Esra

Assoc. Prof.

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;

Ara Dinkjian’ın Müzikal Kimliğinin Türk  Popüler Müziği Besteciliği Üzerindeki  Yansımaları

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;

Hamlet Makinesi’nin Postdramatik Yapısı

Şengül

Assist. Prof.

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.

Üretirken Direnmek: Türkiye Punk Sahnesinde Kendin Yap

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;

Yakup Kadri Karaosmanoğlu’nun SağanakAdlı Oyununda Evin Poetikası

Isuru

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

Çağla

Paul Hindemith’in İki Piyano için Sonat’ındaki Eklektik Yaklaşımlar, Etkileşimler ve Üslupsal Paralellikler

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.

Sonik Öz Kontrol: Orfik Medyanın Duyumsal Deneyimi

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.

Klasik Gitar Eğitiminde Üretken Öğrenme Modeli’nin Kullanılması: Agustin Barrios Mangoré La Catedral Örneği

Tufan

Prof.

CALL FOR PAPER

Naka

Songs About The Đurumlije in Music Education

Nazım Uğur

Konstantin Stanislavski developed a brand-new working method in the last years of his life called active analysis that differed from the methods he’d previously introduced. Active analysis as an acting method does not appear in Stanislavski’s books because had died before finding the opportunity to write his findings and thoughts on this method. His student and assistant, Maria Knebel, was the one who’d witnessed Stanislavski’s development of the active analysis technique most closely and spread knowledge about it in Russia with the articles and books she wrote on it in the 1950s. However, Knebel’s writings on active analysis would not be translated into English until 2016, thus leaving active analysis as a method unknown outside of Russia that time.After working at the Moscow Art Theater using the table rehearsal method for nearly 20 years, Stanislavski realized that the emotional analysis performed in this method did not help an actor at all once they appeared on stage. This was why he abandoned emotional analysis in favor of allowing actors to go directly on stage and actively analyze their roles.Table reads are used to examine things such as characters’ personalities, intrinsic motivations, objectives, super-objectives, actions, conditions, emotions, subtexts, and relationships, during which actors try to delve deeper into the characters’ inner worlds, with stage rehearsals only occurring once all the table read processes had completed. However, this leads to a distinction between an actor’s mental and physical work, creating an unnatural gap between an actor’s mental and physical depictions.Before beginning stage rehearsals, Stanislavski realized stuffing actors’ minds with so much information at a table read before beginning stage rehearsals was not fruitful and thus abandoned the table read method. Stanislavski came to the conclusion that, instead of sitting calmly at the table with a pen in their hands, actors should perform stage rehearsals from the start and experience the psychophysical structure of their roles. He thus developed the active analysis method in order to eliminate the gap between actors’ mental and physical depictions and ensure their psychophysical integrity.Unlike the table read method, the purpose of the active analysis technique is to allow actors to experience the text of the play by analyzing it actively on stage. The active analysis technique removes the wall between analysis and embodiment (i.e., the gap&nbsp;between the mental and the physical). In the active analysis technique, actors accumulate all the necessary elements for embodying the character they will play, and the transition from mental to physical occurs painlessly, smoothly, and without violating an actor’s creativity. Active analysis is an organic process and the shortest path to physical embodiment.The active analysis technique uses no table reads. Table reads are done only for the phase of mental reconnaissance in order to understand the plot of the play and determine the sequence of events and character actions. Once the actors have grasped the basic structure of the play at the table read, they move on to the etude stage, during which they perform a more in-depth analysis of the play on stage and in action, rather than at a table. On stage, actors examine the physical and psychological life of their roles simultaneously and actively, experiencing the real and concrete unity and indivisibility of the psychophysical process.The active analysis method involves the following two phases: 1) the mental reconnaissance phase and 2) the etude phase. The mental reconnaissance phase reveals the skeleton of the part being studied. Meanwhile, the etude phase gives this skeleton its flesh, blood, nerves, and internal organs by physically and spatially testing what was revealed during the mental reconnaissance phase. These two phases establish a constant relationship between the mental work and the psychophysical interplay at each rehearsal. In the mental reconnaissance phase, actors determine the inner actions of the character they will play, while in the etude phase, they discover how to transform the inner motivations they’ve identified into external actions through improvisation. This study has aimed to examine the active analysis technique in depth and evaluated the functionality of active analysis as an acting method in light of the findings obtained from the detailed literature study, as well as from practical studies with students of the acting departments of various universities. In conclusion, the active analysis technique is seen to be a method that reveals actors’ creative potential and allows them to use all their abilities holistically and create the character they will play in a completely organic way.

