@JOURNAL_BOX_EARLYVIEW

CALL FOR PAPER

Simay

Res. Assist.

Expressionism is one of the avant-garde art movements of the early twentieth century. In the social environment before World War I, the isolation and alienation of individuals from the industrialized and mechanized bourgeois society and poor living conditions made them question the values that were imposed as “modern.” Conversely, studies emphasizing the importance of the subconscious mind and some intellectual developments, such as the theory of relativity, eroded the trust in scientific precision, belief in the human mind, its “consciousness” and “positivity,” and teachings of 19thcentury positivist philosophy.In reaction to the individual pains created by pre-war “modernized” society and “modern” values (which were being questioned), pioneering art movements emerged in intervals of 5–10 years. The so-called avant-garde art movements included Futurism, Surrealism, Dadaism, and Expressionism. As for the latter, it developed in Germany, and it was mainly influential in the fine arts, after which it spread into literature, theatre, and other branches of art. The main idea of the Expressionist movement can be explained as the external manifestation of the inner delusions that occur in the inner world of the individual, against the pains created by the social sphere.The Expressionist movement has greatly influenced the field of performing arts, especially in the context of playwriting, acting, voice and body techniques and tendencies, choreography, and staging styles. This particular movement also fostered major breakthroughs in subsequent theatrical periods and genres, ranging from political and absurd to Postmodernism.This study includes a detailed analysis of Expressionist theatre. Moreover, it covers the social conditions that fostered the twentieth century avant-garde art movements, general characteristics of Expressionism, emergence of the Expressionist theatre, and its pioneers, development process, and effect on theatre in the context of playwriting and staging.As mentioned earlier, Expressionism developed in Germany in the beginning of the twentieth century. The earliest examples were the works of August Strindberg and Frank Wedekind, while the Expressionist style mainly developed through innovations in dramatic texts by German writers, namely, Georg Kaiser, Ernst Toller, Reinhard Sorge, Walter Hasenclever, among others. As for staging, there was Max Reinhardt and Leopold Jessner, while in acting, there was Werner Krauss, Fritz Kortner, and Ernst Deutsch. During World War I, Expressionist art continued to develop in the United States, whereas after the war, the movement re-emerged in Germany.Based on the findings, the most fundamental innovations in playwriting of Expressionist theatre are as follows: The Stationendrama playwriting technique; obscurity of time and space; collapse of the logical structure of the plot based on a cause-effect relationship in the context of a dream-like atmosphere; language and dialog taking a discrete and associative form; and the “idea” becoming the focus of the text, instead of the plot or the characters. Regarding the fundamental innovations in the staging of Expressionist theatre, they can be divided as follows. In acting, the means of expression shifted from the dialog to sound and movement, which included theatricality, exaggeration, grotesqueness, and stylized acting elements. Meanwhile in staging, artists moved away from the naturalistic stage design and adopted decor, light, and sound, as tools of expression to support the abstraction and distortion.&nbsp;

Expressionist Theatre: Study of The Effect of Expressionism on  Theatre in Terms of Its Playwriting and Staging Features

