Özgün

Res. Assist.

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

Ebru

Assist. Prof.

Heinrich Schenker, (1868–1935) is a Viennese music theorist. The Schenker analysis is a method of analyzing tonal music using Heinrich Schenker’s theory and analytical techniques. The preliminary conceptual framework for the Schenker analysis first appeared in the analyses that are published in Der Tonwillede (1921-24), however, ideas about fundamental content is not pronounced until the publication of Der Freie Satz (1935). The core of Schenker’s theory can be found in the three volumes of Neue musikalische Theorien und Phantasien: Harmonielehre (1906), Kontrapunkt I-II (1910, 1922), and Der Freie Satz (1935). Schenker’s last work, Der Freie Satz (Free Composition) is published shortly after the death of the author in 1935.&nbsp;The principles of this theory that Schenker developed for the study European music of the 18th and 19th centuries (late baroque ― early romanticist) are initially implemented by his pupils and himself. It reached a wider audience owing to the school, which Oswald Jonas and Felix Salzer founded in the USA. Especially after the translation of Der Freie Satz into English in 1979, this theory became a principal analytical method used by many music analysts by the 1980s. By the mid-1980s, two methods of musical analysis approaches became mainstream, one for analyzing tonal music and other for atonal music. One of these methods is ‘the Schenkerian’ analysis whereas the other is ‘the pitch class set’ analysis. As a result, a clear-cut separation between tonal and atonal analysis is set.&nbsp;In the multilayered structure of his analysis, Schenker aimed to show the basic structure of a musical work through the technique of prolongation and the hierarchical relations. He used a special symbolic music notation in his system of analysis. Schenker with the analysis he made, synchronically synthesized many musical parameters with contrapuntal and harmonic component structure and explained about analyzing in a minimal level. The Schenkerian analysis, which refers to a kind of systematic analysis today continued to grow through the works of the students of Schenker after his death and inspired a variety of other analytical methods in later years.&nbsp;In this article, general information about the developments in music analysis in the 20th-century, some analysis methods and Schenker analysis will be given. While there are many works on the Schenker analysis in the relevant international literature, similar studies in Turkish are quite limited in number.In the first section of the article, the general definition of analysis and some of the techniques of 20th-century analysis are discussed. Amongst 20th-century analysis techniques, Schenker analysis is chosen and examined in general. In the beginning, general concepts of Schenker analysis is introduced. Familiarity with key terms of the Schenker analysis is essential for understanding the theory itself. In Schenker analysis which is a formation of prolongation technique and layered structure, various melodic components used from background to foreground of a musical piece and usage of these components is briefly explained. Also, the peculiar chord system he developed, harmonic structure and the use of harmonic structure with melodic components are briefly mentioned. The graphic notation he applied is elaborated through concrete examples. Rather than attempting to analyze the musical piece, here it is limited to describe the Schenkerian analysis and classical analysis through a selection of examples from the relevant literature.&nbsp;In conclusion, it is underlined that there are differences between the Schenkerian analysis and traditional analyses in terms of gradation and while Schenkerian analysis appears to be difficult to understand for the beginners, still the Schenkerian analysis offers a convenient methodology for analyzing tonal pieces. Analysis means an interpretation and no particular method or form of analysis should be accepted superior to others.