Active Analysis as an Acting Method

Yılmaz

Among the Turkish Five, the composer who is best known worldwide and whose works are performed the most is undoubtedly Ahmed Adnan Saygun. Saygun was born in the last years of the Ottoman Empire and witnessed the establishment of the Republic of Türkiye in his early youth. He was entitled to study music in Paris upon passing the exam that had been opened along the axis of new art policies. After returning to Türkiye, the composer assumed important positions in state institutions such as the Music Teachers’ School, community centers, the State Conservatory, and the Board of Discipline and Education. He also maintained his loyalty to Atatürk and the values of the republic throughout his life. By adopting the idea of processing Turkish music in universal dimensions, Saygun expressed the awareness of being a nation and the importance of turning to his own roots in fine arts:[…] Here, Atatürk resolutely addressed language, history, and after a while, fine arts, in the struggle to recreate a society that had been oppressed and humiliated by the Ottoman landlords. He returned to Anatolia and Turkishness in language after the Alphabet Reform and went directly to the roots of the Anatolian people, both in Anatolia and Asia, instead of the understanding of “a strange state born from four hundred tents” in history. And finally, he turned to the same resources in fine arts. (Saygun, 1987, p. 34)Saygun had an evolutionist understanding of tradition and stated tradition not be a narrow pattern one blindly adheres to but rather a process that can incorporate the new. As a 20th-century composer, Saygun kept his distance from the art movements that had emerged in his age and sought innovation, he stated in his work called Yalan (1945) that no building could be built without a foundation. Combining the traditional music elements of his country with the Western music education he’d received in Paris, the composer made his voice known to the world through his original musical language.Saygun was an educator, writer, and ethnomusicologist in addition to being a composer and drew attention to the importance of investigating the historical, linguistic, and sociological background of folk music. As a result of his field research, he got to know the lifestyle of the Anatolian people and their folk singing styles and published many articles and books on the subject. In his article titled La Musique Turque (2009), he explained the melodic and rhythmic structure of Turkish folk music and classical Turkish music in detail and drew attention to the descending structure and tetrachords of the scales that reveal this music.Hi opera Kerem consists of three acts and eight scenes and is based on the widely known tale of Kerem and Aslı, as well as the theater play Kerem ile Aslı (Selâhattin Batu, 1944)that had been written as a five-act poetic fairytale. The opera’s libretto was written by Batu in the style of folk poetry and in pure Turkish, though the last part of the story was changed in the opera instead of sticking to the original to emphasize the tendency of a hero to start from worldly love and grow to divine love. In this respect, the opera Kerem also reflects the mystical world views of Batu, who was a fan of Rumi (Güleç, 2009, p. 56 - 57), and of Saygun, who was in love with Yunus Emre. In Saygun’s words, “Kerem was like a version of the Yunus Emre drama arranged for the stage: slowly turning to true love through thorny, ordeal paths (Aracı, 2007, p. 168). The composer also noted down the following on the first page of the opera’s composition:“Your job is to burn…Yunus Emre.”This article briefly mentions Saygun’s understanding of composition as formed on the axis of tradition and explains the traditional musical elements of Anatolia in the opera Kerem through examples.

