and musically constructed through various conceptual frameworks. An early study on jam sessions by Cameron (1954) suggests that jam sessions function as structured oral traditions rather than entirely unarranged and sponta neous. Gooley (2011) describes the coordination of individual and collective expression, the relaxation of dogmatic constraints, the need to listen to others, and the impulse to respond within jam sessions as resembling the ideal communicative economy of a democratic society. Adopting a symbolic interactionist perspective, Dempsey (2008) examines how musicians’ performances and backgrounds shape contextual parameters (e.g., age/education, status, stylistic preferences) that influence jam sessions. Tan (2021), using Bourdieu’s concepts of capital, habitus, and field, investigates power dynamics among musicians in jam sessions. Pedro (2014), based on Turino (2008), describes jam sessions as a blend of participatory and presentational performances, framing them within a music scene as a space for sharing musical experiences and enabling social interaction. Similarly, Pinheiro (2013) and Lebert (2019) analyze jam sessions as rituals, focusing on structured activities involving gestures, words, and objects.In conclusion, this paper synthesizes the historical and theoretical discussions to provide a comprehensive, liter ature-based definition of the jam session. The jam session is a group, improvisation-centered performance model rooted in jazz, in which a house band allows guest musicians to participate in a musical practice within a specific time and space. This practice unfolds through informal musical and non-musical conventions, which guest musicians are expected to follow. Thus, musicians engage in the form of competition to attain rewards such as “learning,” “reputation,” and “self-promotion.” Following this definition, the paper highlights the central role of ethnographic methodology—such as observation, participant observation, and interviews—in grasping the structure and dynamics of jam sessions.

“İrticalî İcranın Tatbik Edildiği Caz Toplantısı”: Jam Session’a Tarihsel ve Teorik Yaklaşımlar

Okan

The acting methods of Konstantin Stanislavski, Lee Strasberg, and Sanford Meisner have profoundly influenced modern acting techniques, each providing unique approaches while sharing a common goal of achieving emotional truth and authenticity in performance. These three methodologies are widely used across theater, film, and television, and while they have similarities, their practical applications and core philosophies differ significantly. Stanislavski’s system is the foundation of modern acting, focusing on psychological realism and encouraging actors to understand their characters internal motivations. One of the most significant aspects of his system is the ‘‘Magic If’’—a technique where actors ask themselves, ‘‘What if I were in this situation?’’ This approach allows actors to immerse themselves in the imaginary circumstances of the script. Another key component is ‘‘Emotional Memory,’’ which involves recalling personal experiences to evoke genuine emotions. However, in his later years, Stanislavski shifted his focus to ‘‘Psychophysical Actions,’’ emphasizing that physical actions can trigger corresponding emotional responses. This transition reflected his belief that outward behavior and internal experiences are interconnected, leading to more organic performances. Stanislavski’s method requires rigorous script analysis, detailed character research, and the creation of a backstory, all of which aim to provide actors with a thorough understanding of their roles and enhance their emotional authenticity.Building upon Stanislavski’s foundational work, Lee Strasberg developed Method Acting, a technique that delves deeper into emotional memory and internalized experiences. Strasberg believed that the most powerful perfor2 mances come from actors drawing on their own emotional histories. His approach emphasizes ‘‘Sense Memory,’’ which involves recreating sensory experiences such as smell, touch, or taste to trigger emotional responses. Through extensive emotional recall exercises, actors cultivate a heightened emotional sensitivity that allows them to deliver raw and immersive performances. Method Acting is known for its intensity and has been adopted by many famous actors, including Marlon Brando, Al Pacino, and Robert De Niro, who are celebrated for their deeply personal and psychologically realistic portrayals. However, Strasberg’s method has been criticized for potentially causing emotional strain, as actors are required to revisit and relive personal traumas. Despite these concerns, Method Acting remains a popular and influential approach, especially in American cinema, where emotional depth and realism are highly valued.&nbsp;In contrast to Stanislavski’s analytical approach and Strasberg’s introspective techniques, Sanford Meisner’s method emphasizes spontaneity, active listening, and truthful interaction between actors. While Meisner was initially trained under Strasberg, he distanced himself from the intense focus on emotional memory, believing it caused actors to become too self2involved. Instead, Meisner developed exercises designed to foster real2time responsiveness and external focus. At the heart of his technique is the ‘‘Repetition Exercise,’’ where two actors repeatedly exchange lines while paying close attention to each other’s behavior and emotional shifts. This practice trains actors to remain fully present and react instinctively, ensuring performances that feel natural and dynamic. Meisner’s method encourages actors to focus on the present moment rather than relying on past experiences, thus promoting authentic emotional responses. His approach is particularly effective in fostering genuine connections between scene partners and enhancing the overall realism of a performance. Actors trained in the Meisner technique, such as Diane Keaton and Jeff Goldblum, are known for their naturalistic and responsive acting styles.&nbsp;While these three methods differ in their processes, they share a common objective: to help actors deliver truthful, emotionally engaging performances. All three methodologies stress the importance of emotional authenticity and the actor’s ability to fully inhabit a character. However, the pathways to achieving this goal vary. Stanislavski’s system combines psychological analysis with physical action, encouraging actors to balance internal thought with external behavior. Strasberg’s Method Acting focuses primarily on internal emotional recall, pushing actors to access deeply personal experiences to fuel their performances. Meisner’s technique, by contrast, prioritizes external stimuli and emphasizes the importance of genuine, spontaneous reactions between scene partners. Despite their differences, each method provides valuable tools that actors can adapt to their unique artistic processes.&nbsp;In practical terms, actors often blend techniques from all three methodologies to develop their own personalized approach to performance. For instance, an actor may use Stanislavski’s script analysis and character work to under2 stand a role, apply Strasberg’s emotional memory exercises to access deep feelings, and rely on Meisner’s repetition techniques to maintain spontaneity in live performances. This flexibility allows actors to tailor their methods to the demands of different roles and performance mediums. Furthermore, these methods continue to be taught in acting schools and conservatories worldwide, reflecting their enduring relevance and effectiveness. Understanding the similarities and differences between these approaches not only enriches actors' craft but also offers deeper insights into the art and psychology of performance. This paper aims to contribute to the field by providing a comprehensive comparison of these three influential acting methods, offering practical insights for actors, directors, and educators seeking to enhance their understanding of performance techniques.&nbsp;

