Güzel Sanatlar Üzerine Araştırmalar
Research on Fine Arts
Contributor(s): Emine Erdoğan (Editor)
Subject(s): Education, Fine Arts / Performing Arts, Cultural history, Music, Cultural Anthropology / Ethnology, Sociology of Art, History of Art
Published by: Özgür Yayın Dağıtım Ltd. Şti.
Keywords: fine arts; creativity; imagination; aesthetics; artistic works; artists; music; education;
Summary/Abstract: Fine arts, which are the expression of creativity and imagination, are an expression that arouses beauty and pleasure in people, and acts as a tool for expressing emotions and thoughts in an aesthetic way. Fine arts, which show their existence in different ways, have always attracted attention and played an important role in reflecting the artist's feelings and thoughts freely. Art, which has been a part of life throughout human history; sometimes he reflected his period as it was, sometimes he criticized it, and sometimes he emphasized an idea freely. In this context, art is both personal and a part of society. Art, which activates emotions such as hope, desire, fear, excitement, sadness, happiness, exists wherever people exist. The artist shapes these feelings according to his perception of the environment he lives and observes; He transformed it into works of art such as poetry, painting, music and sculpture. Although these works have different forms and expressions, they have served a social purpose. This book, in which knowledge meets talent and different artistic works come together, consists of sections prepared by artists from various activities in the field of fine arts. It is thought that this study will contribute to the field of fine arts.
- E-ISBN-13: 978-975-447-598-2
- Print-ISBN-13: 978-975-447-598-2
- Page Count: 100
- Publication Year: 2023
- Language: Turkish
Yalvaç Tepme Keçeciliği Özelinde Kepenek Tasarımı ve İmalatı
Yalvaç Tepme Keçeciliği Özelinde Kepenek Tasarımı ve İmalatı
(Felt Cloak Design and Manufacturing in Yalvaç Felting)
- Author(s):Murat Kodaloğlu, Feyza Akarslan Kodaloğlu
- Language:Turkish
- Subject(s):Fine Arts / Performing Arts, Cultural history, Cultural Anthropology / Ethnology, Sociology of Art
- Page Range:1-15
- No. of Pages:15
- Keywords:fine arts; handicrafts; nomadic life; Felt Cloak; Yalvaç Felting;
- Summary/Abstract:Felt and felting is one of the oldest handicrafts of Turks living a nomadic life. Due to the wide area of use from past to present, felt has always existed as a part of daily life. Felt, like all handicrafts, is a product that takes a long time to produce and requires a lot of effort. Felt cloak, one of the leading products of the art of felt making, which is among the traditional Turkish handicrafts in Yalvaç, is a special shepherd's clothing that has survived to the present day. It is a cultural symbol that continues from past to present without losing its functionality. Today, as in the past, when livestock is mentioned, a shepherd comes to mind. It should be accepted as a symbol that resists change and preserves its originality for centuries. In this study, it is aimed to transfer and introduce the felt cloak making to the next generations in the best way. Felt cloak has a feature that continues to be produced from many traditional products produced by masters for centuries in the art of felt making, without being affected by the developments in the historical process, without changing and transforming. In this study, the historical process of felt, which is one of our traditional products, its raw materials, tools used in its production, decoration, design and structural features are explained.
Sanat Eğitiminde Çağdaş Öğretim Yöntemlerinin Öğrenme Üzerindeki Etkisi
Sanat Eğitiminde Çağdaş Öğretim Yöntemlerinin Öğrenme Üzerindeki Etkisi
(The Effect of Contemporary Teaching Methods in Arts Education on Learning)
- Author(s):Tuba Şevgin
- Language:Turkish
- Subject(s):Education, Fine Arts / Performing Arts, Visual Arts, Sociology of Art, Pedagogy
- Page Range:17-36
- No. of Pages:20
- Keywords:fine arts; arts education; learning; contemporary teaching methods; education;
- Summary/Abstract:Bu çalışmada sanat eğitimi yöntemlerinin kişinin duygu ve düşsel kapasitesini bulmasına yardımcı olması ve yaratıcı bir aşama olarak çocuğu özgür çalışmaya, özgür düşünmeye yöneltmesi amaçlanmıştır. Çalışma kapsamında öğretim yöntemleri öğrencinin ders içi motivasyonunu ve konuya yönelik hedeflenen kazanımın sağlanması yönündeki beklentileri karşılaması açısından önemlidir. Sanat eğitimi, genel eğitimin oldukça önemli bir bölümüdür. Çağdaş bir eğitim; bireyin sorgulayıcı, araştırıcı, yaratıcı, öğrendiklerini uygulayabilen özellikler kazandıran, kişilik geliştirici bir eğitimdir. Bununla alakalı olarak çağdaş eğitimde ezbere dayanan, çokça bilgi yükleyici, aktarılan bilginin değiştirilmeden benimsenmesini, ezberlenen bilgilerin tekrardan aktarılmasını öngören bir yönteme ve sisteme yer yoktur. Sanat eğitimindeki çağdaş yöntemler: kopya yöntemi, bellek eğitimi yöntemi, kolaydan zora yöntemi, psikolojik yöntem, drama yöntemi, müzikli yöntem, gösteri (demonstrasyon) yöntemi, çocuk sanatı yöntemi, sanat yoluyla eğitim yöntemi olarak verilmiştir. Bu yöntemler detaylı bir şekilde ele alınarak tanımlanmıştır. Asıl olan öğrenecek kişide öğretilmek istenenin kalıcı olması ve bir davranış değişikliğine dönüşmesidir. Öyle ise öğretim esnasında en uygun yöntemi seçmek, öğretmenin alan bilgisine, eğitim formasyonuna ve yaratıcılığına kalmaktadır.
