Tufan

Prof.

Emel

Aslı

Assist. Prof.

YAZI ÇAĞRISI

Naka

Songs About The Đurumlije in Music Education

Nazım Uğur

Assoc. Prof.

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

Bir Oyunculuk Yöntemi Olarak Aktif Analiz

Yılmaz

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

Saygun’un Geleneğe Bakışı ve Kerem Operasında Kullanılan Anadolu Ezgileri*

Duygu

Şebnem

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

Bir Postmodernizm Tartışması: György Ligeti’nin Le Grand Macabre Operası

Tuğçe

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

Uygulamalı Tiyatro ile Yeni Bir Toplum Hayali

Görkem

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

Drama Kültürden Ne Anlamalı?

Sitare

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

Plautus’un Amphitryon Oyununun Broadway ve Türkiye’deki Müzikal Uyarlamaları

Ezgi Nihan

Lecturer

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

İkinci Dünya Savaşı’nın Sovyet Klasik Müziği’ne Etkileri

Zeynep

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

Piyanoda Hız Gerektiren Pasajların Farklı Ritim Kalıpları İle Çalışılmasının İncelenmesi

@JOURNAL_BOX_CURRENT

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Emre

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

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

Banu

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

Kemandan Viyolaya Geçiş Aşamasinda Temel Yöntemler

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Özgün

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

Sibel

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

Klasik Batı Müziği İcrasında Literatür Açısından Ezber Olgusu

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

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.

DOAJ

TR Dizin

EBSCO

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Konservatoryum

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Editor in Chief

Co Editor in Chief

Editorial Assistant

Publicity Manager

Language Editor

Editorial Board Member

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

Amaç ve Kapsam

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

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.

Konservatoryum/Conservatorium, yayın etiğinde en yüksek standartlara bağlıdır ve <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a> ve <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> tarafından yayınlanan etik yayıncılık ilkelerini benimser; Principles of Transparency and Best Practice in Scholarly Publishing başlığı altında ifade edilen ilkeler için adres: <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a>Gönderilen tüm makaleler orijinal, yayınlanmamış ve başka bir dergide değerlendirme sürecinde olmamalıdır. Yazar makalenin orijinal olduğu, daha önce başka bir yerde yayınlanmadığı ve başka bir yerde, başka bir dilde yayınlanmak üzere değerlendirmede olmadığını beyan etmelidir. Uygulamadaki telif kanunları ve anlaşmaları gözetilmelidir. Telife bağlı materyaller (örneğin tablolar, şekiller veya büyük alıntılar) gerekli izin ve teşekkürle kullanılmalıdır. Başka yazarların, katkıda bulunanların çalışmaları ya da yararlanılan kaynaklar uygun biçimde kullanılmalı ve referanslarda belirtilmelidir. Her bir makale editörlerden biri ve en az iki hakem tarafından çift kör değerlendirmeden geçirilir. İntihal, duplikasyon, sahte yazarlık/inkar edilen yazarlık, araştırma/veri fabrikasyonu, makale dilimleme, dilimleyerek yayın, telif hakları ihlali ve çıkar çatışmasının gizlenmesi, etik dışı davranışlar olarak kabul edilir.Kabul edilen etik standartlara uygun olmayan tüm makaleler yayından çıkarılır. Buna yayından sonra tespit edilen olası kuraldışı, uygunsuzluklar içeren makaleler de dahildir.