Orkun

Öğretim Görevlisi

Tarık

Jesters are a phenomenon encountered across social classes under various names both in theatre and society throughout history. Jesters have survived far beyond the periods in which they emerged within the cultural codes of society. The basic qualities jesters exhibit do not change even as historical periods change. The attitudes and behaviours of the jester are built on the existing features of humanity rather than the characteristics of culture. These basic features relate to the need to reveal and make tangible the naked truth existing in the material world. While revealing this truth, the jester demonstrates some character traits that release the jester from the responsibility of telling the naked truth. The half-wit, half-stupid, half-mad attitude of jesters allows them to express the truth through their sharp-tongued humour – a humour that in fact helps to create their social status and allows them to avoid the consequences of telling the truth. Naturally, even if these ordinary people, deemed mad and half-witted in their society, are not taken seriously, they are free to rise to the position of an intermediary of the naked truth to everybody.Hedwig’s character in the musical play Hedwig and the Angry Inch, written by John Cameron Mitchell, exhibits a tense relationship with her sexual identity. The choices Hedwig has made in life have pushed her to the margins of the society she occupies, just like jesters. This ambiguous position of Hedwig leads her to evaluate the realities she faces from a simple point of view. While doing so, she adopts a half-mad, half-witted, sometimes sarcastic and melancholic attitude typical of jesters. Hedwig adopts these attitudes and behaviours to gain the immunity of the jester in society. She reflects these same features to the audience throughout the play.This study intends to show the hidden relationship between the character of Hedwig and the historical concept of the jester by citing specific similarities. This study will consider the concept of jester in Greek, Roman, Medieval, Renaissance and Modern theatre and in other art forms. The scope of this study is limited to the related titles historical evaluations mentioned and to the play Hedwig and the Angry Inch. Apart from these limitations, some off-topic limited discussion about the concept of jester are introduced to guide other researchers who might want to deal with the issue from a different perspective. The author briefly explains the concept of Hedwig as a jester in a way that does not disturb the integrity of the character. While evaluating the character of Hedwig, it is not sufficient just to associate her with the concept of jester. It is important to think deeply about the similarities between this character and the concept of jester. To date, there is no academic evaluation or study related to this play from this viewpoint. The determination and historical evaluations made in this study on the concept of the jester shows that other similar plays can be evaluated within this same textual context.The study comprises four parts. In the introduction, the author reviews the purpose, method, scope and limitations of the study. Further, the author emphasises the importance of the study and explains the evaluation method used. In the next part, the author examines the historical background and origins of jesters and their position in various historical periods. In the second part, the author analyses the character of Hedwig within the typology of the jester, in line with historical determinations. The third chapter presents this qualitative study’s conclusions.&nbsp;

Evaluation of ‘Hedwig’ in Hedwig and the Angry Inch as the Jester

Orhan

Adnan Saygun, a central figure of 20th-century Turkish music, was an active ethnomusicologist credited with multiple publications, as well as a prolific composer. Although the relationship between these two identities of Saygun has been emphasized many times in the studies on him, there has been no scholarly attention on the connection between the works and publications he left behind and no one has examined the theoretical origin of this connection in detail. This situation led to a common misconception that Saygun’s musical style could be summarized as a synthesis of Turkish folk music and Gregorian modes. However, Saygun explains the ancient Greek modal theory, which he sees as the primary historical source of the modal peculiarities of Turkish folk music and the basis of tetrachordal music. In his publications such as Töresel Musıki (Modal Music) and Musıki Temel Bilgisi (Fundamentals of Music), the content of which has been interestingly almost neglected in the publications on him, Saygun clearly showed how as a composer his personal understanding of and approach to music developed.This study, pointing to the origins of the composer’s understanding of music and mode through the information he collected on ancient Greek modal theory, aims to draw attention to the existence and special place of a scale in his works, namely the chromatic Dorian mode scale. Saygun frequently used this scale in modal writing that he adopted since his Opus 1; this study attempted to explain why this scale might have been used as a sound material. The study is organized as follows: In the first section, the author explains the place and importance of modality in Saygun’s understanding and his works based on his own statements. Additionally, the section briefly describes the contents of three of his most remarkable publications on modes and the relationship of these publications with each other. The most notable detail about the mode scales in these publications is that Saygun always shows their pitches in descending order. This is an indication that Saygun points to the ancient Greek modal theory as constituting the theoretical origins of Turkish folk music. Then, the author examines the thoughts of Saygun’s Parisian circle, which might have enabled him to make this association. The thoughts and beliefs of this group are clearly conveyed, and thus, an intellectual proof of his modal understanding is demonstrated. In the second section, to understand the theoretical content and structure of the scale used by Saygun, a core element of this scale, the chromatic tetrachord, is compared with that of other genres. Afterward, the author explains the information that Saygun gives in Musıki Temel Bilgisi around the chromatic genre and about how the mode—or in his own term töre—scales are formed by combining two tetrachords and the contextual nomenclature or the Turkish equivalents he used for some terms. In the third section, the author explains the structural features of the chromatic Dorian mode scale, which is the only scale that is not formed by the diatonic tetrachord in Töresel Musıki, particularly considering why it is classified under the Dorian family, although Saygun did not provide any information on this subject. Afterward, to understand more clearly how this scale is used in Saygun’s works and in parallel with the information provided by him, the author presents a table containing the sub-genres that can be derived from this scale. The fourth section gives examples from the composer’s works, in which the aforementioned scale and tetrachord are used, and the author attempts to explain their usage patterns. The fact that the scale in question is included in Saygun’s works attributable to different periods and genres indicates that this scale was an indispensable, long-term material for the composer. In the fifth section, the author presents possible cultural and ethnomusicological justifications for why the composer might have used this scale. The author’s comments reflect both the inconsistencies of the 2nd and 6th scale degrees as a result of Saygun’s folk music collection trip with Bartók and the information that Baud-Bovy presented on the tuning of different lyre types in ancient Greek music. As a result, considering the available information and the examples from the composer’s works, it is possible to argue that Saygun, who always sought “the ties of the tree with the root and man with soil,” may have used the chromatic Dorian mode scale as a personal signature in his music.&nbsp;