Schenker Approach in Music Analysis

Ayşe

Reedmaking is at the center of teaching and performing aspects of oboists’ skills as other critical matters in the profession. It is a complicated process and education to obtain a reed that fits well to the artist’s tone preferences. We cannot overestimate the impact of the quality of the reed on the performance of the player. It is a fairly difficult task to produce one. When it comes to reedmaking there are many factors that are considered: The texture of the reed is easily affected by the physical conditions of the air in the setting, one needs a reed that is a good fit for the performer’s mouth and teeth and that suits well to the desired tone. Because of the various number of parameters, one can often fail to obtain a reed of the same quality even after applying the exact same procedures. Given this complexity, to master this reedmaking one needs to commit just as much to learn how to play it with skill. It is a crucial part of oboe education that a student has the skills to produce a reed in accordance with the tone preferences and the position of the mouth. Despite the significance of reedmaking learning in overall oboe education, there are not many studies on reedmaking pedagogy.In this study, I examine the previous dissertations on oboe reed, oboe reedmaking and its education in Turkish Higher Education Council Thesis Center and Proquest database. I have sampled 15 dissertations from these sources. A search based on the keyword oboe through Turkish Higher Education Council Thesis Center yielded 16 theses and only 3 of them mentioned oboe- reedmaking and its significance. In the Proquest database, they are 220 theses classified under the titles oboe, oboe reed and reedmaking and only 12 mentioned reed making. In these studies, it is set as an eventual goal that oboists should be able to make their own reed and until then it is considered to be their teachers’ responsibility to provide reeds that students need. In these sources, reed is given the due credit for its effect on the performance and some techniques of reed making are reviewed. In one study, it is looked at how and with what means reedmaking is thought in schools.&nbsp;It is concluded that there is no method on the pedagogy of reedmaking that would help teachers with learning strategies and levels of learning outcomes in this area. Reedmaking is not a part of the curriculum in music schools. Furthermore, there is no proposed method for reedmaking education in the literature. It should be noted that there are many&nbsp;different styles in reedmaking and reedmaking education and there is no unique way to make a good reed. The sources that are available now focus more on the technical details of reedmaking and overlook the pedagogical aspects of the education. Reedmaking education methods are not unified and vary greatly among teachers, students, and institutions.&nbsp;As a conclusion, I propose that a reedmaking course should be a part of the curriculum and a unified education method should be developed in reedmaking. It is the teachers’ responsibility to describe how to make a reed and make the student capable in making a reed that can be played comfortably and can produce sounds that fit well to the tone preferences and the mouth position. Especially in our country, in every school where oboe is taught reedmaking should also be taught and this should be done in a systematic way through a well-planned curriculum. To this end, a method book can be realized that would serve as a textbook. My work is an attempt to help fill the gap in the literature and I hope that it will stimulate more research in this direction.

Necessity of Introducing Courses on Reedmaking in Oboe Education in Conservatories