K. Stanislavski, Lee Strasberg, Sanford Meisner Oyunculuk Yöntemleri: Benzerlikler ve Farklılıklar

Kaan

Francis Poulenc is recognized as one of the most distinguished composers of 20thBcentury French music. He enriched traditional musical forms with modern touches, creating a unique musical language of his own. Neoclassical strucB tures, elegant melodies, and innovative harmonies are frequently observed in his music. The cultural richness of Paris and French folk music served as significant sources of inspiration for Poulenc's works. These characteristics are distinctly evident in his Sextet, FP 100, completed in 1940. The piece reflects the uncertainty and emotional intensity of the early days of World War II, while showcasing Poulenc's musical genius. Considering its historical context, the Sextet was composed during a period of significant transformation in the world of music. The uncertainty and suffering brought by World War II were reflected in Poulenc's works, as in the case of many composers. However, in this piece, Poulenc managed to maintain a sense of joy and energy, creating a balance against the bleak atmosphere of the war. The Sextet consists of three main movements: Allegro Vivace, Divertissement: Andantino, and Finale: Prestissimo. The first movement, Allegro Vivace, captivates the listener with its energetic and lively character. In this movement, Poulenc reinterpreted the traditional sonata form with a modern perspective and enriched it with rhythmic diversity. The dynamic dialogue between the piano and wind instruments adds a vibrant and cheerful tone to this section. The second movement, Divertissement: Andantino, highlights the lyrical and emotional aspects of the piece. Dominated by a melancholic atmosphere, this section features the soft timbres of wind instruments accompanied by the piano, which stand out prominently. Here, Poulenc offers the listener an opportunity for a calm and introspective journey. The musical transitions establish a delicate balance between melancholy and tranquility. The final movement, Finale: Prestissimo, represents the culmination of the piece with its fast tempo and exuberant character. Rhythmic diversity and sudden transitions provide the listener with a gripping finale. In this movement, Poulenc masterfully combines various themes, concluding the piece with a powerful and impactful closure. The Sextet demands speed and advanced technical skills, particularly in the piano parts. The wind instruments, on the other hand, play a crucial role in maintaining balance as they accompany the piano with melodic expressions. Poulenc expected not only technical perfection from the performers but also a strong sense of artistic expression. Neoclassical and modernist elements come together in Poulenc's music in a unique way. Although he drew inspiration from composers such as Stravinsky, Debussy, and Satie, these influences were reshaped within Poulenc's personal style. This fusion imbues his music with a sense of familiarity while introducing innovative textures. For instance, similar lyrical expressions and neoclassical structures are evident in other works by Poulenc, such as Gloria and Concerto for Two Pianos. However, the Sextet possesses a unique structure, particularly in terms of the interaction between the piano and wind instruments. The dramatic framework of the piece offers transitions between melancholy and joy, taking the listener on an emotional journey. The contrast between the piano and wind instruments enhances the cohesiveness and dynamic character of the work. These characteristics have elevated Poulenc's work beyond mere technical achievement, transforming it into a profound medium of emotional expression. While the Sextet initially received criticism at its premiere, this was partly due to the period's hesitance toward innovative forms. Over time, it has earned its rightful place as one of the most significant masterpieces of 20thBcentury music. The uncertainty and emotional turmoil of World War II resonate in the spirit of the piece, adding depth to its artistic value. Yet, Poulenc balanced this atmosphere with joyful and energetic passages, offering a message of hope through his music. This approach has endowed the piece with a timeless value. In conclusion, the Sextet, FP 100 stands as a testament to Francis Poulenc’s creative brilliance and musical mastery. By combining neoclassical elements with a modernist perspective, it delivers a profound, impactful, and multilayered musical experience to its listeners. With this work, Poulenc made a significant contribution to the history of music and left an enduring legacy through his distinctive musical language.

Francis Poulenc’in Müzikal Tarzı ve Üflemeli Çalgılar ile Piyano İçin Bestelediği Sextet, FP 100 Üzerine Bir Analiz

Zeynep

Everest My Lord is a novel/play text written by Sevim Burak, which she began in 1983. The text lacks a sequence of events and a dialogic structure. Place, time, and even characters are ambiguous. Thus, the work liberates writing from its representational function. Burak’s novel introduces a new style of writing that parallels Gertrude Stein’s landscape text, which she developed in the early 20th century by transforming language. In Gertrude Stein’s texts, which Martin Puchner describes as “theater of reading” (Puchner, 2002, p. 101) there is no clear cause4and4effect relationship between sentences and often between words, nor do they adhere to grammatical rules (Erdal, 2023, p. 36). Stein’s writing does not reflect the existing reality of life but rather creates it.In her overall writing style and particularly in Everest My Lord, Sevim Burak also avoids established grammatical rules, akin to Stein. This reflects a shared purpose of not adhering to a fixed perspective on reality. For Burak, there is no singular, stable reality. This is primarily due to the absence of a clear subject in the text. The lack of a definitive subject means abandoning character, which, in turn, means relinquishing the explanation of situations through cause4and4 effect relationships. As a result, the diachronic continuity and coherence that follow one another are disrupted. Instead, an atmosphere of simultaneous situations juxtaposed on stage is created. In this atmosphere, one can speak of “an attempt to construct a landscape scene in Gertrude Stein’s sense” (Güçbilmez, 2011, p. 54).Stein developed the concept of the landscape text under the influence of Pablo Picasso’s landscape paintings. According to Stein, Picasso created his landscape paintings “based on visible objects” (Stein, 2019, s. 26). However, Stein believed that Picasso’s paintings were not mere copies of the objects or people he saw. Instead, Picasso painted objects or people as they existed in his imagination (Stein, 2019, s. 26). The purpose behind Picasso’s paintings was to “create and narrate the present moment,” or in other words, an “effort to capture the moment” (Kasap, 2018, p. 14). Picasso’s effort to capture the moment stemmed from the use of a multiple/reverse perspective technique in his landscape paintings.Inspired by Picasso’s transformation in painting, Gertrude Stein sought to achieve a parallel transformation in the language of writing. Stein’s landscape texts are composed of fragments of a situation. These fragments are heterogeneous and exist together on equal footing. The role of language has changed. In a landscape text, narrative is formed by “the play of linguistic signifiers freed from meaning” (Lehmann, 2006, p. 64). The emancipation of linguistic signifiers from meaning stems from Stein’s abandonment of the pursuit of conveying a specific meaning or representation. Instead of expressing something directly, Stein describes it. She does not use signifiers that directly represent the object in the reader/viewer’s mind. In doing so, Stein eliminates the dramatic form between action and audience (Puchner, 2002, p. 107).Everest My Lord is arguably one of the most distinctive texts within Turkish theater literature. This distinctiveness arises from its dismantling of the aesthetics of representation upheld by classical dramatic structure. Burak disman4 tles the aesthetics of representation in Everest My Lord in two ways. The first is through its content. The reality within Everest My Lord is ambiguous, as the play consistently questions ‘what is real’. This interrogation of reality is reflected formally in the play. Turkish grammar rules are violated. Verbs are conjugated in different tenses. Burak rarely uses punctuation marks. Sentences written in accordance with Turkish grammar rules are interrupted by deliberate word repetitions.&nbsp;Consequently, the play does not progress on a diachronic plane as in dramatic structure. Instead, the use of these word and sentence clusters transforms the play into an atmospheric description constructed on a synchronic plane. At this point, the aesthetics of representation is disrupted. As such, there are no longer narrated events but rather described phenomena. The phenomena the audience observes have no exact counterpart in the external world. This is because the determinant of representational aesthetics the relationship between signifier and signified is broken. Every signifier in the text holds a different and constantly changing meaning for each audience member. Meaning becomes infinitely plural. The plurality of meaning is created by phenomena that are interconnected. With these characteristics, Everest My Lord resembles a landscape text where the character is fragmented, phenomena are formed synchronously, and these phenomena are interconnected. Ultimately, despite the likelihood that Sevim Burak was unaware of Gertrude Stein’s writing style, her play can be considered an example of a landscape text due to its similarities to the features of the landscape text Stein developed against dramatic structure in the early 1900s.

