Özgür

Expressionism is an art that shapes the experiments that lie deep within a person. When emulation to nature is denied, stylistic variations are not important. Art is there to ensure that the pressures created by daily, random, psychological, and rational facts are resolved and to re-connect with personal creativity and with an imaginary driving force.&nbsp;The historical period of 1910-1925 in Germany was shaped by pre- and post-war events.&nbsp;It was influenced by the mental depression of the period, and the lack of creative power brought by industrialization led to new forms of discoveries. The subject and form chosen by the expressionists aimed to destroy the idea that ‘humans had become machines’. The solidarity of all “others” was advocated.&nbsp;Expressionism in theater art derives its strength from playwrights who express their own internal crisis and the cracks in society which they encounter. This movement shows itself in a different way of writing. Linear time flow and meaningful conversations seen in realistic plays are disrupted. While formal speeches are not completely left out, there are fragmented dialogues, disjointed words and repetitions that come out with the adoption of the scream feature.In the staging of such plays, attempts are made by means of all kinds of elements to destroy reality. The plays do not progress according to the cause-effect relationship and any excess is removed from the scene. A stack of decor is not required and there is an affordable asymmetrical scene concept in the icon. Light is used as an important factor in symbolizing and creating tension.Sophie Treadwell’s Machinal was inspired by the real trial story of Ruth Snyder who killed her husband with her lover Judd Gray. The play is the spiritual expression of women being socially positioned as secondary beings after men. In the play, in which feminism is the dominant theme, Treadwell questions many claims such as a woman needs a man to live in normal material conditions, marriage is a material institution, the married woman should be ready for sex at any time, she should love the baby she gave birth to, and sensual pleasure is evaluated differently between men and women. The play reflects on the stage the industrialization of the period and is a reflection of the monotonous working life of employees whose job description is specified by their companies. The playwright portrays this mechanically enriched life by means of the actors’ disrupted actions to disintegrated forms of speech. In addition, the expressionist style of each scene is supported by its own music or dominant sound effects.&nbsp;The play consists of nine separate scenes. In keeping with the expressionist style arrangement, the change of scene in different places aims to be accomplished with minimal decor. The scenes take place in the following independent situations: 1- At work, 2-At Home, 3-Honeymoon, 4-Maternal, 5-Prohibited, 6-Intimate, 7-Domestic, 8-The Law, 9-A Machine.Every scene is the reflection of an idea. The events in the play destroy the socially accepted postulates. The ideas portrayed in the scenes are as follows: In the first scene, the working person has been mechanized. In the second scene, it is not love but a man with good financial strength who is ideal for marriage. In the third scene, the married woman must be prepared for sex. In the fourth scene, the woman is happy that she gave birth to a baby. In the fifth scene, concepts such as cheating, abortion, homosexuality are depicted as immoral. In the sixth scene, love brings freedom. In the seventh scene, acquiring property by being in debt becomes the status indicator of a person. In the eighth scene, laws are result oriented. News necessarily includes comments. In the ninth scene, freedom is not possible for any ‘others’.When we look at the formal arrangement of the play, the fragmented speech structure is dominant in the first scenes and realistic writing techniques based on a cause-effect relationship is disrupted. Realistic form features are more common in the last scenes. Although there are fragmented dialogues, they are less than in the first scenes. However, this does not cause the play to lose its expressionist character. The newspaper headlines, which are read independently from each other in the seventh scene, and the intervention of different news commentaries of the journalists during the eighth scene, appear as strengthening elements of this structure.&nbsp;Machinal questions all kinds of topics from the woman’s sexuality to work life, from material life to sexual pleasure, from social freedom to motherhood, and the woman is presented as an oppressed biological-social unit. In so doing, Treadwell uses many of the mentioned staging elements and writing techniques that could destroy realistic theater.

Expressionism in the Theatre and an Example of a Play: Machinal

Burçak

The approaches of Stella Adler and Sanford Meisner, who created their own acting methods in the process after the break of Strasberg from the Group Theater, are quite different from each other, although they are accepted as based on Stanislavski. This difference distinguishes both their view of the actor’s reality on stage and also some factors such as character, imagination, action, and relationship with partner that provides reality for the actors. Stella Adler added Stanislavski’s approach to her own approach by interpreting the sense of memory, action, imagination and justification of the action, which she thought determined the reality of the actor on the stage. The character, imagination, action and justification that Stella Adler handles one by one is based on the actors’ studies that make them as realistic as possible by elaborating, analyzing and working on them. In her book “The Art of Acting”, Adler (2006) deals with the diversification and analysis of actions one by one, by analyzing them separately, and asks the actor to master, as much as possible, the physical actions he or she will perform on the stage. According to Meisner (1987), the actions that arise from the impulsive response on the stage that the actor will give to him or her by observing his partner are designed in advance according to Adler. In this context, Meisner’s understanding of the reality that the actor has built on the “truthfully living” by investing in the reality of doing here-and-now is quite different from the actions that Adler wants the actor to design and perform.Similarly, an important dimension of reaching reality on stage is reality in character. Although Adler says that the character is made up of what the actor did on the stage, this is quite different from the character that Meisner said appeared in the actions. This is because Adler chooses the way to analyze and construct the character in the sequel, just like in actions and imagination. According to Stella Adler’s approach, the actors must be aware and imagine all the details of a character’s past, social status, childhood, family, education, occupation, professional experience and personal relationships to create the character (Adler, 2006).Another important difference between Meisner and Adler is the difference in imagination and given circumstances. According to Adler, the reality of the actor on the stage is&nbsp;directly connected to the imagination, and not passed through the imagination and considered as the real “lie”; according to Meisner, the actor on the stage should not break from the present time, and should not allow the formation of a “head” work by returning to his or her mind (Meisner ve Longwell, 1987). Only by getting rid of the manipulation of his or her mind, the actor can actually live here-and-now, in Meisner’s words, “living truthfully”. Unlike Miesner, who underlines that acting lies in the impulses and that the actor must get rid of mentality; for Adler, not a single word from the mouth of the actor should not come out of the imagination (Adler, 2006). The more detailed the actor details something in his or her imagination, the greater reality he or she reaches.Finally, Meisner and Adler, who base their approaches on what actors do on the stage for different reasons, differ on what the actor’s reality of doing is based on. According to Adler (2006), the actions performed by the actor are based on personal reasons that the actor decides personally; for Meisner, what happens to the actor and his or her response depends entirely on the other person. The actor cannot go to any justification other than given circumstances. Therefore, contrary to Adler, who states that there will be a reality proportional to the good justification of the actions, Meisner suggests that the actor will only respond truthfully by observing his or her partner well and responding accordingly.

Comperative Evaluation of Approaches of Meisner and Adler in the Context of Actor’s Perception of Reality on Stage

Simay

Res. Assist.

Since the rise and development of social sciences in the nineteenth century, people who share a common culture have been the main focus of the social sciences disciplines. In modern times, in which traditional societies are being changed and transformed, relationships which used to be based on geographical proximity and kinship have been replaced by common interest groups, such as people from similar occupations, similar religions, or ideological groups. These groups possess a common sense of community and a cultural pattern specific to their group just like the groups based on geographical proximity and kinship in traditional societies. The artists and the audience involved in performing arts also form a common culture since they are a common interest group.&nbsp;Rituals are one of the most studied concepts in the research of culture. Arnold Van Gennep’s theory “rites of passage” and Victor Turner’s theory “liminality” together compose the most basic theories of ritual studies. According to these theories, there are “transition rituals” at various stages and channels of life and these rituals are divided into three stages. The second stage which is called “liminality”, is characterized by an ‘in-betweenness’ in which individuals are neither in the first nor at the last stage. In this study, performing arts, which have always been considered in terms of rituals and are indeed said to be born out of them having gained their purely artistic identity later on, are examined in the context of the “rites of passage” and “liminality” theories in order to evaluate their similarity with rituals. After a detailed literature review, this study builds the conceptual and theoretical framework for its research. Having done that, this paper then outlines the nature of the chosen field research, namely participant observation and face-to-face interviews, which were conducted in the light of the framework outlined earlier in the paper. The results of the study conclude, that performing arts, which have been considered together with rituals since the beginning of their theoretical history, share the principles of the three staged “transition rituals” and the characteristics of the “liminal” stage&nbsp;coined by Victor Turner. The study, which was conducted in terms of the above-mentioned theoretical framework, concludes that the idea of performing arts being like rituals can be supported.The term “performing arts” refers to branches of art which are primarily based on human performance such as theatre, opera and ballet. The instrument used in performing arts is the performer’s own body rather than secondary instruments (such as musical instruments). The education in performing arts often starts at a young age but is generally completed at undergraduate and graduate levels in conservatories or other universities in departments such as theatre, opera and ballet. There are periods in the working life of performing artists that affect their daily routines. These are the off-season period, audition periods, rehearsal periods, and the on-stage period. One of the main elements of the performing arts culture is the concept of ‘team’. With the people working together in the same project, artists share a sense of a big family experience due to much time being spent together and common goals being shared. Throughout their theoretical history, performing arts have been considered together with rituals. Rituals are social events with features such as formality, sociality and transformativeness. Performing arts, just like rituals, indicate the features of formality, sociality and transformativeness. Milestones in the study of rituals are Arnold Van Gennep’s theory of “rites of passage” and Turner’s concept of “liminality”. French ethnographer Arnold Van Gennep stated that transition rituals had three phases. These are the steps called “separation”, “transition” and “integration”. Performances of performing arts also possess these three phases. The transition phase, which is the second phase of the transition rituals of Van Gennep, is further examined and detailed by Victor Turner. According to Turner, the participants of a ritual become “communitas”, which is the group of “equal and anonymous” individuals in the transition phase. There are a number of features that distinguish these individuals from their normal state. Performing arts events also show these distinguishing features. This article aims to consider performing arts from a social sciences perspective. It is clear, that as long as the “human” is inside, it is appropriate to understand performing arts and other branches of art through the methods and theories of social sciences.

The Liminality of Performing Arts: A Field Research in Terms of The Rites of Passage

Jaklin

Assoc. Prof.

Çare

Assist. Prof.

IntroductionPerformance anxiety is the fear about one’s ability to perform a specific task. Athletes, musicians, actors, performing artists, dancers and public speakers generally examine performance anxiety. Stress and anxiety about performing in front of others, and being evaluated by others, cause performance anxiety. Performance anxiety has negative effects on performers self-esteem and self-confidence. Performance anxiety can affect individual’s performance and career.It is natural that the biological, psychological and social structure of the performing artist displays a circular pattern that directly affects the success and individual’s self-identity and existence. When stage fear, or in other words performance anxiety reaches high levels, it has the power to prevent the performance artist’s stage success and career development. Moreover, performing artists are stressed both physically, cognitively and emotionally during stage performance. In this context, especially in Turkey, there have been few studies conducted into the psychology of opera, theatre and ballet artists. One of the most important obstacles to do research in this field, is the lack of scales to measure the emotional and cognitive responses of stage artists and conservatory undergraduate students. To fill this gap, this study aims to develop self-efficacy and performance anxiety scales for opera, ballet, drama artists and students in these branches. The “Çarkçı Ballet Undergraduate Students’ Performance Anxiety Scale,” which is presented in the current study, is a part of this research.MethodologyThe item pool was framed by referring to anxiety, performance anxiety and stage freight literature, the theoretical framework, and via the interviews realised with undergraduate&nbsp;students, and educators in the conservatory ballet branch. By the mentioned process writers set forth scale items. In order to establish the content validity of the scale, the items were subjected to field experts from psychological counselling and guidance department and from the opera branch of state conservatory, all experts were faculty members. After expert reviews necessary modifications were made. 54 items were reorganised according to the experts’ suggestions. The scale development is realised with two steps. The study was carried out in two parts. Study 1 was a pilot study, with the participation of 100 ballet undergraduate students, it an initial exploratory factor analysis has been realised with this group. In the second study exploratory and confirmatory factor analysis, convergent validity and reliability analysis were carried out with the participation of 158 undergraduate ballet students from 6 different cities in Turkey. Additionally, 30 students were enrolled for reliability analysis.&nbsp;ResultsInitially a pilot study was conducted. The pilot study started with 54 items. Within the exploratory factor analysis, items that had item-total correlations coefficients lower than .30 and items that showed a difference between factor loadings of less than .10 were removed. With these criteria 25 items were removed from the scale. Analysis was repeated with the remaining 29 items. Results of the pilot study reveals a meaningful value of KMO .835. Items factor loadings are varied between .442 and .803 (p&lt;,001). Principal components analyses are realised with varimax rotation and a four-factor construct has been obtained, with a total variance of 66.96%.In the second step of the study, the scale was administrated to a sample group of 158 undergraduate students from conservatory ballet departments in Turkey. Exploratory factor analysis was applied to this data and 8 items were removed from the scale according to the criteria mentioned above. Analyses were carried out with the remaining 21 items once again. The KMO value was found to be .872, which although is quite high, is an acceptable value. Principal components analysis was conducted with varimax rotation, the four-factor structure was conserved, and the total variance was calculated as being 61.96 %. The first factor consists of 6 items (ɑ=.862), the second factor consists of 6 items (ɑ=.874), the third factor consists of 5 items (ɑ=.786) and the fourth factor consists of 4 items (ɑ=.695). Cronbach’s alpha coefficient for the total point of the scale was calculated as ɑ= .922.Confirmatory factor analysis was applied to test the accuracy of the predetermined factor structure. Structural equation modelling was used. Results of fit indices revealed that all values except CFI and NFI values provided a perfect fit to the data, CFI and NFI values were among the acceptable fit threshold.For the reliability analysis test-re-test correlations were calculated, with repeating measures in a two week period, results reveal a high correlation (r=.985; p&lt;,000). Criterion validity of the scale was realised with the Liebowitz social anxiety scale. Results of the Pearson Correlation Coefficients reveal a meaningful correlation among sub scales, the total score of the performance anxiety scale and the Liebowitz social anxiety scale.&nbsp;Discussion and ConclusionThe first sub scale is “technical self-confidence” and consists of 6 items. The second sub scale is “adaptation capability” and consists of 6 items. The third sub-scale is confrontation and consists of 5 items. The fourth sub scale is “resilience” and consists of 4 items. The higher scores derived from the scale indicate high performance anxiety and lower scores indicate low performance anxiety.The Çarkçı Ballet Undergraduate Students Performance Anxiety Scale is a reliable and valid scale to evaluate the performance anxiety of conservatory undergraduate ballet students regarding stage and school performances. It aims to fill a gap in the field to determine the anxiety level of undergraduate ballet students regarding their artistic performances. Thus, it may be possible to develop their coping skills at the beginning of their professional life.