Dilara Gözde

English composer Gustav Holst is an important figure in the music of the 20th century. Being influenced by this period in a musical and intellectual sense, he created a modern musical language without cutting ties with tradition. As well as being a composer, he was also a researcher, a trombone player, and a music educator. The great English composer and researcher Ralph Vaughan-Williams was Holst’s teacher and lifelong friend (New World Encyclopedia, 2017). Vaughan-Williams was a big influence on Holst’s music and the musical experience Holst gained through their researches together on English folk music is reflected in his works.&nbsp;In addition to traditional music, Holst was also very much interested in Eastern religions and spiritualism. The fundamental inspirations behind most of his works were mythology and astrology, which were fields that made use of symbolic language, and which he had both believed in and researched. In his works (under the influence of mythology), the composer tried to reflect the symbols from relevant myths. The opera Stila, the symphonic poem Indra, and the choral work Rig Veda are examples of Holst’s works which were inspired by Indian mythology (New World Encyclopedia, 2017). One of Holst’s other fields of interest was astrology (Head, 1983, p. 15). He was so thoroughly interested in astrology that he spent many years researching it. His close friend Alan Leo, who was an astrologist, had a great impact on him. Leo’s books and especially “The Art of Synthesis” (Leo, 1912) deeply affected the symbolism on which “The Planets” was founded. Astrology is grounded in characters and symbols from Ancient Greek and Roman mythology. Holst represents these characters and symbols in “The Planets” suite by his usage of instrumentation, specific harmonic language, themes and musical elements appropriate to their meanings. “The Planets” consists of seven movements. All seven planets in the Solar System except Earth are represented musically together with their mythological and astrological symbolisms. This article is a research on Holst’s beliefs and intellectual interests that affected and developed his musical approach. In this way, “Theosophical Society” (Campbell, 1980) and the concept of modernism (Arnason, 1998, p. 102) which were founded at the end of the 19th century are referenced.&nbsp;&nbsp;The modernist approach that had shaped the art of the 20th century deeply affected this English composer. However, he had his own understanding of modernism (Vaughan-Williams, 1920, p. 181). By not cutting ties with his own national musical traditions and&nbsp;reflecting his own thought and belief system in his music, Holst developed an original modernist style.&nbsp;The article then continues to discuss the symbolical language of “The Planets” and how it was reflected musically, by analyzing the work under separate titles for each movement. The composer lined up the planets in his own way. According to his arrangement, Mars is the first planet and Neptune is the last. This actually symbolizes the path of a person from youth to old age. Mars, the first movement, carries the characteristics of the war god. Whereas in Venus, the second movement, we hear a music with a contrasting character, which symbolizes peace. The third movement represents the winged messenger Mercury. The fourth movement carries the characteristics of the joyful and mighty Jupiter. The fifth movement which has a dark atmosphere characterizes Saturn, which symbolizes old age, law and order, and time. The sixth movement Uranus symbolizes an unpredictable character and is rebellious in nature. Finally, the seventh movement represents the end of a person’s journey that started with Mars in the beginning and ends in the afterlife.&nbsp;The article is divided into separate titles, each of which explains the characteristics of the gods of Roman mythology whose names were given to planets, and their equivalents in Ancient Greek mythology, from which they had originated. This character analysis is followed by a discussion on the explanations of the planets in “The Art of Synthesis”, which was an inspiration for “The Planets”. In light of this information, the reflection of each planet’s symbolism on its relevant movement was analyzed in excerpts. The fact that Gustav Holst so masterfully represented abstract ideas like symbols in music separates him from many of his colleagues and makes him very special. I believe that analyzing how an intellectual idea generates a musical work, how it is reflected in music, and how it is represented aurally are important in understanding the creative process in composing. I hope that this research draws attention to the possibility that a composer’s intellectual world, imagination, and beliefs can come to life through music, and how diverse the resources used in a composition can be.

The Symbolical Projection and Analysis of Gustav Holst’s the Planets

Sibel

Assoc. Prof.