Saygun’s Perspective on Tradition and the Anatolian Melodies Used in the Opera Kerem

Duygu

Şebnem

The 20th century marked a time when developments in technology and industry affected every area from world wars to daily life, and the period’s most dominant understanding began to be discussed under the title of modernism, which also included political and philosophical content. The opera of the 20th century began to show itself in its brand-new form, one in which modernism was reflected in every aspect. Modern opera is observed as a progressive and revolutionary creation that has created a special place for itself in people’s entertainment culture and even questioned the foundations of operatic art. Examples have even been given since the 1950s that completely differ from the opera experience preceding it. Moreover, some examples have been destructive enough to claim that the art of opera is dead and far removed from the stage and the masses. Created by avant-garde composers, this genre of opera revealed a character that is purely provocative, highly intellectual, and difficult for the masses to understand. The new opera of this period involved avant-garde music that was at the forefront of innovation in its field, with the term “avant-garde” meeting a critique of the existing aesthetic traditions, the rejection of the status quo in favor of unique or original elements, and the idea of deliberately challenging or alienating audiences (Nicholls, 1991).When considering the character seen in the music of the 20th century as the development of modernism, the existence of both idealist approaches such as radical modernism and experimental attempts such as avant-garde can be observed in many works in various situations. The shift of modernism to the US geography through World War II after 1950 made this movement more remarkable in terms of art’s political content. In a world polarized by the Cold War, modernist music that was in a sense embraced by liberalist policies had fused with more art movements and more politics, evolving into a postmodernist music that first emerged with an attitude against modernism.György Ligeti was the composer of the 1976 opera Le Grand Macabre and repeatedly expressed his skepticism toward avant-garde and postmodernism. He insisted that these approaches are conformist and outmoded. The main idea that had driven him away from avant-garde is that avant-garde had become outdated after the end of the Cold War, for all situations had changed, both socially and technologically. In fact, Ligeti even questioned whether to continue composing with avant-garde methods such as the clustering method and micropolyphony. The works he produced after 1982 when postmodernist composing had reached its peak in the West are proof that he was careful to remain independent of these orientations.Although Ligeti did not want to be classified as avant-garde or postmodernist, the place postmodernism has in the character of his opera is undeniable. Ligeti humorously called Le Grand Macabre a flea market (marché aux puces). His choice of this metaphor coincides with the grotesque character that arises from the clash of styles and genres heard in the work. This versatile character is also compatible with the postmodern disorientation. The focus on forms resulting from the juxtaposition of references has at times led critics to describe the opera as having a tired and even dated caricature. However, Le Grand Macabre does not have a representation of the loss of connection with history in the postmodern manner consisting of emptied stylistic references; on the contrary, it contains a deep historical awareness that leads to it having a modernist aesthetic. As such, the work doesn’t fit the concept of postmodernism as a new cultural sovereign but rather as a variation of modernism and can be incorporated into a continuation of postmodernism that has become a more explicit part of self-reflexive critical awareness and the expressive qualities of music (Edwards, 2017, p. 7).When looking at Ligeti’s discourses, Le Grand Macabre appears as a work that aims to be distinct and unique, unrelated to any movement, and beyond classification. However, when undertaking an analysis of the work and taking the interpretations of different researchers into consideration, the work is clearly infused with the other works of Ligeti throughout his entire artistic life and is therefore an opera that carries traces of the movements his works had involved in the previous periods. This opera is not just an avant-garde and modernist but also a postmodernist opera, and because of this totality, it has become one of the outstanding operas of its age as a unique and distinct example. This study has been carried out with the aim of presenting a tidy approach to the intellectual classification of the work accompanied by the aforementioned arguments with the hope of contributing to future research. The study also has the aim of contributing to future academic studies on modern and post-opera art.