Etik

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

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

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

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

Hakemlik Hakkında

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

DilDerginin yayın dili Türkçe ve Amerikan İngilizcesi’dir.Yazıların HazırlanmasıAksi belirtilmedikçe gönderilen yazılarla ilgili tüm yazışmalar ilk yazarla yapılacaktır. Makale gönderimi online olarak <a href="http://istanbul.edu.tr:8080/tr/journal/cons/home" target="_blank">https://iupress.istanbul.edu.tr/tr/journal/cons/home</a> üzerinden yapılmalıdır. Gönderilen yazılar, yazının yayınlanmak üzere gönderildiğini ifade eden, makale türünü belirten ve makaleyle ilgili bilgileri içeren (bkz: Son Kontrol Listesi) bir mektup; yazının elektronik formunu içeren Microsoft Word 2003 ve üzerindeki versiyonları ile yazılmış elektronik dosya ve tüm yazarların imzaladığı <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/430B51E6B8DB496BA85FE84BEA4D6A73" target="_blank">Telif Hakkı Anlaşması Formu</a> eklenerek gönderilmelidir.<ol><li style="text-align: left;">Konservatoryum, İstanbul Üniversitesi Devlet Konservatuvarı’nın Haziran ve Aralık aylarında olmak üzere yılda iki defa yayınladığı bilimsel nitelikli hakemli bir dergidir. Haziran sayısı için 15 Mart, Aralık sayısı için 15 Eylül’e kadar başvuru yapılmalıdır.</li><li style="text-align: left;">Dergide; daha önce yayınlanmamış veya yayınlanma aşamasında olmayan, özgün, deneme ve derleme makaleleri yayınlanır. Yayınlanmamış tezlerden veya bildirilerden türetilen çalışmalar özet bölümünde bir açıklama dipnotuyla belirtilmelidir. Türkçe makaleler için Türk Dil Kurumu esasları dikkate alınmaktadır.</li><li style="text-align: left;">Makaleler; ana başlıktan sonra, giriş bölümünden önce, 150-200 sözcük arasında olacak şekilde, çalışmanın amaç, kapsam, yöntem ve ulaşılan sonuçlarını içeren, Türkçe ve İngilizce özet ile üç anahtar sözcük içermelidir. Özetleri takiben Türkçe makaleler için ayrıca 600-800 kelimelik İngilizce genişletilmiş özet yer almalıdır. İngilizce makalelerde genişletilmiş özet istenmez. Ana başlık, özet ve kaynakça başlıkları ortalanmış olarak kalın ve büyük harflerle; alt başlıklar, giriş ve sonuç başlıkları sola yaslı, kalın ve yalnız kelimelerin ilk harfleri büyük olarak yazılmalıdır. Makale, özetlerle birlikte, ana metin ve referanslar dahil, dipnotlar hariç olmak üzere asgari 3000, azami 6000 sözcük dolayında olmalıdır. Tüm yabancı kelimeler italik yazılmalıdır.</li><li style="text-align: left;">Makaleler A4 kağıt boyutunun bir yüzüne, tüm kenarlardan 2,5 cm. boşluk bırakılarak, Times New Roman yazı karakteriyle, 12 punto ve 1,5 satır aralığıyla iki yana yaslı olarak yazılmalıdır. Türkçe başlık 10 kelimeyi geçmemelidir. Alt başlıklar öncesinde satır aralığı konmalı, başlık sonrası paragraflar arasında boşluk olmamalı ve hiçbir paragraf girintili yazılmamalıdır. Dipnotlar kaynak gösterimi için değil ek bilgi vermek için kullanılmalı, sayfa altında numaralandırılmalı, 10 punto ve 1 satır aralığı ile iki yana yaslı olarak yazılmalıdır. Sayfa numaraları da 11 puntoyla, sağ altta yer almalıdır.</li><li style="text-align: left;">Yazarların adları makale başlığının bir satır sağ altında yer almalı ve yıldız (*) dipnotla unvanı, kurumu, adresi, telefonu, e-posta adresi verilmelidir. Yazara/metne özgü terminoloji ve/veya kısaltmalar ilk kullanımlarında dipnotla açıklanmalıdır.</li><li style="text-align: left;">Makalelerde yer alan görseller ve nota örnekleri kısa açıklamalarıyla birlikte ortalanmış olarak Şekil/Tablo 1. ... şeklinde numaralandırılmalıdır. Tüm görseller, baskıda çözünürlük problemi olmaması için minimum 300 dpi çözünürlükte ve JPG formatında ayrıca gönderilmelidir. Metin içerisindeki yerleştirmeler, gerektiğinde sayfa düzenine göre değiştirilebilirler.</li><li style="text-align: left;">Yayınlanmak üzere gönderilen makale ile birlikte yazar bilgilerini içeren <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/721FE4B04EA24010AA47A0E04E40D71B" target="_blank">kapak sayfası</a> gönderilmelidir. Kapak sayfasında, makalenin başlığı, yazar veya yazarların bağlı bulundukları kurum ve unvanları, kendilerine ulaşılabilecek adresler, cep, iş ve faks numaraları ve e-posta adresleri yer almalıdır (bkz. Son Kontrol Listesi).</li><li style="text-align: left;">Dergide makale içi atıflar ve kaynakça uluslararası APA formatına göre gösterilmelidir. Ayrıntılı bilgi için web sayfasında Kaynaklar bölümüne bakınız.</li><li style="text-align: left;">Makalesi yayınlanan yazarlara ve görev alan hakemlere talepleri halinde söz konusu sayıdan gönderilmektedir. Derginin sayılarına konservatuvar kütüphanesinden ve <a href="https://iupress.istanbul.edu.tr/tr/journal/cons/issues" target="_blank">https://iupress.istanbul.edu.tr/tr/journal/cons/issues</a> adresinden ulaşılabilmektedir.</li><li style="text-align: left;">Yayınlanan makalelerin her türlü sorumluluğu yazara aittir. Dergiye gönderilen makaleler hiçbir durumda geri gönderilmez.</li></ol>