Sevim Burak’ın Everest My Lord Metnini Peyzaj Metnin Kurulum Stratejileriyle İncelemek

Advancing digital technologies and new media environments have led to a significant transformation by enabling the representation of social, cultural, and individual practices in the media. One of the domains most affected by these transformations is music. While traditionally represented in specific forms within conventional media, music has gained visibility in diverse ways within the new media ecosystem, with this visibility extending across various dimensions, from music production to consumption. Shaped by technological advancements, shifts in media envi9 ronments, and algorithm9driven processes, music consumption also influences music production. In this context, AI9driven music production can be regarded as a tangible manifestation of the evolving relationship between music and technology.Music production processes have historically been closely intertwined with technology. Innovations ranging from instrument design to sound recording technologies have transformed musical practices and facilitated the emer9 gence of new genres. In this context, AI9assisted music production represents one of the most recent and notable examples of technological advancement shaping musical practices. The use of artificial intelligence in composition, arrangement, and sound manipulation not only redefines creativity but also prompts a reevaluation of the artist’s role. Additionally, musicians who integrate AI applications into their production processes engage in collaborative interactions between artificial intelligence and human creativity.The concept of mediatization provides a critical theoretical framework for understanding these transformations. Mediatization theory, when applied to the relationship between music and media, reveals how music production and consumption are integrated into media systems. Mediatization reshapes both the ways in which musical content is disseminated and the perception of music itself. Within this transformation, the increasing role of artificial intel9 ligence redefines both the traditional artist identity and the significance of the human element in music production.This study examines news articles covering collaborations between AI9assisted music applications and artists to understand the impact of AI9assisted music production on the media. The research sample includes news reports on collaborations such as Timbaland9Suno, Grimes9Endel, and Imogen Heap9Mogen, as well as articles discussing Taryn Southern’s AI9generated album I AM AI and Yacht’s AI9assisted album Chain Tripping. By analyzing the framing strategies employed in these news articles, the study explores how media narratives surrounding AI9assisted music are constructed. The research employs an inductive framing analysis, identifying key terms during the analysis process, establishing general framing codes based on the quantitative and qualitative aspects of these terms, and presenting framing examples.&nbsp;The analysis results indicate that news articles covering AI9musician collaborations are predominantly framed in a positive manner. AI9assisted music production is largely presented as an innovative, creative, and transformative tool, with the human element remaining central and technology being positioned as a supportive component in the artistic process. Furthermore, critical frames related to issues such as copyright and ethical concerns appear to be less emphasized.The study’s findings suggest that media content on AI and music collaborations contributes to the mediatization process of technology9assisted music. These news articles not only highlight AI applications but also focus on the musicians involved in these collaborations. The key thematic emphases in the coverage are categorized under three main aspects: AI applications, platform features, and collaborating musicians.These collaborations, which leverage musicians' popularity to enhance the visibility and recognition of AI music applications, frame the production processes as easy, innovative, creative, productive, and exciting. The news articles emphasize that AI9assisted music production is not limited to amateur or hobbyist users; instead, they highlight the satisfaction of professional and semi9professional musicians with these applications. By doing so, they present AI9 assisted music production as a potential career9enhancing opportunity for artists who are open to innovation.Additionally, the frequent emphasis on the human element in the context of these collaborations underscores that AI9assisted music is not a fully autonomous process and that the human factor remains indispensable. The news articles highlight the critical role of the user’s knowledge and experience in guiding AI, reinforcing the significance of human contribution in the creative process.In conclusion, AI9assisted music production is predominantly framed in a positive light through media representa9 tions, reinforcing the impact of technology on the music industry and artistic practice. Future research could provide a broader perspective by conducting in9depth analyses of these transformations across different media platforms and their societal implications.

Medyatizasyon Süreci Bağlamında Müziğin Teknolojisi, Teknolojinin Müziği

Jacques Rancière defines three major historical art regimes: the ethical regime of images, the representative regime, and the aesthetic regime. The ethical regime of images focuses on the relationship between art and truth, where art and truth are not entirely separate. In the representative regime, art begins to detach from the realm of truth, narrating what is possible within a fictional universe, guided by Aristotle’s rules in Poetics. The aesthetic regime, on the other hand, represents a fundamental departure from Aristotle’s schema of representation. Each of these art regimes generates its own forms of images.According to Rancière, the images produced within the aesthetic regime of art—the dominant artistic paradigm of today—are in crisis. However, every crisis also carries the potential for its own resolution. Rancière proposes what he terms metaphorical images as an alternative form of image within the aesthetic regime and as a means of overcoming the crisis. This study will explore Rancière’s concept of the image crisis alongside the crisis of representation in theater. It aims to examine image creation in the late plays of Samuel Beckett and Heiner Müller through the lenses of crisis thinking and metaphorical image production. Rancière discusses the crisis of the image in the aesthetic regime of art through two contemporary discourses. He argues that contemporary image creation is caught between two options: the first being that reality no longer exists, and only images remain. In this artistic world devoid of reality, images lose any clear reference point; the connection between the signifier and the signified is severed. As a result, images within the artwork emerge as fragmented accumulations, lacking intellectual depth or context. The second discourse presents the opposite perspective: images have vanished, signaling the end of representation. Only pure reality remains, where art and life are inseparably intertwined. In this discourse, the manner in which an artwork presents itself blurs the line between performance and everyday life, making it difficult to distinguish whether an event in public space is a performative act or part of ordinary reality. Rancière argues that images are not confined to these two extremes. An image in crisis can also serve as a means to alter our perspective. While Rancière primarily examined images within the aesthetic regime through literature, cinema, and visual arts, interpreting metaphorical images as a solution to crisis in cinema and sculpture, this study focuses on theater. Specifically, it investigates how Beckett and Müller positioned images within their late play texts. Asserting that theater has undergone an image-centered transformation over the past century, this study analyzes the literary images in Beckett’s and Müller’s plays through Rancière’s concept of metaphorical images. In this context, the first part of the study establishes the connection between the crisis of representation and the crisis of the image, emphasizing the relationship between the historical avant-garde movement and these crises. The second part explores how Beckett’s and Müller’s plays depart from representational art and align with the aesthetic regime, analyzing the playwrights’ strategies both comparatively and in terms of their capacity to generate metaphorical images, with particular emphasis on their shared techniques.

