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.

YAZI ÇAĞRISI

Emine

The early 20th century was a time of new directions for the art genres in Russia as well as in the rest of the world. This period was known as the time of modernism for Russian art history, with avant-garde being the most remarkable discipline of art in that century. At the beginning of the 20th century, many avant-garde circles were formed in Russian art, one of these being OBERIU, which existed between 1927-1930. OBERIU was an acronym and name for a group of poets, writers, and philologists who were the pioneers of Russian avant-garde art. In the Russian language this abbreviation stands for “Association for Real Art”(ОБЭРИУ – Объединение реального искусства) . Daniil Kharms and Alexander Vvedensky were the most popular and well-known writers of OBERIU. In the 1920s, the group put forward a new theatrical approach. In their manifesto announced at an art night in Dom Pechati [The Press House], they rejected the usual theatre traditions and explained their theatral visions. In their artistic discipline was clearly seen the absurdist elements such as the absence of determinism and causality, unresolved endings of plays, senselessness of dialogues, and gestures.Similarities between the Western theatre of the absurd and OBERIU theatre plays got the attention of critics in the 1990s. The term “theatre of the absurd” had been put forward by Martin Esslin in 1961. In his book, Esslin showed the similar techniques in some plays by Western dramatists such as Samuel Beckett, Eugene Ionesco, and Jean Genet, who lived and wrote during the same years. One common opinion of critics was that the plays of these dramatists had come about as a reaction to World War II. The plays of the theatre of the absurd are very different from realist theatre plays. Generally, these plays express the meaningless of life, show irrational worlds, and demonstrate the nonsense of human life. In Jean-Philippe Jacquard’s (1991) book Daniil Harms et la fin de l’avant-garde russe [Daniil Harms and the End of the Avant-Garde Russia], he revealed the common aspects between the plays of the theatre of the absurd and the OBERIU theatre. In his detailed book, Jacquard classifies the techniques to the works from the Theatre of Absurd and to OBERIU plays by comparing the works of Daniil Kharms (the founder of OBERIU) and Eugene Ionesco. Jacquard and some other Western and Russian critics pointed out how the plays by the OBERIU group had expanded the time horizons of the theater of the absurd. After all, Esslin had not drawn any definite time or country boundaries when he had coined the term and grouped absurdist works under one title. Esslin had also associated the theatre of the absurd with the traumas World War II had left on humanity, but the members of OBERIU were witnesses of World War I who’d continued to suffer the results of the Great War after the Revolution in 1917, as well as the totalitarian rules of government. Artists of the theatre of the absurd had experienced similar traumas before and after World War II. As a result, these traumas affected these artists’ works. This study examines Vvedensky’s play “Christmas Tree at the Ivanovs” based on Jacquard’s propositions in order to observe the commonalities of OBERIU and the plays of the theatre of the absurd.

Absürt Tiyatroya Doğru: OBERİU Oyunlarında Absürt Öğeler (Vvedenski Örneği)

Sonat

&nbsp;This study aimed to determine this piece, which was composed within the scope of the project and based on violin education in terms of right- and left-hand behaviors, position knowledge, and level in violin education. In this manner, this work, which was brought to the Turkish violin repertoire, is important, because it is considered useful in terms of introducing the work to educators and students at the point of which level of violin education can be examined and the techniques it contains. The study used the scanning model to formulate the conceptual framework. Data about the works were obtained through document analysis and a questionnaire with items rated using a five-point Likert-type to educators. In determining the level of the piece composed in the research, open-ended questions were asked about each movement of the piece to four violin educators in Akdeniz University Antalya State Conservatory. According to the results obtained from the findings for the first subproblem, the work includes detaché, legato, martelé, staccato, and tremolo bow techniques, which are basic bow techniques, and spiccato bow techniques, which is considered a high level. Especially for structure in the first movement, a few educators stated that the entrance passage will be played with detaché, while others stated that playing the martelé using the bow technique would be more appropriate. At this point, the result revealed that the character of the piece is decisive and that bow techniques may differ when the stage is passed to the presentation, that is, to the stage of playing the piece as required, after the working stage. Similarly, in the introductory sequence of the third movement, although dotted notes can be played as detaché or staccato during the working and cleaning of sounds, they need to be used as a broadcast spiccato in the actual presentation of the piece. According to the results of the second subproblem, the study finds that the work includes position shifting, pizzicato, and flageolet as left-hand techniques. The pizzicato performance, which is mentioned only in the second movement of the piece, is kept very plain and simple, such that students can easily play it in a slow tempo. As viewed in measures 31 and 32 in Figure 14, quarter notes are used, which helps students to play comfortably and clearly. The flageolet technique, which is another technique used in the work, is mentioned in the 37th and 38th measures only in the second movement. The passage, which began with the natural flageolet with open wire, continues with the artificial flageolet created using the first finger. The study considered that students in the 3rd or 4th year can easily play this passage. Upon examining the shifting, which is another left-hand technique, the study observes that the work is generally within the limits of the first position; however, no notes higher than the B note exist in each section, except for a few places. This situation creates the idea that nearly the entire piece can be played in the first position. However, as in the entrance of the third section, starting in the second position is preferable to avoid putting the fast passage into a risky situation by changing strings or using the third position in certain places to refrain from disturbing the timbre integrity, as demonstrated in the 21st measure of image 14. In this manner, a more qualified piece can be played. As cited in the last example, the shifting of the first, second, and third positions was preferred to avoid unnecessary string changes and timbre integrity throughout the piece. Evidently, finger numbers, position transitions, and bows preferred by the researcher are unique to the researcher; thus, other performers or educators can rearrange them according to preference. The results for the third subproblem indicate that the piece can be played/taught in the 3rd or 4th year of violin education, which garnered various opinions from educators. In other words, the target behavior and difficulty of each section vary within the piece. Although the first movement of Onur Özmen’s “Op.41 Sonatina for Violin–Piano” was found suitable for 3rd-year students, the educators mentioned that the third movement was suitable for 4th-year students. Apparently, these preferences are not rules and may vary according to the readiness, development, and work pace of students. Moreover, based on the results, the study infers that Onur Özmen’s work is suitable for playing in the first year of violin education in terms of right- and left-hand techniques, note values, and position knowledge. The piece can evidently be used in the Turkish violin repertoire, which is scarce and not written specifically for educational purposes.

Onur Özmen’in “Op. 41 Keman-Piyano İçin Sonatin” Eserinin İncelenmesi  ve Düzeyinin Belirlenmesi