Yazım Kuralları

Makaleyi göndermeden önce Yazarlara Bilgi’yi lütfen okuyun ve aşağıdakilerin eksik olmadığından emin olun:Editöre mektup<ul type="disc"> <ul type="circle"> <li style="text-align: left;">Makalenin türü</li> <li style="text-align: left;">Başka bir dergiye gönderilmemiş olduğu bilgisi</li> <li style="text-align: left;">Sponsor veya ticari bir firma ile ilişkisi (varsa belirtiniz)</li> <li style="text-align: left;">Kaynakların APA6’ya göre belirtildiği</li> <li style="text-align: left;">İngilizce yönünden kontrolünün yapıldığı</li> <li style="text-align: left;">Yazarlara Bilgide detaylı olarak anlatılan dergi politikalarının gözden geçirildiği</li> </ul> </ul><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/430B51E6B8DB496BA85FE84BEA4D6A73" target="_blank">Telif Hakkı Anlaşması Formu</a>Daha önce basılmış material (yazı-resim-tablo) kullanılmış ise izin belgesi<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/40639AFE9780423880087E70D80B652B" target="_blank">Makale kapak sayfası</a><ul type="disc"> <ul type="circle"> <li style="text-align: left;">Makalenin kategorisi</li> <li style="text-align: left;">Türkçe ve İngilizce başlık</li> <li style="text-align: left;">Yazarların ismi soyadı, unvanları ve bağlı oldukları kurumlar (üniversite ve fakülte bilgisinden sonar şehir ve ülke bilgisi de yer almalıdır), e-posta adresleri</li> <li style="text-align: left;">Sorumlu yazarın e-posta adresi, açık yazışma adresi, iş telefonu, GSM, faks nosu</li> <li style="text-align: left;">Tüm yazarların ORCID’leri</li> </ul> </ul>Makalenin ana metni<ul type="disc"> <ul type="circle"> <li style="text-align: left;">Türkçe ve İngilizce başlık</li> <li style="text-align: left;">Özetler 150-200 kelime Türkçe ve 150-200 kelime İngilizce</li> <li style="text-align: left;">Anahtar Kelimeler: 3 adet Türkçe ve 3 adet İngilizce</li> <li style="text-align: left;">Makale Türkçe ise, İngilizce genişletilmiş özet (Extended Abstract) 600-800 kelime</li> <li style="text-align: left;">Makale ana metin bölümleri</li> <li style="text-align: left;">Finansal Destek (varsa belirtiniz)</li> <li style="text-align: left;">Çıkar Çatışması (varsa belirtiniz)</li> <li style="text-align: left;">Teşekkür (varsa belirtiniz)</li> <li style="text-align: left;">Kaynaklar</li> <li style="text-align: left;">Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)</li> </ul> </ul>Makale Gönderme<ul type="disc"> <li style="text-align: left;">Makalenin gönderileceği DergiPark sayfası adresi: <a href="https://dergipark.org.tr/tr/journal/29/submission/step/manuscript/new" target="_blank">https://dergipark.org.tr/tr/journal/29/submission/step/manuscript/new</a></li> <li style="text-align: left;">Yapılan başvurularda, çalışmanın sorumlu yazarının (corresponding author) hesabı kullanılmalıdır. Sorumlu yazarın dışındaki yazarların ya da çalışmada yazar olarak yer almayan bir başkasının hesabı kullanılmamalıdır. Başvuru ile ilgili bütün yazışmalar DergiPark sistemi üzerinden gönderilen elektronik posta ile sorumlu yazara iletilmektedir.</li> <li style="text-align: left;">Makale ana metninin dosyasını (Main Document)  yüklerken, çift taraflı kör hakem süreci gereği, bu dosyanın yazar kimliğini deşifre eden hiçbir unsur barındırmadığından emin olun. Makale ana metni dosyası (Main Document) başlık sayfasını (Title Page) içermemeli; yazar adı geçen ya da yazar adlarını ifşa edebilecek bölümler içermemeli (Örneğin: Teşekkür, her sayfada tekrar eden ve yazar adlarını içerebilen başlık).</li> </ul>Ayrı Ayrı Yüklemeniz gereken dosyalar<ul type="disc"> <li style="text-align: left;">Telif Hakkı Anlaşması Formu</li> <li style="text-align: left;">Resim, Tablo vb başka kaynaktan alındıysa izin belgesi</li> <li style="text-align: left;">Makale Kapak Sayfası</li> <li style="text-align: left;">Makale Ana Metni Dosyası  (Bu dosya aşağıdaki unsurları içermelidir)</li> </ul><ul type="disc"> <ul type="circle"> <li style="text-align: left;">Türkçe ve İngilizce başlık</li> <li style="text-align: left;">Özetler 150-200 Türkçe ve 150-200 kelime İngilizce</li> <li style="text-align: left;">Anahtar Kelimeler: 3 adet Türkçe ve 3 adet İngilizce</li> <li style="text-align: left;">Makale Türkçe ise, İngilizce genişletilmiş Özet (Extended Abstract)  600-800 kelime</li> <li style="text-align: left;">Makale ana metin bölümleri</li> <li style="text-align: left;">Finansal Destek (varsa belirtiniz)</li> <li style="text-align: left;">Çıkar Çatışması (varsa belirtiniz)</li> <li style="text-align: left;">Teşekkür (varsa belirtiniz)</li> <li style="text-align: left;">Kaynaklar</li> <li style="text-align: left;">Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)</li></ul></ul><ul type="disc"> </ul>