‘Çarkçı Ballet Undergraduate Students Performance Anxiety Scal’ Validity and Reliability Study

Tufan

Prof.

YAZI ÇAĞRISI

Ümit

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

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

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

Emre

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

İsmail

Understanding Turkish music is possible by examining its sources that have survived to the present day and have not yet been studied. For this reason, it is important to examine the sources in state archives or personal archives. In this way, a contribution will be made to the rich repertoire volume and sure steps will be taken to better understand Turkish music. The Muallim İsmâîl Hakkı Bey Collection is considered to be important for studies to be carried out in this direction.In this study, the notebook number 274 and the contents of the notebook in the TRT Muallim İsmâîl Hakkı Bey Collection were examined and classified. The notebook is registered in the Presidency State Archives, Ottoman Archives Muallim İsmâîl Hakkı Bey Collection with the file number TRT. MD. d. 378.The aim of the research is to classify the content of notebook number 274 in the Muallim İsmâîl Hakkı Bey Collection and to compare the works in the notebook with the information on the works that have survived to the present day. The study to be conducted is important in terms of presenting the works in the notebook to the use and information of today's researchers. The study is limited to examining the notebook number 274 in the Muallim İsmâîl Hakkı Bey Collection, the classification of the works in the notebook, the work identifiers in the notebook, and the information about the works that has survived to the present day by comparing them with the accessible data.The study is a descriptive research. The research model was determined as the "scanning model" in order to classify the works in the book number 274 of the Muallim İsmâîl Hakkı Bey Collection and to comparatively examine the information in the work descriptions with the data that has reached today. Content analysis was applied in order to classify the works in the book number 274 of the Muallim İsmâîl Hakkı Bey Collection and to examine the information in the work descriptions by comparing them with the information that has reached today.The notebook contains works in song form. The works in the notebook are written with the Hamparsum notation system. There are 38 works registered in the notebook. In the research, firstly the notebook was introduced. The identification information written in Ottoman and Latin letters in the notebook was examined in the study and classified on the table. Each work is numbered sequentially on the table. The works in the notebook are classified according to maqam, usul and composer information and concretized with graphics. Then, the works were examined according to their serial numbers within the information in their identifiers and compared with the information in the determined sources. In this way, it was investigated whether the works had survived to the present day, and if there were, the surviving data and the information in the notebook were compared.&nbsp;Based on the composers included in the notebook, it was concluded that the notebook could have been written in the period from the last quarter of the 19th century until 1927. When the usuls written on the titles of the works in the notebook were compared with the weight values on the notes, it was determined that the works were generally written at a slower pace. It was concluded that this situation occurred because the notator thought and evaluated the metronome speed more slowly. In some works, more or less differences have been identified between the usul information written in the work's identifiers in the notebook and the usul information that has survived to the present day about the work. It has been determined that the names of some of the composers included in the notebook are not clearly stated. No information has survived to the present day about the 22 works included in the notebook. Three of these works could not be identified due to lack of sufficient data on their identities.

Muallim İsmâîl Hakkı Bey Koleksiyonu 274 Numaralı Defterin Muhteviyatının Değerlendirilmesi

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

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

Mohamed

Gözde

Ozan

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

Hande

Painting and Music: Renaissance Expressions of Harmony

Hüseyin

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

Mehmet

Comparison of Analog and Software-Based Processors in the Mixing Processabstract

Kaan

Ayşe

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

Mustafa

As a result of an artistic journey that usually starts at an early age, a musician can turn to certain areas of music with his and her own preferences or the influence of an expert. Each musician's talent, perception and ability to perform are different, which greatly affects his or her field preferences at later ages. For example, in order to become a piano virtuoso, that is, a soloist, the talent factor and playing skills must be quite high. Likewise, even if an instrument instructor does not play as much as a soloist, he should be proactive and be proactive according to the student's capacity. The behavior, attitude and expectation levels of both fields are different. In this regard, it is very difficult to be both a soloist and an instructor, and the number of musicians who can do this is very small. However, no matter which field is preferred, the key to this job is discipline, and certain steps should be taken tried to increase proficiency and competence in line with the chosen field. Piano competitions, especially for soloists, can be set as examples to these steps. Enriching the repertoire, increasing stage experience, and interacting with people from different cultures and levels contribute to the professional enrichment of a soloist. The work done while preparing for a competition and making an effort to interpret the repertoire in the best way are challenging and at the same time, a professional achievement for a soloist. Bye the way, the idea that only being a soloist is supported by competitions is also wrong. In some competitions, it is also possible to encounter musicians have never had the experience before, who are known only through concerts, and are known only through concerts, and who have reached the highest levels in instrument interpretation. Many musicians who have the chance to find a good teacher take their soloist careers to important levels with the guiding attitude of their teacher. In order to determine what competitions mean in terms of professional gain, semi5structured interviews were conducted with two important experts who entered many piano competitions throughout their careers.&nbsp;Method: The research is descriptive research based on qualitative research method and phenomenology. The population of the research consists of piano competitions, and the sample consists of expert pianists who have participated in piano competitions many times.Results: The findings section includes details of the interviews conducted with two different experts. To mention a few of the remarks that can be considered important; when asked what the most important step of their career journey was, expert I stated the 2012 Saygun competition, and expert II stated the competition in Poland. To another question regarding any gains from the competition you entered, both experts stated that their repertoire had become richer and the works they had studied had matured musically. Which expert? said that the people he met at the competitions he entered gave him new ideas in terms of playing. Only II. In the question directed to the expert, he stated that, regarding the effects of competitions on a pianist's career journey, he can have the opportunity to meet people who grew up in different cultures, and this is reflected in his music. In response to a question about the difficulties encountered while preparing for the competitions, Expert I said that the process was already stressful and that it was difficult for him to find the time, instrument and working environment while preparing. Expert II stated that he had difficulties in determining the repertoire and had difficulties in time management, especially when learning new pieces. Another question that may be important in the interviews is whether there has been any change in their lives after the competition. Expert I stated that the awards he won from the competitions provided him with a label and increased his ability to give concerts in many places. Expert II said that practicing hours and self5confidence increased. As a result of the data obtained from the questions included in the findings, the following results emerged.Conclusion: It has been revealed that competitions have an important place in career building, in which professional gains are achieved, repertoires are enriched during the preparation processes, and even the current pieces musicians work on mature as they play. It has also been revealed that participating in many competitions throughout their careers has also provided musicians with academic gains. In light of the information obtained, the gains made during the preparation process for the competition become more important than the number of competitions entered. Finally, the most basic conclusion learned from experts and research is that just entering a competition is not enough to achieve what?

Piyano Yarışmalarının Kariyer Sürecine Etkileri

Samir

The compositions of the world7famous Hungarian composer Franz Liszt are widely included in the repertoire of concert pianists. Most of these compositions are compulsory in conservatory curricula with most featuring a unique story embedded in each piece.&nbsp;“Totentanz”, a programmatic masterpiece, is widely recognized for its artistic depth and technical complexities. The aim of this study is to analyse this piece from artistic, technical and scientific aspects by offering essential recommendations for potential performers. The research scope of this study includes Liszt's works composed for piano and orchestra. Among them we see two piano concertos with orchestra, "Malediction" with string orchestra, "Fantasie über Motiven aus Beethovens Ruinen von Athen", "Fantasie über ungarische Volksmelodien " and "Totentanz" on the well7known medieval religious motif "Dies Irae".The last work tells about the triumph of death. It can be said that the theme of death is one of Liszt's favorite themes. Throughout his career, he created more than twenty works on this theme. However, the focus of this study, “totentanz”, is the most famous and impressive one.“Totentanz” is chosen as a sample set for this study. The study utilised a qualitative research method of musical content analysis. Breitkopf &amp; Härtel's published musical score is used to scientifically analyze the content of the piece. In addition, a descriptive research technique is used by conducting a musical literature review. The technical difficulties proposed by the composer and the publisher in the piece are systematically analysed, and the researcher presented alternative ways of overcoming these difficulties as solutions for potential future piano performers. The form of the work was analysed to explore the artistic aspect of the work and the original painting and story that served as inspiration for the plot of the work was used. It is believed that during his stay in Italy, in the city of Pisa, Liszt saw the terrifying fresco "The Triumph of Death" in the Campo Santo cemetery. This fresco depicted the terrible events of the 14th century that started with the plague epidemic in Europe. The image of Death that was taking everyone away including kings, soldiers, children, old people, monk and bishops struck the composer, and he decided to composed music on this theme. The main motive for such a work could only be the medieval "Dies Irae". The piece was soon to be completed, but Liszt was in no hurry to present it to the public. The composer worked on "Totentanz" for many years before publishing it. The piece consists of a Theme and five variations along with six cadenzas. Over the course of a century and a half, many music editors and researchers have suggested cutting many passages, but all famous pianists preferred to perform the piece in its entirety. Given the fact that there are several well7known editions of this work, this study examines the editions of Hans von Bülow and Emil von Sauer. These famous pianists give their solutions to technical problems. Along with their interpretation, the author of this article also offers his own novel methods for solving technical difficulties. The study also provides some artistic interpretations of individual fragments of this work. Variations of the piece were found to respond to different details of the plot by demonstrating a cause7and7effect relationship that informed the technical and artistic suggestions for their interpretation. This study concludes with specific technical and artistic instructions for the analysis and stage performance of this masterpiece. Based on this research and suggestions, it is intended to create a resource as a teaching aid for piano performers wishing to incorporate the work into their repertoire. The “Totentanz” variations for piano and orchestra were deemed suitable for both undergraduate and graduate students due to the technical and artistic challenges they present in its interpretation within the context of this scientific study

Franz Liszt’in “Totentanz” Eserinin İcrasina Yönelik Teknik ve Sanatsal İnceleme

Pınar

This study has been written with the idea that 'the basic unit of analysis in social sciences is persons' and with the aim of finding the reasons for the ongoing power of Hüseyin Sadettin Arel, the theoretician of Arel's theory, in Turkish makam music. Because individuals are the cause and director of everything that happens in the social world. Hüseyin Sadettin Arel (1880-1955) witnessed the collapse of the Ottoman Empire and the innovation movements that took place in the establishment of the Republic. The issues faced by Turkish makam music in the process of the construction of the Turkish nation-state, which took place during his lifetime, could not escape being an instrument of efforts to legitimize or push it out of the sphere of legitimacy, and all these factors became an important determinant factor that shaped Arel's musical works. The power centers that shaped music policy after the Republican Era stated that the Turkish makam music tradition did not belong to the Turkish nation. In the face of this discourse, Arel defined the Turkish makam music tradition as 'our own national music' and argued that this music should be given a central place in the modern national culture of the future. In line with this aim, he aimed to modernize the theoretical foundations of Turkish makam music, standardize the sound system and ensure the transmission of Turkish makam music within a scientific framework. Hüseyin Sadettin Arel, although he was one of the main actors and guides in the world of Turkish makam music, was perhaps the musicologist who became the subject of the most criticism and debate with the Arel-Ezgi-Uzdilek System he implemented. Despite the criticisms, the Arel-Ezgi-Uzdilek System, which he theorized, is a structure that is still effectively implemented in music education and performance institutions, especially conservatories, foundations, associations and TRT. When the literature is examined, it seems possible to categorize the criticisms of Arel's theory under three main headings. These are the Main Scale-Cargâh maqam, the 24- part sound system and Makam Classification-Shad maqams. In addition to these, the association of Arel's theory with the concept of tonality belonging to western music can be given as another criticized title. The examination of the ongoing power of the Arel System, despite all the negative criticisms about it, in the maqam activity areas of Turkish maqam music, namely education-teaching and performance, has been tried to be explained through the concept of 'epistemic community' in the sociology of science, which is called 'Arelciler/Arel School', which constitutes Arel's musical environment. Epistemic, in the crudest terms, means that which is related to knowledge, and community means community. It is possible to briefly define the epistemic community as 'the community of knowledge-science'. In his sociology of science essay titled “Epistemic Community”, Hüsamettin Arslan defines the Epistemic/Scientific community as: “a social form of existence, a social and historical collectivity, without which knowledge cannot exist; where knowledge is constructed, processed, developed, accredited and passed on to future generations”. From Hüseyin Sadettin Arel's music educators to his own students, from the music institutions he worked in to the magazines he published, in short, it can be said that almost all the elements that make up Arel's musical environment are compatible with the concept of epistemic community. Sociologist Warren Olaf Hagstrom's six points on the channels of communication between the scientific/epistemic community within academic institutions were evaluated through the people and situations in Arel's musical circle, and it was seen that musicologists, composers and performers, called Arelists, were the main elements that ensured the power of Arel's theory. In particular, the education of Arel's theory through his students, defined as 'Arelists', who took part in the new conservatories to be established, which Arel explained as his 'ultimate goal', was effective in official music institutions and academic circles, thus reinforcing his authority and power in the music world and ensuring its continuity until today.&nbsp;