A Discussion on Postmodernism: György Ligeti’s Opera Le Grand Macabre

Tuğçe

Historically, theater has helped to reveal society’s conflicts with power within the safe boundaries of art. Social issues around the world have become much more visible with the worsening conditions of the changing century. While technology has made life easier in many ways, the unlimited circulation of information has allowed people to instantly learn what is happening in the rest of the world. This has led to people now comparing their physical, economic, and cultural conditions more with others than in the past. Being able to know and see everything to this extent increases not only social awareness but also reactions. The inherently intertwined nature theater has with society has always helped to keep the possibility of change and transformation alive through theater. In many cultures, communities have used the stage to tell their stories and lives. This has helped individuals show their thoughts, concerns, and anger toward each other and society.When looking historically at applied theater, its popularity is seen to be related to the social conditions and needs throughout world history. It is known that applied theater is known to have occurred in different ways for its aim of social change. First of all, when one steps back to the beginning of the 20th century, the Workers’ Theatre Movement of the 1920s, Bertolt Brecht’s epic theater, Jerzy Grotowski’s poor theater, and Joan Littlewood’s Theatre Workshop come to the fore as the first practices in the field with their performed plays. When looking at the main types and historicity of, it is seen to be experienced with the communities that make up society. As such, can communities really be the harbingers of social change? The impact of has been seen to expand from primary school students to elderly individuals approaching the end of their lives. Additionally, trauma victims or imprisoned people may not be able to participate in the flow of daily life like other people, but they do make up parts of the general mosaic of society. In this context, perhaps the transformation of applied theatre into a state policy with the goal of social change and development through communities will be able to expand its area of impact even further.Communities and societies owe their existence to each other. Societies manifest themselves through their complex variable structures and are places where people of different classes, ethnicities, and religions establish their belongings. In addition, the individuals of a community, which consists of more connected relationships compared to wider social formations, are often in communication with one another. In short, while societies consist of wider and more diverse individuals, communities are made up of more similar and closer individuals in terms of shared interests and characteristic features.When compared structurally, communities’ and societies’ capacities for creating change can be understood to be interdependent. Communities have the potential to create social change. New communities desiring change and communities envisioning a new citizenship can come together as a result of applied theatre’s aim to create change. This community will be formed first, and then it will create an opportunity for awareness and dialogue regarding social issues. The chance for individuals to have their voices heard through theater will turn them into more confident individuals. Most importantly, by creating a new societal narrative through theater, the mythology of a potential new society will emerge from the components of the community and will gradually become more widespread and adopted.Planning applied theater is important. It should address a specific problem, and the individuals related to this problem should be present as participants in the organization. The current situations of individuals related to the problem and their helplessness and inability to cope with these situations have great importance in determining the limits and type of the theater application. The project stakeholders and institutions that provide financial support are parts of the application. The desire to create change must be related to realistic goals. To understand the whole area, neither attempting to understand how applied theater works when aiming for change nor using the courage provided by the presence of only a few examples of applied theater in Türkiye will certainly not be enough. However, the definition and history of applied theatre will help to discuss what is meant by change and whether this change is real. In addition, by understanding the real-world barriers, change will act as a guide if types of applied theater are to be used as widespread projects for the social change Türkiye will need in the future.