İsmail

Müzikal Yaratımda Bilinçdışının Etkileşimi Üzerine Kavramsal İnceleme

Sibel

Nihat

Gamze

Harun

Mehmet

Rhythm education in Turkish music is realised with the education and training of the usûls from 2 to 120 times and the kudum velvet of these usûl.In rhythm education, the student’s posture, sitting and holding skills, ability to perceive the velvet, duration of perceiving the velvet, abilit to apply the velvet during the piece, the ability to practise with accompaniment, and maintenance of the metronome during the practise period are important topics. Of course, the successful realisation of these topics that affect rhythm education is only possible if the students have a clear mind and full concentration. Psychological factors such as anxiety and depression that cloud the mind and disrupt the student’s focus will negatively affect the training.&nbsp;Because of the literature review on anxiety and depression, it was found that there are publications stating that anxiety and depression can negatively affect the success in theoretical and skill training. In this context, this study investigated the effects of anxiety, depression, and anxiety sensitivity on standard rhythm training applied to music education students.This study, which was planned with the hypothesis that the effect of anxiety, depression, and anxiety sensitivity on the standard rhythm training applied to music education students would be negative, was planned on the grounds that the effect of rhythm training on learning performance anxiety in the field of Turkish music has not been investigated in the studies on performance anxiety to date; According to the results of the study, it has a unique value in terms of suggesting that relaxation exercises should be given/practised to students before and during the music education curriculum to reduce anxiety and anxiety sensitivity and that this practise will increase the success in the learning process.It has been observed many times that mental state negatively affects educational success in all educational processes that require performance. With this research, the importance of learning performance anxiety in a more unique field such as rhythm education will be emphasised, and a general contribution will be made to the consideration of this research in national and international music education.The research was conducted on first-year students of Manisa Celal Bayar University Faculty of Fine Arts Design and Architecture, Department of Music, and first-year students of The State Conservatory of Turkish Music at Aegean University, Department of Basic Sciences Voice Education. Although voluntary consent forms were obtained from 55 students who were studying in the first grades of the mentioned institutions and planned to be reached, standard rhythm training was conducted with only 30 students because education was online in some periods. The effects of anxiety sensitivity and, anxious and depressive moods on rhythm training success were evaluated. All subjects were administered the "Anxiety Sensitivity Index (ASI), "Hospital Anxiety and Depression (HAD) scale", "State-Trait Anxiety Inventory (STAI-1)" and "STAI-2" determined by the researchers. forms were given and they were asked to answer them. The standard rhythm training was planned to include 2-8 time procedures accompanied by a metronome by showing posture, sitting, holding, and beating patterns with the kudum instrument.In the application phase; again in accordance with the criteria determined by the researchers, rhythm studies were conducded with the students on the kudum within a 3-week period, and these studies were recorded. In the 4th week; the students were asked to accompany the works performed with the classical kemancha within the rhythms they had learned in a 3-week period, and these studies were recorded. In the training stages, success evaluation was made by grading out of 5, and the difference in performance between the pre-test and post-test was evaluated in line with expert opinions.The data obtained and the relationship between achievement averages and current anxiety sensitivity, anxiety, and depressive affect were analysed with statistical methods using SPSS and shared in the conclusion section.&nbsp;When the relationship between the standard rhythm training and the psychometric scales during the pre-assessment of the sample is examined, it is understood that the level of anxiety sensitivity before the training has a statistically significant effect on the success of the training applied to the sample and, that a high level of anxiety sensitivity is effective on the failure of the training. In other words, a lower level of anxiety is associated with a higher level of success. Similarly, when evaluated using the STAI-1 scale measuring situational anxiety levels, it was determined that there was a significant relationship between high situational anxiety levels and the success level of the training. In other words, both the long-term personality trait as determined by the anxiety sensitivity scale and situational anxiety as determined by the STAI-1 scale negatively affect the success of standard rhythm training.

Anksiyete, Depresyon ve Anksiyete Duyarlılığının Ritim Eğitiminde Öğrenme Performansı Üzerine Etkisi

Çağatay

Köksal

Muhlis Sabahattin Ezgi composed operettas by synthesizing Turkish music modes and rhythms with Western musical techniques and is recognized as one of the significant representatives of Turkish operetta history, having pioneered the accompaniment of Turkish music using the polyphonic capability of the piano. Among the operettas he composed, Ayşe Opereti [Aisha Operetta] stands out as one of the significant works of the Republican Era. It was met with considerable interest during its performances and achieved success through the public’s love for it. Muhlis Sabahattin Ezgi’s tendencies to often incorporate themes from Turkish cultural life and to compose works by synthesizing Turkish and Western music in his operettas were highly influential in popularizing and disseminating the operetta genre to wider audiences in Türkiye. Ayşe Opereti was written with these characteristics and is considered a significant operetta of the Republic (Arpad, 1947; Sait, 1933; Taranç, 2005).The entirety of the text and the majority of the musical notation of Ayşe Opereti are some of the composer’s works that have not survived to the present. Therefore, no definitive evidence is found regarding the exact date when the work was composed. However, the composer did divide his works into three periods, with Ayşe Opereti being observed to belong to the period between 1921-1935. Alongside operettas such as Çaresaz, Zühre, and Kelebek Zabit, which he also composed and were staged by the Istanbul Operetta Company as the most popular ensemble of the Constitutional Period, Ayşe Opereti was also staged by this ensemble in 1922 (Aksoy, 1986; And, 1970; Taranç, 2005). In this regard, considering the initial staging of the operetta, the work is believed to have been written and composed in the early 1920s.&nbsp;After the proclamation of the Republic, Muhlis Sabahattin Ezgi, who also founded the Süreyya Operetta Ensemble that played a significant role in the development and popularization of the operetta genre in Türkiye, achieved considerable success by staging Ayşe Opereti in many cities with the operetta ensembles he established in subsequent years. In addition to this work being staged by private operetta ensembles established in Türkiye, it was also adapted for radio by Lütfullah Sururi in 1966. The only data remaining in the archives is this radio recording. On top of this, Ayşe Opereti was also adapted for Turkish cinema as the film Ayşem (Saydam, 1968). In 2000, the actress Gülriz Sururi revised the text based on the radio recording and staged it in 2006 (Başkır, 2006; Sururi, 1977; Taranç, 2005).Presently, Yunus Emre Bozdoğan, an actor, writer, and director, has also adapted Ayşe Opereti for the stage based on the text Gülriz Sururi revised, with Yusuf Yalçın, a member of the Cukurova State Symphony Orchestra, having rearranged the music. The work was included in the repertoire for the first time in the history of the State Opera and Ballet in the 2018-2019 season and was staged by the Ankara State Opera and Ballet on February 27, 2019.This study aims to examine from both a musical and historical perspective Ayşe Opereti, which was written and composed by Muhlis Sabahattin Ezgi, an important representative in the history of Turkish operettas. The study also aims to reveal the contribution and significance of the work to the Turkish operetta literature. Because no previous study has comprehensively examined Ayşe Opereti, this research is considered significant for its potential to fill this gap in the field. This descriptive research was prepared using the case study model and used the survey method to access the data related to Muhlis Sabahattin Ezgi, who is directly relevant to the research topic. The findings were then compiled. In addition, access to the vocal scores of the work was obtained through personal interviews and official correspondence with Yusuf Yalçın, a member of the Cukurova State Symphony Orchestra and an arranger of the score. As a result, the study examines the musical characteristics of the work through the vocal scores, with the research taking personal notes while watching a performance to allow the modal and tonal structures of the performed pieces to be determined.&nbsp;The research findings reveal Ayşe Opereti to represent one of the earliest examples within the repertoire of Turkish operettas from the Republican Era, when compositions were created by employing a synthesis of Western musical techniques and Turkish musical modes. Furthermore, the study has determined that all the compositions included in Ayşe Opereti possess a readily comprehensible structure, and thus their melodies exhibit a memorable characteristic. Five compositions are based on modal systems, while seven compositions are composed within the tonal system. The staging of Ayşe Opereti is believed to have been incorporated into the annual programs of private and municipal theaters in order to reach a wider audience, thus potentially contributing to the promotion of Turkish composers and their works. Additionally, the compositions featured in Ayşe Opereti are thought to be able to contribute to the vocal training of students studying singing at conservatories and faculties of music within universities, as well as to enrich the literature on Turkish vocal works. Therefore, this study recommends that these compositions be included in the repertoire.

Muhlis Sabahattin Ezgi ve Cumhuriyet Dönemi Türk Operetlerinden “Ayşe Opereti”

Hakan

In Ottoman (or classical Turkish) music theory, various methods have been followed throughout history to the present when naming melodic structures such as makams and their compounds forms. Ottoman music theoreticians defined some makams with the new names they created by adding some adjectives to the name of a known makam, and these newly named makams continued to exist both as a variant of a basic makam and as a different makam that gained independent features. Based on the theoreticians’ explanations, these additions to the names of makams are understood to have generally been made with a specific purpose and function in mind from a melodic point of view. In this context, the study aims to examine the purposes for which the adjectives atîk [old, ancient], kadîm [ancient], cadîd [fresh], eski [old], and yeni [new], which are frequently seen in the makam names in theoretical sources and which have periodic connotations in terms of their meanings, were used and what kind of functions were attributed to these adjectives. This study also questions the possibilities that these makam names can provide in understanding the processes of change in the theoretical tradition, the theoreticians’ different approaches, the changes to makams in the historical process, and the interaction between the fields of performance and theory. In line with this, the study has searched the makam names found in theoretical sources from the 13th-20th centuries based on three different makam catalog studies to identify the makams with the aforementioned adjectives in their names. The study marked these identified makam names according to their usage in a table of theoreticians listed chronologically. The study then analyzed and compared the definitions and explanations of the identified makams with other closely related makams in terms of what variations had occurred, thus determining the purposes for which the adjectives were used and what functions they carried. According to the findings, these adjectives are concluded to have been used in makam names to emphasize the historical context of the maqam, its forgotten status in terms of performance, or its characteristic of being newly invented. The adjectives atîk, kadîm, and eski are concluded to have been used with the same purpose and function in makam names to emphasize said makam belonging to the old times in terms of performance and theory, as not being known among performers, and as having been abandoned in the past. Namely, the makams with this group of adjectives in their names are among the makams that were no longer used, unknown, unrecognized, and forgotten at that time. The adjectives "cedîd, and yeni were used to distinguish newly invented makams from other variants and to emphasize the new state and new type that a makam had taken in the process of change. The vast majority of makams with this second group of adjectives in their names were newly invented makams of the period in which the theoretical source had been written. The study also reveals that these makams provide important clues for understanding the various characteristics of theoretical models, the theoreticians’ approaches, the changes to makams in the historical process, and the interaction between the fields of performance and theory. Furthermore, the study has concluded Abdülbâkî Nâsır Dede to be the person who used all these adjectives most effectively in the history of makam theory. Based on these results, the study suggests these adjectives should be used effectively to emphasize the status of a makam at various stages of history, its changing structural features in different periods, and the melodic differences between variants.&nbsp;