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

Tufan

CALL FOR PAPER

Esra

This study examines 20 musical pieces of Ara Dinkjian, an Armenian composer living in the Armenian American diaspora, that were added to the popular Turkish music repertoire from the 1980s to the present along the axis of his musical identity. Ara Dinkjian has a versatile culture and musical life, and associating his Anatolian roots with his music production is a proper approach. Dinkjian inherited the makam-based elements of folk music in his works from his father, Onnik Dinkjian, who is connected to the Ottoman/Turkish music musician Nishan Serkoyan and his antecedent Krikor Mehteryan in the meşk [practice] line. Onnik received his deep-rooted Turkish maqam music education from Nishan Serkoyan in accordance with this meşk practice. This makam-based education is clearly observable in Ara Dinkjian, whose choice and frequent use of maqams such as the Uşşak, Hicaz, Hüseyni, and Saba maqams prove this.This study also examines Ara Dinkjian’s musical identity in the context of religion. The reason for this review is because of Ara Dinkjian’s position within the Armenian Apostolic Church. Ara Dinkjian is not only a member of the church congregation, but according to him he has also been a church organist for 42 years in the Armenian Apostolic Church in New Jersey, USA. Ara Dinkjian also played the organ on the album Havadamk, a hymnal album he made for his father. The fact that the music in the Armenian Apostolic Church contains polyphonic and monophonic examples and Ara Dinkjian stating that the music of Gomidas is an “inseparable part of our culture” during the study’s interview with him led this study to consider Armenian church music. The fact that the sharaghan [hymns] used in Armenian church music had originally been devoted to folk music more than polyphony studies and that the polyphony works were carried out within the clear rules of the church in terms of the construction of a “cultural and national identity” has resulted in the study drawing attention to the polyphonic works of Gomidas and Yegmalyan. When looking at the maqams of the monophonic works used in Armenian Apostolic Church rituals, Ara Dinkjian’s use of the Hüseyni, Uşşak, Hicaz, Nikriz, and Saba genus of makams proves that this use has been engraved in the memory of the makams coming from these rituals and is the source of the works he currently composes. For this reason, Dinkjian’s maqam works are revealed to constitute a large percentage of his compositional language formation.When considering that Ara Dinkjian composed five of his 20 works in Turkish pop music in Kürdi (akin to Phrygian mode) and eight in Uşşak mode (akin to Aolyan), the knowledge coming from his being a church organist and his close relationship with Armenian religious music is thought to also be reflected in his works. Another issue over which the study examines his musical identity is the Armenian diaspora. Ara Dinkjian is a member of the American Armenian Diaspora. His father is a member of the French Armenian Diaspora, having immigrated to France from Syria. This deep-rooted history of diaspora in the family has necessitated an examination of the diaspora issue, which currently has an important place in identity formation. The phenomenon of diaspora is one of the most important phenomena in terms of creating a common identity and cultural identity for the peoples living in a diaspora. In this context, Komitas’ effort to create a cultural identity also coincides with the diaspora issue. The concepts of “homeland” and “home” gain importance with regard to a diaspora. This is also seen in Onnik Dinkjian’s phrase “I am from Diyarbekir.” Onnik Dinkjian never lived in Diyarbakır but completely feels he his roots from Diyarbakır. This study can prove the importance of the concepts of “homeland” and “home” through the elements of Anatolian folk music, which are also seen in Ara Dinkjian’s music. Like his father, Ara Dinkjian has never lived in Turkey but has been influenced by its culture and music. Although he does not see himself as a bearer of tradition, this concept can be attributed to his father, Onnik Dinkjian.When considered in the context of popular Turkish music, Ara Dinkjian’s music cannot be evaluated simply as arabesque or within the pop music of the period. The most important reason for this involves the lyrics that can be mentioned with expressions such as pathetic/painful/pushed/marginalized/crushed, as these emphasize the concept of otherness in the context of arabesque music. Even were there content about this concept,&nbsp;Ara Dinkjian cannot be held responsible for this because he is not the songwriter. He is known to only give his music to the performers, with Turkish songwriters determining the lyrics. However, the facts that the selected lyrics are specific to the arabesque genre and that the style of the performer includes arabesque-like elements gain importance when examining Ara Dinkjian’s works in popular Turkish music, because Ara Dinkjian is not actually responsible for this style choice.&nbsp;

Reflections of Ara Dinkjian’s Musical Identity onto His Works in  Popular Turkish Music

Mahmut

Lecturer

Reality Matters: Relevance of Ibsen’s The Wild  Duck and Chekhov’s The Seagull to Daily Life

