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Kultúra, ismeretterjesztés, közszolgálatiság

Author(s): Anna Kós / Language(s): Hungarian Issue: 28/2015

Experience shows that public service media show slight aversion towards programs the presenta-tion of which should normally be their duty: for example, towards presenting cultural events. Among these, presenting classical musical concerts faces significant resistance. There are, certainly, exceptions to the rule, like the New Year’s Concert of the Vienna Philharmonic Orchestra, broadcast by the Austrian Radio and Television (ORF). Eurovision has embraced this event, too, and its channels broadcast it practically all over the world.The paper attempts to answer the question how a classical symphonic concert becomes a media event that exceeds in rating football world championships.

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Le caractere des gammes du chansonnier epique heroïque - legendaire

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Le caractere des gammes du chansonnier epique heroïque - legendaire

Author(s): Ferial Daja / Language(s): French Issue: 02fr/1983

La grande richesse de la création musicale populaire, la variété de contenu, les formes et les moyens artistiques, unis aux particularités d’interprétation et d’exécution populaire, sont en rapport avec les particularités nationales, avec la psychologie populaire, ce qui a trouvé un reflet dans îe système musical complexe et extrêmement original. Quand il est question des traits nationaux originaux de la musique populaire albanaise, on a présentes des particularités de sa langue musicale, qui la font distinguer de celle des autres peuples. La construction des gammes compte "parmi les nombreux éléments de cette lange musicale.

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Balada popullore dhe historia

Author(s): Jorgo Panajoti / Language(s): Albanian Issue: 01al/1983

Historia e zhvillimit të poezisë sonë popullore dëshmon se në të sa vjen e bëhet më e dukshme dhe më e theksuar prirja për ta trajtuar materialin epik brenda kufijve të ngjasës, për të ruajtur dhe evidentuar sa më mirë bazën e tij neale dhe autentike, vërtetësinë e tij. Kryesisht me këtë shpjegohet ulja e gjallërisë ose ndërprerja e zhvillimit të ndonjë zhanri epik, që, për shkak të lindjes, të strukturimit e të kristalizimit si formë poetike e një kohe të caktuar, nuk mundi t’i përgjigjej prirjes së përgjithshme për vërtetësi të theksuar artistike (p.sh. cikli i kreshnikëve). Me këtë prirje lidhet, gjithashtu, profilizimi i qartë, si një zhanër me karakter të theksuar realist, vitaliteti i veçantë i 'këngëve historike. Nga ana e saj balada, si zhanër epiko-lirik, që nisi jetën e vet artistike në kohë të hershme, e ka vazhduar dhe e vazhdon këtë jetë. Dhe kjo se balada, me përmbajtjen dhe formën artistike, me aftësinë që të ndryshojë e të zhvillohet vazhdimisht, me mprehtësinë dhe elasticitetin e vet ka mundur të zbatojë lidhjet me realitetin e epokave të ndryshme historike, është treguar e aftë për t’iu përshtatur shijeve, kërkesave dhe nevojave ideoestetike të këtyre epokave. Kjo db të thotë se ka kuptim të flitet për lidhje të baladës me realitetin historik, për aftësinë e saj që të bartë, krahas llojeve të tjera të informacionit, edhe një informacion historik.

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Hana Urbancová: Trávnice – lúčne piesne na Slovensku. Ku genéze, štruktúre a premenám piesňového žánru

Author(s): Jadranka Važanová / Language(s): Slovak Issue: 1/2010

Hana Urbancová: Trávnice – lúčne piesne na Slovensku. Ku genéze, štruktúre a premenám piesňového žánru. Bratislava : Academic Electronic Press, 2005, 324 s. ISBN 80-88880-67-X

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Türkçede Ses Kavramsal Alanının Yapılandırılmasında İmge Şemaları, Kavramsal Metafor ve Metoniminin Rolleri