Rancière’in İmge Krizi Düşüncesi Ekseninde Beckett ve Müller’in  Metaforik İmgeleri

Gökhan

Mehmed Zâti [Arca] was born in Istanbul in 1864. When he was nine years old, he joined Mabeyn Muzıka and thus started his first musical education. He was promoted to the rank of corporal in 1882, to the rank of sergeant in 1884, to the rank of major in 1895, and from the major to the rank of district governor in 1898, "based on his merit and competency". He was the commander of Mûzikâ-yı Hümâyun between 1916 and 1924. His musical adventure, which he started at a young age, continued uninterruptedly until his death in 1951.During his student years, he took piano lessons from Aranda Paşa (Fernando de Aranda), harmony from Guatelli Paşa (Callisto Guatelli) and Turkish music from Hacı Arif Bey. He was the clarinet teacher of Veli (Kanık) Bey and gave Western Music and Western notation lessons to Muallim İsmail Hakkı Bey. He took the surname Arca after the Surname Law adopted in 1934. Zâti Bey's musical adventure, which started with his Mabeyn Muzıka training at nine,continued uninterruptedly until his death in 1951. It has seen that Zati Bey wrote many books, as well as dozens of his compositions and works that he performed a lot. It has determined that he published some of these books, being in the first place his work titled Kütüphane-i Musikiden Nazariyat-ı Musiki ve Kütüphane-i Musikiden Talim-i Kıraat-ı Musiki, but could not publish some. His work titled Kütübhane-i Musikiden Borizan ve Tranpete Muallimi is one of them. It has understood that Mehmed Zati Bey's book, completed in 1315 Hijri/1897 Gregorian, was ready for printing but has not been published and hence has not been known about his book for a long time. Although the the book name has mentioned in library records and a few studies, there is not enough information about the book. The purpose of this study has determined to be the examination of Mehmed Zati Bey's book titled Kütübhane-i Musikiden Borizan ve Tranpete Muallimi. His work titled Kütübhane-i Musikiden Borizan ve Tranpete Muallimi consists of an introduction, 3 (three) chapters, a total of 14 (fourteen) items and 34 (thirty-four) lessons.Introduction section: the introduction section consists of two leaves. In the introduction part of the book, Zati Bey starts with prayers and praise to the sultan, and then emphasizes the importance of notes in music education. It also gives some information about the book.First chapter: In the first chapter, lessons and examples are given on the subjects of "shapes of notes and the application of notes to sounds (equalization)”, “values of notes, names of values, places, applications to each other”, “shapes of rests, values, names of values and their applications to each other”, “rhythm, numbers of the rhythms, measure, application of values to rhythms and beats” and "dots".Second chapter: In the second chapter, lessons and examples are given on the subjects of "repetition signs", "Nokta-i Temdîd", "Nokta-i Tevkif", that is, "Extension Point [Fermata] and "Stop Point" in short, "Stop", "Staccato" and "Ties", "Nuances", "triplets" and “sixtuplets".Third chapter: In the third chapter, lessons and examples are given on the subjects of "rhythms with three divisions in each beat", "grace note", "ihtisar [abbreviation]", "playing melody through rings".In addition to theoretical knowledge, the book gives brief information about the posture of the chin, the position of the lips, and the condition of the cheeks under the title of “Boruzenin Vaziyyeti” and also including the words "whole breath" without losing breath and the syllable "tü" and the sound "kaba sol", long, irregular and knowledge about the application is also given, such as the fact that it has blown very strongly.Zati Bey completed his book with two (2) examples of meşk and twelve (12) examples of "Pieces played in front of the battalion" and a note of "Zati Kulları" right after the note “İntihâ/End” on the last page.The book titled Kütübhane-i Musikiden Borizan ve Tranpete Muallimi, in which theoretical information and practical examples have given together, has been prepared for teaching pipe (trumpet) and snare drum instruments and, in this respect, it is more like a handbook prepared for pipe and snare drum educators than a method. Although he gave little theoretical information, Zati Bey also included important information under the headings of "tenbih", "ihtar" or "hatırlatma", as in his published books. In the applied sections, shapes and notes have used, and theoretical information has supported with sample works. Zati Bey, also gave information about where students might make mistakes or what they should do to learn better. The book titled Kütübhane-i Musikiden Borizan ve Tranpete Muallimi is a work that reveals Zati Bey's teaching side as well as his writing side and carries significant signs of how foresight and attentive he is in his understanding of education. With all these aspects, it can easily said that this work is an During his student yearsexemplary work not only for pipe and snare drum students and educators but also for all educators.