Tarihsel Bağlam Açısından Makam İsimlerinde Kadîm-Cedîd Ayrımının Anlamları ve İşlevleri

Burcu

Nesibe

Correction of postural disorders in the body, strengthening and stretching the body and gaining a high awareness of the body, turning breath control into a voluntary behavior, resolving possible physical and mental tensions before the performance, and focusing the mind easily before any kind of professional and artistic production to be done with sound are among the issues that artists and trainers working in the field of sound work on. With the motivation that it will increase the connection between voice and body for holistic mental and physical awareness and will provide benefit/support to the Italian breathing technique appoggio, three different poses selected from Hatha yoga poses-by applying them in order- cobra (bhujangasana),the aim of this study is that consciously practicing the downward-facing dog (adho mukha svanasana) and four-armed stick (chaturanga dandasana) postures- without losing sight of the order of use of these three movements- will be beneficial in solving the problems experienced.&nbsp;For this purpose, the study was conducted using qualitative research techniques by combining the data obtained from the literature review with the professional experience of the authors. To cope with the difficulties encountered in voice training, the motivation of this study is to gain the ability to reach the highest potential with the maximum capacity of the breath while gaining mastery over the breath by practicing yoga breathing practices (pranayama) together with poses. In addition, it is predicted that the muscles related to inhalation and exhalation will work together at the same time, which will increase the physical support of the individual and will benefit the awareness and strong use of the diaphragm muscle, which is especially important in the singing profession. The appoggio breathing technique; it is a perfect action arising from the unity of the muscle group working in perfect harmony with the other muscle group working. This action is not only about breathing but also about managing the exhalation process with a high level of awareness. “Richard Miller, in his numerous books on singing, describes the use of the appoggio and the physical sensations quite well. He says that the breath is taken through the mouth or silently through the mouth. The nose, epigastric, and umbilical regions move outward, and the base of the ribs and wings open out to the sides. There is a slight elevation of the trunk. In response to the opening of the rib cage, the pectoral region (thorax) lifts as the rib cage rises, but the lungs are not at excess capacity and the shoulders should remain relaxed, never used to lift the rib cage” (Lyle, 2014, p. 110).It is precisely at this point that linking the art of yoga with the appoggio technique will be facilitated and developed for singers and voice trainers. It can be a very useful method to bring awareness, flexibility, and strength to the muscles in the hips, abdomen, chest, back, and neck through yoga poses (asana). "Voice students, professional singers, and teachers face many obstacles in voice training. "Research from professional voice pedagogues, sports psychologists, yoga teachers, and my own experience shows that the daily practice of Hatha Yoga can be beneficial for the singer’s body and voice and can help with performance anxiety. Hatha Yoga can provide voice teachers with positive development and benefit through techniques applied with breathing and poses during voice training" (Hutton, 2013, p.63). The benefits of the Cobra pose (Bhujangasana), practiced first with the correct use of the yoga poses selected in the study, include stretching and strengthening of the neck, chest, and back muscles along with stretching of the spine. These benefits, along with the development of muscles related to breathing, are predicted to increase the individual’s awareness of breathing capacity. The second pose, the downward facing dog pose, is thought to be particularly beneficial for stretching and strengthening the back, lumbar, and chest muscles, as well as the muscles that connect the ribs to the pelvis, which are related to exhalation. It is thought that it may be possible to cope with stage fright by focusing on breathing by connecting the mind and body to instructors and students who experience artistic anxieties by strengthening the appoggio breathing technique and philosophy known as diaphragm support through the establishment of the relationship with the inhalation and exhalation muscles in the field of voice training; In addition, the study, which focuses on the benefits of gaining a physical and anatomical perspective, is thought to be a pioneer in Turkish literature in the field of performing arts music.&nbsp;

Kobra, Aşağı Bakan köpek, Dört Kollu Sopa” Hatha Yoga Pozlarının Appoggio Tekniğine Katkısı

Orhan

Adnan Saygun is one of the most important central figures of 20th-century Turkish music and has made many theoretical and ethnomusicological studies in addition to his productive career as a composer. He has published these in such publications as books, articles, and conference papers. His publications titled Musıki Temel Bilgisi Kitap IV (Fundamentals of Music, Book IV) (1966) and Béla Bartók’s Folk Music Research in Turkey (1976), in which he gave theoretical information on the modal structure of Turkish folk music, and the solmization book titled Töresel Musıki (Modal Music) (1967), which can be considered a kind of supplementary gradus due to containing musical examples based on the content of the former one, show that Saygun as an ethnomusicologist had based his theoretical understanding on the ancient Greek modal theory while explaining the basics of Turkish folk music and the music of the Mediterranean Basin, which he regarded as a cultural superset of Turkish musical tradition in terms of modality. When examining these publications in detail and comparing them with the works of the composer, the modal scales (töres; an interesting and unique word choice for mode, which the composer himself solely used in Turkish musical terminology) included in these publications are seen to form the basis of the composer’s works from a modal point of view.One scale, the Alaca Dor Terkibi (Dorian scale in the chromatic genus) that Saygun included in only his Töresel Musıki, is one of the indispensable and long-term sound materials of the horizontal dimension of his works and is perhaps the most striking. The composer’s reason for using this scale is thought to be based not solely on a pure musical preference or taste but to have been due to some ethnomusicological and cultural phenomena, especially the instability of the 2nd and 6th scale degrees in Turkish folk music, which are referred to in his aforementioned publications and many others. This situation leads to the question of whether the composer might have also used this scale as harmonic material, for it is almost constantly present to a greater or lesser extent in the composer’s œuvre.Karadeniz and Berki (2016) determined the [3,5,3] chord structure they had formulated, as well as its derivatives [3,3,5] and [5,3,3] to be frequently found in Saygun’s works and stated the origin for this to be a traditional Turkish music maqam, the Bestenigâr scale, which they positioned as the “fundamental scale” of the composer’s musical understanding in light of an anecdote they had quoted. This study compares some of the information in this anecdote and the way it was conveyed with the theoretical information Saygun had included in his publications and, by pointing out some of the inconsistencies and contradictions that emerged as a result, justifies why the Bestenigâr scale could not have been fundamental to the composer’s modal understanding. Still, the aforementioned chord structure can also be obtained from some other scales, such as the Neveser and the Nikriz (disjointed Hypohicaz and disjointed hypo[Hicaz+Phrygian] modes respectively according to Saygun’s terminology), which the composer also used and have a diminished eighth or major seventh in their structure. Additionally, the fact that the diminished eighth is an inversion of the augmented prime suggests the possibility that this chord and its derivatives may have been derived from a more fundamental scale: the chromatic Dorian mode scale. Therefore, this study asserts that the [3,5,3] chord, a signature of Saygun according to Karadeniz and Berki, may have been emerged from another underlying signature, by recalling the following words the composer had said to one of his students, which spontaneously and concisely express his mystical Weltanschauung and persona: “Nothing is as it seems.”&nbsp;

Saygun’un Müziğinde Alaca Dor Töre Dizisinin Dikey Boyutu: [3, 5, 3] Akorunun Kökenine İlişkin Bir İrdeleme