Arel Teorisinin İktidarı Üzerine Bir İnceleme

Nevzat

Kenan

Turkish folk music has been formed by the transfer of traditional music culture from generation to generation. Turkish folk music products have different local and authentic characteristics. When these differences are analysed, it is seen that various ornamentation elements are used intensively from region to region. For example, while vibrato and trill ornaments are generally used in Konya folk songs, glissando ornamentation is more common in the expatriate airs of Teke region. Among the ornaments used in Turkish folk music vocal performance, vibrato and trill ornaments were chosen to be analysed in this study. Vibrato is a regular vibration of the pitch. This vibration is performed with correct breath control in a position where the neck, jaw and tongue muscles are relaxed, without any change in the intensity and colour of the sound. Vibrato is measured by two basic parameters, rate and extent. Rate refers to the number of oscillations of the vibrato per second and is measured as frequency. The extent refers to the amount of pitch change above and below the target pitch and is measured in cent. These two parameters determine the nature and character of the vibrato. In this study, for the classification of vibrato and trill ornaments, sources in the literature were analysed and the range of 58 Hz for vibrato and 812 Hz for trill were determined as criteria. The selected ornaments were performed on a total of six pieces performed by Rıza Konyalı and Davut Sulari. Vibrato and trill ornaments are frequently seen in the performances of the two artists subject to the study. Rıza Konyalı, an important representative of Konya culture, was born in Konya in 1933. It is known that Konyalı, who bought his first baglama at the age of fifteen, was influenced by “Silleli İbrahim Usta” in his performance style. At the age of twenty f ive, he travelled to Izmir, where he played the baglama, sang folk songs and worked as a soloist. After releasing a record in Istanbul, he lived in Istanbul for a while. He participated in Ankara Radio as a guest and sang two folk songs. Konyalı participated in the Barana’s performed in Konya region and took part in the seventh Barana. Our other artist is Davut Sulari, whose real name is Davut Ağbaba. He was born in 1925 in Erzincan. Sulari started to play the baglama with the encouragement of his grandfather. Sulari, known as “Gezici Âşık”, travelled around most of Turkey except for a few cities with his horse named “Leyla”. In 1948, he met Muzaffer Sarısözen and started working as a local artist at Ankara Radio. One year later, he started to work in the “Istanbul Radyosu Yurttan Sesler Korosu”. While in the tradition of minstrelsy, the spoken word was at the forefront, Sulari emphasised musicality by producing original melodies on the baglama and in his voice, both preserving and enriching the tradition.Each folk song selected from the aforementioned informants was analysed in itself and the highest vibrato rate and vibrato extent values were shown in tables. While creating the tables with the data obtained, the time interval, word and vocal in which the value was obtained were included. Acoustic values were ignored in all analyses. Before the analyses were performed, noises other than the target voice and instruments other than vocals were removed from the selected recordings by means of various applications. For noise removal, a 7 dB noise suppression, 12 units sensitivity and 0 units frequency correction filter were applied in Audacity. Afterwards, the instruments and vocals in the recording were separated from each other with the artificial intelligencesupported plug in called OpenVINO AI added to the Audacity application. After the vocal and instrument sounds were separated from each other, ornamentation analysis was performed with the application named VoceVista.As a result of the analyses, 21 vibrato and 10 trill ornaments were identified. While only vibrato ornamentation was detected in the piece titled "Yüksek Odalarda Mangal Kömürü", vibrato and trill ornamentation were seen in all other pieces. In addition, the highest value was found in the piece “Haydan mı Olur Huydan mı Olur” performed by Rıza Konyalı with 11.7 Hz mean vibrato rate and 185 ct mean vibrato extent values. The analyses revealed that twenty one of the vibrato and trill ornaments were found at the end of the words. Five ornaments were not included in this group because they were found in monosyllabic words. These data show that ornaments such as vibrato and trill are mostly used at the end of words in Turkish Folk Music. As a result, this study aims to contribute to the researches to be conducted in the field by revealing the use of vibrato and trill ornaments used in Turkish folk music with concrete data.

Türk Halk Müziği Ses İcrasında Vibrato Kullanımının Hız ve Kapsam Değerleri Üzerinden Dijital Analizi: Rıza Konyalı ve Davut Sulari İcrâ Örneği

Serkan

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 envi ronments, and algorithmdriven processes, music consumption also influences music production. In this context, AIdriven 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 emer gence of new genres. In this context, AIassisted 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 intel 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 AIassisted music applications and artists to understand the impact of AIassisted music production on the media. The research sample includes news reports on collaborations such as TimbalandSuno, Grimes Endel, and Imogen HeapMogen, as well as articles discussing Taryn Southern’s AI generated album I AM AI and Yacht’s AIassisted album Chain Tripping. By analyzing the framing strategies employed in these news articles, the study explores how media narratives surrounding AIassisted 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.The analysis results indicate that news articles covering AImusician collaborations are predominantly framed in a positive manner. AIassisted 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 technologyassisted 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 AIassisted music production is not limited to amateur or hobbyist users; instead, they highlight the satisfaction of professional and semiprofessional musicians with these applications. By doing so, they present AI assisted music production as a potential career enhancing opportunity for artists who are open to innovation.

Medyatizasyon Süreci Bağlamında Müziğin Teknolojisi, Teknolojinin Müziği

Zeynep

In the 20th century, when the foundations of modern music began to be laid, Rachmaninoff also wrote more innovative works, combining the expressive power of music with technical brilliance, without losing the spirit of the Romantic period. Chromatism became one of his signatures, and he used contrasting themes and emotions, polyrhythms, wider-ranging chords, and octaves. Although Rachmaninoff's works up until 1909 also contained rich harmonies and impressive melodies, chromaticism, sharp harmonies, more thematic and motific expression, and harmonic, rhythmic, and formal complexity are seen in his works from 1909 and onwards (Khachatryan, 2021) After the 3rd piano concerto he composed in 1909, the 2nd piano sonata he composed in 1913 during Rachmaninoff's productive period also formed an idea about the composer's style and piano writing. Rachmaninoff, who always used elements of Russian folk music, adopted the lyricism of the Romantic period of the West and its expressive music. Rachmaninoff's compositional style was influenced particularly by Tchaikovsky's expressive themes, while maintaining a strong connection to Russian liturgical music and folk songs, using bell-like sounds, intense chro maticism, passages demanding brilliant technique, and emotionally charged melodies. In this study, the technical passages, important connections and ideas of Rachmaninoff's Op.30 d minor third piano concerto and Op.36 b flat minor second piano sonata were examined and their comparisons were analyzed from the score using qualitative research techniques.The first version of the sonata, written in 1913 and revised by Rachmaninoff in 1931, bears many similarities to the concerto, with its repetition of themes, virtuosic passages, and the use of different characters. Although formally different, it also uses repetitive thematic cycles, broad melodic arcs, and contrasting sections characterized by abrupt changes in tonality and texture. The work includes the ideas of the sections, thematic elements, chromatic progressions, polyphonic layers for both works. Rachmaninoff's third piano concerto, which he wrote in Ivanovka for his American tour, is still considered one of the most difficult works to play today. In addition to the piano part, where cyclical structure, complex layers and rhythmically different rhythm patterns are used together, the orchestra part, where themes are often heard progressing in perfect harmony with the piano, has also been a reflection of Rachmaninoff's creative compositional identity. It displays the composer's attempt to combine orchestral grandeur with personal piano artistry. Chromatic octaves, wide chords, jumps and climaxes reached even after lyrical passages are some of the characteristics of the 2nd piano sonata. By comparing these two works written during his mature period, a comparison is made about the piano writing and style of Rachmaninoff, one of the best pianists of his time.

Rachmaninoff’un Piyano Yazısında Yapısal ve Teknik Benzerlikler: 3. Piyano Konçertosu ile 2. Piyano Sonatı Arasında Karşılaştırmalı Bir İnceleme

Semih

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

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 cause-and- 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 dismantles 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

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

Elif

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

Sercan

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

This paper analyzes Maria Velasco’s play Save Yourself from the Beauties I Wished for You through the intersecting lenses of postcolonial identity and psychoanalysis, exploring how the colonial past of the West continues to shape personal identity construction. The protagonist, Maria, struggles with inherited guilt stemming from Europe’s colonial history and attempts to align herself with the oppressed. However, in doing so, she inadvertently reproduces the very colonial structures she seeks to reject. Her relationship with her Senegalese lover, Pap, reflects the power imbalance between the colonizer and the colonized, while her emotional bond with her father deepens her identity crisis. This study brings together postcolonial theory, psychoanalytic interpretations, and feminist perspectives to discuss the paradoxes of self definition in a postcolonial world. Postcolonial identity is inherently shaped by historical power imbalances. Colonialism imposed a system of hierarchy in which both the colonizer and the colonized defined themselves in opposition to each other. Although Maria consciously rejects colonialist narratives, she cannot escape their ideological framework. Her relationship with Pap is not a partnership of equals but a mechanism of self redemption, reflecting her desire to atone for the sins of European colonial history. She perceives Africa as a space of authenticity and resistance to Western hegemony, yet her fascination with it stems from the same exoticizing gaze that colonial discourse historically imposed on the non European world. The play critiques the concept of “white liberal guilt” by revealing the contradictions in Maria’s self perception. She believes she is an ally of the oppressed, but her actions suggest otherwise. She treats Pap not as an autonomous individual but as a symbolic figure, reinforcing a colonialist dynamic where the oppressed become tools for the moral purification of the privileged. Pap, however, refuses to conform to her expectations. His resistance exposes Maria’s struggle to engage with him outside of her ideological framework, highlighting how even progressive intentions can reinforce hierarchical structures. Maria’s relationship with her father adds another dimension to her identity crisis. As a figure who embodies colonial ideology, her father represents everything she intellectually opposes. Yet, despite rejecting his worldview, Maria is emotionally dependent on him, illustrating the tension between inherited privilege and political awareness. Her father, a hunter and an advocate of hierarchical power, symbolizes the European colonial mindset. Though Maria condemns his beliefs, she finds herself instinctively defending him against external criticism, revealing the subcon scious hold of inherited ideologies. This contradiction underscores the difficulty of completely breaking away from the structures that shape one’s identity. Maria’s struggle reflects the broader dilemma of postcolonial subjectivity. Her attempt to construct a morally righteous identity leads to an endless cycle of guilt and self doubt, resulting in what can be called a crisis of identity. Drawing from Sigmund Freud’s Mourning and Melancholia, this study argues that Maria experiences melancholia linked to Europe’s colonial past. She mourns a lost innocence she believes can never be regained and seeks redemption through her relationship with Pap, despite recognizing its inherent contradictions. Her behavior aligns with bell hooks’ critique of white liberal guilt, which suggests that many well intentioned individuals attempt to reconcile their historical privilege through performative acts of allyship rather than engaging in systemic change. Maria embodies this dilemma; her efforts to define herself through her association with the oppressed ultimately reinforce the same power structures she claims to reject. Velasco’s play challenges the notion that identity can be constructed solely through political correctness. Maria’s identity crisis demonstrates that inherited privilege and historical guilt cannot simply be erased by adopting progressive values. Instead, they continue to shape self perception in ways that often remain unexamined. By attempting to free herself from colonial legacies, Maria becomes trapped in a performative cycle, preventing her from establishing an authentic sense of self. Her love for Pap is overshadowed by her need for moral validation, and her ideological rejection of her father is undermined by her emotional ties to him. These contradictions prevent her from fully inhabiting any single identity, leaving her suspended between competing narratives of self definition. Rather than offering a resolution, Save Yourself from the Beauties I Wished for You presents an openended reflection on the challenges of postcolonial identity. It questions whether it is possible to truly escape the legacies of colonialism or whether attempts to do so inevitably reproduce the same hierarchical structures in different forms. By critically engaging with the performative nature of white liberal guilt, the contradictions of progressive identity &nbsp;politics, and the persistence of historical power dynamics, Velasco’s work urges its audience to reconsider how identity is constructed and negotiated in a postcolonial world. Through Maria’s character, the play suggests that self definition is never a neutral act; it is always shaped by history, ideology, and unconscious biases that complicate even the most well intentioned efforts at decolonization.