Imagining a New Society Through Applied Theatre

Görkem

Drama is one of the main concepts of the performing arts. Drama is a phenomenon that occurs by practicing a design that consists of the components of words, actions, time, and space. When considering the two phases of design and practice as the concretization of the abstract mental activity of design through practice as a physical activity, the knowledge and instruments required for realizing these processes are provided by the designers and practitioners from within human life itself. In this context, the relationship that culture as a phenomenon that encompasses all of human life has with the drama that arises from human life and that offers an alternative existence is more direct and deeper than it might seem. This study focuses on the relationship between drama and culture. Culture has been conceptualized as both the result and cause of human life by being handled around the debates in the fields of anthropology and cultural studies.From this point of view, this article investigates the similarities between drama and culture by referring to drama as an alternative to human life that arises from within human life and arguing that drama could be considered a reproduction of culture.To investigate the possibility of establishing the relationship and similarities between drama and culture, this study seeks the abstract and concrete processes that are attributed to drama within the components and mechanisms of culture by considering culture in the context of communication, language, and acculturation. In this respect, the article evaluates drama as an inherent phenomenon within culture by considering human life holistically along the axis of the discussion of naturalness and artificiality as attributed to culture. Subsequently, under the heading of culture and communicativeness, this article argues that the human-specific communicative skill and the instruments and processes invented and constructed concerning this skill can be observed in the construction of drama. The next section discusses language and culture as two interconnected structures and identifies how language and culture are built on the shared reality that is reached by comparing conspecifics and that shapes human lives around the shared purposeful survival drive by providing communicativeness. In this context, the article claims drama to be limited to the language and culture in which it is born due to its inherence to human life. The last section involves culture and enculturation based on the etymology of the word culture and claims the drama that is born in human life and proposes an alternative existence to its ordinary existence to similarly contain the cultural stages of existence, functioning, and reproduction.A similarity can be established between culture and drama through the concept of culture. The human species has built its language and culture by using all the elements of word,action, time, and space regarding the perception of the reality it has established at the cognitive level homogeneously. In this way, if meaning and order are attributed to life based on cooperation and common purposefulness, one can argue that drama reproduces the same, this time as a designed alternative. In other words, drama may be conceived as an alternative to life by utilizing the mechanisms of signification and regulation unique to the human species.The state of being designed that is attributed to drama is crucially similar to the artificiality attributed to culture. Just as culture is a structure designed by the interaction of the human species with the environment in which they live, drama is created by interacting with the culture in which it was born. Therefore, drama can be considered as an inherent phenomenon of culture instead of trying to tackle the culture one lives in as natural and drama as artificial and to analyze drama through contrast. Thus, drama can be considered a part of culture rather than something independent of culture.The practice of drama is similar to the functioning of culture in terms of shared purposefulness and cooperation. As a designed whole, drama consists of the codes, symbols, and representations that are transferred from culture. Transforming the designed abstract drama into a concrete form by practicing it is similar to the construction of culture in terms of common purpose and cooperation. By using the instruments that enable humans to communicate, such as establishing a shared reality, coding, decoding, and using time and space, one can transform the drama born from culture into a part of the culture. The enculturation process is comparable to drama once the audience encounters it. Enculturation could have similarities to the audience encountering drama. Being an audience to the practice of drama and being exposed to the universe of meanings and symbols used by drama have similarities to being exposed to the practice of culture in the enculturation process.The audience becomes a part of the drama to the extent that they are aware of the universe of meanings and symbols produced in the drama, just as they can be included in that culture as long as they know about it. In this context, given the similarities between drama and culture, this study concludes that drama, just like culture, can be divided into its components and examined with the anthropological and cultural scientific instruments used for culture. In fact, by considering drama as a part of culture rather than something independent of culture, once can access the knowledge of culture beyond the knowledge offered by the designed drama.This study attempts to examine drama as a concept that belongs to the performing arts by using instruments belonging to social sciences and drawing from the fields of anthropology and cultural sciences.

What Should Drama Comprehend from Culture?