Türk Müziğine Maruz Kalmak ya da Kalmamak, Bütün Mes’ele Bu...
Türk Müziğine Maruz Kalmak ya da Kalmamak, Bütün Mes’ele Bu...
(To Be or Not to Be Exposed to Turkish Music, That is the Question)
- Author(s):Lale Akay
- Language:Turkish
- Subject(s):Cultural history, Music, Cultural Anthropology / Ethnology, Post-War period (1950 - 1989), History of Art
- Page Range:37-63
- No. of Pages:27
- Keywords:fine arts; music; Turkish music; Turkish Music Conservatory;
- Summary/Abstract:This article on “to be exposed or not to be exposed to Turkish experiences”; Starting from the 1970s with a little more precision until today, the properties of Turkish Music, where people listen to it, in what environments, by which instruments, and what quality of music listening to the ears of our people are exposed to have been examined. During these periods, the importance of mass media such as radio and television was emphasized. Starting from the beginning of the period when radio and television were single-channel, it was explained how our Turkish Music came to the present day, with the multi-channel mass media following each other, how to run the competition. It was stated that the first Turkish Music Conservatory, which was established in Istanbul in 1975, is important for living under the roof of the state, that our music is one of the most valuable elements of our cultural values, and that we have a very valuable treasure such as classical Turkish Music and Turkish Folk Music. In the conclusion part, we tried to explain our thoughts and recommendations such as what kind of way should be followed in order to spread and keep our national music protections alive, what kind of music policy should be followed, which institutions should cooperate in these needs.
Türkmen Kızı Hamide’nin Ağıtları ve Gözyaşları... Kel Kız, Patron, Hamide Üstün (1924-2013)
Türkmen Kızı Hamide’nin Ağıtları ve Gözyaşları... Kel Kız, Patron, Hamide Üstün (1924-2013)
(Laments and Tears of the Turkmen Girl Hamide)
- Author(s):Zafer Eren
- Language:Turkish
- Subject(s):Cultural history, Social history, Cultural Anthropology / Ethnology, Culture and social structure
- Page Range:65-84
- No. of Pages:20
- Keywords:Hamide; laments; Turkmen Girl Hamide;
- Summary/Abstract:These people, who were born in the first years of the Republic, raised their children very well during the famine and poverty years. Although they were shaken by the effects of the 1939 earthquake, they lived an honorable life. Everyone who came from Tokat and Reşadiye after the 1939 earthquake tried to hold on to their new places and new lives like Hamide. Everyone from that region in the village became Hamide's relative and comrade. In those years, the deaf and dumb father, who worked with a pick and shovel by sticking his teeth in his nails, prepared the ground for the future of his children with every pick he threw. Abdurrahman Üstün, who was deaf and mute, earned double wages by working in the hardest and hardest jobs, while everyone was receiving a single wage during the Taşova – Amasya road work. In return for this honorable struggle, their children embraced life more tightly and carried their own lives to a better position. She was known as the "Wife of Ahraz" in the village of Yukarı Barak. But everyone in the family called her the Boss. When Ömer Üstün, his son-in-law, realized his leadership in the family, he wore this nickname when he was still in secondary school. Probably because he rules everything and everyone. This big-hearted woman passed away in 2013. He left dozens of laments behind. Most of them were forgotten because they were not written. We commemorate this Anatolian woman who raised her five sons with mercy and longing. May your soul rest in peace Boss Grandma...
İlhan Usmanbaş, Keman-Piyano İçin Beş Etüd: II
İlhan Usmanbaş, Keman-Piyano İçin Beş Etüd: II
(Ilhan Usmanbas, Five Etudes for Violin and Piano: II)
- Author(s):Ece Merve Yüceer Nishida
- Language:Turkish
- Subject(s):Cultural history, Music, Post-War period (1950 - 1989)
- Page Range:85-100
- No. of Pages:16
- Keywords:Ilhan Usmanbas; violin; piano; music; musical language;
- Summary/Abstract:Usmanbas was influenced by many contemporary movements in his music life and successfully blended these styles with his own musical language. The technical diversity he used in his compositions is of such a nature that it is rarely seen in Turkey and even in the world. He remains to be an important value of our country with his numerous awards and compositions which are still being performed by musicians, studied by composition students, and analyzed by music theorists. In this chapter, the second of the Five Etudes for violin and piano composed by Ilhan Usmanbas between 1953 and 1956 is subjected to a multi-dimensional analysis. In this etude, the use of the series, note values, dynamics order, musical texture, form and grouping-instrumentation relationship are discussed. Each element, especially the series that are used, has the potential to create an independent composition on its own. The combination of all these in four pages of music once again reveals Usmanbas's mastery of composition.