The Signature in Saygun’s Music: Chromatic Tetrachord or  Chromatic Dorian Mode

Onur

This study examines the piano music of İlhan Baran, the contemporary Turkish composer, and his “Three Bagatelles.” As a student of Ahmed Adnan Saygun, a first-generation contemporary Turkish music composer, Baran has synthesized the modernist techniques of his age with the essence of Turkish folk music using abstractionist approaches. This study aims to shed light on the composer’s musical identity by centering on one of his early works, “Three Bagatelles,” in the context of its relation to Paul Klee’s art and to investigate the structure of the piano piece itself.As a result of the literature survey completed at the beginning of the research process, not many studies are seen regarding Baran’s work that have focused on analyzing his work and musical language. Many of the existing studies have paid attention to the pedagogical importance of the composer’s works, while others involve broad-scale research without scrutinizing the composer’s musical language. In this context, this research is hoped to be able to contribute to filling this existing gap and to reflecting upon the composer’s musical approach in order to represent a modal for contemporary Turkish compositional techniques in light of the composer’s own articles and speeches.The study method involves a series of structural and serial analyses carried out on the work. Following these analyses, the obtained findings are interpreted in terms of their relationship to abstractionist music and to Paul Klee in light of the composer’s own articles and speeches about “Three Bagatelles”. As part of the work’s title and defining its structure, a bagatelle indicates a short instrumental piece mostly composed for piano without any specific form or structure (Brown, 2001). By taking the work’s shapeless structure into consideration, each bagatelle is first analyzed regarding its form. As a result of these analyses, the characteristic shapes of the bagatelles are uncovered and discerned. The musical nuclei the composer used in the work are found through a serial analysis of these determined characteristic shapes. The essence of the music is then discovered using the findings obtained from this deductive approach. In light of these discoveries, the shape symmetries and patterns the composer constructed in the music are revealed, this time with an inductive approach that covers the whole in detail. Lastly, the study comments on the resemblances between “Three Bagatelles” and Klee’s art by following these findings and the ideas the composer presented in his articles.&nbsp;In the extractions from these analyses, “Three Bagatelles” is seen to have been constructed and composed with an unshaped formal approach. Each bagatelle seems to center on a series of shapes denoting traditional folk music instruments and made of tetrachords created from various serial abstractions derived from Turkish folk music.&nbsp;The results of these analyses show a picture of the composer’s abstractionist approach of his time. In Baran’s work, the music is seen to be rich in terms of the modernist composition techniques of his age, with practically mathematically constructed shape patterns and symmetries not disrupting the natural sound. By examining the studies on Klee and his understanding of art together with Baran’s interviews and articles about his own music, Klee’s artwork and use of form, figures, and abstractions is concluded to have inspired and helped construct the philosophical aspect “Three Bagatelle.”By following Baran’s own words and matching them to his style of composition, the framework of this piece can be considered a template for how to make abstractions of the local musical données in order to tread a path to a universal genuine language.&nbsp;

Three Bagatelles: A Portrait of Ilhan Baran

Tuğçe

Assist. Prof.