Ferhat

Written by Safiyuddin Abdulmumin Urmawi in the first half of the 13th century, Kitab al-Adwar [The Book of Cycles] is considered one of the earliest works of music theory to systematically employ maqam names similar to those in use today. Urmawi’s work laid the foundation for a unique system of music theory known as the ilm al-adwar [Theory of Cycles] that remained in use until the end of the 15th century. This system is characterized by its use of special structures called adwar [cycles, singular dawr] and unique Abjad notation technique. Within the tradition of the Theory of Cycles, Urmawi and subsequent theorists provided mathematically detailed explanations of pitch ratios. Until recently, the Abjad notation was generally considered a notational system for representing the pitches of the Pythagorean 17-tone tuning system that had been calculated in the works of these theorists. However, interpreting Abjad notation in this manner presents certain challenges when trying to understand certain aspects of the music theory system of that era. Based on a comparative analysis of the writings of Urmawi and his successors, this article aims to propose a solution for how the Abjad notation should be interpreted in its authentic form.The theorists of the Theory of Cycles tradition wrote their treatises at a time when music theory was still considered a branch of mathematics and studied interval ratios through various arithmetical calculations based on the proportions of an imaginary string (monochord), a practice that had continued uninterruptedly from Ancient Greece until their time. Starting with Urmawi’s Book of Cycles, they especially focused on the Pythagorean 17-tone tuning. In their writings, they used the Hisab al-Jummal [Abjad numerals that assign numerical values to the Arabic alphabet’s 28 letters] to number the pitches resulting from the division of the monochord in accordance with the Pythagorean 17-tone tuning. However, they also used the same numeral symbols as the so-called Abjad notation while explaining the maqamic structures in the rest of their works. Therefore, modern literature generally considers the abjad notation as a system that represents the pitches demonstrated by the ratios of the monochord. However, upon close examination of Urmawi’s and his followers’ treatises, this assumption appears to be questionable.&nbsp;The article discusses the issues that arise in interpreting certain aspects of the Theory of Cycles when using Abjad notation as a fixed pitch sequence and questions the validity of this modern understanding. As a solution, the article suggests that the Abjad notation should be interpreted in terms of lahniyyat [melodic intervals]. In support of this argument, the article provides many quotations from historical treatises.In the Theory of Cycles system, the cycles (i.e., scales) are formed by sequencing the melodic intervals (i.e., T [tone], C [mujannab], and B [limma]) in various orders. Therefore, the primary function of Abjad notation is to display the order of these three melodic intervals. Since this notational system is written in Hisab al-Jummal, these melodic intervals can be easily understood through the interval between the notational symbols, which are basically numbers. In this system, B intervals are represented by consecutive notes (i.e., numbers; e.g., 1-2, 2-3, 3-4). C intervals are represented by the skipping of one note (e.g., 1-3, 2-4, 3-5), and T intervals are represented by skipping two notes (e.g., 1-4, 2-5, 3-6). Therefore, unlike modern notational systems, this system seems to have been designed to represent intervallic relationships between notes rather than the notes themselves.In conclusion, the argument is made that the Abjad notation, rather than being intended to represent the pitches of the Pythagorean 17-tone tuning system, was instead a flexible system that indicated the arrangement of melodic intervals (T, C, B). These intervals were not treated as specific intervallic units with absolute values but rather as a spectrum of approximate values, each of which could vary according to the melodic sequence. Furthermore, many theorists from the Theory of Cycles tradition, including Urmawi, stated that the differences within the spectrums do not make a significant aural difference regarding the melodic composition.Abjad notation has played an important role in the narratives of maqamic music theory for nearly two centuries as a reader-friendly system that facilitates the recognition of the ‘melodic intervals’ that constitute the ‘Cycles’, without the need for complex mathematical operations. As discussed in the article, the interrelation between the Abjad notation and the concept of lahniyyat supports previous studies that have suggested this notational system should not be considered as a fixed division of pitches.

Ebced Notası ve Devirlerin Gösterimi

Cenk

In the performance of maqam music, various styles of oud performance can be seen in the unique musical culture of many different geographies, from Iran to the coasts of North Africa and from Anatolia to the Balkans. Among this wide geographical spectrum, Istanbul has been one of the musical centers where the oud instrument has been frequently used, especially since the 1850s. Yorgo Bacanos was one of the most prominent oud players of 20th-century Istanbul. He was born in Istanbul and spent his entire life in this city as a musician who deeply influenced all oud players of his era, as well as those that came after him. Due to having taken part in many recordings and worked at Istanbul Radio for many years, a wide variety of examples of his performances have survived to the present day. His superior improvisational skills, frequent use of ornamentation, ease in preforming passages requiring technical mastery and agility, and unique right-hand plectrum technique are the main features of Bacanos’ performances. These performative characteristics may have resulted in some extreme examples being encountered in Bacanos’ recordings in terms of musical interpretation.This study aims to reveal the theoretical performative elements behind Yorgo Bacanos’ performance of the aranağme [short instrumental passage between verses in Turkish music] at the end of the song “Gülşen-i Ezhar Açtı Her Yana,” in which he accompanied Hafız Kemal and Sadettin Kaynak. In line with this, the study first compiles some information about Yorgo Bacanos the performer and the music culture centered in Istanbul in order to prepare the groundwork for the analysis. The study then applies the performance analysis method, which includes the five subheadings of pitches and maqam lines, motivic variations, ornamentation techniques, instrument positions, and form analysis, to comparatively analyze the aranağme performance of the article’s subject against the original notes in the repertoire.The study’s analysis determined the two-part aranağme to have been transformed into four parts through Bacanos’ interpretation. Even before the first measure has been completed, Bacanos can be said to have hastily created a motive and started to create variations with a unique tempo. Thus, a very different and original performance emerges from the original score after a while. Bacanos’ ability to create melodies that are quick and that contain different rhythmic patterns during a performance is a feature that is frequently encountered in his taksim [classical Turkish] performances. Bacanos reflected the basic characteristics of his unique oud playing (e.g., upbeat melodies, rhythmic melody sections) in his compositions. The use of I-V-I chords in the last part of the recording, which resembles a small cadence, can be explained by the fact that Bacanos had borrowed slightly from Western music as a result of his piano training.Yorgo Bacanos is observed to have achieved a clean and bright tone in this masterful interpretation of the aranağme. The ease of Bacanos’ performance, which challenges the technical possibilities of the oud, reveals his comfort in creative performance and his command of the instrument. With Bacanos’ strong sense of rhythm and the self-confidence that comes from having internalized the ağır aksak usul [a tempo in 9/4], which is frequently used in fasıl [Turkish overture/series of compositions in the same maqam] performances, he was able to easily diversify the arrangement by using a variety of motives. Thanks to his agility in his right-hand technique and his improvisational skills, Bacanos created a passage that is extremely difficult to perform while also managing to adhere strictly to the usul [tempo]. The absence of any accompaniment other than his own instrument on the record may be considered to have allowed Bacanos to interpret freely. However, in order to fill the gap created in the recording by the relatively short duration of the song, he recomposed the four-measure piece live during the performance and extended it to eight measures. Bacanos’ aranağme performance is an attractive example of musical interpretation.