Mustafa

Öğretim Görevlisi

During the avantgarde period and the periods that followed, plays that were described as having a postdramatic structure gained recognition. The debate on theatricality, which is usually interpreted as a crisis, involves a set of demands. Essentially, the main demand of theatricality was the independence/purity of the text-based theater and therefore was based on writing, with literature being the main heading of arts based on writing. This independence was made possible by changing the sign system with regard to theater and reorganizing the theatrical means in line with these demands. The change of theater as a sign system and the reorganization of theatrical means implied a violation of the dramatic form. The dramatic form known as Hegelian drama that has been valid since the Renaissance, was systematically violated in the avantgarde period. This change, while considered marginal in the avantgarde period, would become dominant in the postmodern period.Art develops by establishing a bond with the old forms, one way or another. Classical norms are needed for this development. Stylistically, the norms of theater can be described as fixed elements within the system. These fixed elements come together in a certain hierarchical order and have always been circulated as a result of the changes to the hierarchical order throughout history. Previously dominant elements would fall into a secondary position, and those in secondary positions would become dominant. Aristotle’s definition of the hierarchical order of the dramatic structure has constantly been revised since then and places the text in the center. The revisions in the dramatic structure as explained by organic aesthetics, no matter how radical they are, have retained that structure, even if they did erode it. These revisions reformed but did not deform the dramatic structure. However, as text began to lose its central position after the avantgarde period, the hierarchical structure organized around text would change, and this would&nbsp;eventually deform the dramatic structure. In the post-avantgarde period, theater signs and means were shaped around a new organizational model that could no longer be explained with organic aesthetics. Benjamin’s concept of allegory can be used as an aesthetic template (i.e., allegorical aesthetics) for understanding, explaining, and defining this model.Dialectical development, which is the basic principle of dramatic structure, has been abandoned in new forms of theater such as Müller’s The Hamlet Machine, which has a postdramatic structure. This structure is not based on dialectical development, nor does it present events in a way that forms a complete whole. An accumulation piled on top of each other occurs that can be described as occurring beyond the action. This accumulation is presented in the form of a sign bombardment. The audience gets bombarded. Due to the abandonment of the principle of dialectical development between events, an episodic/ fragmented structure emerges instead of a holistic structure. In the form of fragmentation or montage, the hybrid material (raw material) collected from foreign structures gets presented simultaneously without worrying about originality or style. The assumption is that an audience who is exposed to this type of presentation will be mentally activated by searching for connection points within the mess, unlike an audience whose hands have been tied by the dramatic work they are presented with.Postdramatic plays that do not focus on the text have no hierarchies (parataxis) nor a single center; instead, they take on a rhizomatic appearance. This is also seen as a necessary expression of the contemporary world, one that is no longer integrated/organic but that instead reflects the postmodern perception of thought. The sign system distributed in this way in the postdramatic structure blurs the meaning. The meaning is produced as a result of correlations. Meaning in a postdramatic structure, which lacks a global relation to validity throughout the text due to not being based on dialectical development, will thus become problematic. The objective expectation of meaning that is recognized in closed/dramatic structures and is independent of people/receptors cannot be met in postdramatic plays. In this respect, postdramatic plays have a relative structure that awaits completion from the audience. Thus, this situation transforms plays of this nature into so-called open works.&nbsp;

The Postdramatic Structure of Müller’s The Hamlet Machine

Şengül

Adorno (1976, as cited in Bennett, 2018, p. 192) stated music to be a communicative language, and according to him, music has several social functions such as helping people make sense of their everyday lives and positioning themselves within society accordingly. Adorno also claimed the contemporary products of the music industry to commodify themselves by presenting them as entertainment and to be used by the ruling class with the aim of convincing listeners that no problem exists with the way society is organized (pp. 41–55). However, if music can be used by the ruling class to strengthen their ideological position, the opposite may also very well be possible. How music and its related subcultures are able to become forms of resistance can be understood by studying de Certeau’s (1980/2008) and James Scott’s (1992/2014) conceptualizations of strategy, tactics, domination, and resistance. This study uses these concepts in order to seek an answer to the question of how music can be used in the context of resistance.The music industry has a variety of strict rules and restrictions. For example, music produced and distributed within the industry is often owned by the recording companies, not by the composer, lyricist, or singer. Because the priority is to make a profit, the value of a work is related to how much it is listened to and sold. Thus, the products that are considered to be successful are constantly reproduced, and similar products reemerge. The same can be said for artists. Artists are produced to be stars, and their lives and public image are controlled and sold, which means they have limited personal freedom and artistic autonomy. Moreover, supervisory bodies such as Turkey’s Radio and Television Supreme Council (RTÜK) are also able to have control over musical works and apply various censorships. As such, one can consider through de Certeau’s concepts of resistance, strategy and tactics that artists exist who are looking for a way out of the music industry. According to de Certeau (1980/2008), actors in everyday life do not passively accept and apply whatever is imposed on them; they are both the users and creators of culture in everyday life. Scott (1992/2014, p. 181) additionally stated subcultures to be important sites of resistance and hidden scenarios in daily life because they create a social space where the opposing ideological discourses created by the weak can be voiced safely.