History, memory, and theatre are three different disciplines that have been studied through one another over the last century and especially in recent years. Scholars’ valuable aims at understanding history through collective memory have opened new ways of thinking about humanity and societies. Understanding history through memory is not just a vain effort. On the contrary, seeing how humanity’s past is composed of the cultural values and conditions of the era we live in is very inspiring. By means of studies about memory, The things we remember in our personal and collective lives are understood to be very fragile and also very easy to reshape. For most people, the past and memories of it are very important for the present day. This is very normal and acceptable because the things that make humans who we are are our memories. As humans, we keep journals, take pictures, and record ours and our loved ones’ voices in our personal lives. Personal memories intervene with collective memories, which are embedded in history. We remember them as long as we continue to recall them.Archives involve the things worth remembering nationally and personally. National archives are based on historical documents, while personal archives consist of video records, photos albums, and the testimonies of those close to our own history. Institutional archives are affiliated with some kind of authority. This authority decides which documents go in and get archived and which do not. As such, the presumption can easily be made that this authority is based on politics. National archives are also used for cultural and political consolidation as a source of traditions and social values. Theorists also interrelate archives with human communications. These communications occur between the past and the future. Unlike non-verbal actions and rituals, physically durable documents and objects can establish stronger bonds between different times. Archives also protect a society’s social and historical legacy.As a performative art, theatre is similar to a ritual. However, theatre also involves very strong verbal communication. This communication takes its source from society and, as a natural consequence, from history. After all, theatre uses these sources again to communicate with society. Theatre is a collective act that is shared and felt together with the audience. No matter how big or small, theatre companies are groups that have their own history and memory. As such, they need to establish and keep archives to protect their own legacy. In theatres, Not only are real historical plays staged in theatres, history itself is also place on the stage. When one thinks about the past as history itself, stage where the past is borne into the future.Turkiye has a strong archive tradition with roots in the Ottoman Empire. Theatres also have archival practices, but these days, having a well-designed and sustainable archive is very essential in order to be able to protect the legacy of Turkish theatre.The aim of this article is to think about the relationships that history, memories, and archives have with one another in terms of the need to establish an archive for future generations. Studying the theoretical approaches regarding these three facets will help in understanding the connection between authentic archival memory and archives as an ingenuine memory. With support from the American Society for Theatre Research, the American Theatre Archive Project (ATAP) was started in Austin, Texas in 2009, and looking at this case can shed light on the deficiencies in the Turkish theatre’s archival tradition. ATAP is a very active society all around the United States. With their website, they are able to help theatre companies outside the United States as well. Their site also has a free manual for theatre companies who want to get ideas about establishing an archive. ATAP works with theatre students, graduate students, scholars, and retired stuff. They have also had hard times finding grants and donations. Money is a big problem everywhere. However, looking at what ATAP has done up to the present can be very inspiring in terms of performing the same things to carry the past of the Turkish theatre to the future.&nbsp;

Protecting Memories for the Future: The Necessity of Establishing  a Theatre Archive

Antony

Book review of The Lost Pianos of Siberia

@JOURNAL_BOX_CURRENT

Emre

Assoc. Prof.

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

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

Banu

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

Basic Methods in Transition from Violin to Viola

@JOURNAL_BOX_FEATURED

Özgün

Ozan Evrim

Prof.

