Феномен масової культури в наукових теоріях та практиці культурного життя
The article deals with scientific theories and practice that highlights specific features of modern Mass culture.
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The article deals with scientific theories and practice that highlights specific features of modern Mass culture.
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In article is analized relevant musical scores: tabulatures for lute and organ, and manuscript codes of XVII centuries.
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Recreational music is analysed in article as cultural phenomenon, her language and history of the formation from minstreling before modern techno-musics. It is emphasized her light and light-perception, but in modern culture conversion in commercial goods.
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In a publication on the basis of analysis of creative activity of VIA “Смерічка” found out the characteristic signs of this collective. To them belong: an orientation is on Ukrainian folk-lore; organic synthesis of traditions with rhythms, timbres, by harmonic facilities atbat and the traditional stage; original performance manner; artistic perfection of implementation.
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Transcription in the historical process is a technique known with various practices of many compositions. Due to piano-specific features, it is known that some difficulties in transcription from piano music to orchestra. Transcription of piano notes directly to orchestra parties may have technical negative or unsuccessful results. In order to solve these kinds of problems, it’s necessary to make use of the experience and knowledge of many theoreticians and composers and then some works should be done. Thus, this will ensure that later transcriptions and with orchestrations will be more successful. In this study firstly, technical features of string instruments which forming center of the symphonic orchestra and transcription rules will be examined. Then, by transcribing a theme of a piano piece that in playable level of a typical student orchestra and practice of this rules and patterns will be shown.
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In this research, it was aimed to determine the opinions of pre-school teachers about music activities. The study group of the study is composed of 30 pre-school teachers working in the official institutions in Mersin city center. A questionnaire form structured by the researcher was used in the research according to the opinions of the experts. This survey was form which is consist of personal information form and open ended interview questions. The questions in the questionnaire and the qualifications of pre-school teachers about music education, the opinions about who should and should be given music education, the level of knowledge about music activities, the tools they used in music activities, the activities they are involved in music activities, Children's singing repertoire and music activities. As a result of the research, it was found that 13.4% of pre-school teachers found themselves very competent in music education, 40.0% found adequate and partially adequate, 3.3% did not find themselves adequately, music activities were performed by field specialists (36.7%), 24.4%) should be given. It was found out that the teachers used the most drums and maracas during music events (n = 14), the most music listening and speaking activities (f = 18) and rhythm studies (f = 16). In addition, teachers did not experience any problems in their musical activities (66.3%) and found that they had problems due to inadequate musical instruments in the class (f = 18). It was also determined that the teachers found themselves sufficient (n = 13) and tried to develop themselves in this regard (f = 12).
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The purpose of this research is to determine the flute instructors’ views about the fingering positions that the flute students studying at Fine Arts High Schools use to produce sound. The research was designed as a qualitative case study, and the participants were selected via using purposeful sampling strategy. The participants in the study are the professional flute instructors /flute artists who are proficient in flute education. The data was elicited from a semi- structured interview that included 3 questions about the participants’ personal information, and 5 questions about the research. The data elicited from the participants were analysed via thematic analysis. The findings of the research indicated that all the flute instructors participated in the study are concerned with the flute education at Fine Arts High Schools and students’ technical problems in the process. The results also showed that the flute instructors participated in the research observed that students studying at Fine Arts High Schools or those who graduated from these schools tend to use incorrect fingering positions to produce sounds, and that the students tend to make an effort to correct their improper fingering positions. Suggestions for future research was provided for the researchers.
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Book Review of 'Musical imaginations. Interdisciplinary perspectives on creativity, performance, and perceptions', ed. by David Hargreaves, Dorothy Miell, Raymond MacDonald, New York 2012
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This study which depends on “the proficiency of musical literacy educators in fine arts high schools in terms of their specialties” proposal, aims to determine behavioral indicators that split items under “special field knowledge proficiencies” heading to more specific components with considering related studies in literature of music education and educational sciences. In the results of working 245 behavioral indicators are determined by author those can be utilized in configuring teacher training programmes, developing scales that can be used in defining the level of knowledge, configuring in-service training programmes for related course teachers, evaluating the performance of educators and professional development of teachers.