Kimlik Bunalımından Bunalım Kimliğine “Kurtar Kendini Sana Dilediğim Güzelliklerden”

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 performances 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 selfinvolved. Instead, Meisner developed exercises designed to foster real-time 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 under-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

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 discourse 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 two-part 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

Ardan

In this study, an original approach is proposed toward the Özsoy Opera, which has served as a successful cornerstone of Turkish national identity. The focus is placed on the role this opera played in the development of both the Turkish national music school and the broader tradition of Turkish opera. Additionally, the study examines the place of Özsoy within Ahmed Adnan Saygun’s nationalist musical output, the nature of his musical relationship with Mustafa Kemal Atatürk, and the reasons behind Atatürk’s request for Saygun to compose an opera, a request made in light of the historical context of Turkish-Iranian relations.Mustafa Kemal Atatürk regarded the performance of Özsoy, composed by Adnan Saygun, as a “revolutionary movement” aimed at promoting the reforms of the Republic and introducing modern Turkish society. Özsoy, in which Eastern and Western motifs are synthesized through a distinctively Turkish perspective, not only established a geographical bridge between East and West but also served as a rebellious artistic expression that showcased the new identity and personality of the Republic of Turkey. As a foundational work marking the inception of Turkish national opera, it has secured an esteemed place in the history of Turkish music.Contrary to the Western musical education he had received, Saygun’s Özsoy Opera is characterized by a departure from Western harmonic structures, instead drawing upon pentatonic scales and nourished by the melodies of Turkish folk music. Featuring characters derived from Iranian mythology and conveying elements of Turkish culture through an aesthetic musical language, the opera’s melodies inevitably reflect the musical spirit of these lands. In the process of creating a national opera, Ahmed Adnan Saygun demonstrated great sensitivity to this cultural context, striving to capture the colors and textures of the region within his musical compositions.Up until the period during which Özsoy was composed, opera had emerged as one of the musical forms developing under the Westernization policies of the Ottoman Empire. Musically, Ottoman society was first introduced to Western music through the operatic form, primarily via Ottoman envoys. Opera activities continued during the reigns of Ottoman sultans such as Mahmud II, Abdülmecid I, Abdülaziz, and Abdülhamid II. In particular, Abdülhamid II openly supported Western music. In line with the broader efforts toward Westernization, the first operatic works featuring Turkish-language librettos began to be composed by Turkish musicians toward the end of the nineteenth century. İsmail Zühtü Bey, who was also Ahmed Adnan Saygun’s first teacher, attempted to write a libretto based on Abdülhak Hamid’s novel Tezer, though this project was ultimately unsuccessful. Another operetta, entitled Pembe Kız (The Pink Girl), was written by Ali Haydar Bey, a military band officer, and its melodies were arranged into a polyphonic form by Macar Tevfik Bey, another of Saygun’s teachers.This process gained significant momentum with the establishment of the Republic. The Turkish nation, redefined under the leadership of Atatürk, became a people who, while deeply rooted in their rich cultural and historical heritage, also closely followed Western civilizations and endeavored to equip themselves with the necessary tools to advance along that path. The revolutionary changes realized within less than five years after the opening of the Grand National Assembly left world leaders in admiration. Transformations in social life, the abolition of the caliphate, the incorporation of the civil code into the constitution, the radical improvement in literacy rates brought about by the alphabet reform, and innovations such as the Law on the Unification of Education swiftly transformed a society dominated by religious orders and clergy into a republic that rose above contemporary civilizations. During this period, while the Republic of Turkey was transforming into a modern Western-oriented civilization, it never severed its ties with its profound roots. Had it done so, modernization might have remained a shallow and transient phenomenon. However, Atatürk, fully aware of this, turned his gaze toward the West without disregarding the spirit and support of the East. For this reason, he maintained friendly relations particularly with Iran, a country with a rich and ancient civilization. During his visit to Turkey, Reza Shah of Iran, who attended the performance of Özsoy, came to believe that by sharing their common historical and cultural wealth, the Turks and Iranians could form an even greater power. Thus, the Republic of Turkey, having successfully established itself as a strong Eastern nation with a modern face, earned the respect of the international community through the Özsoy opera and the successful foreign policy strategies of the period.&nbsp;Considering the period during which Özsoy was composed and the purpose for which it was written, it is evident that its significance extends beyond Turkey or Iran, bearing considerable importance in the context of international relations.&nbsp;

A. A. Saygun’un Özsoy Operası’ndaki Ulusal Unsurlar

Sitare

Musical theatre is an interdisciplinary performance art that combines singing, acting and dance. This art form has been shaped with elements from operetta, vaudeville and classical theatre since the 19th century, and in the 20th century, it developed on Broadway and West End stages and became a global phenomenon. One of the most distinctive features of musical theatre is the use of songs that support the storytelling in an organic integrity with the dramatic narrative. This requires performers to have not only strong vocal techniques but also a high awareness of emotional expression and character development.While traditional vocal training methods are usually based on a pedagogy of opera or classical music, vocal techniques used in musical theatre cover a wider range. Vocal styles ranging from the controlled and resonant use of the classical operatic voice to the near-speech or belting (chest voice-dominated, powerfully projected singing) technique seen in contemporary musicals reveal the diversity and challenges of this art form. Especially since the second half of the 20th century, the development of technology and the widespread use of microphones have changed the nature of vocal performance in musical theatre. Instead of the classical techniques with large projections that previously appealed to large theatres, more natural and narrative-oriented singing styles have gained importance. This has necessitated a reshaping of approaches to vocal training in musical theatre.Unlike classical opera and popular music, vocal performance in musical theatre should be supported by a strong narrative ability, character development and dramatic expression as well as technical excellence. In this context, musical theatre artists are expected to be able to use both classical and modern vocal techniques effectively. Singing techniques not only enhance the expressive power on stage, but also help the singer to preserve his/her voice in the long term and ensure a sustainable vocal performance.When the connection between music and character in musical theatre is examined, it is seen that the actor's interpretation of the music is a depiction of the character. Creating a character in musical theatre directly affects singing. While the actor characterises the music with his voice, he inevitably determines the behaviour of his character on stage. In this case, it can be said that the connection between singing and acting is reciprocal.In this context, musical theatre singing should be considered not only as an aesthetic and technical issue, but also as a pedagogical and performative problematic. In particular, the “acting through song” approach requires the integration of vocal techniques with expression in order for the actor to sustain the dramatic action in the song (Linklater, 2006). In addition, prolonged performances on stage, fast-paced choreographies and frequent rehearsal processes emphasise the durability and health of the voice.&nbsp;Since musical theatre is a branch of art that intertwines vocal and dramatic expression, singing techniques in this field cannot be considered only as a matter of technical competence. Artists must not only sing a particular song with the most accurate technique, but also interpret it in accordance with the emotional journey of the character they play. This allows singing to become a narrative tool rather than a purely mechanical process. Therefore, vocal performance in musical theatre is directly linked not only to how the voice is produced, but also to the context, the mood and the expressive power with which it is presented.The aim of this study is to provide a comprehensive resource for artists, trainers and researchers by examining the theoretical and practical aspects of singing techniques in musical theatre in detail. In the study; the historical process of vocal development, vocal production forms, comparison of different singing techniques, “acting through song” approach and vocal health will be examined in detail. Thus, it is aimed to provide a comprehensive and up-to-date resource for both musical theatre instructors and artist candidates and artists performing in this field.

Müzikal Tiyatroda Şarkı Söyleme Teknikleri: Stilistik, Pedagojik ve Performans Boyutlarıyla Bir İnceleme

Gökçe

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

This study examines the evolution of the harp repertoire through concertos composed during the Baroque, Classical, and Romantic periods, with a particular focus on the instrument’s technical development and its impact on compo sitional practices. Concertos have been chosen as the primary research focus due to their structural clarity and their capacity to most effectively reflect technical progress.In the Baroque period, the harp was predominantly employed as an accompanying instrument rather than a solo vehicle. Literature suggests that no original solo harp concertos were composed during this era, which can be attributed to the instrument’s technical limitations, especially the lack of a sophisticated pedal mechanism. The nature of Baroque music centered around horizontal polyphony often conflicted with the harp’s resonant qualities, occasionally leading to blurred textures. This acoustic challenge may partly explain the limited number of transcrip tions of Baroque works for harp. Nevertheless, considering the capabilities of modern concert harps, well crafted transcriptions can significantly enrich the Baroque concerto repertoire.The Classical period marked the emergence of the harp as a true solo instrument, as improvements in technique and design especially the development of the singleaction pedal system expanded its tonal and expressive possibilities. As Hüseynova (2014) indicates, the transition from a singleaction to a doubleaction pedal mechanism facilitated greater harmonic mobility, tonal variety, and new sound effects, which in turn enhanced expressive potential. This technical evolution contributed to the compositional richness of Classical harp concertos, which began to feature more lyrical and technically intricate solo writing. The Flute and Harp Concerto in C Major, K. 299, by Wolfgang Amadeus Mozart is a key work from this period, notably featuring a later cadenza by Carl Reinecke. This Romantic style cadenza marked by sweeping arpeggios and dense harmonic motion deviates from the original Classical aesthetic and reflects the period’s interpretative transitions. Nonetheless, this has not prevented Mozart's Concerto for Flute and Harp from becoming one of the most frequently performed concertos today.During the Romantic era, the invention of the doubleaction pedal system by Sébastien Érard in 1810 enabled harpists to execute fully chromatic passages with greater ease, thereby allowing composers to explore richer harmonies and more elaborate orchestration. Romantic harp concertos exhibit enhanced lyrical expression, emotional depth, and virtuosic passages. Carl Reinecke’s Op. 182 Harp Concerto in E Minor stands as one of the era’s most prominent examples, offering both technical challenges and melodic beauty. This period saw a peak in harp concerto writing, as the instrument was finally recognized as a fully expressive and dynamic solo voice within the orchestra.While the fast slowfast threemovement structure was preserved across all three periods, the stylistic evolution of concertos is evident in the harmonic language and formal liberties, particularly in the second and third movements. The increasing freedom in form and texture from the Classical to Romantic periods parallels the harp’s technical and expressive development.One of the most illustrative examples of stylistic divergence through transcription is found in Marcel Grandjany’s 1933 edition of Handel’s Harp Concerto in Bflat Major, Op. 4 No. 6. Although originally composed for the organ, the piece was adapted for harp with cadenzas that reflect a Romantic rather than a Baroque aesthetic, highlighting the tension between historical authenticity and expressive innovation. A similar stylistic inconsistency is seen in Carl Reinecke’s cadenza for Mozart’s K. 299 concerto, where Romantic virtuosic flair replaces Classical restraint.In conclusion, this study explores how the concerto genre has mirrored the harp’s transformation from a modest continuo instrument to a fully realized solo voice. By tracing the historical trajectory of the harp through these key periods, the research underscores the importance of transcription in enriching the limited Baroque repertoire and enhancing pedagogical resources. At the same time, it reveals how evolving instrument design has informed both compositional style and performance practice, reinforcing the harp’s dual role as both a technically demanding and artistically expressive instrument.

Arpın Yapısal Gelişimi Bağlamında Barok, Klasik ve Romantik Dönem Arp Konçertoları

İlke

This study comprehensively examines Igor Vladimirovich Sposobin's harmony system, one of the most prominent examples of the theoretical models developed by Soviet music pedagogy in the 20th century, in its historical, pedagogical and cultural context. Sposobin (1900-1954) was a decisive figure in the institutionalisation of music theory education in the Soviet Union; the theoretical systems he developed became standard curricula not only in Soviet educational institutions but also in other socialist countries such as China. This article systematically analyses the basic principles on which Sposobin's theory is based, its relation to Soviet ideology, its pedagogical methods and how it was adapted in other countries through cultural transfer. Uchebnik Garmonii (Harmony Textbook), one of Sposobin's main works, was designed not only as a theoretical source, but also as a pedagogical tool reflecting the artistic understanding and Soviet ideology of the period. The book aims to systematise tonal harmony within the framework of diatonic-based and functional categories, while gradually developing the student's harmonic thinking skills. This system is a simplified and localised version of Western European approaches to harmony - especially Riemann's functional harmony - combined with a disciplinary approach typical of Soviet pedagogy. In particular, the identification of each chord by both degree and function (e.g. T, S, D) is noteworthy as a pedagogical tool aimed at providing the student with not only a theoretical but also an intuitive sense of tone. The article points out that Sposobin's system carries not only a pedagogical but also an ideological discourse. In line with the principles of socialist realism, which became evident during the Stalin era, art was moved away from individualistic and formalist conceptions and towards a populist, simple, functional and comprehensible line. This ideological framework is clearly felt in Sposobin's works. The teaching of harmony is positioned not only as the transfer of technical knowledge, but also as a tool for the upbringing of the socialist individual. The fact that the musical examples used are mostly chosen from Russian folk songs or classical Russian repertoire supports this ideological orientation. Sposobin's theory was also widely adopted in China from the 1950s onwards, and the work Uchebnik Garmonii was first translated into Chinese chapter by chapter, then completely, and became a compulsory textbook in Chinese conservatories. This process should be considered not only as an educational process, but also as a cultural and ideological transfer process. In China, the Soviet model of music education was adopted as part of the socialist construction process; diplomatic and cultural relations with the Soviet Union served as a legitimising function. The content of the book has been localised and reorganised to allow the harmonisation of traditional pentatonic structures specific to China. In this respect, the Sposobin system also functioned as a cultural model at the international level. The article emphasises that Sposobin's system offers a very strong pedagogical structure; however, it also has some limitations in terms of contemporary music education. The most criticised aspect of the system is that it centres on an overly normative and ‘one-truth’ approach. The student's space for developing creative solutions is limited; harmonic rules are often presented as inflexible structures. This has led to the inadequacy of this system, especially in post-20th century music - in areas such as modal harmony, jazz, serialism and post-tonal music. Moreover, due to its historical origin, the system has a certain ideological burden, which poses a problem for contemporary educators. On the other hand, the influence of Sposobin's theory on contemporary harmony education still persists. Today, many music schools and conservatories, especially in Russia and China, use direct or derivative forms of this system. Some institutions have hybridised this system with modern theoretical approaches (e.g. Schenker analysis, neo-Riemannian analysis, jazz theory, etc.) to develop more flexible and multi-layered teaching models. Thus, while benefiting from Sposobin's pedagogical discipline, more flexible analysis methods suitable for the diversity of the repertoire were also integrated into the system. In conclusion, this study shows that Igor Sposobin's harmony system functioned as a lasting and influential music theory not only during the Soviet Union but also on a global scale. Considering the historical context, pedagogical structure and forms of cultural transmission of the theory, it becomes clear that this system is not only a theory, but also an educational policy and cultural discourse. Sposobin's theory provides a powerful example of how the idea of functional harmony can be transformed as a pedagogical tool; it also reveals how music theory is intertwined with ideology, culture and teaching models.