Resisting While Producing: Do-It-Yourself Ethics in Turkiye’s Punk Scene

Bahar

Bachelard follows a phenomenological method in The Poetics of Space. He reveals the space approach with images of houses, dreams, doors, drawers, chests, nests, and shells. He focuses on the dialectic of the inside and outside and of big and small. He explores binary oppositions, such as ascending and descending, opening-closing, and corners and folds. He examines the images of spaces, such as miniature, forest, steppe, cellar, attic which evoke infinity, loneliness, fear, and anxiety, as well as reflect the poetics of the house. Bachelard’s poetics of space examines depth, roundness, and immensity. It scrutinizes the folds of the snail and the seashell, the depth of the well and the mirror, and houses as big as chickpeas. It decodes the images of empty drawers, locked cabinets, and privacy. It explores images of the forest cottage and the lakeside house, of water and fire.In Karaosmanoğlu’s play Sağanak, the house reflects the identity, memory, education, and the ideas of those who live in it. The house reveals the generational conflict and East-West duality between Afif Molla, Mister Lûtfi, Eşref, and Belkıs. It draws a discordant image where old and new values are intermixed and turned upside down. The house is divided by those who represent the tradition and those who advocate the new. Eşref and Belkıs are similar to each other. Both represent the new generation of young people with ideals who are newly educated, defending modern ideas and Western fashions. Mister Lûtfi is a traditionally educated person, trying to preserve the old and struggling with new ideas. Afif Molla, on the other hand, is a complete defender of the past in terms of education, culture, and civilization.Afif Molla, who defends the old order, reflects the East-West duality he finds himself in with his fez and dressing gown. The house is the domain of power. The layout of the house shows its internal hierarchy. The owner of the house is also the owner of the power. Afif Molla manages the order in the house, determines the hierarchy, and shows himself as the authority. According to him, the old-style order will exist as long as those who represent the tradition live. This duality between the old and the new shakes the social order and alienates the members of the house from each other. Family members who adopt western fashions leave the mansion, which has been arranged according to Turkish style. In Turkish literature, leaving the mansion symbolizes the collapse of tradition and the breaking of family ties. In Sağanak, while Afif Molla and Mister Lûtfi preserve their traditional roots, Eşref and Belkıs turn into strangers in the house they live in and break away from their roots.Throughout the play, husband-wife, father-son, brother-sister, and father-bride clash with each other. When the family members brought together by the house leave the house one by one, the unifying and protectiveness of the roof disappears, and the house falls apart. The clash of old and new symbolically destroys the house. The disintegration of the house represents the division of the family, the breaking of kinship ties, and the loss of roots.In this article, Karaosmanoğlu’s play Sağanak will be analyzed within the framework of Bachelard’s The Poetics of Space. First of all, Bachelard’s theory of space will be emphasized, before Karaosmanoğlu’s play Sağanak will be evaluated in light of Bachelard’s theory. The importance of Karaosmanoğlu’s plays Sağanak, Nirvana, Veda, and Mağara are explicit in terms of Turkish theater history. Although extensive research has been carried out on the author’s novels, relatively few studies have been made on his theatrical works. This article aims to contribute to the studies on the theatrical works of Karaosmanoğlu.&nbsp;

Poetics of The House in Yakup Kadri Karaosmanoğlu’s Play Sağanak

Isuru

The Zri-Rab: A New String Instrument from the Ancient Frescos of Sri Lanka

Çağla

Eclectic Approaches, Influences, and Stylistic Parallels in Paul Hindemith’s Sonata for Two Pianos