<div>Derleme yazıları okuyucular için bir konudaki kaynaklara ulaşmayı kolaylaştıran bir araç olsa da her zaman orijinal çalışmayı doğru olarak yansıtmaz. Bu yüzden mümkün olduğunca yazarlar orijinal çalışmaları kaynak göstermelidir. Öte yandan, bir konuda çok fazla sayıda orijinal çalışmanın kaynak gösterilmesi yer israfına neden olabilir. Birkaç anahtar orijinal çalışmanın kaynak gösterilmesi genelde uzun listelerle aynı işi görür. Ayrıca günümüzde kaynaklar elektronik versiyonlara eklenebilmekte ve okuyucular elektronik literatür taramalarıyla yayınlara kolaylıkla ulaşabilmektedir.Referans Stili ve FormatıKonservatoryum – Conservatorium, metin içi alıntılama ve kaynak gösterme için APA (American Psychological Association) kaynak sitilinin 6. edisyonunu benimser. APA 6. Edisyon hakkında bilgi için:-   American Psychological Association. (2010). Publication manual of the American Psychological Association (6th ed.). Washington, DC: APA.-   <a href="http://www.apastyle.org/" target="_blank">http://www.apastyle.org/</a>Metin İçinde Kaynak GöstermeKaynaklar metinde parantez içinde yazarların soyadı ve yayın tarihi yazılarak belirtilmelidir. Birden fazla kaynak gösterilecekse kaynaklar arasında (;) işareti kullanılmalıdır. Kaynaklar alfabetik olarak sıralanmalıdır.Örnekler:Birden fazla kaynak;(Esin ve ark., 2002; Karasar 1995)Tek yazarlı kaynak;(Akyolcu, 2007)İki yazarlı kaynak;(Sayıner ve Demirci, 2007, s. 72)Üç, dört ve beş yazarlı kaynak;Metin içinde ilk kullanımda: (Ailen, Ciambrune ve Welch 2000, s. 12–13) Metin içinde tekrarlayan kullanımlarda: (Ailen ve ark., 2000)Altı ve daha çok yazarlı kaynak;(Çavdar ve ark., 2003)Kaynaklar Bölümünde Kaynak GöstermeKullanılan tüm kaynaklar metnin sonunda ayrı bir bölüm halinde yazar soyadlarına göre alfabetik olarak numaralandırılmadan verilmelidir.Kaynak yazımı ile ilgili örnekler aşağıda verilmiştir.Kitapa) Türkçe KitapKarasar, N. (1995). Araştırmalarda rapor hazırlama (8.bs). Ankara: 3A Eğitim Danışmanlık Ltd.b) Türkçeye Çevrilmiş KitapMucchielli, A. (1991). Zihniyetler (A. Kotil, Çev.). İstanbul: İletişim Yayınları.c) Editörlü KitapÖren, T., Üney, T. ve Çölkesen, R. (Ed.). (2006). Türkiye bilişim ansiklopedisi. İstanbul: Papatya Yayıncılık.d) Çok Yazarlı Türkçe KitapTonta, Y., Bitirim, Y. ve Sever, H. (2002). Türkçe arama motorlarında performans değerlendirme. Ankara: Total Bilişim.e) İngilizce KitapKamien R., &amp; Kamien A. (2014). Music: An appreciation. New York, NY: McGraw-Hill Education.f) İngilizce Kitap İçerisinde BölümBassett, C. (2006). Cultural studies and new media. In G. Hall &amp; C. Birchall (Eds.), New cultural studies: Adventures in theory (pp. 220–237). Edinburgh, UK: Edinburgh University Press.g) Türkçe Kitap İçerisinde BölümErkmen, T. (2012). Örgüt kültürü: Fonksiyonları, öğeleri, işletme yönetimi ve liderlikteki önemi. M. Zencirkıran (Ed.), Örgüt sosyolojisi kitabı içinde (s. 