Igor Sposobin ve Sovyet Armoni Pedagojisinin Evrensel Mirası: Tarihsel, Teorik ve Kültürel Bir İnceleme

Fatma

“İmparator Olmak İsterdim” (K 539), Vatansever Bir Savaş Şarkısı Mıdır?

Beril

Performans Çalışmaları: Bir Giriş

@JOURNAL_BOX_CURRENT

Kamil

When the related literature is analysed, it is seen that Casey Cangelosi has made significant contributions to the field of percussion as both a composer and a performer. Casey, who holds music degrees from Rice University, Boston Conservatory and Utah State University, is invited and participates in many educational institutions, music festivals and academic music seminars around the world as a guest artist. Casey Cangelosi is also the director of the Percussion Studies Department at James Madison University. Casey’s improvisation skills, use of ornamentation, ability to play passages that require technique and agility, and his unique style are the main characteristics of his performances. These characteristics are the most important elements that determine the originality of Casey’s works.This study focuses on revealing the musical elements behind Casey Cangelosi’s Wicca for solo percussion. When the related literature was analysed, it was seen that there was no academic research on this piece. Accordingly, it is likely that the piece will make an important contribution to the literature on multi2percussion. The problem statement of the research was determined as ‘What are the characteristics of Casey Cangelosi’s Wicca, which was written for percussion?. In order to find an answer to this problem statement, firstly, some information about Casey and the works composed for percussion were compiled to provide a basis for the analysis. Afterwards, the solo multi2 percussion piece named Wicca was analysed and interpreted by using the musical analysis method created within the framework of weighing, polyrhythm, ornamentation, performance technique and musical expression elements.With this analysis, it was determined that Casey Cangelosi adopted a ‘heterorhythmic’ structure in his work, that is, he put the work into a variable temporal cycle by using different times together. By adopting this approach, the composer used thirteen different times in the work consisting of 264 measures. In addition, it was determined that the rhythmic structure of the piece was strengthened considerably thanks to the use of different types of weighing and polyrhythms. When the performance techniques used in the piece were analysed, it was determined that ‘rim shot, strike white brush, buzz, finger roll, short circular scraping on head, continuous circular scraping, and pitch bend rattling’ techniques were used. It can be said that these techniques were preferred in order to reveal the characteristic timbres of each of the instruments used in the piece and the performance techniques that can be used. The performance techniques preferred by the composer both enriched the work technically and added originality to the work by creating an aural difference with the different timbres they created. In addition, it is obvious that the composer, who offers a rich variety of performance in his work, prevents the monotony that may occur in the work by revealing his own performance style. It was determined that piano (p), forte (f), mezzoforte (mf), mezzopiano (mp), fortepiano (fp), fortissimo (ff), crescendo, decrescendo, puandorg and accent were used as musical expression elements. It can be said that the composer made sense of these musical expression elements in accordance with the performance of the multi2percussion, and used each expression in a natural way to ensure the integrity of the piece.Based on all these analyses, it can be stated that the musical structure observed in Cangelosi’s work is fed by the interaction between the performers. This interaction is directly reflected on both the performance technique of the piece and the musical elements used. Therefore, it is not possible to say that the technical and musical elements used in the piece belong to Cangelosi. However, the research findings reveal that Cangelosi composed Wicca using an original rhythmic language and in a way that reflects his own compositional style. In other words, as mentioned before, Cangelosi’s use of unique time changes, rhytmic flow and polyrhythms in Wicca has created dynamic structures and made the expression of the work quite original. In addition, the timbres that emerge thanks to Cangelosi’s multipercussion positioning and the rich performance techniques used in the piece are among the important elements that shape the original expression of the work.&nbsp;

Casey Cangelosi’nin Solo Multiperküsyon İçin Bestelediği Wicca İsimli Eser Üzerine

Melis

From Wagner to Metal Through Nietzsche: Dramatic Representation of Metal Music as Ritual, Sacrifice and Catharsis

@JOURNAL_BOX_EARLYVIEW

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

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Özgün

Ozan Evrim

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

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

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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.

Hikmet

Prof. Dr.

EBSCO

ERIH PLUS

TR Dizin

DOAJ

Gale Cengage

Ulrichsweb

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Konservatoryum

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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.

Politikalar

Dergi açık erişimlidir ve derginin tüm içeriği okura ya da okurun dahil olduğu kuruma ücretsiz olarak sunulur. Okurlar, ticari amaç haricinde, yayıncı ya da yazardan izin almadan dergi makalelerinin tam metnini okuyabilir, indirebilir, kopyalayabilir, arayabilir ve link sağlayabilir. Bu <a href="https://www.budapestopenaccessinitiative.org/translations/turkish-translation" target="_blank">BOAI</a> açık erişim tanımıyla uyumludur. Derginin açık erişimli makaleleri Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.tr" target="_blank">CC BY-NC 4.0</a>) olarak lisanslıdır.

Derginin tüm giderleri İstanbul Üniversitesi tarafından karşılanmaktadır. Dergide makale yayını ve makale süreçlerinin yürütülmesi ücrete tabi değildir. Dergiye gönderilen ya da yayın için kabul edilen makaleler için işlemleme ücreti ya da gönderim ücreti alınmaz.

Yazarlar dergide yayınlanan çalışmalarının telif hakkına sahiptirler ve çalışmaları  Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.tr" target="_blank">CC BY-NC 4.0</a>) olarak lisanslıdır. CC BY-NC 4.0 lisansı, eserin ticari kullanım dışında her boyut ve formatta paylaşılmasına, kopyalanmasına, çoğaltılmasına ve orijinal esere uygun şekilde atıfta bulunmak kaydıyla yeniden düzenleme, dönüştürme ve eserin üzerine inşa etme dâhil adapte edilmesine izin verir.

Editörler, yayınlanan makalede, bulguları, yorumları ve sonuçları etkilemeyen küçük hatalar tespit edilirse düzeltme yayınlamayı düşünebilirler. Editörler, bulguları ve sonuçları geçersiz kılan büyük hatalar / ihlaller söz konusu olduğunda, makaleyi geri çekmeyi düşünmelidir. Yazarlar tarafından araştırma veya yayını kötüye kullanmaya yönelik olasılık söz konusu ise; bulguların güvenilir olmadığına ve yazarların kurumlarının olayı soruşturmadığına dair kanıtlar var veya olası soruşturma haksız veya sonuçsuz görünüyor ise, editörler endişe ifadesi yayınlamayı düşünmelidir. Düzeltme, geri çekme veya endişe ifadesi ile ilgili olarak <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> ve <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> yönergeleri dikkate alınır.Geri ÇekmeDergi geri çekme durumunda <a href="https://publicationethics.org/sites/default/files/retraction-guidelines-cope.pdf" target="_blank">COPE Retraction Guidelines</a>’ı izler. Editör, aşağıdaki durumlarda bir makaleyi geri çekme hakkına sahiptir: <ul><li>Büyük bir hata (örn. yanlış hesaplama veya deneysel hata), uydurma öğeler  (örn. veri) veya tahrifat (örn. görüntü manipülasyonu) gibi bulguların güvenilmez olduğu sonucunu çıkarmaya dair açık kanıtlar varsa; </li><li>İçerikte intihal varsa; </li><li>Uygun atıf yapılmadan başka bir yerde yayınlanmışsa;</li><li>Kullanım izni olmayan materyal veya veri içeriyorsa;</li><li>Telif hakkı ihlali veya başka bir ciddi yasal sorun varsa;</li><li>Etik olmayan araştırma içeriyorsa; </li><li>Hakem değerlendirme sürecinin bozulduğuna veya manipüle edildiğine dair kanıt varsa;</li><li>Yazar(lar), editörün görüşüne göre, çalışmanın yorumlanmasını veya editörlerin ve hakemlerin tavsiyelerini önemli derecede etkileyebilecek, kritik bir çıkar çatışmasını açıklamamış ise.</li></ul>Geri çekme durumunda aşağıdaki adımlar izlenir:<ul><li>Makale başlığını da içeren geri çekme bildirimi derginin bir sonraki sayısında yayınlanır. Geri çekme bildirimi  içindekiler tablosunda sayfa nosu verilerek listelenir. </li><li>Elektronik versiyonda geri çekme bildirimi ile orijinal makale arasında link sağlanır. </li><li>Online makaleden önce geri çekme bildirimini içeren sayfa gelir; okuyucu daha sonra makalenin kendisine geçebilir.</li><li>Orijinal makale, her sayfadaki .pdf üzerinde “geri çekildiğini” belirten bir filigran dışında değişmeden kalır.</li></ul>Yasal Nedenlerle Makalenin KaldırılmasıAşağıdaki durumlarda, üst veriler (başlık ve yazarlar) hariç olmak üzere, makale metni kaldırılır ve makalenin yasal nedenlerle kaldırıldığını bildiren bir sayfa makalenin yerini alır. <ul><li>Makalenin karalayıcı içerik ihtiva ettiği veya başkalarının yasal haklarını ihlal ettiği tespit edilir ve geri çekmenin yeterli bir çözüm olmadığı düşünülürse;</li><li>Makale bir mahkeme kararına konu olmuşsa veya olacağına dair makul bir neden varsa;</li><li>Kamu sağlığı açısından önemli bir risk söz konusu ise;  </li></ul>

Dergide yayınlanan tüm yazıların korunmasını ve kalıcı olarak erişilebilir olmasını sağlamak için makaleler, ulusal bir arşiv sitesi olarak hizmet veren ve aynı zamanda LOCKSS'in içeriği toplamasına, korumasına ve sunmasına izin veren Dergipark'ta saklanmaktadır.Ek olarak, yazarların kendilerinin makalelerinin son PDF sürümünü Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>) standartlarına uygun açık elektronik arşivlerde arşivlemeleri önerilir. Yazarlar, yayınladıkları arşiv versiyonundan, İ.Ü. Yayınevinin dergi web sitesinin URL'sine bağlantı sağlamalıdır.

Yapay Zeka konusundaki gelişmeler ve akademik yayıncılıkta görülen uygulamalar dikkate alınarak oluşturulan Yapay Zeka Politikası, yazarların, hakemlerin ve editörlerin bu türden teknolojilerin kullanımında uymaları gereken editöryal ve etik ilkeleri içerir. Yapay Zeka politikasının oluşturulmasında, aşağıdaki kaynaklar dikkate alınmıştır:Committee on Publication Ethics <a href="https://publicationethics.org/guidance/cope-position/authorship-and-ai-tools" target="_blank">(COPE) - Authorship and AI tools</a>; International Committee of Medical Journal Editors <a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four" target="_blank">(ICMJE) - Artificial Intelligence (AI)-Assisted Technology; World Association of Medical Editors  (WAME) Chatbots, Generative AI, and Scholarly Manuscripts</a><a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four"></a>Yapay Zeka destekli teknolojiler (Büyük Dil Modelleri [LLM'ler], sohbet robotları veya görüntü oluşturucular gibi), metin, görüntü, ses ve sentetik veriler dahil olmak üzere çeşitli içerikler geliştirebilmekte ve üretebilmektedir. Bu yetenekleri etik ve güvenli bir şekilde kullanıldığında üretkenliği artırabilir ve yeniliği teşvik edebilir; ancak insan yönlendirmesi olmadan kullanımında doğru olmayan ve taraflı sonuçlar; atıf verme konusunda eksikler ve hatalar; gizlilik ve fikri mülkiyet haklarının korunmasında eksiklikler; yazar ve yayıncıların haklarının potansiyel ihlali gibi riskler taşımaktadır. IUPress, Yapay Zeka kullanımı konusunda söz konusu riskleri bertaraf etmeyi amaçlayan aşağıdaki temel ilkeleri benimser:  <ul><li>İçerik üretiminde kullanılan (metin, şekiller, resimler ve kod dahil ancak bunlarla sınırlı olmamak üzere) her türlü Yapay Zeka ile ilgili ayrıntılar çalışmanın uygun bölümünde (bilgi notu olarak ve/veya metod kısmında) beyan edilmeli ve net biçimde açıklanmalıdır. </li><li>Hiçbir Yapay Zeka aracı hiçbir bilimsel çalışmada yazar olarak listelenemez. </li><li>Yazarlar, herhangi bir şekilde Yapay Zeka kullanımı durumunda da çalışmalarının doğruluğu, bütünlüğü ve özgünlüğünden sorumludur; başkalarının fikirleri, verileri, kelimeleri veya diğer materyallerini doğru referanslama ve atıf ile sunmakla yükümlüdürler. </li><li>Hakemler ve editörler gönderilen çalışmayı tamamen ya da kısmen hiçbir üretken Yapay Zeka uygulamasına yükleyemez. </li></ul>IUPress yayınlarının editöryal süreçlerinde, Yapay Zeka ile üretilmiş içerikleri tespit eden yardımcı araçlar editörlerin kullanımındadır. Öte yandan okunurluğu, dil ve grammeri iyileştirme ve geliştirme konusunda önerilerde bulunan Yapay Zeka araçlarının kullanılması yaygındır ve IUPress  yayınlarında bu türden Yapay Zeka araçları editörlerin ve yazarların gözetiminde kullanılabilir.