Bahadırhan

Orphic media is a relatively new concept created by Mack Hagood, who has been researching digital media, audio technologies, and popular music. Being one of the current frameworks created to perceive different media formats emerging in new contexts, orphic media was found significant and examined as the primary subject of this research. Hagood presents a unique perspective on the idea of relaxing media. According to Hagood, the orphic media we consume for relaxation serves as a tool to detach ourselves from the aural stimulus of environmental information. Although it is considered in tandem with relaxative media, several concepts that it is connected with on the theoretical ground seem to bring profound characteristics. Orphic media prevents us from disturbing and unwanted external stimuli. These stimuli can be considered natural or artificial sounds that mostly interrupt the quasi-calm nature of individual space and can be diversified in this sense. It constantly protects against the power of capitalist space and occasionally simply satisfies the desire to become desolate. Unlike other media formats, orphic media is abstracted from content. Taking advantage of the tools of orphic media with a desire to isolate from unwanted and compulsive stimuli enables individuals to attain sonic self-control.It seems reasonable to consider sonic self-control as a matter of power that begins with isolation from the ambient. Hagood suggests that wearing headphones, for example, could provide a person an advantage over the background sound. By doing so, the individual blocks out the noise which is certainly unwanted, and attains the freedom to choose the sound to expose to. In this case, the individual gets isolated from the external environment and obtains sonic self-control by reshaping the sonic sensory. Emphasizing the insulating, directing, and ecstatic power of sound, Hagood makes an allegorical quote from Argonautica and associates the concept with the mythos. According to Hagood, Orpheus, who saved five sailors from death in the relevant part of Argonautica, fends off the danger by using the power of sound and directs the sailors with the ecstatic power of the sound, changing the chain of events in the opposite direction. With this allegoric quote, Hagood emphasizes the enduring, primal power of sound in contemporary conditions. It is clear that orphic media serves as a means for individuals to process and absorb the overwhelming flow of information in the present. In this respect, orphic media puts individual comfort at its center by including several&nbsp;discussions on the philosophical ground. The fact that orphic media seem to have qualities worth exploring in more than one field is what makes the concept the focus of this study. By creating links with many references, Hagood goes into the context, uses abstract space, and depicts the orphic media on a solid background. Although orphic media is discussed and analyzed only at the initial level in this work, it constitutes intriguing examination opportunities for fields such as philosophy, sociology, psychology, musicology, and politics thanks to the mentioned relations.The soundscape was accepted as a secondary subject for this paper to exemplify the overarching theme of orphic media and to test the perspective created by Hagood since it has been identified as a phenomenon that continues to be in demand in the internet medium. The soundscape phenomenon has been discussed in this research specified as a fictional soundscape. Although reviewing and defining orphic media is the primary purpose of this research, discussing fictional soundscapes from a given perspective can be accepted as the secondary purpose. The fictional soundscape is represented by three major examples taken from Nemo’s Dreamscapes, a YouTube channel. Ultimately, in this study, it was a question to examine a new internet phenomenon with a new concept that is thought to be functional in the disclosed context.As a result, indications about the connections between orphic media and other concepts were discovered. To address the phenomenon of fictitious soundscapes, found hints have been used. In this manner, a final study of both subjects—orphic media and fictional soundscape—was completed. As was mentioned earlier, the term “orphic media” is relatively new. For this reason, it was not possible to reach an inflated number of related sources which may constitute a shortcoming. On the other hand, the ethical obligation to bring recent issues into the academic context motivated me to work on the subject. In conclusion, it may be claimed that orphic media deserves the attention of more researchers from various fields. Hence, I hope that this paper may constitute an illumination for further research.