Mehmed Zâti Bey’in “Borizan ve Tranpete Muallimi” Adlı Eserinin İncelenmesi

Güncel

Recent scholarly debates have questioned whether Darwinian mechanisms of variation, selection, and inheritanceoriginally formulated to describe biological evolution (Darwin, 1859)—can also account for the evolution of nonbiological phenomena. Early frameworks such as Memetics (Dawkins, 1976/2007; Dennett, 1995; Blackmore, 2011) posited that cultural transmission proceeds via discrete replicators (“memes”) that behave analogously to genes. However, critical voices have highlighted conceptual and methodological limitations in memetic approaches, particularly regarding the complexity of cultural processes, the blurred boundaries of cultural units, and the active role of human agents in transforming the cultural elements they inherit (Gould, 2020; Hull, 2012; Kauffman, 2019). This paper proposes that “knowledge,” rather than “meme,” provides a more comprehensive analytical lens to investigate cultural evolution. By examining the case of Queen’s “Bohemian Rhapsody” (1975), the study illustrates how a knowledge-based perspective can capture the multi-layered, dynamic, and continuously reconstructed nature of cultural products.Background and RationaleMemetic theory is grounded in Dawkins’ (1976/2007) proposition that there exist replicating cultural units—memes —capable of being selected, mutated, and passed on similarly to genes. These cultural replicators would ostensibly compete for mental space, driving cultural evolution through differential survival rates (Dennett, 1995). Although appealing in its simplicity, memetics faces significant critiques: it risks reducing culture to mere “viral” information (Blackmore, 1999), underplays the creative agency of individuals (Hull, 2012), and struggles to delineate or measure “memes” with scientific rigor (Bloch, 2000; Kuper, 2000). As cultural artifacts often emerge from complex interplay among cognition, social structures, economic forces, and institutional frameworks, the gene-like replicator model may be too restrictive to capture cultural richness.In contrast, the concept of “knowledge” embraces multiple layers—cognitive, emotional, social, historical, and techno logical—through which cultural elements are formed, circulated, and reinterpreted (Nonaka &amp; Takeuchi, 1995; Polanyi, 1966). Rather than viewing cultural evolution as a series of discrete units copying themselves with varying fidelity, a&nbsp;knowledge-based approach recognizes that transmission involves ongoing interpretation, creative adaptation, and dynamic transformation (Lave &amp; Wenger, 1991). From this standpoint, cultural evolution does not simply revolve around “what is copied most” but rather how cultural products are continually shaped by—and shape—the contexts in which they are performed and received.Knowledge as a Framework for Cultural EvolutionKnowledge, in this paper, is defined broadly to include representational structures (such as musical notation), embodied practices (performance, emotional engagement), institutional processes (music schools, media), technological networks (recording, streaming), and continuous feedback loops among creators, performers, and audiences (Tomasello, 1999; Hutchins, 1995). This multi-layered perspective aligns with Darwinian principles—variation, selection, inheritance—yet acknowledges a more fluid, socially embedded mode of transmission. Rather than locating cultural “fitness” in a narrow measure of replication success, “evolutionary success” can be understood as an artifact’s ability to endure, adapt, and resonate across changing historical, technological, and social contexts.Evolving the Concept of “Evolutionary Success”Drawing on cultural evolution theory (Boyd &amp; Richerson, 1985; Mesoudi, 2011), the paper introduces “evolutionary success” as a heuristic to evaluate how cultural works survive and transform over extended periods. Specifically, “evolutionary success” entails:• Temporal Continuity: The artifact’s capacity to remain relevant or recognized across multiple generations or historical epochs. • Spatial Diffusion: Its dissemination across diverse geographical or cultural settings. • Adaptive Reproduction: The artifact’s capacity to be rearranged, remixed, or reinterpreted in novel contexts without losing its core identity. • Institutional and Media Support: The extent to which formal and informal institutions (music industry, academia, digital platforms) promote, archive, or critique the work. Case Study: “Bohemian Rhapsody” • Enduring Critical and Public Engagement: Persistent scholarly interest, continuous media exposure, and ongoing reception by listeners, performers, and other stakeholders. • This multi-factor model goes beyond purely quantitative measures—such as sales or streaming counts—to incorporate the qualitative dimensions that foster long-term cultural viability.Case Study: “Bohemian Rhapsody”Queen’s “Bohemian Rhapsody,” released in 1975, exemplifies these knowledge-based evolutionary processes. Composed by Freddie Mercury, the six-minute track combines ballad, opera, and hard rock sections, defying mainstream single-length conventions of its era (Whiteley, 2006). Its initial commercial triumph—remaining at the top of UK charts for nine weeks—demonstrated its broad appeal (Wade, 2021). However, the piece’s lasting influence extends far beyond that immediate success. Structurally, “Bohemian Rhapsody” operates as a multi-layered musical narrative, replete with shifting tonalities, styles, and performance techniques (Boss, 2016). The distinctive arrangement reveals a wealth of “knowledge” embedded within: harmonic complexity, referential allusions to opera, dramatic vocal layering, and rock instrumentation. By merging seemingly disparate musical genres, the song appeals to different audience segments, highlighting the flexible, context-bridging potential of music as knowledge. Over subsequent decades, “Bohemian Rhapsody” has been repeatedly re-contextualized. The track soared back to prominence upon Freddie Mercury’s death in 1991, featured as a pivotal comedic moment in the film Wayne’s World (1992), and thrived anew through a host of media references—from Muppet parodies to major motion pictures (Hughes, 2019; Jenkins et al., 2013). Each reappearance feeds into the cultural imagination, demonstrating how knowledge (the layered musical, symbolic, and emotional content of the song) remains open to reinterpretation, thereby fortifying its evolutionary success (Hutchinson, 2012). Critically, institutions and scholarly discourses have recognized the track’s significance. It has been the subject of musicological analyses (Braae, 2015), cultural commentaries (McLeod, 2001), and socio-historical research examining how Mercury’s personal background and charismatic persona shaped this iconic piece (Fouché et al., 2018). Such interdisciplinary attention reinforces the song’s status as a “classic,” a privileged position in cultural memory that further perpetuates its ongoing transformations.Conclusions and Future DirectionsBy replacing the narrow meme concept with a broader understanding of knowledge, this article underscores the multifaceted, dynamic nature of cultural evolution. “Bohemian Rhapsody” illustrates how creative reinvention, institutional endorsement, technological mediation, and scholarly recognition collectively sustain a cultural artifact’s long-term resonance. Such an approach offers insights not only for musicology but also for broader studies of cultural longevity, including literature, film, and ritual practices.Future research could apply the knowledge-based model to cross-cultural comparisons, diverse artistic forms, and rapidly evolving digital platforms where participatory culture intensifies the cycle of creation and reinterpretation. Moreover, further examination of how knowledge interacts with power structures—such as industry gatekeepers or political regimes—would illuminate additional pathways through which cultural products either achieve or fail to achieve evolutionary success. In doing so, scholarly inquiry can more holistically capture the inventive, collaborative, and dialogic dimensions of cultural life. Ultimately, this paper posits that a knowledge framework bridges the gap between Darwinian insights on selection and the deeply social, creative, and interpretive realities of culture. Through continuous reinterpretations and contextual shifts, cultural products like “Bohemian Rhapsody” do not merely replicate; they evolve, adapt, and endure —revealing culture itself as a dynamic and resilient knowledge network.