Yorgo Bacanos’un Mahur Aranağme İcrasının Analizi

İbrahim

In Europe’s classical period, both 12-string and 5-string guitars were used. With the invention of the six-string romantic guitar in the 19th century, the use of other guitars gradually decreased. With the popularity of the romantic guitar in Europe, solo, chamber music, étude, and method writings increased. The pioneer of these guitar compositions was Ferdinando Carulli (1770-1841). Carulli was followed by Fernando Sor, Francesco Molino (1768-1847), Matteo Carcassi (1792-1853), Dionisio Aguado (1784-1849). Methodological approaches gained importance in guitar music, and virtuosity peaked. Guitar performance became a profession, and the creation of composed resources such as methods and études became important.The Spanish guitarist Fernando Sor completed his education at the Montserrat monastery and contributed to classical guitar music as an interpreter, composer, and teacher. He obtained a solid foundation in composition by receiving harmony, counterpoint, singing, piano, and violin lessons. Influenced by the works of Italian guitarist Federico Moretti (1760-1838), Sor went to Barcelona in 1795 to focus on the guitar. He lived in London between 1815-1822 and became very famous in England. The reason for this was not only that Sor was a talented guitarist but also that he had introduced the Spanish guitar to the masses. In 1826, various works he composed for the guitar were published in Paris. Among these were Italian ariettas for singing and piano, vocal duets, solo piano pieces, solo guitar works, symphonies, string quartets, motets, boleros, seguidillas, operas, and ballets.Publications related to guitar education began with étude books written for vihuela in the 16th century and baroque guitar in the 17th century. The first example was El Maestro (1536) by Luys Milan (1500-1561), after which the composers Narvaez (c. 1500-1560), Mudarra (1510-1580), Valderrabano (1500-c. 1557), Pisador (c. 1510-1557), Fuenllana (c. 1525-1585), Cabezon (c. 1510-1566) also published studies. The contents of these studies included reading tablature, vihuela playing, basic music theory, and instrumental knowledge and presented works consisting of religious or secular songs in simple form.One of the first works containing a pedagogical approach to the baroque guitar was Metodo Muifacillissimo para Aprender a Tañer La Guitar (1626) by Luis de Briceno (1610-1630). The book conveys basic music and tablature information with musical presentations. The first comprehensive study of the period involving the 10-string baroque guitar method was Guitarra Espanola (1596) by Carlos Amat (1572-1642). Other important works occurred on 5- and 10-string guitars, as well as on 12-string guitars. The headings in these books list such topics as correctly holding the guitar, the tuning system, right- and left-hand techniques, scales, chords, arpeggios, accompaniment techniques, and ornaments. Composers’ own musical pieces and their explanations about them were one of the most notable parts of these works.One of the first models of the romantic guitar was made in Germany, and the first known method for this instrument was Heinrich Christian Bergmann’s Kurze Anweisung zum Guitarrespielen (1802, Halle). While 10- and 5-string guitars gave way to the romantic guitar, the batente guitar maintained its position in accompaniment music for a while in Italy. In the classical period, many guitarists such as Carulli (1770-1841), Carcassi (1792-1853), Aguado (1784-1849), and Sor explained the basic techniques of the romantic guitar in their methods. These methods formed the basis of modern guitar techniques and are still in use today. The methods contain detailed explanations on how to properly hold the guitar and maintain timbre, as well as left- and right-handed techniques, with systematic studies and études being composed separately for each technique. Other important method writers of the classical period include Molino (1768-1847), Coste (1805-1883), Legnani (1790-1877), Mertz (1806-1856), and Cano (1811-1897).&nbsp;This study is a descriptive study and benefits from the document analysis method, a type of qualitative research. The study analyzes the 24th étude from the book Opus 44: 24 Petites pièces progressives pour la Guitare pour servir de leçons aux élèves tout à fait commençants (or 24 short progressive pieces) and the 4th étude from Opus 6: 12 Études pour la Guitare, livre 1 and also shows the distributions of the techniques in Sor’s étude compositions in charts.&nbsp;The works are grouped in charts as right- and left-handed techniques. The purpose of the charts is to clearly show the techniques that are contained in each étude. In this way, performers can easily identify the techniques on which they want to focus. The analysis is important in terms of clearly explaining the melody accompaniment, agility, and single-string coordination techniques.&nbsp;When evaluating the tables in all the étude works, the most preferred is seen to be the melody accompaniment technique, followed respectively by chords, intervals, arpeggios, legatos, barres, muting, ornaments, scales, agility, thumb usage, harmonics, tremolos, position jumping, and glissando. This emphasizes how important musical expression is in Sor’s études.&nbsp;

Fernando Sor’un Klasik Gitar İçin Yazdığı Etüt Kitaplarının İncelenmesi

Serap

Ersan

Values are mechanisms that establish the basis of attitudes and behaviours the desired, deemed appropriate, and targeted by society among individuals (Askeland et al., 2020: 1). The concept of values, derived from the Latin word "valere," meaning "to be valuable" or "to be strong," was first used by Polish sociologist Florian Znaniecki (Bilgin, 1995. p. 83). While values are generally perceived as individual values, their comprehensive aspects are formed by societies. Values draw attention to the reflection of individuals’ common behaviours in a society (Aydın, 2003. p. 122).&nbsp;Value, from perception to the analysis of political ideologies, economics to budget analysis, aesthetic theory to language philosophy, and literature to a racial uprising, has been used as a concept that connects many disciplines as a bridge (Kluckhohn, 1951). Music, particularly folk music, offers the most information about the identities of societies. In our country, Turkish folk music can serve this function. Turkish folk music, one of the oldest and most influential music genres spread across the widest areas of the world, with its verbal elements, reflects the emotions, thoughts, lifestyle, beliefs, and values of the individuals (Öztuna, 2006). Bearing this perspective in mind, it enhances the value of the message to individuals and facilitates message transmission (Kınık, 2011). It is also highly significant for this study to contribute to the determination of Turkish values across regions, to make comparisons of values between regions, and to shape the subject orientations of future studies.&nbsp;In this study, the aim was to identify the value expressions in the content of verbal folk songs within the repertoire of Turkish Folk Music (THM) of the Turkish Radio and Television Corporation (TRT) and to compare these expressions by region. To achieve this goal, the identification and classification of values by region were ensured.The ultimate purpose of this study is to conduct a comprehensive examination of the identification of value expressions used in the lyrics of folk songs belonging to the seven regions of Türkiye and other regions (Kirkuk, Azerbaĳan, Rumelia, Mosul, Crimea and Cyprus) listed in the repertoire of TRT Turkish Folk Music. It is particularly significant to reveal sociological findings regarding the identified values by region and the relationship between values and regions. When previous studies in the pertinent literature are examined, the number of such studies is scarce. Therefore, this study could serve as a model for future research in this field.In the research, document analysis, a qualitative research method, was employed. Qualitative research relies on textual and visual data. This research method involves unique steps in data analysis (Dede, 2017. p. 183). The verbal folk songs belonging to the seven regions of Türkiye and other regions (Kirkuk, Azerbaĳan, Rumelia, Mosul, Crimea and Cyprus) within the TRT THM repertoire constitute the documents of this study. The songs under the scope of the investigation were classified according to the following ten root values specified in the Ministry of National Education music education programmes: Justice, Friendship, Honesty, Self-Control, Patience, Respect, Love, Responsibility, Patriotism, and Helpfulness. In this regard, 1347 value expressions were detected in 1218 folk songs over an examination of 5384 metered and 1073 unmetered folk songs. For this purpose, descriptive analyses of the songs were conducted using the “Form for Identifying the Suitability of Songs for Values Education” developed by the researchers and improved on the basis of expert opinions. In the descriptive analysis approach, data are summarised and interpreted according to predetermined themes. The obtained data are systematically and clearly described, explained, and interpreted within cause-effect relationships, leading to certain conclusions (Yıldırım and Şimşek, 2018. p. 239-240). Within this framework, the distribution of songs with identified values by region was determined, and the relationship between values and regions was examined in a sociological context.Based on the findings, it was determined that the most prevalent value in the songs within the eight regions is the value of love. It was observed that the region with the highest prevalence of this value is the Central Anatolia Region. Regarding the value of respect in the songs, no expression was found in any region. The least encountered value was the responsibility value. It is considered that this value can be detected more frequently in educational music genres.&nbsp;It was determined that the diversity of values in the songs was highest in the Central Anatolia and Black Sea regions. It was observed that the quantities of friendship, self-control, love, charity, and patriotism values; that is, the diversity of values, were mostly found in the Central Anatolia Region. It can be claimed that the concentration of value diversity in the Central Anatolia region is due to the influences of well-known and prominent folk singers such as Aşık Veysel and Neşet Ertaş, who shed light on the emotions, thoughts, and values of the society in Central Anatolia.Several other findings were also revealed through this analysis. First, it was observed that the value of justice is equally present in the folk songs of Eastern Anatolia, Aegean, Central Anatolia, and Black Sea regions. Second, it was revealed that the values of friendship, self-control, love, charity, and patriotism were more prevalent in the songs of the Central Anatolia Region compared to other regions. Next, it was determined that the songs carrying the value of responsibility were equally present only in the Aegean and Marmara Regions. In addition, the Black Sea Region had the highest occurrence of the value of honesty. Finally, expressions related to the value of patience were mostly encountered in the Eastern Anatolia Region.In light of these findings, it can be stated that compilation studies of folk songs (the notation of local folk songs sung among the people from source individuals or audio recordings and spreading them to the entire society) should be conducted in all regions and areas to increase the folk song repertoire. Thus, reflecting the sustainability policy popular in all fields onto music, the transmission of folk songs, and thus culture and values, from generation to generation, and the emergence of new folk songs containing value themes can be ensured.Studies similar to ours can be conducted in Turkish Art Music, pop music, and other music genres and on specific artists, troubadours, specific regions, or areas. It is considered that such a research model can contribute to several issues related to music sociology and its sub-study areas; therefore, it can contribute to the literature with wider perspectives.