Author(s): Özay Önal / Language(s): Turkish Issue: 103/2020

In this research, the concept of sound in Turkish has been considered in terms of its occurrences in the fields of music and speech and analyzed with respect to the related metalanguage and daily language. As it is the case for most conceptual field, we have a body of structured knowledge regarding the sound. It is understood from the image schematic, conceptual metaphorical and metonymic patterns found in music and phonology texts that the components of the sound like pitch, amplitude and timbre; and the formations of it like melody, motion, path, interval, chord and scale are understood as abstract concepts that must be embodied as concrete entities by the human mind. Drawing on this, the roles of these patterns in structuring the conceptual content of the sound in Turkish frame the focus of this research. To that end, typical examples have been collected from the metalinguistic usages found in the books of music theory, linguistics, acoustics and music encyclopedias. On the other hand, naïve knowledge models of sound have been observed in daily formulaic language containing idioms and proverbs and also in the web news. Findings show that image schemas, conceptual metaphor and metonymy are highly prevalent in both models of knowledge. It has also been observed that the specific terms found in the metalanguage of music and linguistics actually belong to the daily language and have been transferred into the metalanguage through metaphorical mapping. Sound is such a widespread phenomenon that we obviously can not restrict it to music and language only. However, our findings will hopefully help us understand the nature of the other types of sound as well.

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Spor Bilimleri, İlahiyat ve Müzik Eğitimi Öğrencilerinin İyi Oluş Durumlarının Karşılaştırılması

Author(s): Hatice Onuray Eğilmez / Language(s): Turkish Issue: 04/2020

‘Well-being’ is a concept related to how one sees the situation in his own life. The research was carried out in order to get an idea about the effect of music, worship and physical activitymon well-being. Students (n = 262) studying in Bursa Uludağ University, Department of Music Education (n = 86), Theology (n = 97) and Sport Sciences (n = 79) were included in the study. Data were collected by well-being scale (PERMA). In analyzing the data ANOVA, t-test Pearson Correlation coefficient was used. In the study, it was found that the students of the Faculty of Sport Sciences who deal with more sports than other departments have significantly higher well-being scores than the other two groups. It was determined that the Positive Emotions, Engagement, Meaning and Accomplishment sub-dimension scores of the Faculty of Sports Sciences students were significantly higher than other students. There was no statistically significant difference in students' well-being according to gender, academic grade-point averages and education year variables.

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HAMÂMÎZÂDE İSMÂİL DEDE EFENDİ’NİN 25 MURABBA BESTESİNİN BİÇİM ANALİZİ

Author(s): Neşe Yeşim Altinel Çoban,Şirin Karadeniz Güney / Language(s): Turkish Issue: 75/2020

"Beste", which means connecting melodies to each other in Turkish Music, is one of the most important Oral forms among the Lâdini forms in Turkish Music. There are two different forms of "Beste". These are "Murabba (Quadrate) Beste" and "Nakish (Nakış) beste", which have their own qualities in terms of composition technique. In this study, the form analysis of “Murabba” compositions, one of the works of Hamâmîzâde İsmâil Dede Efendi, who has a very important place among Turkish Music Composers and who has created hundreds of works in almost every form, has been made. First of all, a detailed repertoire and literature research has been done, and the works of Hamâmîzâde İsmâil Dede Efendi in the composition form have been determined, then all of them have been examined, and the ones that have been composed in the form of murabba have been listed for the analysis. Formative analyzes of 25 Murabba Bestes have been made one by one in various themes listed, and 11 form charts have been identified as a result of the analysis. Besides determining the form schemes used by Hamâmîzâde İsmâil Dede Efendi in Murabba Beste, the composition style of Hamamizâde İsmâil Dede Efendi has been analyzed and tried to be determined with this study. Another purpose of the study is to determine the Murabba Form Schemes that can be encountered in Murabba Beste in Turkish Music and to constitute an important source that the new generation composers who continue to produce Turkish Music in the determined forms can take reference to keep the tradition alive.