Memetik Kuramın Ötesinde: Müzikte Bilgi Temelli Evrimsel Başarı  Modeli

In the early 20th century, the art of theater and cinema, the understanding of acting and theories of performance underwent significant transformations. Within these transformations, Edward Gordon Craig and Robert Bresson's ideas on the art of acting came to the fore with their ways of reconsidering the actor's position on stage and screen. Craig's concept of the 'Uber-marionette' and Bresson's understanding of the 'Model' actor offered a radical alternative to the traditional perception of acting and brought aesthetic approaches beyond realistic representation. This study aims to present a comparative analysis by examining Craig and Bresson's understanding of acting within a theoretical framework.In this context, the influence of Romanticism on the art of acting and the rise of realism will also be discussed. Romanticism; as an understanding of art that emphasizes individuality and the intense expression of emotions, opened the door to a process that allowed for an emphasis on the inner world in acting. While the formal structure pioneered by Victor Hugo established a more lyrical relationship with the reader, the melodrama tradition that became widespread in Europe aimed to evoke empathy in the audience through emotional intensity on stage. However, with the rise of realism, the understanding of art turned to a different perspective based on observation and reflecting the outside world as it is. During this change process, Craig defended the idea that a realistic perspective could be reached through metaphorical definitions through symbolism.Craig argued that there was no place for the individual interpretation of the actor in stage art, on the contrary, it was essential to reflect the vision of a director on the stage as a whole. His ‘Puppet Master’ metaphor expressed that the actor should stay away from emotionally uncontrolled and random movements and perform the movement design in question with an aesthetic understanding determined entirely by the director. Craig’s approach, by taking a stance against the narrative of the realistic acting approach that focuses on individual emotions and the inner world, emphasizes a more disciplined and symbolic acting approach.In Bresson’s ‘Model’ approach, he argued that the exaggerated performances of professional actors in cinema harm authenticity and advocated that actors give simple, mechanical and natural reactions. ‘Model’ actors; They perform their lines without any emotion, with minimal gestures, and the emotional bond the audience establishes with the film is provided through the integrity of visual and auditory elements. In this sense, Bresson's understanding of aesthetics is similar to Craig's concept of 'Puppet Master'.&nbsp;One of the fundamental differences in the approaches of Craig and Bresson is their approaches to artistic disciplines. While Craig's disciplined system on theatre requires that every element of stage aesthetics be under the control of the director and reduces acting to the aesthetics of gesture and movement, Bresson's cinematographic approach adopts a kind of minimalism and neutral narrative approach in acting practice. In Bresson's understanding of cinema, the language of montage and image is more prominent than the actor's performance. In this context, in his films, the actors' presence in front of the camera and the roles assigned to them by the director are important, not their individual talents.These approaches of Craig and Bresson caused radical changes in 20th century art and led to the emergence of different aesthetic understandings in the world of theatre and cinema. Craig's ideas in particular contributed to the development of theatrical aesthetics based on symbolism, while Bresson's approach inspired today's minimalist cinema movements. In contrast to the acting approach of the naturalist realist approach, which centers on the individual emotional world, both artists proposed an acting approach that was disciplined, director-centered, and limited individual expression.Craig and Bresson's acting approaches presented radical ideas on the representation of the actor on stage and screen. While Craig argued that the actor should be a controllable artistic tool in theater, Bresson argued that professional acting in cinema was fake and that models would present a reality on the screen that was free of emotional artificiality. A common point in both artists' acting approaches is that the actor is removed from the foreground as an individual and the artist is positioned as a part of a director's aesthetic vision.In this comparative framework, it aims to offer new perspectives on the transformations in the art of acting, based on the relationship between Craig and Bresson's theories and the minimalist and avant-garde approaches in 20th century art. As a result, in contrast to the emotional intensity of Romanticism, acting in the modernist understanding of art took on a more controlled, directorial and structural form. This situation radically changed the role of the actor and the nature of performance in both theatre and cinema.&nbsp;

Edward Gordon Craig’in ‘Kukla Üstü’nden Robert Bresson’un ‘Model’ine Oyuncunun Temsili

Music is a harmonious set of sounds that are produced in line with human artistic perception and skills and gain meaning through listening-interpretation processes. Every musical composition that emerges by creating this harmony aims to convey a certain content, just like words and sentences in speech form a communicative whole. In this context, just as there is a risk of words being forgotten if they are not written and recorded, musical expressions are also at risk of being forgotten unless they are written and recorded regularly. The means of recording and transmitting music have included a range of tools since ancient times, including musical notation. The letters, symbols, signs and numbers used in music writing enabled the musical perceptions performed to be remembered, reproduced and transferred. As with all musical traditions that evolve from primitive forms, this process has developed similarly in Turkish music. Turkish music education has long been carried out with meşk, a method in which the teacher and the student work closely together and the student imitates the teacher and memorizes the music mentally. However, over time, the use of musical notation became inevitable. In Turkish music, the melody written in notation is not performed as it is; This performance is performed by interpreting it appropriately according to the stylistic elements of the music and taking into account the relationships between sounds. From this perspective, notation and other written musical documents serve only as reminders in Turkish music. However, it would not be wrong to say that these musical written documents have become a tool for the transmission of Turkish music. One of the most famous musical notations used in Turkish music is Hamparsum musical notation. This musical notation, which emerged around the 19th century, was invented by Armenian composer and musician Hamparsum Limonciyan. Hamparsum music notation, created with certain notes and time-determining symbols, helped to record and preserve many Turkish music compositions composed in a certain period and ensured their transfer to the present day by being kept in archives. Today, very few people recognize this musical notation, and its conversions and classifications to Western notation are not frequently made. Examining the manuscripts written in Hamparsum musical notation and found in the archives is important in terms of revealing the information lost during the transmission of Turkish music. This study deals with the transfer of Sabâ Saz Semâîsi, composed by a musician recorded as "Reftar" in the Presidential State Archives Leon Hancıyan Collection, file number 139, from Hamparsum music notation to Western music notation. In addition, some information about the use of makam and the composer is also included in this process. In this context, the study is important in that it will present the analysis and musical interpretations of the work for today's music performers and researchers. The study was conducted using the qualitative research method and scanning model and was supported by data collection, document scanning and document analysis techniques. Content analysis and work analysis methods were also used to analyze the work discussed in the study. As a result of the transcription and examination of the work from Hamparsum musical notation, it was concluded that the use of the Sabā maqam in the work is compatible with older sources of Turkish music theory, that the perception of the Sabā maqam in the work coincides with the definitions dating back to the 17th century and before, that the work was recorded with a different method (rhythmic order), and that the composition, which was previously thought to belong to another composer in the archives, actually belongs to Reftar Kalfa.

Leon Hancıyan Koleksiyonu’nda Bestekârı “Reftâr” Olarak Kayıtlı Sabâ Saz Semâîsi’nin Tahlîli