233–263). Bursa: Dora Basım Yayın.h) Yayımcının ve Yazarın Kurum Olduğu YayınTürk Standartları Enstitüsü. (1974). Adlandırma ilkeleri. Ankara: Yazar.Makalea) Türkçe MakaleMutlu, B. ve Savaşer, S. (2007). Çocuğu ameliyat sonrası yoğun bakımda olan ebeveynlerde stres nedenleri ve azaltma girişimleri. İstanbul Üniversitesi Florence Nightingale Hemşirelik Dergisi, 15(60), 179–182.b) İngilizce Makalede Cillia, R., Reisigl, M., &amp; Wodak, R. (1999). The discursive construction of national identity. Discourse and Society, 10(2), 149–173. http://dx.doi.org/10.1177/0957926599010002002c) Yediden Fazla Yazarlı MakaleLal, H., Cunningham, A. L., Godeaux, O., Chlibek, R., Diez-Domingo, J., Hwang, S.-J. ... Heineman, T. C. (2015). Efficacy of an adjuvanted herpes zoster subunit vaccine in older adults. New England Journal of Medicine, 372, 2087–2096. http://dx.doi.org/10.1056/NEJMoa1501184d) DOI’si Olmayan Online Edinilmiş MakaleAl, U. ve Doğan, G. (2012). Hacettepe Üniversitesi Bilgi ve Belge Yönetimi Bölümü tezlerinin atıf analizi. Türk Kütüphaneciliği, 26, 349–369. Erişim adresi: http://www.tk.org.tr/e) DOI’si Olan MakaleTurner, S. J. (2010). Website statistics 2.0: Using Google Analytics to measure library website effectiveness. Technical Services Quarterly, 27, 261–278. http://dx.doi.org/10.1080/07317131003765910f) Advance Online Olarak Yayımlanmış MakaleSmith, J. A. (2010). Citing advance online publication: A review. Journal of Psychology. Advance online publication. http://dx.doi.org/10.1037/a45d7867g) Popüler Dergi MakalesiSemercioğlu, C. (2015, Haziran). Sıradanlığın rayihası. Sabit Fikir, 52, 38–39.Tez, Sunum, Bildiria) Türkçe TezlerSarı, E. (2008). Kültür kimlik ve politika: Mardin’de kültürlerarasılık. (Yayınlanmamış Doktora Tezi). Ankara Üniversitesi Sosyal Bilimler Enstitüsü, Ankara.b)Ticari Veritabanında Yer Alan Yüksek Lisans Ya da Doktora TeziVan Brunt, D. (1997). Networked consumer health information systems (Doctoral dissertation). Available from ProQuest Dissertations and Theses. (UMI No. 9943436)c) Kurumsal Veritabanında Yer Alan İngilizce Yüksek Lisans/Doktora TeziYaylalı-Yıldız, B. (2014). University campuses as places of potential publicness: Exploring the politicals, social and cultural practices in Ege University (Doctoral dissertation). Retrieved from: Retrieved from http://library.iyte.edu.tr/tr/hizli-erisim/iyte-tez-portalid) Web’de Yer Alan İngilizce Yüksek Lisans/Doktora TeziTonta, Y. A. (1992). An analysis of search failures in online library catalogs (Doctoral dissertation, University of California, Berkeley). Retrieved from http://yunus.hacettepe.edu.tr/~tonta/yayinlar/phd/ickapak.htmle) Dissertations Abstracts International’da Yer Alan Yüksek Lisans/Doktora TeziAppelbaum, L. G. (2005). Three studies of human information processing: Texture amplifica&#173;tion, motion representation, and figure-ground segregation. Dissertation Abstracts