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İZOLASYON SÜRECİNDE UZAKTAN PİYANO EĞİTİMİNE YÖNELİK VELİ DEĞERLENDİRME SONUÇLARI VE ÖĞRENCİ NOT KARŞILAŞTIRMASI

Author(s): Ceylan Ünal Akbulut / Language(s): Turkish Issue: 76/2020

As of mid-March 2020, distance education has begun in Turkey. This situation has continued until the end of the 2019-2020 academic years. During this period, also instrument education was continued in distance at part-time conservatories affiliated to the Ministry of National Education. In this process, which is new for instrument education, teacher-student-parent communication has also become mandatory. Within the scope of this study, the year-end grades of the students of Istanbul Maltepe University Part -Time Conservatory Department of Piano for 2019 and 2020 were compared. In the instrument education that starts at a young age, the support and the attention of the parents as well as the teacher's effort is of significant importance to the students. A multiple-choice questionnaire has been sent to all parents who consisted of 75 students, and 50 parents among them have answered. As a result of the questionnaire, it has been seen that merely face-to-face education and the combination of face-to-face and distance education were equally marked. In the light of the findings, perspective of the parents towards distance piano education, which is new in Turkey, has been evaluated in the scope of mentioned sample and suggestions has been made for the next researches.

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CZERNY’NİN “OP.849, 30 ÉTUDES DE MÉCANISME” KİTABININ ÇALIM TEKNİKLERİ VE KAZANIMLARI AÇISINDAN İNCELENMESİ

Author(s): Hatice Sezen / Language(s): Turkish Issue: 77/2021

The aim of this study is to analyze Carl Czerny’s etude book Op.849, 30 Études de Mécanisme, which is widely used in piano education, and to reveal its technical gains and to create a guide for piano educators and students about this book. In this qualitative study, document and content analysis techniques were used. Based on Czerny’s handling of correct playing under the titles of nuances, articulations and tempo, document analysis criteria were determined, and then the studies were examined and interpreted one by one in terms of these three elements and their changes. At the same time, some quantitative data obtained were evaluated descriptively. As a result, it was seen that the composer designed the studies in this book within a certain program in terms of nuance, articulation, and technique, and it was understood that he prioritized not ignoring musicality while performing technical studies. It is thought that this study can be taken as an example for the document criteria in analyzing Czerny’s other study books, as well as a guide for those who want to perform these studies and especially for piano educators.

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ÖTEKİLEŞTİRİLMİŞ BİR GRUBUN MÜZİĞİNDEN TURİZM VE KÜLTÜREL MİRAS UNSURUNA DÖNÜŞEN REMBETİKO

Author(s): Hasan Münüsoğlu / Language(s): Turkish Issue: 79/2021

Rebetiko had been evaluated as the music of sub-cultures and outsiders until it popularized. The performers of rebetiko lived in different cities, such as İstanbul, İzmir, Athens and Piraeus. After Population Exchange in 1923, most of the performers left their homelands and then rebetiko became “refugees' music”. The themes of lyrics were on love, death, exile, nostalgia/homesickness, and also war, pain, etc. Some Rebetiko songs and instruments such as bouzouki were sometimes banned by the government because of lyrics and considering as a “eastern culture”. Despite restriction and exclusion, rebetiko achieved to stay alive. During that period rembetiko widened its impact area and reached larger masses by some popular artists such as Theodorakis and Hadzjidakis. Rebetiko has become the voice of Greece with the development of tourism. This was followed by the addition of rembetiko to the UNESCO Intangible Cultural Heritage List in 2017. Hence, a sub-culture music has become a part of “national culture” The article focuses on the shifting situation of rembetiko in Greece and thus it indicates the dynamics of cultural production.