Sonic Self Control: The Sensory Experience of Orphic Media

Murat

Generative learning involves actively making sense of the information to be learned by mentally rearranging it and integrating it with the person’s previous knowledge, thus enabling learners to apply what they have learned to new situations (Fiorella ve Mayer, 2015, s. 717). From this point of view, the Generative Learning Model (GLM) is directly related to the constructivist learning model, which expresses the acquisition of knowledge through the active structuring of the individual’s mental processes based on previous learning. When looking at the literature, it can be seen that there is a dual use for the same factual situation as the GLM and Generative Learning Theory. The GLM is a hybrid field whose theoretical basis is based on neural research, research on the structure of knowledge, and cognitive development, and which focuses on the selection of learner-centered, creative teaching activities that are appropriate for the learner (Grabowski, 2004). The GLM, in a sense, requires a kind of ‘deconstruction’ of the learned knowledge. It allows students to divide and reorganize all components of knowledge or practice into smaller units. Thus, productive integration strategies are used in multiple content areas, such as refinements, viewing, interpretation, analogy, and summarization, where creative learning comes into play. In the literature, this approach is also defined as “decoding” (Davis ve Hult, 1997; Peper ve Mayer, 1986; Rickards ve August 1975).‘Decoding’ is the process of breaking down information into its components, categorizing these components with their context, and producing innumerable variations between the part and the whole. From this point of view, generative learning and creative learning theories support each other. When looking at the literature, studies in which creative learning is amalgamated with the GLM draw particular attention (Boys, 2011; Moma, Kusumah, Sabandar ve Afgani, 2013; Karpov, 2016).Craft emphasizes that teachers should generally teach creatively to ensure productive learning (2005, s. 130). Teachers must lay the foundation for student creativity by acting as creative and reflective practitioners in their own right. Through such behaviors, students will discover the true nature of creativity and how to be themselves (Tangaard, 2011, s. 230).Considering that music education is a branch of art education, it can be said that productive learning is compatible with the conceptual framework summarized above. Art education generally develops on the axis of creativity, productivity, and different perspectives. Creative learning practices in music education appear in different application areas, such as composing, improvising, arranging, rearranging, creating variation, transcription, adapting for a new instrument, reharmonization, and polyphony. All these application areas display an intersection between creativity and productivity. According to Odena and Welch (2009, s. 418), the concept of “creativity” can appear in two different ways in education: within composing it can be used in improvisation activities, while the other is used to emphasize the value of creativity as a “thinking style”. When the etude books for instrument education are analyzed, it can be said that the GLM is already used in music education without any theoretical background. Some etude books written for instrument education aim to obtain dozens of different forms from a single theme by using the idea of variation. Variation in music is a formal technique in which material is repeated in a modified form. Changes may include melody, rhythm, harmony, counterpoint, timbre, orchestration, or any combination of these. Studies likewise rely on a generative model while creating various combinations of a theme.This research aims to reveal the factual and practical aspects of using the GLM, defined within the discipline of educational sciences, as a learning strategy/model in musical education, with an interdisciplinary approach.In the research, the document analysis method is used to reveal the definitions of the GLM in the literature and its adaptability to music education and to investigate the factual contexts. In the stage of adapting the GLM to classical guitar education, Agustin Barrios Mangoré’s classical guitar piece La Catedral’s second movement Andante Religioso was selected, one of the leading works of the universal classical guitar repertoire. In the research, working exercises in different motifs were generated using productive learning strategies for the technical difficulties in the work. While doing this, the main material of the piece was adapted to different exercise patterns, with 15 exercise fragments being derived from the piece. These exercises show that many different musical elements, such as rhythmic consistency, arpeggios, positioning of the right hand in block chords in jump strings, timbre, revealing the melodic line, and position transition, are suitable for practice on classical guitar with the Genertaive Learning Model. As a result of the research, it shows that the GLM can be adapted to instrument training. As a result, the model can offer effective and creative learning strategies, especially for difficult-to-learn passages in classical guitar training. In addition, it is thought that the GLM will contribute to the metacognitive study strategies of students’ instrument training.

Using the Generative Learning Model in Classical Guitar Training: The Case of Agustin Barrios Mangoré La Catedral

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Emre

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

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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.

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Conservatorium

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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.

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

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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 <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, the <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, the <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>, and the <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a> 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.

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

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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)

Issue Type	Regular
Editor(s)	Tufan Karabulut

Conservatorium

VOLUME 6, ISSUE 1, 2019

The Usage of Rubric in Evaluation of Different Properties of Cellos

Schenker Approach in Music Analysis

Necessity of Introducing Courses on Reedmaking in Oboe Education in Conservatories

The Symbolical Projection and Analysis of Gustav Holst’s the Planets

Memorization in Classical Western Music Performance

INFORMATION

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