Sitare

From its start, musical theater has always been in search of an identity. The shortage of written sources in Türkiye as well as persistent misconceptions have brought about complex contents and definitions.To create order out of chaos among the performing art disciplines of a period is challenging but also important due to its cultural and artistic richness. As such, the big picture needs to be looked at, even if only briefly, in order to completely comprehend the foundations of the discipline of musical theater. If musical theater is not a musical play, then what is it?Many music historians and musicologists have examined musical theater under two headings: musical comedy and musical drama. Even though musical theater has been studied under two headings in many sources, sub-genres also occur under the musical comedy genre such as musical farce and musical situational comedy, as well as under the musical drama genre, such as musical melodrama and musical romance (romantic musical). Meanwhile, musical shows are accepted as a separate sub-genre of musical theater due to not having a script but rather consisting of independent songs and funny sketches.This study examines two musical farces inspired by Plautus’ Amphitryon: Shevelove &amp; Gelbart’s (1962) A Funny Thing Happened on the Way to the Forum as one of the best examples of its kind on Broadway, and writer and director Haldun Dormen’s (2000) Amphitryon 2000. This article examines these plays in terms of both their musical pieces as well as the dramaturgy of the texts by providing an academic and scientific method for directors, actors, writers, composers, and scholars working in the discipline.The plays A Funny Thing Happened on the Way to the Forum and Amphitryon 2000 trace a long journey from Ancient Greece to Rome, and then from Broadway to Istanbul. In an area where types of musicals nourish and improve each other, writers are inevitably influenced by one another as well. A Funny Thing Happened on the Way to the Forum and Amphitryon 2000 are both musical farces that have the general characteristics of the musical farce genre while demonstrating certain differences.This study shows the most striking difference between Turkish musical plays/musicals and foreign plays to be related to the number of songs and transitional musical pieces&nbsp;within them. The plays by Turkish writers and composers have fewer songs compared to Broadway or West End plays. Also, these songs are not composed by a similar mathematical algorithm. The integration among text, music, and dance in Turkish plays is weak, which is why the stage director has to make an extra effort to compensate for it.Compartments in musical theater are organically connected. When a dance or song sequence is taken out of a musical theater play, the dramaturgical structure is compromised, leading to loss of meaning. Therefore, the use of music in musical theater is not just there to emphasize the scene, but also to serve the dramaturgical unity of the story.In the context of this entire process of change and development, one can say that musical theater is an interdisciplinary performance art that holistically narrates a story through acting (verbal dialogue, text), songs (music), dance, and all other auxiliary components of visual arts, thereby providing dramaturgical action.This article must also examine the changes musical theater has gone through historically in order to understand, analyze, and create syntheses regarding the musical theater of today. When comparing Turkish and Western musical theater, the Turkish plays seem to have developed over a short period of time, and are therefore few in number. They have also usually been inspired by Western musical theater. The lack of a musical theater sector in Türkiye is one of the most important obstacles preventing a collective and sustainable production. Additionally, other cultural, social, economic, and political factors surely exist that have prevented the sector from developing. Musical theater in the past was also not a part of the curricula in many Turkish educational institutions. Having theater halls where big budget and big cast musicals could be staged undoubtedly enlivened the sector. However, one can see that the most salient and determinant factor in the development of musical theater in the world and in Türkiye pertains to the art policies of states.