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

The Usage of Rubric in Evaluation of Different Properties of Cellos

Sibel

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

Memorization in Classical Western Music Performance

@JOURNAL_BOX_MOSTREAD

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

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

Tufan

EBSCO

TR Dizin

DOAJ

@METRIC_VOLUMES

@METRIC_ISSUES

@METRIC_ARTICLES

@METRIC_OPENACCESS

Conservatorium

@INFO_TAB_ABOUT

Editor in Chief

Co Editor in Chief

Editorial Assistant

Language Editor

Editorial Board Member

@INFO_TAB_BOARDS

Conservatorium - Konservatoryum is an open access, peer-reviewed, scholarly, international journal published biannually in June and December by Istanbul University, State Conservatory. The manuscripts submitted for publication in the journal must be scientific and original work in Turkish or English.Conservatorium-Konservatoryum aims to contribute to the theoretical framework supporting art practice in the fields of music, musicology and performing arts, to include interdisciplinary studies in branches that are related with these fields, and to extend our country’s share in international collaborations. In line with this aim, it is one of the priorities of Conservatorium-Konservatoryum to support collaborations among the academicians, researchers, professionals and students who constitute the target group of the journal.Music, musicology and performing arts constitute the main focus area of the journal. Besides, the journal welcomes interdisciplinary studies with contemporary academic approach, from from the fields related to the main focus area, such as philosophy, semiotics, aesthetics, psychology, sociology, biomechanics, physiology, neuroscience, electroacoustics and organology as well.

Aim and Scope

TÜBİTAK-ULAKBİM TR DizinDOAJEBSCO Central &amp; Eastern European Academic Source

Indexing and Abstracting

The journal is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the Committee on Publication Ethics (COPE), the Directory of Open Access Journals (DOAJ), the Open Access Scholarly Publishers Association (OASPA), and the World Association of Medical Editors (WAME) on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a> The subjects covered in the manuscripts submitted to the Journal for publication must be in accordance with the aim and scope of the Journal. Only those manuscripts approved by every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Changing the name of an author (omission, addition or order) in papers submitted to the Journal requires written permission of all declared authors.Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unethical behaviors. All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. Plagiarism Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. If plagiarism/self-plagiarism will be found authors will be informed. Editors may resubmit manuscript for similarity check at any peer-review or production stage if required. High similarity scores may lead to rejection of a manuscript before and even after acceptance. Depending on the type of article and the percentage of similarity score taken from each article, the overall similarity score is generally expected to be less than 15 or 20%. Double Blind Peer-Review After plagiarism check, the eligible ones are evaluated by the editors-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. The editor provides a fair double-blind peer review of the submitted articles and hands over the papers matching the formal rules to at least two national/international referees for evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

Policies

The journal is an open access journal and all content is freely available without charge to the user or his/her institution. Except for commercial purposes, users are allowed to read, download, copy, print, search, or link to the full texts of the articles in this journal without asking prior permission from the publisher or the author. This is in accordance with the <a href="https://www.budapestopenaccessinitiative.org/read" target="_blank">BOAI</a> definition of open access.The open access articles in the journal are licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.en" target="_blank">CC BY-NC 4.0</a>) license.

All expenses of the journal are covered by the Istanbul University. Processing and publication are free of charge with the journal. There is no article processing charges or submission fees for any submitted or accepted articles.

Authors publishing with the journal retain the copyright to their work licensed under the Creative Commons Attribution-NonCommercial 4.0 International license (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">CC BY-NC 4.0</a>) (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">https://creativecommons.org/licenses/by-nc/4.0/</a>  ) and grant the Publisher non-exclusive commercial right to publish the work. CC BY-NC 4.0 license permits unrestricted, non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

Editor should consider publishing correction if minor errors that do not effect the results, interpretations and conclusions of the published paper are detected. Editor should consider retraction if major errors and/or misconduction that invalidate results and conclusions are detected.Editor should consider issuing an expression of concern if there is evidence of research or publication misconduct by the authors; there is evidence that the findings are not reliable and institutions of the authors do not investigate the case or the possible investigation seems to be unfair or nonconclusive. The guidelines of COPE and ICJME are taken into consideration regarding correction, retractions or expression of concern.