TRT Repertuvarındaki Türkülerin Bölgelere Göre Değer İfadeleri Açısından Karşılaştırılması

Burak

This article was prepared from the master’s thesis titled “An Analysis of Agustin Barrios Mangoré’s Guitar Composition ’La Catedral’ in Terms of Technique and Musical Aspects”.20th-century guitar music can be considered a period in which the foundations of the classical guitar were determined by evolving in interaction with Latin American music. The literature review shows that Barrios’ music played a decisive role in this evolution. Both as a composer and performer, Barrios has contributed significantly to the universalization of the Latin guitar. Technical innovations and forms of musical expression determined the originality of Barrios’ works. The forms of expression he used and the new techniques he experimented with have become one of the defining elements of the universal guitar. In this way, Barrios’ legacy has emerged from the Latin American guitar music tradition to a position of international recognition and appreciation.This research emphasizes the importance of Barrios’ “La Catedral” in the guitar music repertoire. In that way, it is thought that it will make an important contribution to guitar music literature. Because La Catedral is considered one of Barrios’ masterpieces. To the best of our knowledge, there has been no official study of this work. In this context, the research sought to answer the question “How is the technical and musical analysis of Agustin Barrios Mangore’s guitar piece ‘La Catedral’?”. The purpose of this research is to analyze the guitar piece “La Catedral” by the Paraguayan composer and guitar virtuoso Agustin Barrios Mangore from a technical and musical point of view. In this study, music examination and musical analysis models were used. The original notes of the composition were examined in depth using the method of "musical analysis." The obtained data were classified according to research questions, identified, and interpreted. The tonality, harmony, and formal structure of the piece were analyzed in detail. Jesus Benites’ edition, which is closest to the original notation, was used in this study.&nbsp;In this study, the tonality, form, harmonic structure, and other musical elements of Barrios’ “La Catedral” were evaluated. The following results were obtained in the examination:&nbsp;It was determined that there was no detailed study on La Catedral in the national literature at the time of the research, and it was concluded that the findings obtained as a result of the research were added to the literature. Barrios’ La Catedral can be considered a masterpiece in terms of counterpoint, reflecting the influence of Bach on the Latin classical guitar. Thus, it can be said that La Catedral served as a bridge between classical Latin music and western music. The work can also be seen as a reflection of Barrios’ artistic expression. Fast arpeggio and chord transitions require technical skill for guitarists. When the first movement of the piece is analyzed, “Preludio Saudade” has a structure consisting of 48 measures in “B minor” tonality. The related major of the “si minor” tone, the “re major” tone, is also used in the piece. The section is completed with the coda following sentences a and b. The harmonic structure and rhythmic features of the A theme emphasize the characteristic features of the piece. It was observed that inversion chords were frequently used in the B theme. It was concluded that the first movement has a rich harmonic structure and reflects the characteristics of the period.&nbsp;It was concluded that the first movement has a rich harmonic structure and reflects the characteristics of the period. Along with the same “si minor” tone, the “fa sharp minor” tone is also used. It is seen that there are 24 measures in the piece. It was observed that this chapter reflects religious and spiritual depth. It is concluded that the melodic structure and rhythmic features of the section contribute to the emotional depth of the piece.The third movement of the work, “Allegro Solemne”, is written in the form of a rondo in the tonality of “si minor”. The related major of the “si minor” tone, the “re major” tone, is also used in the piece. This section consists of 107 measures with repetitions. It was determined that it consists of themes A, B, and C in terms of form structure. It was concluded that there are two episodes and a coda section. It is concluded that the dynamic structure and melodic variety of the A theme emphasize the energetic and lively structure of the piece.&nbsp;The technical difficulties and performance requirements of this piece will provide an important area of research for guitarists. In this context, the interpretation of the performance analysis of the piece can be considered a suitable field for academic studies focusing on guitar education and practices. Academics and music educators can increase their knowledge of guitar music and composition through a detailed study of this work.A comparative study of Barrios’ works with those of contemporary composers can contribute to the expansion and enrichment of the guitar music repertoire. These suggestions may lead to a deeper understanding of the influence of "La Catedral" and Agustin Barrios Mangoré on guitar music and to new avenues of research in the field of guitar music.&nbsp;

Agustín Pio Barrios Mangoré’nin Ustalık Eseri La Catedral’in Müzikal Analizi

Sultan

Başak

Mythology is a set of elements that combine fantasy, politics and historicity dramatically, and bring cultural and social events together on the same platform. The connection between opera and mythology is chronological, that is, historical. People living in ancient civilizations were interested in mythology and the first operas were about mythology, which, from one perspective, can also be interpreted as a conscious choice of topics made in order to attract people’s attention to a newly emerged performing art. Starting from ancient Greek mythology, all mythologies from Rome, Anatolia, China, Mesopotamia and other cultures are still used from the first operas to today’s operas.&nbsp;This study examines the mythological elements in 21st century Turkish operas through the analysis of the librettos of the sample works within the scope of the research, the decor, costumes and characters used on stage, and evaluates and discusses the relationship between opera-mythology-sustainability. In order to examine the mythological elements they contain, 3 Turkish operas composed in the 21st century were selected, namely: “Ninatta” (Composed by: Evrim Demirel, Libretto: Ahmet Ümit), “Another World” (original title: Başka Bir Dünya, Composed by: Selman Ada, Libretto: Tarık Günersel) and “İnanna” (Composed by: Çetin Işıksözlü, Libretto: Eflatun Neimetzade). The study sought answers to the following questions: (i) How the mythological elements in the operas “Ninatta”, “Another World” and “Inanna” are handled, (ii) the cultural basis of the mythological elements in the libretto, (iii) the language used in the libretto, and (iv) the contribution of operas dealing with mythology to sustainability. During the analysis of the operas “Ninatta”, “Another World” and “Inanna”, the opinions of composers and librettists were consulted and the data collected through the interview technique were interpreted and used in the text.Mythology, which is one of several different cultural elements conveyed through art in general and opera in particular, also serves as a carrier of sustainability. The myths created by people from past to present to understand life have shaped the beliefs and narratives of Ancient Greece and Mesopotamia in Anatolian lands and have appeared before us in these forms. In addition to Ancient Greek mythology, which is a very extensive source, Mesopotamian mythology also gives clues about understanding culture. As depicted in the opera Inanna, Sumerian mythology included stories describing more peaceful events than Greek mythology. It is observed that Turkish operas, which focus on mythology, play an important role in the context of sustainability, especially in carrying Anatolian and Mesopotamian mythologies to the present day.Topics such as history, religion, natural events, astrology and space, which we revisit through operas, change and transform in mythology. In this way, they not only ensure cultural continuity by obtaining a new form, but also contribute to cultural development. Mythology plays an important role in the transfer of intangible cultural heritage. Opera, on the other hand, as one of the arts that deals with mythology, is critical in preserving and sustaining the common cultural identity with the mythological elements it includes. People have always lived with mythology until today, and each person has had their own myths and fantasy worlds. The relationship and interaction in ensuring sustainability and cultural development between art and culture, as two important phenomena, will continue to accommodate their inherent characteristics of transfer and continuity into the future.&nbsp;