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DİSİPLİNLERARASI ETKİLEŞİM BAĞLAMINDA CASTEL’İN RENK KLAVYESİ

Author(s): Zeynep Abaci / Language(s): Turkish Issue: 79/2021

In this study, the history of interdisciplinary interaction was examined, and examples of how different disciplines were handled together in Ancient Greece and the Middle Ages were given. By referring to the historical process of color and sound analogy, the versatility of the Renaissance artist and the idea of the first color harpsichord developed by Arcimboldo are emphasized. The parallel evolution of plastic arts and music with the idea of humanism and the importance of positive sciences since the Renaissance has strengthened the relationship between these two arts. In this context, the similar thoughts and parallels of the Baroque period in painting and music aesthetics have been included in this study, and the color keyboard design developed by the French priest and scientist Castel's controversial and interdisciplinary perspective was examined. The 18th century is a period of intense interdisciplinary experimentation and, unlike previous art theories, emphasizes autonomy in aesthetic sense. Inspired by Newton’s book Opticks and Pythagoras’s Law of Spheres, Castel thinks that this instrument, in which he associates notes with colors, will impress the audience as much as the music itself. Based on the interaction of color and sound, this initiative is potentially designed to combine two arts. The functioning and effects of the idea of color music in Castel's dream, his success or failure in this subject, and the views of the artists and theorists he inspired about this design constitute the center of the study.

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TÜRK TANGO MÜZİĞİNDE ÇOK YÖNLÜ BİR BESTECİ: EMİN CENKMEN

Author(s): Bahar Sariboğa Akca / Language(s): Turkish Issue: 81/2021

Having gone through its golden age from the beginning to mid-20th century and becoming part of popular culture, Turkish Tango music initially made ground for itself in Turkey through Turkish lyrics written on foreign tunes, but once Turkish composers started adding local themes, Turkish tango music works started to be produced by several composers. The purpose of this study is to define and introduce the life, works and contributions to polyphonic Turkish music by Emin Cenkmen, one of the composers of Turkish tango music. Despite being a versatile, enlightened composer and academician who contributed greatly to the development of the nation’s cultural and art life through his works during the early years of the Republic era, the number of studies on Emin Cenkmen is almost non-existent. This study aims to overturn this deficiency by making a comprehensive research on Emin Cenkmen’ life, 1911-1993, his articles, books, concerts, folk music compilations, his clarinet production as a luthier, his various compositions such as operetta, Adalı Kız and Yosma operettas, Bayrak anthem and several others on Turkish tango music. A great part of the study is allocated for the detailed analysis of his Encyclopaedia of Music which he prepared with meticulous effort in 1947-1948. This study has been based on general screening model, one of the qualitative research methods. The data collection tool of the study consisted of written and verbal resources and these data have been systematically presented in the study.

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TUNCELİ’DE BAĞLAMA/SAZ YAPIMI VE MÜZİK KÜLTÜRÜ ÜZERİNE BİR ALAN ARAŞTIRMASI

Author(s): Hüseyin Kara,Göktürk Erdoğan / Language(s): Turkish Issue: 32/2020

Baglama/saz, one of our ancient folk music instruments performed in almost every region of Anatolia, stands on a significant point in teaching and transmission of our traditional music. It is known that the baglama/saz instrument, which has varieties such as Meydan, divan, tanbura and cura and is generally produced from mulberry tree, is begun to be structurally produced by alternative production methods in addition to the traditional ones. Comparison of these alternative production methods with traditional baglama/saz production methods proves for certain that this instrument has a dynamic line and that the potential of this instrument in this sense is open to new sounds. In present article, the historical adventure of baglama/saz and the music culture of Tunceli region are briefly explained and the process of baglama/saz production as well as the questions whether there are alternative/experimental studies in the production of this instrument and what kinds of searches there are, if any, are discussed.