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

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

Ethics

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

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

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

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

Peer Review

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

LanguageThe language of the journal is both Turkish and American English.Manuscrıpt Organızatıon and FormatAll correspondence will be sent to the first-named author unless otherwise specified. Manuscpript is to be submitted online via <a href="http://istanbul.edu.tr:8080/en/journal/cons/home" target="_blank">http://istanbul.edu.tr:8080/en/journal/cons/home</a> and it must be accompanied by a cover letter indicating that the manuscript is intended for publication, specifying the article category (i.e. original article, review etc.) and including information about the manuscript (see the Submission Checklist). In addition, a <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/E47507E0212B4C309F2786007561DCE8" target="_blank">Copyright Agreement Form</a> that has to be signed by all authors must be submitted.1.    Conservatorium is a peer-reviewed journal published biannualy in June and December by the Istanbul University State Conservatory. Manuscripts must be submitted until the 15th of March for the June issue and until the 15th of September for the December issue.2.    Original articles, reviews and essays that were not published before or sent to another journal for evaluation are published in the journal. Manuscripts, derived from unpublished theses or proceedings should be indicated with an explanatory footnote in the abstract section. For Turkish articles, the principles of Turkish Language Association are taken into consideration.3.    Manuscripts should include Turkish and English abstracts about 150-200 words and three keywords. The abstracts should include the rationale, scope and method of the work, as well as the results obtained. In case that the manuscpript is in Turkish, an extended abstract about 600-800 words must be included as well. Extended abstract is not required for manuscripts in English. The main title, as well as the abstract and bibliography titles should be in bold and capital letters,aligned to the center. Other subheadings, introduction and result titles should be in bold style, with only the first letters capital and aligned to the left side. Manuscripts should be between 3000 - 6000 words, including summaries, main text and references, but excluding footnotes. All foreign language words should be written in italic style.4.    The main text should be written in Times New Roman 12 pt. font size with 1,5 line spacing. Paragraphs should be justified aligned. Turkish titles should be 10 words at most. Additional blank lines should be placed before each subheading, but not between paragraphs. No paragraph should be indented. Footnotes are just for comments and additional information, not for showing sources; they must be numbered consecutively from the beginning to the end, placed at the bottom of pages, and written with 10 pt. font size with 1 line spacing and justified. Page numbers should also be in the bottom right, written with 11 pt. font size.5.    The names of writers should be placed one line below the article title, and title, affiliation, address, phone and e-mail address should be given with a star (*) footnote. Any terminology and/or acronyms specific to the writer/text should be explained in their first use with a footnote.6.    Visual materials and musical examples should be numbered such as Figure/Table 1. ..., and; all of them should be aligned in the center with short explanations. All visuals should have highresolution (with a resolution of at least 300dpi) and should be sent separately in JPG format. Placements in the text can be changed according to the page layout, if needed.7.    A <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/73CDD398BA1B4124A1C4B17C39FBC664" target="_blank">title page</a> including author information must be submitted together with the manuscript. The <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/73CDD398BA1B4124A1C4B17C39FBC664" target="_blank">title page</a> is to include fully descriptive title of the manuscript and, affiliation, title, e-mail address, postal address, phone and fax number of the author(s) (see The Submission Checklist).8.    The citations and bibliography should be indicated according to the international APA format. For further information, see the References section on web site.9.    Copies of the related issue will be sent to the authors and referees on their demand. It is possible to access issues of our journal from the library of the Conservatory and <a href="https://iupress.istanbul.edu.tr/en/journal/cons/issues" target="_blank">https://iupress.istanbul.edu.tr/en/journal/cons/issues</a>10.  All the responsibility for the published article belongs to the author. Either published or not, the articles that are sent to the journal will not be returned. The writers of published articles finally sign the prepared letter.

Author Guidelines

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

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

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

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

Conservatorium

EARLY VIEW

SHARE