International: Section B. Sciences and Engineering, 65(10), 5428.f) Sempozyum KatkısıKrinsky-McHale, S. J., Zigman, W. B., &amp; Silverman, W. (2012, August). Are neuropsychiatric symptoms markers of prodromal Alzheimer’s disease in adults with Down syndrome? In W. B. Zigman (Chair), Predictors of mild cognitive impairment, dementia, and mortality in adults with Down syndrome. Symposium conducted at American Psychological Association meeting, Orlando, FL.g) Online Olarak Erişilen Konferans Bildiri ÖzetiÇınar, M., Doğan, D. ve Seferoğlu, S. S. (2015, Şubat). Eğitimde dijital araçlar: Google sınıf uygulaması üzerine bir değerlendirme [Öz]. Akademik Bilişim Konferansında sunulan bildiri, Anadolu Üniversitesi, Eskişehir. Erişim adresi: http://ab2015.anadolu.edu.tr /index.php?menu=5&amp;submenu=27h) Düzenli Olarak Online Yayımlanan BildirilerHerculano-Houzel, S., Collins, C. E., Wong, P., Kaas, J. H., &amp; Lent, R. (2008). The basic nonuniformity of the cerebral cortex. Proceedings of the National Academy of Sciences, 105, 12593-12598. http://dx.doi.org/10.1073/pnas.0805417105i) Kitap Şeklinde Yayımlanan BildirilerSchneider, R. (2013). Research data literacy. S. Kurbanoğlu ve ark. (Ed.), Communications in Computer and Information Science: Vol. 397. Worldwide Communalities and Challenges in Information Literacy Research and Practice içinde (s. 134–140). Cham, İsviçre: Springer. http://dx.doi.org/10.1007/978-3-319-03919-0j) Kongre BildirisiÇepni, S., Bacanak A. ve Özsevgeç T. (2001, Haziran). Fen bilgisi öğretmen adaylarının fen branşlarına karşı tutumları ile fen branşlarındaki başarılarının ilişkisi. X. Ulusal Eğitim Bilimleri Kongresi’nde sunulan bildiri, Abant İzzet Baysal Üniversitesi, BoluDiğer Kaynaklara) Gazete YazısıToker, Ç. (2015, 26 Haziran). ‘Unutma’ notları. Cumhuriyet, s. 13.b) Online Gazete YazısıTamer, M. (2015, 26 Haziran). E-ticaret hamle yapmak için tüketiciyi bekliyor. Milliyet. Erişim adresi: http://www.milliyet.com.trc) Web Page/Blog PostBordwell, D. (2013, June 18). David Koepp: Making the world movie-sized [Web log post]. Retrieved from http://www.davidbordwell.net/blog/page/27/d) Online Ansiklopedi/SözlükBilgi mimarisi. (2014, 20 Aralık). Vikipedi içinde. Erişim adresi: http://tr.wikipedia.org/wiki/Bilgi_mimarisiMarcoux, A. (2008). Business ethics. In E. N. Zalta (Ed.), The Stanford encyclopedia of philosophy. Retrieved from http://plato.stanford.edu/entries/ethics-business/e) PodcastRadyo ODTÜ (Yapımcı). (2015, 13 Nisan). Modern sabahlar [Podcast]. Erişim adresi: http://www.radyoodtu.com.tr/f) Bir Televizyon Dizisinden Tek Bir BölümShore, D. (Senarist), Jackson, M. (Senarist) ve Bookstaver, S. (Yönetmen). (2012). Runaways [Televizyon dizisi bölümü]. D. Shore (Baş yapımcı), House M.D. içinde. New York, NY: Fox Broadcasting.g) Müzik KaydıSay, F. (2009). Galata Kulesi. İstanbul senfonisi [CD] içinde. İstanbul: Ak Müzik.</div>