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RUS BEŞLERİ’NİN ORYANTALİZME ETKİSİ VE M. BALAKİREV’İN “SELİMİN ŞARKISI”NIN İNCELENMESİ

Author(s): Tülün Malkoç / Language(s): Turkish Issue: 33/2021

Eastern music always attracted Russian composers, as Russia, which settled between the West and the East from geographical point of view, remained at the distinction of these two cultures. Glinka, who laid the foundations of the Russian opera, and the pioneering Russian composers of the eastern motifs Aliabyev and Dargomozhsky, are ethnographically striking. Then, in the 19th century, the The Five formed a school by the movement of Orientalism in the works of the national composing school, and it was able to reveal Russian classical music in the context of traditional music understanding. The spiritual value given to “The Mighty Five” "Russian Orientalism" and other cultures and folklore of other peoples, which entered the musical history as a national trend, could also be foregrounded. Russian Five; In this study, the Mighty Five (Moguchaya Kuchka) were examined and Balakirev's work named Selim's Song was examined and its connection with orientalism was revealed. “Selim's Song”, one of the first examples of Balakirev's oriental-themed song, was composed in 1858, four years before Balakirev's trip to the Caucasus, and on Lermontov's poem which is Ismail Bey.

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ERKEN CUMHURİYET DÖNEMİ MİLLİ MUSİKİ POLİTİKALARININ TÜRKİYE’DE MÜZİK SOSYOLOJİSİ DÜŞÜNCESİNİN ORTAYA ÇIKMA SÜREÇLERİNE ETKİLERİ

Author(s): Tuncay Yildirim / Language(s): Turkish Issue: 33/2021

In this study, the Early Republican period national music policies is analyzed impacts to processes emergence the idea of sociology of music in Turkey. The aim of the research, the applied national music policies is put fort impacts processes the emergence the idea of sociology of music in Turkey. Research datas, by using the literature scanning technique and content analysis methods is put together from articles of their wrote about the national music policies between 1923-1944 of some musicologists expressing opinion in this context and sociologist of the period. In this context, the articles of Ziya Gökalp, İsmail Hakkı Baltacıoğlu, Nurettin Şazi Kösemihal, Rauf Yekta Bey, Mahmut Ragıp Gazimihal and Halil Bedii Yönetken are analyzed. As a result of the research the Republican period applied national music policies, by initiating discussions on the sociology of music among musicologists and sociologist of the period, has been seen contributed a positive on the emergence the idea of sociology of music in Turkey.

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Image–Music–Text: Operatic Experiments in the Age of the Audiovisual Essay

Author(s): João RIcardo / Language(s): English Issue: 6/2021

Emerging as a new tool and form of criticism and theorizing, the audiovisual essay has stirred many different opinions within the academy, with its many different outcomes. For scholarly purposes, combining it with text, reflection and commentary seems to be the most common and most accepted form of audiovisual essay, easily found all over the internet in well-known video archives such as YouTube and Vimeo. Towards a more poetic end of the spectrum, breaking both the horizontal and vertical dimensions of any work may deepen and reveal new possibilities, often resulting in the creation of new hybrid pieces. This paper aims to demystify these new formats and concepts, focusing on its potentiality as a tool for criticism and its creative possibilities regarding music and, more specifically, opera.

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SOL KLARNET EĞİTİMİNDE REPERTUVAR BELİRLEME, ÜSLUP-TAVIR VE YORUM GELİŞTİRME BOYUTLARINA DAİR ÖĞRETİM ELEMANI GÖRÜŞLERİ

Author(s): Ufuk SOPAOĞLU / Language(s): Turkish Issue: 2/2020

In this study, which is aimed to evaluate the repertory determination criteria, stylistic-attitude and interpretation development in G clarinet education in vocational music education institutions, screening model was used. The research consists of the teaching staff of the G clarinet education in 2016-2017 academic year. The data reached in the interviews with the teaching staff working in the higher education institutions that provide vocational music education were analysed through content analysis. Instructors who determine the level of G clarinet education according to the level in the institutions providing professional music education; at the beginner level, it has been determined that a teacher uses the ‘western music clarinet method’ while the other instructor uses the ‘performance of the works performed by non-difficult pressure makers’ to determine the repertory by taking into account the methods they use. In the middle level, it has been observed that they are not in a common point of view similar to the beginning level in the measure of repertory determination. It was observed that one of the instructors had determined the repertory by taking into account the ‘Western music clarinet method’ and the other instructor taking into account the ‘performance of the works in the makers whose curtain pressure is more difficult than the initial level’. In the advanced level, it is seen that the instructors have a common view of point different from the beginning and middle levels. It was seen that the instructors set up a repertory considering ‘the performance of the works in the makers whose curtain pressure is more difficult’, and that they were in a common position to listening is the most important activity that students should make in order to develop style, interpretation and interpretation during clarinet education.