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This study was done to determine the self efficacy levels of music preservices tearchers' piano performance, and to examine them according to different factors. The correlation between music preservices teachers' piano performance and grade, gender, graduated high school, daily piano practice duration, piano lesson achievement and academic achievement grades were examined. The correlational desingn was used in this study. The data was obtained by using personal information form and piano performance self-efficacy scale for music preservices teachers developed by Gün & Yıldız (2014). The scale consists of 25 items and Cronbach Alpha value is .95. The scale consists of 3 sub-dimensions. The first dimension is called “perception of technical level”, the second dimension is called “perception of stage anxiety” and thet hird dimension is called “perception of performance level". According to the research results, it was determined that the preservices teachers' piano performance self-efficacy perceptions were in the middle level and the self-efficacy perceptions did not change according to class, gender and highschool. Also, it was determined that the preservices teachers' had a significant difference between the duration of daily piano practice, level of academic achievement in piano lesson and the piano performance self-efficacy perceptions.
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The aim of present study is to investigate weekly habits of students to play violin in terms of some variables like preparation before performance, playing techniques and musicality and to determine the inefficiencies. The study is a qualitative study and observation was preferred to be a study method. During a week, students were video – recorded to determine their daily working habits in free working hours. Field experts evaluated daily video records through expert evaluation form. Behavioural differences for 1-2, 1-3, 1-4, 2-3, 2-4, 3-4 grades were evaluated using Mann-Withney U test and its significance level. It was found from this significance level that as the grade increases significant differences were found between behaviours positively. In addition, for all grades, level of grades was effective on behavioural differences and it was found that none of 20 behaviours was performed completely at four grades. Planning and developing individual working habits in details in violin education will improve and advance students in playing instrument.
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This research investigated the effect of a five stage study program applied by the researcher to one student who had entered university playing the flute, but who had not resolved lip and tone problems in one educational semester through basic long sound studies and scale studies. The participant in the research was a 19 year old student who had completed first year of the music teaching program and had performed in the year-end concert; however she was criticized by listeners and flute teachers for forced and scratchy tone. The research had the basic aim of solving these problems. As a result the “single subject study model”, chosen for research on individuals requesting private training, was chosen for this research model. The findings of the study were collected as video recordings of scale, study and piece work in initial, training and final stages of a six-week education course run every day. To evaluate the obtained recordings, a “Behavior for Quality Flute Tone Scale” was created. The video recordings were investigated by three flute teaching staff, expert in the area, who provided points in accordance with the scale. The obtained points were analyzed using the SPSS 15.0 program. The results showed that the study program created by the researcher provided rapid tonal development of the student. It is considered that the study is important to present an alternative route for flute students experiencing similar problems.
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This study is intended to determine the factors of importance in recognizing the musical modes according to the students of the Department of Musical Sciences at the Faculty of Fine Arts, Ataturk University, and to find out whether these students can recognize the simple modes or not. The study group consists of randomly chosen 40 students in the 3rd and 4th years of the Department of Musical Sciences at the Faculty of Fine Arts, Ataturk University. The study is composed of a descriptive pattern. In the study, the general survey method has been used to determine the factors of importance in recognizing the modes from the students’ perspectives and to discover if they can recognize these modes. It has been concluded in the study that the following factors are very important in recognizing the modes heard: “flow of the mode, its melodic line”, “scale of the mode”, “the starting note of the melody” and “the ending note of the melody”. The rate at which the participant students can recognize the modes can be given in the descending order as follows: Bûselik, Karcığar, Hicaz, Rast, Hüseynî, Uşşak, Nevâ and Kürdî. The mode which they can recognize the least of all is determined as Basit Suzînak. A general look at the students’ competency has shown that the students have a good level of competency (71.7%) in recognizing the modes.
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This research, which aims to detect the theoric information levels of pre-service music teachers gathered from harmony-counterpoint-accompaniment courses, is considered significant with regards to the necessity of these two courses being educated simultaneously. In the research, 26 students that are studying on second grade have been selected from Mehmet Akif Ersoy University, Education Faculty, Music Education Department as working group. Harmonic analysing has been applied to students selected by researchers in sonatin form for the piano. All points gathered from the test have been judged and correlated with the grades of students in the courses of “piano” and “harmony-counterpoint-accompaniment”. Between the harmony analysis and piano course grade, 0.135 (A low value/dependance) has been detected by using pearson correlation analysis. Between the harmony analysis and harmony counter point-accompaniment course grades, 0.669 (A medium value/dependance) has been detected by using pearson correlation analysis.