Yapay Zeka Politikası

<ul><li>Yazarlar, gönderdikleri çalışmayı oluştururken <a target="_blank">Yapay Zeka destekli teknolojiler (Büyük Dil Modelleri [LLM'ler], sohbet robotları veya görüntü oluşturucular gibi) </a>kullandılarsa, bunu  beyan etmekle yükümlüdür. </li><li>Yazarlar hem ön yazıda hem de sunulan çalışmanın uygun bölümünde (bilgi notu olarak ve/veya metod kısmında), hangi Yapay Zeka aracını ve hangi versiyonunu ne amaçla kullandıklarını açıklamalıdır. </li><li>Yapay Zeka destekli teknolojilerden yararlanılarak oluşturulan içeriğin ve alıntıların doğruluğu, geçerliliği ve uygunluğunun sağlanması, olası hata, tutarsızlık ve taraflı sonuçların giderilmesi yazarların sorumluluğundadır. </li><li>Yazarlar, Yapay Zeka destekli teknolojiler ile üretilmiş metinlerde intihal potansiyeli olduğunu dikkate alarak, olası intihali bertaraf etmek için orijinal kaynakları mutlaka kontrol etmelidir. Kontrol ettiğini ve kaynakların orijnal kaynaklar olduğunu teyid etmelidir.  </li><li>Yapay Zeka destekli araçlar (ChatGPT gibi) yazar olarak listelenemez çünkü çalışmanın doğruluğundan, bütünlüğünden ve orijinalliğinden sorumlu olamazlar ve bu sorumluluklar yazarlık için şarttır. Bu nedenle, Yapay Zeka destekli teknolojilerin kullanımını içeren tüm materyallerden yazarlar sorumludur. Yazarlar, makalede yer alan ve çalışmanın hipotezlerini, yorumlarını, sonuçlarını, sınırlamalarını ve çıkarımlarını bildiren tüm ifadelerin kendi fikirlerini temsil ettiğinden emin olmalıdırlar.  </li><li>Yazarların, Yapay Zeka araçlarını temel araştırmacı ve yazar sorumluluklarının yerini alacak, aşağıdaki şekillerde kullanarak oluşturdukları çalışmalar bilimsel yayıncılık ve yayın etiği ilkelerine aykırıdır ve bu türden çalışmaların yayınlarda yer almasına izin verilmez: <ul><li>Titiz revizyon olmadan metin veya kod oluşturma, </li><li>Sağlam bir metodoloji olmadan eksik verileri ikame etmek için sentetik veri üretimi,  </li><li>Özetler veya ek materyaller de dahil olmak üzere her türlü hatalı, sentetik içerik oluşturulması </li><li>Yapay Zeka kullanımı ile görüntü ve şekillerin (resimler, çizelgeler, veri tabloları, tıbbi görüntüler, görüntü parçacıkları, bilgisayar kodları ve formüller) veya orijinal araştırma verilerinin oluşturulması ve manipüle edilmesi (bir görüntü veya şekil içinde belirli bir özelliğin artırılması, gizlenmesi, taşınması, kaldırılması veya eklenmesi).</li></ul></li></ul>

Hakem sürecinde gizliliğin korunması, değerlendirilen çalışmanın bu süreçte paylaşılmaması veya kullanılmaması esastır.  <a></a><a href="https://publicationethics.org/sites/default/files/ethical-guidelines-peer-reviewers-cope.pdf" target="_blank">(COPE – Ethical Guidelines for Peer Reviewers</a>) <ul><li>Hakemler, kendilerine değerlendirme için gönderilen bir makaleyi veya herhangi bir bölümünü gözden geçirme, değerlendirme veya karar verme sürecine yardımcı olması için üretken Yapay Zeka araçlarına veya Büyük Dil Modellerine yüklememelidirler; zira hakemlerin bu türden Yapay Zeka araçlarına içerik yüklemesi yazarların gizlilik ve mülkiyet haklarını ihlal eder.  </li><li>Bilimsel bir makalenin incelenmesi, yalnızca insanlara atfedilebilecek sorumluluktur. Hakem değerlendirmesi için gereken eleştirel düşünme ve orijinal değerlendirme bu teknolojinin kapsamı dışındadır ve teknolojinin makale hakkında yanlış, eksik veya önyargılı sonuçlar üretme riski vardır. Hakem raporu ve karar mektupları, hakemlerin ve editörlerin gönderilen içeriğe ilişkin kişisel değerlendirmelerini yansıtmalıdır. Hakem, raporunun içeriğinden sorumludur ve hesap vermekle sorumludur. </li><li>Yapay Zeka araçları, hakem değerlendirmesi ile bağlantılı olarak hakem değerlendirme raporu dilinin kalitesini artırmak için (çeviri veya dil düzenlemesi için) sınırlı bir şekilde kullanılabilir. Böyle bir kullanım olduğunda, hakem raporu iletirken, kullanımı beyan etmelidir. </li><li>Bir başvuruda üretken Yapay Zekanın uygunsuz veya açıklanmamış kullanımından şüphelenen hakemler, endişelerini dergi editörüne bildirmelidir. </li></ul>

Editörler dergiye gönderilen makalelerin değerlendirme sürecinde gizliliğinin korunmasını sağlamakla yükümlüdürler, değerlendirilen çalışmanın bu sürece dahil olan taraflar dışında paylaşılmaması veya kullanılmaması esastır <a href="https://publicationethics.org/files/Code_of_conduct_for_journal_editors_Mar11.pdf" target="_blank">(COPE – Code of Conduct and Best Practice Guidelines for Journal Editors)</a>.<ul><li>Editörler, yazarların gizlilik ve mülkiyet haklarını ihlal edebileceğinden, gönderilen bir makaleyi veya herhangi bir bölümünü gözden geçirme, değerlendirilme veya karar verme sürecine yardımcı olması için üretken Yapay Zeka  araçlarına veya Büyük Dil Modelleri'ne yüklememelidir. </li><li>Bilimsel bir makalenin editoryal değerlendirmesini yönetmek, yalnızca insanlara atfedilebilecek sorumluluklar anlamına gelir. Üretken Yapay Zeka veya Yapay Zeka destekli teknolojiler, editörler tarafından bir makalenin değerlendirme veya karar verme sürecine yardımcı olmak için kullanılmamalıdır, çünkü bu iş için gereken eleştirel düşünme ve orijinal değerlendirme bu teknolojinin kapsamı dışındadır ve teknolojinin makale hakkında yanlış, eksik veya önyargılı sonuçlar üretme riski vardır. Editör, editoryal süreçten, nihai karardan ve bunların yazarlara iletilmesinden sorumlu ve mesuldür.</li><li>Editörler, karar mektupları veya yayınlanmamış araştırmaların özetlerini oluşturmak için üretken Yapay Zeka aracı kullanmamalıdır. </li><li>Editörler, uygun hakemleri bulma konusunda yardımcı olması için üretken Yapay Zeka araçlarını kullanabilir.</li><li>Editörler, gönderilen bir makalede veya gönderilen bir hakem raporunda üretken Yapay Zeka kullanıldığından şüphelenirse konuyla ilgili editoryal bir değerlendirme yapmalı ve politikayı göz önünde bulundurmalıdır. </li></ul>

Konservatoryum/Conservatorium, yayın etiğinde en yüksek standartlara bağlıdır ve <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, <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 adres: <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 tüm makaleler orijinal, yayınlanmamış ve başka bir dergide değerlendirme sürecinde olmamalıdır. Yazar makalenin orijinal olduğu, daha önce başka bir yerde yayınlanmadığı ve başka bir yerde, başka bir dilde yayınlanmak üzere değerlendirmede olmadığını beyan etmelidir. Uygulamadaki telif kanunları ve anlaşmaları gözetilmelidir. Telife bağlı materyaller (örneğin tablolar, şekiller veya büyük alıntılar) gerekli izin ve teşekkürle kullanılmalıdır. Başka yazarların, katkıda bulunanların çalışmaları ya da yararlanılan kaynaklar uygun biçimde kullanılmalı ve referanslarda belirtilmelidir. Her bir makale editörlerden biri ve en az iki hakem tarafından çift kör değerlendirmeden geçirilir. İntihal, duplikasyon, sahte yazarlık/inkar edilen yazarlık, araştırma/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.

Etik

Konservatoryum/Conservatorium araştırma etiğinde en yüksek standartları gözetir ve aşağıda tanımlanan uluslararası araştırma etiği ilkelerini benimser. Makalelerin etik kurallara uygunluğu yazarların sorumluluğundadır.<ul><li>Araştırmanın tasarlanması, tasarımın gözden geçirilmesi ve araştırmanın yürütülmesinde, bütünlük, kalite ve şeffaflık ilkeleri sağlanmalıdır</li><li>Araştırma ekibi ve katılımcılar, araştırmanın amacı, yöntemleri ve öngörülen olası kullanımları; araştırmaya katılımın gerektirdikleri ve varsa riskleri hakkında tam olarak bilgilendirilmelidir.</li><li>Araştırma katılımcılarının sağladığı bilgilerin gizliliği ve yanıt verenlerin gizliliği sağlanmalıdır. Araştırma katılımcıların özerkliğini ve saygınlığını koruyacak şekilde tasarlanmalıdır.</li><li>Araştırma katılımcıları gönüllü olarak araştırmada yer almalı, herhangi bir zorlama altında olmamalıdırlar.</li><li>Katılımcıların zarar görmesinden kaçınılmalıdır. Araştırma, katılımcıları riske sokmayacak şekilde planlanmalıdır.</li><li>Araştırma bağımsızlığıyla ilgili açık ve net olunmalı; çıkar çatışması varsa belirtilmelidir.</li><li>İnsan denekler ile yapılan deneysel çalışmalarda, araştırmaya katılmaya karar veren katılımcıların yazılı bilgilendirilmiş onayı alınmalıdır. Çocukların ve vesayet altındakilerin veya tasdiklenmiş akıl hastalığı bulunanların yasal vasisinin onayı alınmalıdır</li><li>Çalışma herhangi bir kurum ya da kuruluşta gerçekleştirilecekse bu kurum ya da kuruluştan çalışma yapılacağına dair onay alınmalıdır.</li><li>İnsan öğesi bulunan çalışmalarda, “yöntem” bölümünde katılımcılardan “bilgilendirilmiş onam” alındığının ve çalışmanın yapıldığı kurumdan etik kurul onayı alındığı belirtilmesi gerekir.</li></ul>

Makalelerin bilimsel ve etik kurallara uygunluğu yazarların sorumluluğundadır. Yazar makalenin orijinal olduğu, daha önce başka bir yerde yayınlanmadığı ve başka bir yerde, başka bir dilde yayınlanmak üzere değerlendirmede olmadığı konusunda teminat sağlamalıdır. Uygulamadaki telif kanunları ve anlaşmaları gözetilmelidir. Telife bağlı materyaller (örneğin tablolar, şekiller veya büyük alıntılar) gerekli izin ve teşekkürle kullanılmalıdır. Başka yazarların, katkıda bulunanların çalışmaları ya da yararlanılan kaynaklar uygun biçimde kullanılmalı ve referanslarda belirtilmelidir.Gönderilen makalede tüm yazarların akademik ve bilimsel olarak doğrudan katkısı olmalıdır, bu bağlamda “yazar” yayınlanan bir araştırmanın kavramsallaştırılmasına ve dizaynına, verilerin elde edilmesine, analizine ya da yorumlanmasına belirgin katkı yapan, yazının yazılması ya da bunun içerik açısından eleştirel biçimde gözden geçirilmesinde görev yapan birisi olarak görülür. Yazar olabilmenin diğer koşulları ise makaledeki çalışmayı planlamak veya icra etmek ve/veya revize etmektir. Fon sağlanması, veri toplanması ya da araştırma grubunun genel süpervizyonu tek başına yazarlık hakkı kazandırmaz. Yazar olarak gösterilen tüm bireyler sayılan tüm ölçütleri karşılamalıdır ve yukarıdaki ölçütleri karşılayan her birey yazar olarak gösterilebilir. Yazarların isim sıralaması ortak verilen bir karar olmalıdır. Tüm yazarlar yazar sıralamasını <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/430B51E6B8DB496BA85FE84BEA4D6A73" target="_blank">Telif Hakkı Anlaşması Formunda</a> imzalı olarak belirtmek zorundadırlar.Yazarlık için yeterli ölçütleri karşılamayan ancak çalışmaya katkısı olan tüm bireyler “teşekkür / bilgiler” kısmında sıralanmalıdır. Bunlara örnek olarak ise sadece teknik destek sağlayan, yazıma yardımcı olan ya da sadece genel bir destek sağlayan, finansal destek ve materyal desteği sunan kişiler verilebilir.Bütün yazarlar, araştırmanın sonuçlarını ya da bilimsel değerlendirmeyi etkileyebilme potansiyeli olan finansal ilişkileri, çıkar çatışmasını ve çıkar rekabetini beyan etmelidirler. Bir yazar kendi yayınlanmış yazısında belirgin bir hata ya da yanlışlık tespit ederse, bu yanlışlıklara ilişkin düzeltme ya da geri çekme için editör ile hemen temasa geçme ve işbirliği yapma sorumluluğunu taşır.

Editörler, makaleleri, yazarların etnik kökeninden, cinsiyetinden, cinsel yöneliminden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirirler. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlarlar. Gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalacağını garanti ederler. Editörler içerik ve yayının toplam kalitesinden sorumludurlar. Gereğinde hata sayfası yayınlamalı ya da düzeltme yapmalıdırlar.Editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.Hakemler makaleleri, yazarların etnik kökeninden, cinsiyetinden, cinsel yöneliminden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirirler. Araştırmayla ilgili, yazarlarla ve/veya araştırmanın finansal destekçileriyle çıkar çatışmaları olmamalıdır. Değerlendirmelerinin sonucunda tarafsız bir yargıya varmalıdırlar. Hakemler yazarların atıfta bulunmadığı konuyla ilgili yayınlanmış çalışmaları tespit etmelidirler. Gönderilmiş yazılara ilişkin tüm bilginin gizli tutulmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar. Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kendileri için makalelerin kopyalarını çıkarmalarına izin verilmez ve editörün izni olmadan makaleleri başkasına veremezler. Yazarın ve editörün izni olmadan hakemlerin değerlendirmeleri basılamaz ve açıklanamaz. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir. Bazı durumlarda editörün kararıyla, ilgili hakemlerin makaleye ait yorumları aynı makaleyi yorumlayan diğer hakemlere gönderilerek hakemlerin bu süreçte aydınlatılması sağlanabilir.