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MÜZİK ÖĞRETMENLERİNİN SOUNDPAINTING ALGISI: BİR METAFOR ANALİZİ

Author(s): Sonat COŞKUNER / Language(s): Turkish Issue: 2/2020

Soundpainting is a simultaneous sign language for musicians, dancers, actors and visual artists created by Walter Thompson. This improvised sign language, when first heard, cannot give enough information about what kind of practice it is, making it necessary to explain more. Understanding soundpainting better requires application. For this reason, it is very important to choose the correct sentences to express Soundpainting to people first. Although sometimes, we have the opportunity to express at great length, sometimes we have to express it quickly and effectively. In such cases, these brief explanations are made through metaphors. Metaphors are to express a concept or phenomenon in a way that a person perceives, using similes. The aim of this research is to investigate music teachers’ perception of Soundpainting through metaphor analysis. The research group consists of 40 music teachers who participated in the "1 Teacher 1000 Rhythms" project carried out by the Ministry of National Education on October 1-6, 2019 for music teachers in Rize. Music educators who participated in this study are asked to complete the statements “Soundpainting resembles…………….. Because …………………”. In the analysis of data, content analysis technique is used. Study group of the research constitutes of 40 music teachers. In the analysis of the data collected, 31 metaphors and by grouping these metaphors according to their common characteristics, 6 categories emerged. As a result of the research, it has been detected that music educators have different views about Soundpainting as “part of real life”, “entertainment tool”, “holistic music genre/ensemble”, “expression tool”, “diversity” and “mystical element”.

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PHENOMENOLOGY AND THE ‘LEVITATION-FLOATING’ FEELING IN MUSIC’S NOSTALGIA. AN ENDLESS {‘INTO’}-FALLING

Author(s): Maria-Roxana Bischin / Language(s): English Issue: 2/2021

The essay focuses on completing one of Husserl’s signitive theory with a new perspective. The discussion of the signitive theory is based more on the apperception’s function than to the perceptive one. We have observed that music produces for the ʻSelfʼ different feelings. But one of the most seductive feelings we want to discuss related to music is the perpetual floating-feeling, which is quite similar to the levitation process and it has connections with the idea of the lightness of the Being in some circumstances. Despite these, stays nostalgia. We are introducing a model based on two terms, as permanent {ʻintoʼ}-falling Self’s condition into the sounds and the signitive-apperceptive-intuition. The basic assumption is that music is a continuously phenomenological-fall which extenses the Husserlian theory more, completing it day by day. We hope that our concepts proposed here, signitive-apperceptive-intuition and the {ʻintoʼ}-falling will bring a new light in modelling the sound in a phenomenological manner.

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Muzyka jako teofania? Pytania do George’a Steinera

Author(s): Marcin Trzęsiok / Language(s): Polish Issue: 66/2019

Music occupies a special place in George Steiner’s thinking: “Three areas: the essence and name of God, higher mathematics and music (what is the connection between them?) are located at the limits of language” (Steiner, Errata). The seemingly rhetorical question in parentheses turns out to be a source of deep controversy, the essence of which is revealed in historical-genealogical reflection. Steiner attempts to incorporate Romantic metaphysics within the traditional scholastic symbiosis of Biblical creationism and Pythagoreanism, which reveals his philosophy of music to be entangled in a range of contradictions. On the one hand, a critical reading of Steiner's works uncovers the difficulties posed by the attempt to reconcile pre- and post-Enlightenment culture; on the other hand, the still unused opportunities offered by Romanticism and its modernist continuations are clearly visible. Musical aesthetics, rooted in the idea of infinity, plays a crucial role in these divagations.

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