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In this study, an alternative curriculum has been suggested to increase the violin performance of the students which has violin training in the context of professional music education. It aimed to more successful in interpreting and to internalize the music and learning the pieces with all details by this curriculum. Document analysis from qualitative research techniques was used in the study. Musical memorization techniques were examined in literature, taked an integrity all of them and planned, systematic and effective curriculum. This method was offered as a program that increasing 4 weeks. The methods and techniques in this curriculum that was prepared based on memorization method, for a suggestion to the traditional violin curriculum, this program is a loadstar to educators who wants to use this curriculum. Addings and subtractions can be done when using the curriculum with considering the students’ readiness and target behavior of education.
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Hungarians in neighboring independently while maintaining their lives invarious Turkish tribes, the Turkish lived together and intert wined, and are impressed by the Turkish culture. This cultural interaction more languages, has shown itself in the field of ethnography and folk music. Hungarians are Finno-Ugric folk music originated from Uganda even thought they have been very close to the Turkish folk music. From the XIX century Hungary Armin Vambery, Gyula Nemeth, Sander Takatsu, Kunos İgnacz date initiated through the efforts of the Hungarian social scientists, such as comparative linguistics and ethnomusicology studies, Turkey-has brought unknown to many aspects of light on the history of Hungarian society. Especially to investigate the true folk music of Hungary and eastern folk music to turn Zoltan Kodaly his students Laszlo Vikar the Balkan nations of the Anatolian melodies with Bela Bartok collected, Adana, Osmaniye compiled by nomadic folk songs of the region, most as a result of the benchmarking study, a variant of Hungarian folk song where the winning weight of opinion indicates that two of the country's historical and cultural ties between the peoples of the old and comes from a long tradition.
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The study is intended to determine the extent to which the flute exercises composed according to modal series affect the performance of Contemporary Turkish Music flute works. This study has used single group pre-test and post-test experimental design. The experiment’s work has been determined as Köçekçeler Orchestra Suit, composed by Ulvi Cemal Erkin. for the implementation of the experimental design, an interview has been made with the instructor giving the individual instrument flute training at the Department of Musical Sciences in the Faculty of Fine Arts, Ataturk Univesity; and as a result of this interview, seven students out of twelve 3rd and 4th -year students whose academic scores are close to each other in the course of individual instrument flute lesson have been defined as the study group. In addition, the experimental group students (n=7) making up the study group have been given a questionnaire following the pre-test and post-test application, and in it the students have been asked to express their views of the etudes composed according to the experiment’s work and modals sequences. Analysis of the data as well as their frequency and percentage distribution has been shown and explained in the section of findings and interpretations with tables. After the analysis of the results of the experimental application of the study, it has been observed that flute exercises composed according to the mode scales are, according to the results of pre-test, largely effective in performing the experiment work (Köçekçeler) and have caused a significant difference in raising the success levels of the sampling group. According to the data of the questionnaire given to the experimental group students views, it has been determined that the work entitled as Köçekçe has not been heard and performed by 85,7% of the students before. As a result of research data; it could be said that the etudes containing Turkish music mode scales and Turkish Music tempos motivate the students to study and help them study more willingly and voluntarily than other etudes used in the flute teaching.
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Today, parallel to the rapid changes in science, technology and art, the renewal of the education systems, accordingly detecting the problems occurring during teacher education and solving the problems has become mandatory. The fundamental condition of catching up with the modern era is increase in the number of qualified teachers who follow these changes and make a contribution. Raising highly qualified teachers based on solving the country’s problems and development, is possible with graduate education which is an important part of modern universities. This study aims to analyze music instructors’ problems during their postgraduate education who work as an instructor and continue their graduate education at the same time in various perspectives. With this purpose, this study tried to detect the music instructors’ views about the problems that they encounter during their graduate education. The sample of this study is detected with the maximum diversity sampling, which is one of the oriented sampling methods. In this research, the problems that 34 music instructors encounter during their graduate education were detected with meeting forms. In this study, it was detected that music instructors encounter problems such as getting permission from the institution they work for, surplus of number of students, high course load, financial difficulties and transportation difficulties and resolution advisory was given for the detected problems.).
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To date, numerous contemporary Turkish composers have written concertos for solo viola, sonatas for viola and piano, and solo viola pieces. Solo Sonata for Viola, composed by Hatıra Ahmedli Cafer, is the first solo viola sonata written by a contemporary Turkish composer. This piece has been composed in a single-movement form. The composer wrote the piece in sonata form to signify the clashing of two opposing ideas and their continued struggle. Because the piece has been composed in a contemporary style, the composer used smaller versions of big themes and emphasized tetrachords. The Segah Makam, brought modal characteristics to the piece.
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