Regular training programs are applied to train ballet dancers, as in sports. Each exercise performed during training, including ballet training, prepares the body for the next exercise. The research aims to investigate the effects of anthropometric characteristics of students receiving ballet education at the conservatory on battement développé, grand battement and sauté movements. The aim was to determine the effect of the four month training period on the performance of the students via the pulse variable. The findings obtained in the research may contribute to the development of the educational processes of ballet students. Our study is one of the few studies in Türkiye that measures the physical characteristics and basic technical performance of ballet students. The research was implemented as an experimental study. Our research was conducted with the voluntary participa tion of secondary school (6th, 7th and 8th grades) and high school (9th, 10th, 11th and 12th grades) students studying in the Ballet Department of the Performing Arts Department of Hacettepe University Ankara State Conservatory. Male and female conservatory students who were receiving ballet training and were born between 2012 and 2006 participated. The research was completed with a total of 46 students, 13 girls and 3 boys from middle school and 24 girls and 6 boys from high school. Participating students practiced ballet 2 hours a day, 5 days a week for a total of 4 months during one semester. Anthropometer was used to measure the height of the ballet students, digital scales were used to measure their weight, Polar was used to measure their pulse at rest and during ballet performance, and goniometer was used to measure the hip joint range of motion. In ballet performance measurements, battement déveleoppé, grand battement and sauté were selected from the basic movements to monitor the development of students' technical levels. Battement déveleoppé and grand battement movements were examined both in the barre and in the middle, and the sauté movement was examined only in the middle as it is a jumpingtype movement. Instantaneous pulse measurements were made during these movements performed by the students. Beginning and endof term analyses of selected movements comprising ballet performances were carried out by video recording. The measurement data of the students were analyzed statistically for middle school female students, high school female students and all male students. Since the measurement data did not show a normal distribution, the Wilcoxon Signed Rank Test was used in statistical analyses. It was determined that four months of ballet training did not produce a statistically significant result in the range of motion values in the hip region flexion and hyperextension movements of the groups covering middle school girls and all boys (p&gt;0.05). It was determined that four months of ballet training produced statistically significant results in the range of motion values of the hip region flexion movement of high school female students (p&lt;0.05). It was found that there was a statistically significant result in the left leg values of high school female students' hip hyperextension values. It was understood that there was no statistically significant change in the pulse values of the 6th, 7th and 8th grade secondary school female students after four months of ballet training (p&gt;0.05). The significance value of the development level of the students in the sauté movement performance was determined as 0.08. After four months of ballet training in groups of high school female students, a statistically significant improvement was found in the performance of battement déveleoppé, grand battement and sauté movements (p&lt;0.05). Training studies on battement déveleoppé and grand battement performances in male students did not create a statistically significant development effect (p&gt;0.05).Before ballet training, the hip flexion joint movement angle data of all students showed similarity between the two legs (p&gt;0.05). At the end of the training period, it was determined that the asymmetry difference of female secondary school students increased statistically (p&lt;0.05). Ballet training reduced the asymmetry difference in hip flexion values of all male and female high school students. An increase in hip hyperextension asymmetry difference level was detected after the ballet training period of all students (p&lt;0.05). Especially since the battement déveleoppé movement was performed at a slower tempo, the difference in movement asymmetry between the legs became more clearly evident. The students' sauté movement performance was consis tent with technical improvement as determined by the improvement in their pulse values. To ensure successful technical development of students, it may be appropriate to perform exercises aimed at reducing asymmetry differences during training.

Konservatuvar Öğrencilerinde Fiziksel Uygunluk Parametrelerinin  Seçilmiş Bale Hareketlerine Etkisinin İncelenmesi

Şebnem

Seishin, which basically refers to inner strength and spiritual strength, is a uniquely Japanese concept. Being defined as a human quality related to possessing traits such as endurance, strong will, intention, fortitude, hard work, and mental power, which are gained through long years of disciplined training, it occupies a prominent place within Japanese traditional arts as well as their transmission. This fact renders seishin a part of the process of selfdevelopment or self-cultivation that is considered an ideal in these arts. This study aims to disclose the details of acquiring seishin in the context of nihonbuyō training, which requires a critical process of mind/body adjustment and transformation. Nihonbuyō is a living theater/dance tradition that appeared in the 17th century by taking and interpreting elements from previous forms and has been developed until today also by being influenced by nonJapanese forms in the 20th century. The discussion in this study is mainly based on the data collected during the researcher’s fieldwork on the transmission of nihonbuyō, which was conducted in Kyoto (Japan) between May 2022 and March 2023. Participant observation specific to qualitative research was the main method that was used in the fieldwork. The individual lessons of two different masters of nihonbuyō —Nao Yoshimura and Yayoi Wakayagi— with both professional and amateur students were followed regularly. The collected data show that nihonbuyō training is highly embodied. Reflecting the Japanese way of learning that gives prominence to the body rather than the distrusting mind under the influence of Zen teaching, the masters of nihonbuyō use limited verbal explanation or other techniques that induce mental activity. Instead, the training depends on the repetition of already set patterns of movement (kata) that are learned through the students’ faithful imitation of their master’s live performance. Here, what is aimed at is shaping/developing the mind via physical training so that the Zen ideal of body-mind unity is achieved. Being another important concept in Japanese culture and arts, kata basically refers to shape, form, and style. Nevertheless, what is at stake here is not an abstract and empty form but rather a loaded form that is embodied within a context and therefore value-laden. This adds the transmission of kata in nihonbuyō training an intersubjective quality. Whereas the master is considered a model to emulate, what is transmitted from master to disciple goes beyond movement patterns or repertoire but involves certain cultural values and sensibilities. Besides, what a student learns from the master is not only the form but also the way of doing. Via extensive repetition of already set patterns of movement, the performers of nihonbuyō are channeled into entering a state of receptivity by the suspension of individual will or volition. Through this process, they are expected to learn to let the movement or action occur on its own. At this level of mastery, the performers do not produce strength by their own volition but become able to invite the strength to induce movement. This is a moment of controlled spontaneity, in which the mind is passive, and the performer begins to think with the body. The aim is letting the body act according to its own nature, as it is. This is also considered a journey of self-actualization, in which for the student, the master is a guide and a model who has already passed the same route. When all obstacles that may prevent the mind/body from functioning naturally are removed, the inner spiritual strength that is called seishin is fully embodied by the performer. From now on, kata as form falls into the second place, while kata as the way of doing takes the lead.

Japon Nihonbuyō Eğitiminde İçsel Gücün Bedenleşmesi: Ustadan Çırağa Seishin’in Aktarımı

Mohamed

Gözde

Arabic Music Conference 1932 Committees “Committee of Makams,  Rhythm, and Composition”

Hüseyin

“I Want to Conquer the World”: Chasing the Wild Goose, Tracing the Noise

Ümit

Analysing Synthetic Scale Structures in Ulvi Cemal Erkin’s Piano  Sonata, 1st and 2nd Symphonies

Painting and Music: Renaissance Expressions of Harmony

Mehmet

_Yeni Makale

Beril

Performans Çalışmaları: Bir Giriş

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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.

Rimski-Korsakov’un Şehrazat Senfonik Süiti’ndeki Fagot Sololarının İncelenmesi

Banu

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.

Kemandan Viyolaya Geçiş Aşamasinda Temel Yöntemler

@JOURNAL_BOX_FEATURED

Özgün

Ozan Evrim

Prof.

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.

Farklı Nitelikte Çelloların Değerlendirilmesinde Rubrik Kullanımı

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.