Daha önce yayınlanmamış ya da yayınlanmak üzere başka bir dergide halen değerlendirmede olmayan ve her bir yazar tarafından onaylanan makaleler değerlendirilmek üzere kabul edilir. Gönderilen ve ön kontrolü geçen makaleler iThenticate yazılımı kullanılarak intihal için taranır. İntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir.Seçilen makaleler en az iki ulusal/uluslararası hakeme çift taraflı kör hakemlik ile değerlendirmeye gönderilir; yayın kararı, hakemlerin talepleri doğrultusunda yazarların gerçekleştirdiği düzenlemelerin ve hakem sürecinin sonrasında baş editör tarafından verilir.

Hakemlik Hakkında

Daha önce yayınlanmamış ya da yayınlanmak üzere başka bir dergide halen değerlendirmede olmayan ve her bir yazar tarafından onaylanan makaleler değerlendirilmek üzere kabul edilir. Gönderilen ve ön kontrolü geçen makaleler iThenticate yazılımı kullanılarak intihal için taranır. İntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir.Baş Editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirir. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar.Seçilen makaleler en az iki ulusal/uluslararası hakeme değerlendirmeye gönderilir; yayın kararı, hakemlerin talepleri doğrultusunda yazarların gerçekleştirdiği düzenlemelerin ve hakem sürecinin sonrasında baş editör tarafından verilir.Baş editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.Hakemlerin değerlendirmeleri objektif olmalıdır. Hakem süreci sırasında hakemlerin aşağıdaki hususları dikkate alarak değerlendirmelerini yapmaları beklenir.-Makale yeni ve önemli bir bilgi içeriyor mu?-Öz, makalenin içeriğini net ve düzgün bir şekilde tanımlıyor mu?-Yöntem bütünlüklü ve anlaşılır şekilde tanımlanmış mı?-Yapılan yorum ve varılan sonuçlar bulgularla kanıtlanıyor mu?-Alandaki diğer çalışmalara yeterli referans verilmiş mi?-Dil kalitesi yeterli mi?Hakemler, gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar. Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir.

DilDerginin yayın dili Türkçe ve Amerikan İngilizcesi’dir.Yazıların HazırlanmasıAksi belirtilmedikçe gönderilen yazılarla ilgili tüm yazışmalar ilk yazarla yapılacaktır. Makale gönderimi online olarak <a href="http://istanbul.edu.tr:8080/tr/journal/cons/home" target="_blank">https://iupress.istanbul.edu.tr/tr/journal/cons/home</a> üzerinden yapılmalıdır. Gönderilen yazılar, yazının yayınlanmak üzere gönderildiğini ifade eden, makale türünü belirten ve makaleyle ilgili bilgileri içeren (bkz: Son Kontrol Listesi) bir mektup; yazının elektronik formunu içeren Microsoft Word 2003 ve üzerindeki versiyonları ile yazılmış elektronik dosya ve tüm yazarların imzaladığı <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/430B51E6B8DB496BA85FE84BEA4D6A73" target="_blank">Telif Hakkı Anlaşması Formu</a> eklenerek gönderilmelidir.<ol><li style="text-align: left;">Konservatoryum, İstanbul Üniversitesi Devlet Konservatuvarı’nın Haziran ve Aralık aylarında olmak üzere yılda iki defa yayınladığı bilimsel nitelikli hakemli bir dergidir. Haziran sayısı için 15 Mart, Aralık sayısı için 15 Eylül’e kadar başvuru yapılmalıdır.</li><li style="text-align: left;">Dergide; daha önce yayınlanmamış veya yayınlanma aşamasında olmayan, özgün, deneme ve derleme makaleleri yayınlanır. Yayınlanmamış tezlerden veya bildirilerden türetilen çalışmalar özet bölümünde bir açıklama dipnotuyla belirtilmelidir. Türkçe makaleler için Türk Dil Kurumu esasları dikkate alınmaktadır.</li><li style="text-align: left;">Makaleler; ana başlıktan sonra, giriş bölümünden önce, 150-200 sözcük arasında olacak şekilde, çalışmanın amaç, kapsam, yöntem ve ulaşılan sonuçlarını içeren, Türkçe ve İngilizce özet ile üç anahtar sözcük içermelidir. Özetleri takiben Türkçe makaleler için ayrıca 600-800 kelimelik İngilizce genişletilmiş özet yer almalıdır. İngilizce makalelerde genişletilmiş özet istenmez. Ana başlık, özet ve kaynakça başlıkları ortalanmış olarak kalın ve büyük harflerle; alt başlıklar, giriş ve sonuç başlıkları sola yaslı, kalın ve yalnız kelimelerin ilk harfleri büyük olarak yazılmalıdır. Makale, özetlerle birlikte, ana metin ve referanslar dahil, dipnotlar hariç olmak üzere asgari 3000, azami 8000 sözcük dolayında olmalıdır. Tüm yabancı kelimeler italik yazılmalıdır.</li><li style="text-align: left;">Makaleler A4 kağıt boyutunun bir yüzüne, tüm kenarlardan 2,5 cm. boşluk bırakılarak, Times New Roman yazı karakteriyle, 12 punto ve 1,5 satır aralığıyla iki yana yaslı olarak yazılmalıdır. Türkçe başlık 10 kelimeyi geçmemelidir. Alt başlıklar öncesinde satır aralığı konmalı, başlık sonrası paragraflar arasında boşluk olmamalı ve hiçbir paragraf girintili yazılmamalıdır. Dipnotlar kaynak gösterimi için değil ek bilgi vermek için kullanılmalı, sayfa altında numaralandırılmalı, 10 punto ve 1 satır aralığı ile iki yana yaslı olarak yazılmalıdır. Sayfa numaraları da 11 puntoyla, sağ altta yer almalıdır.</li><li style="text-align: left;">Yazarların adları makale başlığının bir satır sağ altında yer almalı ve yıldız (*) dipnotla unvanı, kurumu, adresi, telefonu, e-posta adresi verilmelidir. Yazara/metne özgü terminoloji ve/veya kısaltmalar ilk kullanımlarında dipnotla açıklanmalıdır.</li><li style="text-align: left;">Makalelerde yer alan görseller ve nota örnekleri kısa açıklamalarıyla birlikte ortalanmış olarak Şekil/Tablo 1. ... şeklinde numaralandırılmalıdır. Tüm görseller, baskıda çözünürlük problemi olmaması için minimum 300 dpi çözünürlükte ve JPG formatında ayrıca gönderilmelidir. Metin içerisindeki yerleştirmeler, gerektiğinde sayfa düzenine göre değiştirilebilirler.</li><li style="text-align: left;">Yayınlanmak üzere gönderilen makale ile birlikte yazar bilgilerini içeren <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/E7DD305FD167445DB4215452084B646C" target="_blank">kapak sayfası</a> gönderilmelidir. Kapak sayfasında, makalenin başlığı, yazar veya yazarların bağlı bulundukları kurum ve unvanları, kendilerine ulaşılabilecek adresler, cep, iş ve faks numaraları ve e-posta adresleri yer almalıdır (bkz. Son Kontrol Listesi).</li><li style="text-align: left;">Dergide makale içi atıflar ve kaynakça uluslararası APA formatına göre gösterilmelidir. Ayrıntılı bilgi için web sayfasında Kaynaklar bölümüne bakınız.</li><li style="text-align: left;">Makalesi yayınlanan yazarlara ve görev alan hakemlere talepleri halinde söz konusu sayıdan gönderilmektedir. Derginin sayılarına konservatuvar kütüphanesinden ve <a href="https://iupress.istanbul.edu.tr/tr/journal/cons/issues" target="_blank">https://iupress.istanbul.edu.tr/tr/journal/cons/issues</a> adresinden ulaşılabilmektedir.</li><li style="text-align: left;">Yayınlanan makalelerin her türlü sorumluluğu yazara aittir. Dergiye gönderilen makaleler hiçbir durumda geri gönderilmez.</li></ol>

Yazım Kuralları

Makaleyi göndermeden önce Yazarlara Bilgi’yi lütfen okuyun ve aşağıdakilerin eksik olmadığından emin olun:Editöre mektup<ul type="disc"> <ul type="circle"> <li style="text-align: left;">Makalenin türü</li> <li style="text-align: left;">Başka bir dergiye gönderilmemiş olduğu bilgisi</li> <li style="text-align: left;">Sponsor veya ticari bir firma ile ilişkisi (varsa belirtiniz)</li> <li style="text-align: left;">Kaynakların APA7’ye göre belirtildiği</li> <li style="text-align: left;">İngilizce yönünden kontrolünün yapıldığı</li> <li style="text-align: left;">Yazarlara Bilgide detaylı olarak anlatılan dergi politikalarının gözden geçirildiği</li> </ul> </ul><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/430B51E6B8DB496BA85FE84BEA4D6A73" target="_blank">Telif Hakkı Anlaşması Formu</a>Daha önce basılmış material (yazı-resim-tablo) kullanılmış ise izin belgesi<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/E7DD305FD167445DB4215452084B646C" target="_blank">Makale kapak sayfası</a><ul type="disc"> <ul type="circle"> <li style="text-align: left;">Makalenin kategorisi</li> <li style="text-align: left;">Türkçe ve İngilizce başlık</li> <li style="text-align: left;">Yazarların ismi soyadı, unvanları ve bağlı oldukları kurumlar (üniversite ve fakülte bilgisinden sonar şehir ve ülke bilgisi de yer almalıdır), e-posta adresleri</li> <li style="text-align: left;">Sorumlu yazarın e-posta adresi, açık yazışma adresi, iş telefonu, GSM, faks nosu</li> <li style="text-align: left;">Tüm yazarların ORCID’leri</li> </ul> </ul>Makalenin ana metni<ul type="disc"> <ul type="circle"> <li style="text-align: left;">Türkçe ve İngilizce başlık</li> <li style="text-align: left;">Özetler 150-200 kelime Türkçe ve 150-200 kelime İngilizce</li> <li style="text-align: left;">Anahtar Kelimeler: 3 adet Türkçe ve 3 adet İngilizce</li> <li style="text-align: left;">Makale Türkçe ise, İngilizce genişletilmiş özet (Extended Abstract) 600-800 kelime</li> <li style="text-align: left;">Makale ana metin bölümleri</li> <li style="text-align: left;">Finansal Destek (varsa belirtiniz)</li> <li style="text-align: left;">Çıkar Çatışması (varsa belirtiniz)</li> <li style="text-align: left;">Teşekkür (varsa belirtiniz)</li> <li style="text-align: left;">Kaynaklar</li> <li style="text-align: left;">Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)</li> </ul> </ul>Makale Gönderme<ul type="disc"> <li style="text-align: left;">Makalenin gönderileceği DergiPark sayfası adresi: <a href="https://dergipark.org.tr/tr/journal/29/submission/step/manuscript/new" target="_blank">https://dergipark.org.tr/tr/journal/29/submission/step/manuscript/new</a></li> <li style="text-align: left;">Yapılan başvurularda, çalışmanın sorumlu yazarının (corresponding author) hesabı kullanılmalıdır. Sorumlu yazarın dışındaki yazarların ya da çalışmada yazar olarak yer almayan bir başkasının hesabı kullanılmamalıdır. Başvuru ile ilgili bütün yazışmalar DergiPark sistemi üzerinden gönderilen elektronik posta ile sorumlu yazara iletilmektedir.</li> <li style="text-align: left;">Makale ana metninin dosyasını (Main Document)  yüklerken, çift taraflı kör hakem süreci gereği, bu dosyanın yazar kimliğini deşifre eden hiçbir unsur barındırmadığından emin olun. Makale ana metni dosyası (Main Document) başlık sayfasını (Title Page) içermemeli; yazar adı geçen ya da yazar adlarını ifşa edebilecek bölümler içermemeli (Örneğin: Teşekkür, her sayfada tekrar eden ve yazar adlarını içerebilen başlık).</li> </ul>Ayrı Ayrı Yüklemeniz gereken dosyalar<ul type="disc"> <li style="text-align: left;">Telif Hakkı Anlaşması Formu</li> <li style="text-align: left;">Resim, Tablo vb başka kaynaktan alındıysa izin belgesi</li> <li style="text-align: left;">Makale Kapak Sayfası</li> <li style="text-align: left;">Makale Ana Metni Dosyası  (Bu dosya aşağıdaki unsurları içermelidir)</li> </ul><ul type="disc"> <ul type="circle"> <li style="text-align: left;">Türkçe ve İngilizce başlık</li> <li style="text-align: left;">Özetler 150-200 Türkçe ve 150-200 kelime İngilizce</li> <li style="text-align: left;">Anahtar Kelimeler: 3 adet Türkçe ve 3 adet İngilizce</li> <li style="text-align: left;">Makale Türkçe ise, İngilizce genişletilmiş Özet (Extended Abstract)  600-800 kelime</li> <li style="text-align: left;">Makale ana metin bölümleri</li> <li style="text-align: left;">Finansal Destek (varsa belirtiniz)</li> <li style="text-align: left;">Çıkar Çatışması (varsa belirtiniz)</li> <li style="text-align: left;">Teşekkür (varsa belirtiniz)</li> <li style="text-align: left;">Kaynaklar</li> <li style="text-align: left;">Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)</li></ul></ul><ul type="disc"> </ul>