21. Yüzyıl Türk Operalarındaki Mitolojik Unsurlar ve Opera-Mitoloji-Sürdürülebilirlik İlişkisi

Ayşin

The baroque oboe, which is generally encountered in the advanced stages of oboe training, is a very enjoyable instrument to discover, especially for people who are interested in history. Understanding that many finger positions, playing techniques and flexibility in lip positions, which are learned without questioning throughout the training process that starts at the beginning stages of modern oboe training, depend on this instrument, increases the interest in the baroque oboe. It has become necessary to examine the structural qualities of the baroque oboe and examine its historical journey in order to popularize the unique sound of this instrument, which is very rare in the active music world, especially in Turkiye, and to understand the feature of performing baroque music with original instruments. In this study, in addition to the baroque oboe, examples of other double-reed instruments that have gained popularity in various regions such as Europe, Africa, the Middle East and the Far East are also given in order to shed light on the historical development.In this study, the changes in the size and physical structure of this double-reed woodwind instrument according to geographical regions and the fact that timbral differences emerged with the use of available materials in its habitat have been emphasized. It has been stated that reed sizes also change to facilitate the use of glissando due to the different influences of regional cultures. For example, voice shifting forms, which are very common under the influence of the Arab culture in North Africa, were achieved not by changing finger positions but by controlling lip pressure with a wide reed structure. This playing technique and similar ones are parallel to the musical culture of the people of all regions. In addition to the wood materials used in double-reed wind instruments in the Far East, bambo-shaped pikes are also found. However, the fact that these bambo trunks, which are directly exposed to moisture, are less durable than wooden trunks, prevented most instruments from surviving to the present day.One of the biggest problems in the playing of the baroque oboe is the difficulty of playing tonalities containing complex tonalities (3 sharp/flat and above). It started with the understanding of music developing over time and increasing expectations, with the aim of facilitating the finger positions of the keys added to the instrument in tonalities containing complex tonalities and seeking solutions to the intonation problems that arise. The first keys added to the Baroque oboe, the C and E flat keys, which could not be achieved with lip pressure control, were adopted as standards for many years and were applied to the instrument with the ornamental features brought by the period. Examples of ornamentation from personalized instruments with social, religious and cultural influences are also included in this study.

Barok Obua

Ahmet

Sühan

Turkish makam music, whose roots extend to Central Asia, has reached large audiences, changed and developed in mutual interaction with different cultures, and maintained its existence and importance within the makam geography. The theory of Turkish makam music, which is one of the dominant elements of Turkish culture, has been perceived in different ways by theorists throughout the historical process and has been explained and told without adhering to a single approach. Considering that theory is formed, shaped and developed on the axis of applications or practice, it can be said that the main source of Turkish makam music theory is the repertoires/repertory of Classical Turkish Music (CTM), Traditional Turkish Folk Music (TTFM) and Turkish Military Music (TMM). It is seen that all these repertoires are based on the concepts of fret and course, and that they show parallelism with the edvars that center on the "melodic movement style" within the agha-prospect-decision phenomenon, in other words, with the traditional makam perception, understanding and expressions. The aim of the research is to approach Turkish makam music from a holistic perspective, to address the makam structure in Erdal ERZİNCAN’s baglama/saz opening/improvisation performances and to offer solutions to the ongoing makam-diz-ayak debates among TTFM officials.&nbsp;The universe of the research, which is a descriptive study based on the scanning model, consists of the openings performed by Erdal ERZİNCAN with the baglama/saz before the unmetered folk song, and the sample consists of 21 hymn opening performances performed by Erdal ERZİNCAN in the baglama order in 11 music albums other than his joint works between 1994 and 2018. In the research, published sources and audio and video recordings were used as data collection tools or data sources. In the music albums that Erdal ERZİNCAN released between 1994 and 2018 (excluding his collaborations); The openings performed by him were dictated and noted down, thus creating the data source of the research. All topics, information, expressions and data thought to be related to the subject of the research were obtained through literature review. As the data collection method/technique, the "indirect observation" method, one of the observation technique types among qualitative data collection methods, was used. In line with the problem statement and method of the research, firstly, the literature review was started. Relevant domestic theses were accessed from the YÖK thesis search site, relevant domestic articles were accessed from scholar.google.com and the websites of peer-reviewed journals or "Dergipark". In addition, data was collected using scientific or course content books and baglama/saz methods related to the subject and field. The 11 music albums that Erdal ERZİNCAN released individually, apart from his collaborative works between 1994 and 2018, were accessed on the youtube.com website and the digital music application spotify. A total of 21 opening performances were identified in the albums, performed before the unmetered folk song. These performances were dictated and recorded, and the makam structure and characteristics of the openings were tried to be determined through the notes and audio recordings of the performances. The written dictation notes were checked by field experts. During the dictation writing process, researchers and artists who conducted similar studies were contacted, their opinions were taken and their experiences were benefited from. The data were described and then explained using the descriptive analysis method. In this way, an attempt was made to answer the question "what". The makam structures of the openings have been tried to be described within the traditional tone/fret tuning, with the melodic movement style and the phenomenon and understanding of agâz-seyir-karar, which are the main elements of the makam. In the light of the findings, the following conclusions were reached. Erdal ERZİNCAN’s baglama/saz openings are in multiple and different makam or terkib. The fret tunıng used also vary depending on the performances being performed in different makams. The openings are in 4 different tone/fret tuning: Rast, Hicaz, Hisar and Araban, Muhayyer, Hüseyni, Necid Hüseyni, Nevâ, Hicaz, Hicaz-ı Türki, Hümayun, Uzzal, Nevrûz, Hûzi, Gerdaniye, Tâhir-i Kebir, Rast, Uşşak. It was performed in different makam tunes or melodies or terkib, including. All the openings were decided on the dügâh fret. The regions of the works performed after the opening performances and the types of unmetered folk songs were effective on the makam characteristics of the openings. It is possible to talk about the unity of the concepts of opening and taksim through Erdal ERZİNCAN’s baglama/saz openings. When the openings are examined with the traditional tone/fret understanding and makam perception of Turkish Music, it is seen that the openings are in full consistency with the traditional expressions. Melodic movement styles in performances can be explained by the phenomenon of agaz-seyir-karar within a certain ton/fret tuning. One of the important points that draws attention in the opening performances is the difference in the makams in the viewing areas of the terkib in the openings with the same terkib. The ability to create compositions, that is, terkib makams, with different combinations in this way is a proof of the diversity of melodies, that is, modes, that Turkish Makam Music has. It is seen that the richness and diversity of this makam, which is impoverished by the perception based on tonality, which is widely accepted today, has been carried from past to present through TTFM and continues to exist vividly in TTFM. Based on these results, it can be suggested to conduct studies on the opening performances of other master performers trained in the TTFM tradition, and to consider TTFM works on a local basis or in the case of masters within the traditional understanding of fret and the traditional makam perception and understanding that centers on the melodic movement style with the phenomenon of "agaz-seyir-karar".&nbsp;

Erdal Erzincan’ın Bağlama/Saz Açışlarının Makamsal Yapısı Üzerine Bir İnceleme

Simay

Melih Cevdet Anday’ın “Ölüler Konuşmak İsterler” İsimli Oyununun Absürt Tiyatronun Oyun Yazımı Eğilimleri Bağlamında İncelenmesi

Özgün

Arda

This study delves into the intricate design and optimization processes behind developing a fully automatic tuning system for drums. The introduction of the bass drum pedal in the early 20th century revolutionized drumming, allowing musicians to play multiple percussion instruments simultaneously, thus standardizing the drum set. Typically, drums such as the snare and alto are tuned by adjusting the tension of screws on the drum rim, a process complicated by varying tensions across different parts of the drum skin. Proper drum tuning is critical to the quality of music produced, prompting the development of various tools and methods for tuning acoustic drums. This study focuses on designing an electromechanical system capable of automatically tuning the drum skin, utilizing an Arduino microcontroller and supported by various motors and sensors. During the design process, multiple prototypes were created using stepper motors, DC motors, and diverse gear systems. Initially, stepper motors were found inadequate, leading to the adoption of DC motors, which produced more successful results. Despite this, issues such as system weight and mechanical wear necessitated continuous optimization. The final system developed analyzes drum skin vibrations and adjusts the tuning screws automatically based on the data. This modular system can adapt to different drum set sizes, offering fast and accurate tuning. Future improvements could include enhancing mechanical and electronic components, enabling simultaneous tuning of both the top and bottom skins, and optimizing the system for various drum sizes. By automating the drum tuning process, this study aims to significantly ease the tuning process for musicians and contribute substantially to the field’s literature.With the invention of the bass drum pedal in the early 20th century, drummers could play multiple percussion instruments simultaneously, leading to the standard drum set consisting of various drums and cymbals. Tuning drums like the snare and alto involves tightening and loosening screws on the drum rim, which alters the tension and, consequently, the pitch of the drum skin near each screw. This process is complex as changes in one area affect the tension across the drum skin. Proper tuning is vital for the quality of music, necessitating the development of tools and methods to assist with the tuning of acoustic drums.&nbsp;This study aimed to design an electromechanical system that could automatically tune the drum skin, focusing on the necessary tools, methods, and optimization algorithms required for such a system. The system centers around an Arduino microcontroller, supported by various motors and sensors.&nbsp;The design process involved creating different prototypes using stepper motors, DC motors, and various gear systems. Initially, stepper motors were chosen for their control over direction, speed, and steps. However, their inadequacy led to the switch to DC motors, which produced better results. Despite this success, issues such as system weight and mechanical wear required continuous optimization. The final system developed analyzes drum skin vibrations and adjusts the tuning screws automatically. This modular system can adapt to different drum set sizes, providing fast and accurate tuning. In the initial design phase, stepper motors were preferred due to their control ease over direction, speed, and steps. A connection was established between the Arduino and the motor driver, and the motor’s direction, speed, and steps were controlled via software. Despite successful tests, the stepper motor’s power was insufficient. Consequently, DC motors were explored, resulting in a more powerful and quieter design.As the design progressed, a gearbox system similar to those used in RC cars was incorporated to manage the tension between the gear and the drum’s tuning screw. This setup was temporarily mounted on the drum, and tests showed the system could tune the drum skin to the desired frequency. Further refinements reduced the system’s weight and size, optimizing it for better performance.The final design used an Arduino microcontroller with various supporting components, including motors and sensors, to automate the drum tuning process. The system’s modular design allows it to adapt to different drum set sizes, ensuring fast and accurate tuning. Initial tests showed the system could analyze drum skin vibrations and adjust the tuning screws automatically, achieving the desired frequencies efficiently.Future improvements could enhance the system’s mechanical and electronic components, add the capability to tune both the top and bottom skins simultaneously, and optimize the system for various drum sizes. These enhancements would make the tuning process even more efficient and reliable, providing significant convenience to musicians.&nbsp;