Klasik Batı Müziği İcrasında Literatür Açısından Ezber Olgusu

@JOURNAL_BOX_MOSTREAD

Konservatoryum-Conservatorium, İstanbul Üniversitesi Devlet Konservatuvarı’nın açık erişimli, hakemli, yılda iki kere Haziran ve Aralık aylarında yayınlanan bilimsel dergisidir. Dergiye yayınlanması için gönderilen bilimsel makaleler Türkçe ya da İngilizce olmalıdır.

Dergi, ulusal ve uluslararası camiaları hedeflemekte, yayın kurulunda hem ulusal hem de uluslararası üyeler bulunmakta ve uluslararası yazar katkılarını artırmayı amaçlamaktadır.

Konservatoryum-Conservatorium, müzik, müzikoloji ve sahne sanatları alanlarında sanat pratiğini destekleyici bir teorik altyapının oluşmasına katkıda bulunmayı ve ülkemizin uluslararası iş birlikteliklerinde daha fazla pay almasını sağlamayı amaçlar. Derginin ana odağını müzik, müzikoloji ve sahne sanatları alanları oluşturur. Bu ana alanlarla ilişkili olan estetik, psikoloji, biyomekanik, fizyoloji, nörobilim, elektroakustik, organoloji gibi alanlardan da makalelere açıktır. 

Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

Dergiye gönderilen ya da yayın için kabul edilen makaleler için işlemleme ücreti ya da gönderim ücreti alınmaz. Derginin tüm giderleri İstanbul Üniversitesi tarafından karşılanmaktadır.

2024 itibariyle basılı versiyon durdurulmuştur. Dergi sadece online olarak yayınlanmaktadır.

Tufan

EBSCO

ERIH PLUS

TR Dizin

DOAJ

Gale Cengage

Ulrichsweb

@METRIC_VOLUMES

@METRIC_ISSUES

@METRIC_ARTICLES

@METRIC_OPENACCESS

Konservatoryum

@INFO_TAB_ABOUT

Editor in Chief

Co Editor in Chief

Ethics Editor

Publicity Manager

Language Editor

Editorial Board Member

@INFO_TAB_BOARDS

Konservatoryum-Conservatorium, İstanbul Üniversitesi Devlet Konservatuvarı’nın açık erişimli, hakemli bilimsel dergisidir. Dergi, ulusal ve uluslararası camiaları hedeflemekte, yayın kurulunda hem ulusal hem de uluslararası üyeler bulunmakta ve uluslararası yazar katkılarını artırmayı amaçlamaktadır.Konservatoryum-Conservatorium, müzik, müzikoloji ve sahne sanatları alanlarında sanat pratiğini destekleyici bir teorik altyapının oluşmasına katkıda bulunmayı, bu alanlarla yakın ilişki içerisinde olan branşlarla disiplinlerarası çalışmalar yapmayı ve ülkemizin uluslararası akademik işbirlikteliklerinde daha fazla pay almasına katkıda bulunmayı amaçlar. Bu amaç doğrultusunda derginin hedef kitlesini oluşturan akademisyen, araştırmacı, profesyonel ve öğrenciler ile ortak çalışmalar yapmak Konservatoryum-Conservatorium’un ana önceliklerinden biridir. Derginin odağını müzik, müzikoloji ve sahne sanatları oluşturur. Bununla birlikte Konservatoryum-Conservatorium, bu branşlarla ilişkili olan felsefe, göstergebilim, estetik, psikoloji, sosyoloji, biyomekanik, fizyoloji, nörobilim, elektroakustik, organoloji gibi alanlarla çağdaş akademik yaklaşımın öngördüğü türden disiplinlerarası çalışmalara açıktır.Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

Amaç ve Kapsam

TÜBİTAK-ULAKBİM TR DizinDOAJEBSCO Central &amp; Eastern European Academic Source <a href="https://kanalregister.hkdir.no/publiseringskanaler/erihplus/periodical/info?id=507051" target="_blank">Erih Plus</a><a href="https://go.gale.com/ps/dispAdvSearch.do?userGroupName=anon~84c5a0c7&amp;prodId=AONE" target="_blank">Gale Cengage</a><a href="https://about.proquest.com/en/products-services/Ulrichsweb/" target="_blank" style="font-size: 14.6667px;">Ulrichsweb</a>

Dizinler

Dergi yayın etiğinde en yüksek standartlara bağlıdır ve &#65279;<a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>&#65279;, <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>, <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a> ve <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> tarafından yayınlanan etik yayıncılık ilkelerini benimser; Principles of Transparency and Best Practice in Scholarly Publishing başlığı altında ifade edilen ilkeler için: <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> Gönderilen makaleler derginin amaç ve kapsamına uygun olmalıdır. Orijinal, yayınlanmamış ve başka bir dergide değerlendirme sürecinde olmayan, her bir yazar tarafından içeriği ve gönderimi onaylanmış yazılar değerlendirmeye kabul edilir. Makale yayınlanmak üzere Dergiye gönderildikten sonra yazarlardan hiçbirinin ismi, tüm yazarların yazılı izni olmadan yazar listesinden silinemez ve yeni bir isim yazar olarak eklenemez ve yazar sırası değiştirilemez.İntihal, duplikasyon, sahte yazarlık/inkar edilen yazarlık, araştrma/veri fabrikasyonu, makale dilimleme, dilimleyerek yayın, telif hakları ihlali ve çıkar çatışmasının gizlenmesi, etik dışı davranışlar olarak kabul edilir. Kabul edilen etik standartlara uygun olmayan tüm makaleler yayından çıkarılır. Buna yayından sonra tespit edilen olası kuraldışı, uygunsuzluklar içeren makaleler de dahildir.İntihal Ön kontrolden geçirilen makaleler, iThenticate yazılımı kullanılarak intihal için taranır. İntihal/kendi kendine intihal tespit edilirse yazarlar bilgilendirilir. Editörler, gerekli olması halinde makaleyi değerlendirme ya da üretim sürecinin çeşitli aşamalarında intihal kontrolüne tabi tutabilirler. Yüksek benzerlik oranları, bir makalenin kabul edilmeden önce ve hatta kabul edildikten sonra reddedilmesine neden olabilir. Makalenin türüne bağlı olarak, bunun oranın %15 veya %20'den az olması beklenir.Çift Kör Hakemlikİntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir. Editör, makalelerin adil bir şekilde çift taraflı kör hakemlikten geçmesini sağlar ve makale biçimsel esaslara uygun ise, gelen yazıyı yurtiçinden ve /veya yurtdışından en az iki hakemin değerlendirmesine sunar, hakemler gerek gördüğü takdirde yazıda istenen değişiklikler yazarlar tarafından yapıldıktan sonra yayınlanmasına onay verir.

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Konservatoryum

CİLT 5, SAYI 2, 2018

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