Musical Adaptations of Plautus’ Amphitryon on Broadway and in Türkiye

Ezgi Nihan

The Soviet Union entered the war with Operation Barbarossa, which was launched by Germany in 1941. This operation opened the Eastern Front of World War II and has been described as the largest military operation ever. The Soviets suffered significant territorial losses early in the war, Germany advanced as far as Moscow and besieged Leningrad. After the start of the operation, Josef Stalin as the leader of the Soviet Union launched a homeland defense movement throughout the country, with the battles of Kursk, Stalingrad, and Moscow being fought under the propaganda of this movement. The clashes with German soldiers were quite heavy, and the Soviet soldiers showed great resistance and heroism. About 27 million Soviet and 11 million German soldiers died during the war. The Soviet Union became one of the most important powers of the war, which greatly affected the structure and course of World War II and resulted in Germany’s defeat on the eastern front. The Siege of Leningrad was one of the longest and most destructive sieges and resulted in the heaviest losses in modern history. Although Hitler failed to take the city, the two-and-a-half-year siege resulted in great loss of life.The Soviet Union was a country dominated by communist ideology, and this ideology also had an impact on Soviet culture and art. Soviet music was under the control of the Soviet government and used as a tool to reflect the state’s ideological goals and policies.The hardships World War II brought to the Soviet Union affected the working conditions of musicians and led to a decline in musical activity, forcing many composers to contend with the effects of the war. Many Soviet composers and musicians died or left their country during the war. On the other hand, the conditions the war created also caused many composers to create works that involved the destruction of war and the suffering and victories of the people. One of the best examples of this is Dmitri Shostakovich’s 7th Symphony, also known as the Leningrad Symphony. He composed it during the siege of Leningrad, and it is considered to be a musical reflection of the difficult conditions that were experienced. Sergei Prokofiev’s War Sonatas deal with the themes of the&nbsp;destructiveness of war, human drama, and the loss of human values between the conflicting parties and is among the works cited this article cites as an example. Prokofiev and Shostakovich are undoubtedly the names most mentioned in the criticisms of 1934 and 1948. Although they reflected different musical cultures, they were tried together many times, with most of their works being written under the supervision and pressure of the state yet also were sometimes subject to bans. However, both composers based their works on historical events, opposed the state authority from time to time, and wrote more intense symphonic works rather than simple works.The Soviet government under the Stalin regime viewed nationalism as a political tool within the framework of culture and music for bringing the Russian people together. With the Soviet regime that followed the tsarist system, Russia tried to understand socialism. While it focused on the concepts of right and freedom, no defined policy was present regarding the field of art. With the leadership of Stalin and the occurrence of World War II, expectations from composers increased, and they were put under serious pressure to provide morale to the public with their music. Despite the devastating effects of the war, Soviet classical music continued to evolve and develop both during and after the war. The Soviet music education system trained valuable composers who would shape Soviet classical music for many years.The use of classical music as a propaganda tool during World War II also affected the Soviet people. Two composers of Soviet Russia, Prokofiev and Shostakovich, were among the names that had been greatly influenced by this period. Shostakovich’s tendency to use a certain musical language in his compositions made him a political target in this environment, one of these being Shostakovich’s 7th Symphony, which he had dedicated to Leningrad. The work was written during the siege of Leningrad in World War II, with Shostakovich refusing to leave his country. Great efforts were made under the difficult conditions of the war to have this piece be heard. Rehearsals were held during bombings, and musicians were found who’d died of starvation. Despite everything, however, the concert took place on August 9, 1942 in Leningrad.This research discusses the events that developed in Soviet Russia between the October Revolution and the post-war period by making an introduction to World War II. At the same time, the article explains the lives and works of two important composers of Soviet Russia, Prokofiev and Shostakovich, and mentions their lives and the compositions they wrote during the war. Two objectives of this research are to eliminate the lack of&nbsp;information in the literature about the contributions of classical music and its use in World War II and to provide information about the subject by examining the perspectives of the governments on music at that time.This qualitative research was written using the method of descriptive analysis. In order to determine the method, the article first searched the literature on the subject to determine the relevant sources and limit itself to the composers Prokofiev and Shostakovich. The article examines the lives and works of the composers and the effects the difficulties they experienced during the war had on the musical structure of their compositions. The study’s analyses take into consideration the effects the composers’ political environment and their relations with the government had on their works.Shostakovich and Prokofiev lived during the Soviet Russia period and were composers whose works dealt with social and intellectual events. The ideas and musical styles they described in their works were sometimes criticized and other times awarded. When considering that they were trying to survive under political pressure, they can be said to have had to act politically in order to survive as composers. Of course, this situation was reflected in their compositions, which this article addresses while providing information about their works.