Davul İçin Tam Otomatik Bir Akort Sisteminin Tasarım ve Optimizasyon Süreçlerinin İncelenmesi

This research ponders on the evolving landscape of noise studies, compiling and scrutinizing various definitions of noise. The focal point of this investigation is the field of music sciences, where diverse authors offer distinct perspectives on the intricacies of noise. Through a chronological exploration of these perspectives, the study elucidates the consistency and uniqueness of each author’s approach within their disciplinary paradigm, collectively forming a compilation of noise discourse.The thought sequence derived from these approaches underscores the inherent complexity in defining noise. Authors grapple with multifaceted elements that complicate the conceptualization of noise. One prominent theme is the subjectivity inherent in the perception of noise. The interplay between individual experiences and the sonic environment shapes the understanding of noise, reflecting the highly personal nature of this auditory phenomenon.Technological advancements emerge as another influential factor in the evolving discourse on noise. Authors recognize the direct impact of technology on noise in modern daily life. The advent of technologies such as tape recording, signal amplification, and transmission has not only altered the representation of noise but has also paved the way for entirely new systems of musical representation. This technological paradigm shift has led to noise transcending its traditional role, directly metamorphosing into a musical entity.Moreover, the study sheds light on the cultural dimensions woven into the fabric of noise studies. The cultural context shapes both the production and reception of noise, influencing its categorization and interpretation. As noise intertwines with the fabric of contemporary life, its representation in music becomes a product of cultural influences. This intersection of noise and culture becomes a crucial element in the broader understanding of noise as a dynamic and evolving concept. Additionally, the research emphasizes the interdisciplinary nature of noise studies, exposing the lacuna in comprehensive perspectives.&nbsp;Moreover, the article delves into the intricate temporal dynamics of the delineation between noise and music. It meticulously traces the historical trajectory wherein the once distinct boundaries separating noise and music have progressively eroded, allowing noise to permeate and intertwine with the very fabric of musical expression. The nuanced exploration of this evolution reveals a fascinating interplay between divergent sonic elements that were once considered disparate.&nbsp;The narrative unfolds against the backdrop of a shifting musical landscape, where the porous nature of these boundaries emerges as a central theme. It illuminates how noise, once relegated to the outskirts of musical discourse, has assertively infiltrated the hallowed realm of music. This infiltration challenges preconceived notions and prompts a reevaluation of the traditional dichotomy between order and chaos, harmony and discord. At the heart of this evolving paradigm lies the emergence of ’noise music’ as a profound manifestation. The term encapsulates the transformative journey of noise from an external disruptor to an integral component of musical composition. This evolution challenges the conventional understanding of music, urging scholars and enthusiasts to reconsider established norms.The compiled definitions presented in this research portray noise as a remarkably versatile and flexible concept, transcending limitations even within a confined scope. This versatility underscores the dynamic nature of noise thinking in the field. Within this flexibility, the intricate relationship between noise and music finds its reflection in the literature.In conclusion, this research serves as a valuable resource for contemporary researchers seeking to engage with the complexities of noise. By weaving together diverse perspectives from notable authors, the study not only provides a comprehensive overview of the historical trajectory of noise studies but also highlights the persistent challenges and evolving nature of noise discourse within the field of musicology. The interdisciplinary approach advocated by the authors encourages scholars to adopt a holistic view, recognizing the multifaceted dimensions that contribute to the ever-expanding complexity of noise studies.&nbsp;

Gürültünün Tanımı ve Müzikle İlişkisi: Bir Literatür Derlemesi

Serdar

Tarımın Şafağında Dans

@JOURNAL_BOX_CURRENT

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

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

Göknil

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

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

Bedirhan

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

Müzikte İktidar Dinamikleri: Yaratıcı İktidar

H. Özgür

Koray

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

Kontrbasta Genişletilmiş Tekniklerin İcra Pratikleri Açısından İncelenmesi

Barış

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

20. Yüzyıl Genişletilmiş Gitar Tekniklerinin Seçilmiş Eserler Üzerinde İncelenmesi

Hande

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

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

Emre

Sıtkı

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

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

Sercan

Eserlerin Yeniden Armonilenmesi Sürecinde Akor İlerlemeleri ve İkincil Dominantlar

Buket

Semih

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

Yapay Zekâ Uygulamalarının Müzik ve Müzik Endüstrisi Üzerine Etkileri

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

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

Elif

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

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

Tuğrul

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

Ceyla

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

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

Ezgi

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

Kaija Saariaho’nun Keman Eserleri Işığında Çağdaş Keman Tekniklerinin İncelenmesi

Furkan

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

Don Giovanni Operasında Commedia Dell’arte Etkileri

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

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

Batı Müziğinden Seçilmiş Eserlerde Altın Oranın Grafik Analizi

Stacy

Caz Yorumunda Klasik Müzik

Alper

Remziye

Şarkıcılardaki Performans Anksiyetesinin Yönetiminde Kullanılabilecek Bitkisel Yaklaşımlar Üzerine Bir Değerlendirme

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

İlker

Enstrüman Çalmanın Genç Yetişkinlerin Saldırganlık ve Strese Yatkınlık Düzeyleri Üzerindeki Etkisi

Cihan

Ozan

Yavuz

Müzik Performansında Ritmik Karmaşıklık Ölçümleri Üzerine Karşılaştırmalı Bir Çalışma

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

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

Banu

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

Kemandan Viyolaya Geçiş Aşamasinda Temel Yöntemler

@JOURNAL_BOX_FEATURED

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.

Farklı Nitelikte Çelloların Değerlendirilmesinde Rubrik Kullanımı

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

Klasik Batı Müziği İcrasında Literatür Açısından Ezber Olgusu

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

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

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

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

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

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

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

Amaç ve Kapsam

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Dizinler

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

Politikalar

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

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

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

Editörler, yayınlanan makalede, bulguları, yorumları ve sonuçları etkilemeyen küçük hatalar tespit edilirse düzeltme yayınlamayı düşünebilirler. Editörler, bulguları ve sonuçları geçersiz kılan büyük hatalar / ihlaller söz konusu olduğunda, makaleyi geri çekmeyi düşünmelidir. Yazarlar tarafından araştırma veya yayını kötüye kullanmaya yönelik olasılık söz konusu ise; bulguların güvenilir olmadığına ve yazarların kurumlarının olayı soruşturmadığına dair kanıtlar var veya olası soruşturma haksız veya sonuçsuz görünüyor ise, editörler endişe ifadesi yayınlamayı düşünmelidir. Düzeltme, geri çekme veya endişe ifadesi ile ilgili olarak <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> ve <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> yönergeleri dikkate alınır.

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

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

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