<div>Derleme yazıları okuyucular için bir konudaki kaynaklara ulaşmayı kolaylaştıran bir araç olsa da her zaman orijinal çalışmayı doğru olarak yansıtmaz. Bu yüzden mümkün olduğunca yazarlar orijinal çalışmaları kaynak göstermelidir. Öte yandan, bir konuda çok fazla sayıda orijinal çalışmanın kaynak gösterilmesi yer israfına neden olabilir. Birkaç anahtar orijinal çalışmanın kaynak gösterilmesi genelde uzun listelerle aynı işi görür. Ayrıca günümüzde kaynaklar elektronik versiyonlara eklenebilmekte ve okuyucular elektronik literatür taramalarıyla yayınlara kolaylıkla ulaşabilmektedir.Referans Stili ve FormatıKonservatoryum, metin içi alıntılama ve kaynak gösterme için APA (American Psychological Association) kaynak stilinin 7. edisyonunu benimser. APA 7. edisyon hakkında bilgi için:-   American Psychological Association. (2010). Publication Manual of the American Psychological Association, Seventh Edition.-  <a href="https://apastyle.apa.org/products/publication-manual-7th-edition" target="_blank">https://apastyle.apa.org/products/publication-manual-7th-edition</a>Metin İçinde Kaynak GöstermeKaynaklar metinde parantez içinde yazarların soyadı ve yayın tarihi yazılarak belirtilmelidir.Birden fazla kaynak gösterilecekse kaynaklar arasında (;) işareti kullanılmalıdır. Kaynaklar alfabetik olarak sıralanmalıdır.Örnekler:Birden fazla kaynak;(Esin ve ark., 2002; Karasar, 1995)Tek yazarlı kaynak;(Akyolcu, 2007)İki yazarlı kaynak;(Sayıner ve Demirci 2007, s. 72)Üç, dört ve beş yazarlı kaynak;Metin içinde ilk kullanımda: (Ailen, Ciambrune ve Welch 2000, s. 12–13) Metin içinde tekrarlayan kullanımlarda: (Ailen ve ark., 2000)Altı ve daha çok yazarlı kaynak;(Çavdar ve ark., 2003)Kaynaklar Bölümünde Kaynak GöstermeKullanılan tüm kaynaklar metnin sonunda ayrı bir bölüm halinde yazar soyadlarına göre alfabetik olarak numaralandırılmadan verilmelidir.Kaynak yazımı ile ilgili örnekler aşağıda verilmiştir.Kitapa) Türkçe KitapKarasar, N. (1995). Araştırmalarda rapor hazırlama (8.bs). 3A Eğitim Danışmanlık Ltd.b) Türkçeye Çevrilmiş KitapMucchielli, A. (1991). Zihniyetler (A. Kotil, Çev.). İletişim Yayınları.c) Editörlü KitapÖren, T., Üney, T., &amp; Çölkesen, R. (Ed.). (2006). Türkiye bilişim ansiklopedisi. Papatya Yayıncılık.d) Çok Yazarlı Türkçe KitapTonta, Y., Bitirim, Y. &amp; Sever, H. (2002). Türkçe arama motorlarında performans değerlendirme. Total Bilişim.e) İngilizce KitapKamien R., &amp; Kamien A. (2014). Music: An appreciation. McGraw-Hill Education.f) İngilizce Kitap İçerisinde BölümBassett, C. (2006). Cultural studies and new media. In G. Hall &amp; C. Birchall (Eds.), New cultural studies: Adventures in theory (pp. 220–237). UK: Edinburgh University Press.g) Türkçe Kitap İçerisinde BölümErkmen, T. (2012). Örgüt kültürü: Fonksiyonları, öğeleri, işletme yönetimi ve liderlikteki önemi. M. Zencirkıran (Ed.), Örgüt sosyolojisi kitabı içinde (s. 233–263). Dora Basım Yayın.h) Yayımcının ve Yazarın Kurum Olduğu YayınTürk Standartları Enstitüsü. (1974). Adlandırma ilkeleri. Yazar.Makalea) Türkçe MakaleMutlu, B., &amp; Savaşer, S. (2007). Çocuğu ameliyat sonrası yoğun bakımda olan ebeveynlerde stres nedenleri ve azaltma girişimleri. İstanbul Üniversitesi Florence Nightingale Hemşirelik Dergisi, 15(60), 179–182.b) İngilizce Makalede Cillia, R., Reisigl, M., &amp; Wodak, R. (1999). The discursive construction of national identity. Discourse and Society, 10(2), 149–173. http://dx.doi.org/10.1177/0957926599010002002c) Yediden Fazla Yazarlı MakaleLal, H., Cunningham, A. L., Godeaux, O., Chlibek, R., Diez-Domingo, J., Hwang, S.-J. ... Heineman, T. C. (2015). Efficacy of an adjuvanted herpes zoster subunit vaccine in older adults. New England Journal of Medicine, 372, 2087–2096. http://dx.doi.org/10.1056/NEJMoa1501184d) DOI’si Olmayan Online Edinilmiş MakaleAl, U., &amp; Doğan, G. (2012). Hacettepe Üniversitesi Bilgi ve Belge Yönetimi Bölümü tezlerinin atıf analizi. Türk Kütüphaneciliği, 26, 349–369. http://www.tk.org.tr/e) DOI’si Olan MakaleTurner, S. J. (2010). Website statistics 2.0: Using Google Analytics to measure library website effectiveness. Technical Services Quarterly, 27, 261–278. http://dx.doi.org/10.1080/07317131003765910f) Advance Online Olarak Yayımlanmış MakaleSmith, J. A. (2010). Citing advance online publication: A review. Journal of Psychology. Advance online publication. http://dx.doi.org/10.1037/a45d7867g) Popüler Dergi MakalesiSemercioğlu, C. (2015, Haziran). Sıradanlığın rayihası. Sabit Fikir, 52, 38–39.Tez, Sunum, Bildiria) Türkçe TezlerSarı, E. (2008). Kültür kimlik ve politika: Mardin’de kültürlerarasılık (Tez No: 218142) [Doktora Tezi, Ankara Üniversitesi Sosyal Bilimler Enstitüsü]. Yükseköğretim Kurulu Başkanlığı Tez Merkezi.b) Ticari Veritabanında Yer Alan Yüksek Lisans Ya da Doktora TeziLupher, S. (2020). From women’s cinema to women’s horror cinema: Genre and gender in the twenty-first century (Order No. 28845183) [Doctoral dissertation, University of Pittsburgh]. ProQuest Dissertations and Theses Global.c) Kurumsal Veritabanında Yer Alan İngilizce Yüksek Lisans/Doktora TeziYaylalı-Yıldız, B. (2014). University campuses as places of potential publicness: Exploring the politicals, social and cultural practices in Ege University (Doctoral dissertation). Retrieved from Retrieved from: http://library.iyte.edu.tr/tr/hizli-erisim/iyte-tez-portalid) Web’de Yer Alan İngilizce Yüksek Lisans/Doktora TeziTonta, Y. A. (1992). An analysis of search failures in online library catalogs (Doctoral dissertation, University of California, Berkeley). http://yunus.hacettepe.edu.tr/~tonta/yayinlar/phd/ickapak.htmle) Dissertations Abstracts International’da Yer Alan Yüksek Lisans/Doktora TeziAppelbaum, L. G. (2005). Three studies of human information processing: Texture amplifica&#173;tion, motion representation, and figure-ground segregation. Dissertation Abstracts International: Section B. Sciences and Engineering, 65(10), 5428.f) Sempozyum KatkısıKrinsky-McHale, S. J., Zigman, W. B. &amp; Silverman, W. (2012, August). Are neuropsychiatric symptoms markers of prodromal Alzheimer’s disease in adults with Down syndrome? In W. B. Zigman (Chair), Predictors of mild cognitive impairment, dementia, and mortality in adults with Down syndrome. Symposium conducted at American Psychological Association meeting, Orlando, FL.g) Online Olarak Erişilen Konferans Bildiri ÖzetiÇınar, M., Doğan, D., &amp; Seferoğlu, S. S. (2015, Şubat). Eğitimde dijital araçlar: Google sınıf uygulaması üzerine bir değerlendirme [Öz]. Akademik Bilişim Konferansında sunulan bildiri, Anadolu Üniversitesi, Eskişehir. http://ab2015.anadolu.edu.tr /index.php?menu=5&amp;submenu=27h) Düzenli Olarak Online Yayımlanan BildirilerHerculano-Houzel, S., Collins, C. E., Wong, P., Kaas, J. H., &amp; Lent, R. (2008). The basic nonuniformity of the cerebral cortex. Proceedings of the National Academy of Sciences, 105, 12593–12598. http://dx.doi.org/10.1073/pnas.0805417105i) Kitap Şeklinde Yayımlanan BildirilerSchneider, R. (2013). Research data literacy. S. Kurbanoğlu ve ark. (Ed.), Communications in Computer and Information Science: Vol. 397. Worldwide Communalities and Challenges in Information Literacy Research and Practice içinde (s. 134–140). Cham, İsviçre: Springer.http://dx.doi.org/10.1007/978-3-319-03919-0 j) Kongre BildirisiÇepni, S., Bacanak A., &amp; Özsevgeç T. (2001, Haziran). Fen bilgisi öğretmen adaylarının fen branşlarına karşı tutumları ile fen branşlarındaki başarılarının ilişkisi. X. Ulusal Eğitim Bilimleri Kongresi’nde sunulan bildiri, Abant İzzet Baysal Üniversitesi, BoluDiğer Kaynaklara) Gazete YazısıToker, Ç. (2015, 26 Haziran). ‘Unutma’ notları. Cumhuriyet, s. 13.b) Online Gazete YazısıTamer, M. (2015, 26 Haziran). E-ticaret hamle yapmak için tüketiciyi bekliyor. Milliyet. http://www.milliyetc) Web Page/Blog PostBordwell, D. (2013, June 18). David Koepp: Making the world movie-sized [Web log post]. http://www.davidbordwell.net/blog/page/27/d) Online Ansiklopedi/SözlükBilgi mimarisi. (2014, 20 Aralık). Vikipedi içinde. http://tr.wikipedia.org/wiki/Bilgi_mimarisiMarcoux, A. (2008). Business ethics. In E. N. Zalta (Ed.), The Stanford encyclopedia of philosophy. http://plato.stanford.edu/entries/ethics-business/e) PodcastRadyo ODTÜ (Yapımcı). (2015, 13 Nisan). Modern sabahlar [Podcast]. http://www.radyoodtu.com.tr/f) Bir Televizyon Dizisinden Tek Bir BölümShore, D. (Senarist), Jackson, M. (Senarist) ve Bookstaver, S. (Yönetmen). (2012). Runaways [Televizyon dizisi bölümü]. D. Shore (Baş yapımcı), House M.D. içinde. Fox Broadcasting.g) Müzik KaydıSay, F. (2009). Galata Kulesi. İstanbul senfonisi [CD] içinde. Ak Müzik.</div>

<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/430B51E6B8DB496BA85FE84BEA4D6A73" target="_blank">Telif Hakkı Anlaşması Formu</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/E7DD305FD167445DB4215452084B646C" target="_blank">Makale kapak sayfası</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8CA310C60F1D44F8B4FC91F2F3A84A37" target="_blank">Yazar Formu</a><ul></ul>

Aşağıdaki listede eksik olmadığından emin olun:●    Editöre mektup•    Makalenin türü•    Başka bir dergiye gönderilmemiş olduğu bilgisi•    Sponsor veya ticari bir firma ile ilişkisi (varsa belirtiniz)•    İngilizce yönünden kontrolünün yapıldığı bilgisi•    Yazarlara Bilgide detaylı olarak anlatılan dergi politikalarının gözden geçirildiği•    Kaynakların APA7’ye göre belirtildiği●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/430B51E6B8DB496BA85FE84BEA4D6A73" target="_blank">Telif Hakkı Anlaşması Formu</a>●    Daha önce basılmış materyal (yazı-resim-tablo) kullanılmış ise izin belgesi●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/E7DD305FD167445DB4215452084B646C" target="_blank">Makale kapak sayfası</a>•    Makalenin türü•    Makalenin Türkçe ve İngilizce başlığı•    Yazarların ismi soyadı, unvanları ve bağlı oldukları kurumlar (üniversite ve fakülte bilgisinden sonra şehir ve ülke bilgisi de yer almalıdır), e-posta adresleri•    Sorumlu yazarın e-posta adresi, açık yazışma adresi, iş telefonu, GSM, faks nosu•    Tüm yazarların ORCID’leri●    Makale ana metni•    Makalenin Türkçe ve İngilizce başlığı•    Özetler 150-200 kelime Türkçe ve 150-200 kelime İngilizce•    Anahtar Kelimeler: 3 adet Türkçe ve 3 adet İngilizce•    Makale Türkçe ise, İngilizce genişletilmiş Özet (Extended Abstract) 600-800 kelime•    Makale ana metin bölümleri•    Finansal Destek (varsa belirtiniz)•    Çıkar Çatışması (varsa belirtiniz)•    Teşekkür (varsa belirtiniz)•    Kaynaklar•    Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)

Sayı Türü	Regular
Editör(ler)	Tufan Karabulut
Kapak (PDF)
Tam Metin (PDF)
Ön Sayfalar (PDF)

Konservatoryum

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