The Effects of the Second World War on Soviet Classical Music

Zeynep

The piano is an instrument used in every subject in music education, and correctly acquired playing techniques bring good musicality and playing skills. Etudes, practices, and exercises are used to gain technical skills in piano education. Etudes are musical works that deal with various technical problems more comprehensively than drills. Although etudes do not bring anything new, their practice is highly useful as they systematically process all the difficulties encountered in music literature, and acquiring these skills as a whole gives the pianist a different experience (Pamir, as cited in Korkmaz, 2021). In general, the objective of instrument education is to allow students to be able to perfectly perform the instrument being taught. Therefore, the targeted behavior in piano education should also be perfection in performance. Etudes provide the most significant development regarding piano education in technical terms and are used highly effectively in the education process not only in terms of difficulty level but also in terms of purpose and application style (Kurtuldu, 2009). Carl Czerny wrote many works, especially etude studies in the field of piano education, and the frequently used etude methods for piano education (Öztürk, 2008), such as correctly acquiring technical habits being a factor that allows the most difficult and complex passages in a work to be easily played and thus also be interpreted well (Ekinci, 2004). In light of the relevant literature, this research attempts to focus on whether the applied exercises are beneficial to the passage, whether they affect the criteria of piano performance, whether inconsistent rhythm in passages involving 1/16th notes can be eliminated through repetition exercises.This study investigates the effect of repetition exercises on piano performance while studying passages that require speed. The hypotheses developed for this research are as follows:1. The experimental group’s scores for playing the passage with the correct notes are higher than the control group’s scores.2. The experimental groups scores for playing the passage with the proper rhythm are higher than the control group’s scores.3. The experimental group’s scores for play the passage at an even rhythm without pauses are higher than the control group’s scores.4. The experimental group’s overall piano performance scores are higher than the control group’s scores.This research uses an experimental design research model with the quantitative method. Within this framework, the research uses a post-test model with experimental and control groups.The study group of this research consists of 50 students in total, 25 in the experimental group and 25 in the control group, all studying in their second year at Marmara University Atatürk Education Faculty of Fine Arts, Music Education Department during the 2018- 2019 academic year. Of the students in the study group, 25 are girls and 25 are boys.The study group of this research consists of 50 students in total, 25 in the experimental group and 25 in the control group, all studying in their second year at Marmara UniversityAtatürk Education Faculty of Fine Arts, Music Education Department during the 2018- 2019 academic year. Of the students in the study group, 25 are girls and 25 are boys.This research has not chosen all the criteria that make up piano performance. It haschosen the following:1. Playing the passage with the correct notes2. Playing the passage at the correct rhythm3. Playing the passage without pausingWith regards to these criteria, a three-question observation form prepared by the researcher was used and includes the criteria of correct notes, correct rhythm, and playing without pausing.Czerny’s Op/ 58 was selected as the passage to apply as it includes 1/16th notes, and group repetitive work was carried out. In addition, a personal information form with 10 questions was prepared to determine the demographic characteristics of the experimental and control groups and the necessary questions were asked. In order to test the effectiveness of the used method, the statistically unrelated group t-test was used to determine the differences between the performance test results of the experimental and control groups.With the piano performance test, separate t-tests were made for the variables of correct notes, correct rhythm, and playing without pausing, and the results were examined with the t-test for male and female students in the experimental and control groups. This study investigates the effects of group repetitive exercises performed while studying an etude regarding piano performance and observed the experimental group (the group who practiced the passage with exercises) to have played the passage with the right notes, the right rhythm, and without pausing, while the control group (the group who only played the passage straight through without exercising). Meanwhile, the control group was unable to play all the notes properly at a consistent correct rhythm without pausing. This shows that the exercise had a positive contribution to playing the passage, showing that practicing exercise drills to positively affect piano performance.

Analysis of Studying Passages on the Piano Requiring Speed and Different Rhythm Patterns

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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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Özgün

Res. Assist.

Ozan Evrim

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

The Usage of Rubric in Evaluation of Different Properties of Cellos

Sibel

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

Memorization in Classical Western Music Performance

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Conservatorium-Konservatoryum is an open access, peer-reviewed, scholarly, 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.

DOAJ

TR Dizin

EBSCO

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@METRIC_ISSUES

@METRIC_ARTICLES

@METRIC_OPENACCESS

Conservatorium

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Editor in Chief

Co Editor in Chief

Editorial Assistant

Publicity Manager

Language Editor

Editorial Board Member

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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.

Aim and Scope

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

Indexing and Abstracting

The journal is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the <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.

Policies

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

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

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

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

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

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

Ethics

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

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

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

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

Peer Review

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by Editor-in-Chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, citizenship, religious belief or political philosophy of the authors and ensures a fair double-blind peer review of the selected manuscripts.The selected manuscripts are sent to at least two national/international 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
Cover (PDF)
Front Pages (PDF)

Conservatorium

VOLUME 9, ISSUE 2, 2022

Ara Dinkjian’ın Müzikal Kimliğinin Türk Popüler Müziği Besteciliği Üzerindeki Yansımaları

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