<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/430B51E6B8DB496BA85FE84BEA4D6A73" target="_blank">Telif Hakkı Anlaşması Formu</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/93430660A98F4ED081C3E2803C938AA2" target="_blank">Makale kapak sayfası</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8CA310C60F1D44F8B4FC91F2F3A84A37" target="_blank">Yazar Formu</a><ul></ul>

Aşağıdaki listede eksik olmadığından emin olun:●    Editöre mektup•    Makalenin türü•    Başka bir dergiye gönderilmemiş olduğu bilgisi•    Sponsor veya ticari bir firma ile ilişkisi (varsa belirtiniz)•    İngilizce yönünden kontrolünün yapıldığı bilgisi•    Yazarlara Bilgide detaylı olarak anlatılan dergi politikalarının gözden geçirildiği•    Kaynakların APA6’ya göre belirtildiği●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/430B51E6B8DB496BA85FE84BEA4D6A73" target="_blank">Telif Hakkı Anlaşması Formu</a>●    Daha önce basılmış materyal (yazı-resim-tablo) kullanılmış ise izin belgesi●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/40639AFE9780423880087E70D80B652B" target="_blank">Makale kapak sayfası</a>•    Makalenin türü•    Makalenin Türkçe ve İngilizce başlığı•    Yazarların ismi soyadı, unvanları ve bağlı oldukları kurumlar (üniversite ve fakülte bilgisinden sonra şehir ve ülke bilgisi de yer almalıdır), e-posta adresleri•    Sorumlu yazarın e-posta adresi, açık yazışma adresi, iş telefonu, GSM, faks nosu•    Tüm yazarların ORCID’leri●    Makale ana metni•    Makalenin Türkçe ve İngilizce başlığı•    Özetler 150-200 kelime Türkçe ve 150-200 kelime İngilizce•    Anahtar Kelimeler: 3 adet Türkçe ve 3 adet İngilizce•    Makale Türkçe ise, İngilizce genişletilmiş Özet (Extended Abstract) 600-800 kelime•    Makale ana metin bölümleri•    Finansal Destek (varsa belirtiniz)•    Çıkar Çatışması (varsa belirtiniz)•    Teşekkür (varsa belirtiniz)•    Kaynaklar•    Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)

Sayı Türü	Regular
Editör(ler)	Tufan Karabulut

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CİLT 10, SAYI 1, 2023

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