Authors:Bahadırhan Koçer Abstract: In this research, various definitions of noise are chronologically compiled and evaluated, particularly within the framework of music sciences. The study explores how different authors conceive of noise, emphasizing the consistency and uniqueness of each author’s approach within their disciplinary paradigm. The thought sequence formed by these approaches demonstrates that defining noise is a complex issue. The authors highlight factors complicating noise definition, such as the subjectivity of the perception of noise, the impact of evolving technology, practices of modern daily life, cultural elements, and the lack of interdisciplinary perspectives. Furthermore, this research sheds light on how the boundaries between noise and music have blurred over time, how noise has entered the domain of music, and even the concept of ’noise music’ emerging through the direct musicalization of noise. The compiled definitions in the study reveal the versatility and flexibility of the concept of noise, even within a limited scope. Thus, the multifaceted nature of noise thinking in the field is uncovered, and the reflection of the relationship between noise and music in the literature is evaluated. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Özgün Arda Nural; Arda Eden Abstract: In this study, the design and optimization processes of a fully automatic tuning system for drums were examined. With the production of the bass drum pedal in the early 20th century, drummers were able to play multiple percussion instruments simultaneously, leading to the standardization of the drum set. The components of a drum set, such as snare and alto drums, are tuned by tightening and loosening the screws on the drum rim. However, the difficulty of this process is increased by the varying tensions in different parts of the drum skin, complicating the tuning process. Proper tuning of a drum plays a significant role in the quality of music. Therefore, various tools and methods have been developed for the complex tuning of acoustic drums. This study aimed to design a prototype device that can automatically tune the drum skin in an electromechanical manner and determine the tools, methods, and appropriate optimization algorithms to be used in this process. The system is centered around an Arduino microcontroller and supported by various motors and sensors.During the design process, different prototypes were created using stepper motors, DC motors, and various gear systems. Initially, due to the inadequacy of stepper motors, DC motors were used, which yielded successful results. However, due to issues such as the system’s weight and mechanical wear, the design was continuously optimized. As a result, a system was developed that analyzes the vibrations of the drum skin and automatically tightens or loosens the tuning screws based on this data. This system, with its modular structure, can adapt to different sizes of drum sets and provides fast, accurate tuning. Future improvements suggest enhancing the system with better mechanical and electronic components, adding the capability to tune both the top and bottom skins simultaneously, and optimizing for different drum sizes. This study aims to significantly ease the tuning process for musicians and make a substantial contribution to the literature in this field. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Simay Yılmaz Abstract: Melih Cevdet Anday, one of the foremost playwrights in modern Turkish theater, has authored plays that exemplify the influence of “The Theater of the Absurd”. This article aims to explore the presence of absurdist tendencies within one of his works, "Dead Want to Talk". With this objective, the article has assessed the playwriting tendencies of “The Theater of the Absurd” and evaluated Anday’s play within this framework.It has been observed that the plot centers on the theme -the absurdity of human portraying passengers on a ferry who talk without taking action. Modern individualism and lack of communication are layers of thought, conveyed effectively through the use of self-centered monologues instead of meaningful dialogues. Symbolism plays a crucial role, with characters as anonymous figures lacking depth or development, representing various human portraits or traits. The vagueness in time and setting allows the plot to embrace ‘anytime’ / ‘anyplace’ where the modern individual exists. Additionally, the use of humor enables readers to engage with the critical perspective. In conclusion, Anday’s play exemplifies the influence of the playwriting tendencies of “The Theater of the Absurd” to a significant extent, thus serves as a notable example of the absurdist influence in modern Turkish Theater. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Ahmet Akın; Sühan İrden Abstract: The aim of the research is to approach Turkish makam music from a holistic perspective, to address the makam structure in Erdal ERZİNCAN’s baglama/saz improvisation performances and to offer solutions to the ongoing makam-diz-ayak debates among GTHM officials. The research is a descriptive study based on the survey model. In this research, where "literature scanning" and "indirect observation" data collection techniques are used, the data source is 21 baglama/saz improvisation performed by Erdal ERZİNCAN in the baglama order in his 11 solo music albums, which were released between 1994 and 2018, excluding his collaborative works. The performance was recorded and recorded. An attempt has been made to describe and explain the makam structures of the improvisation performances through the audio recordings and dictated notes of the improvisation performances. Based on the findings obtained, the unity of açış and taksim forms, GTHM melodies can and should be explained with the traditional makam understanding and terminology, GTHM is a part of Turkish makam music, and the richness and diversity of tunes and melodies of Turkish makam music has lived and been carried in GTHM works from past to present. results have been achieved. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Ayşin Pelin Kiremitci Abstract: Oboe is a double-reed, wooden wind instrument that is not well known in our country, but whose ancestors have a long history in these lands. Oboe, a derivative of the zurna, which has a great role in the history and cultural structure of the Turkish people, comes to mind as a very different, large and deep-voiced instrument due to the low vowels in its name. However, the oboe is a delicate instrument defined as a soprano instrument in modern orchestras. This work; It includes the evolution of the zurna, an instrument integrated with the Turkish people, into the oboe, or Baroque Oboe as it was called at the time, during the European adventure. Before this study, foreign sources about oboe and wind instruments were scanned, libraries, music and instrument magazines, encyclopedias and websites were searched. Since it is necessary to know the old instruments that are similar to the oboe in order to understand the music of the old period and their interpretation styles, the study was not limited to the Baroque Period, but the first examples of double-reed wooden wind instruments were also used in the pre-Baroque period. A simple form of expression was used in order to create a Turkish resource for oboe students. In addition, this study is intended to be a resource that will shed light on the capacity of the instrument for composers or composition students who want to write works for the baroque oboe. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Sultan Ayça Sungur; Başak Gorgoretti Abstract: This study examines the mythological elements in 21st century Turkish operas through the analysis of the librettos of the sample works within the scope of the research, the decor, costumes and characters used on stage, and evaluates and discusses the relationship between opera-mythology-sustainability. In order to examine the mythological elements they contain, 3 Turkish operas composed in the 21st century were selected, namely: “Ninatta” (Composed by: Evrim Demirel, Libretto: Ahmet Ümit), “Another World” (original title: Başka Bir Dünya, Composed by: Selman Ada, Libretto: Tarık Günersel) and “İnanna” (Composed by: Çetin Işıksözlü, Libretto: Eflatun Neimetzade). The study sought answers to the following questions: (i) How the mythological elements in the operas “Ninatta”, “Another World” and “Inanna” are handled, (ii) the cultural basis of the mythological elements in the libretto, (iii) the language used in the libretto, and (iv) the contribution of operas dealing with mythology to sustainability. During the analysis of the operas “Ninatta”, “Another World” and “Inanna”, the opinions of composers and librettists were consulted and the data collected through the interview technique were interpreted and used in the text.It was concluded that the mythological elements in the operas examined in the research, were transferred by composers and librettists through the cultures that lived in the ancient lands of Ancient Greece and Anatolia. In the interviews, it was stated by the librettists and composers that it is difficult to understand and interpret the present and the future without knowing the history of humanity, and it was emphasized that the realization of cultural transfer can be achieved by knowing the past. Art-culture relationship and interaction, with their inherent transfer and continuity features, play an important role in supporting and ensuring sustainability, and in structuring and strengthening the cultural sustainability dimension in the future. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Mehmet Görkem Bilgütay; Burak Sağırkaya Abstract: This study presents a comprehensive analysis of Agustín Barrios Mangoré’s "La Catedral," which holds significant importance in the classical guitar repertoire. "La Catedral" consists of three distinct sections: "Preludio Saudade," "Andante Religioso," and "Allegro Solemne." Each section reflects various aspects of Barrios’ compositional style, combining technical complexity with deep emotional intensity. Initially composed of two sections, "La Catedral" was later expanded with the addition of "Preludio Saudade" after twenty years, thus transforming it into a three-section structure. "Preludio Saudade," as the first section of the piece, evokes a sense of nostalgia and spiritual longing with its contemplative nature. "Andante Religioso," on the other hand, portrays the solemnity of a religious ceremony, showcasing Barrios’ technical mastery on a more introspective level. Finally, the "Allegro Solemne" section demonstrates Barrios’ skill in creating a lively and dynamic musical narrative. This analysis highlights "La Catedral" as a rich resource for musical analysis and theoretical studies due to its intricate harmonic structure and intertwined melodic lines. In this study, the "Preludio Saudade," "Andante Religioso," and "Allegro Solemne" sections are examined from technical and structural perspectives. The findings contribute significantly to understanding the technical challenges, performance requirements, guitar technique, and interpretation of the piece. It is believed that this research, along with future comparative studies, will provide a deeper insight into Barrios’ influence on guitar music. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Serap Yağmur İlhan; Ersan Çiftci Abstract: In this study, we aimed to identify the value expressions in the lyrics of Turkish folk songs in the repertoire of the Turkish Radio and Television Corporation (TRT) and then to compare these expressions by region. Document analysis, a qualitative research method, was used in this study. The documents included the lyrics of the verbal folk songs belonging to the seven regions of Türkiye and other regions (Kirkuk, Azerbaijan, Rumelia, Mosul, Crimea, and Cyprus) listed in the repertoire of TRT Turkish folk songs. The identified folk songs were classified according to 10 root values specified in the music education programmes of the Ministry of National Education: Justice, Friendship, Honesty, Self-Control, Patience, Respect, Love, Responsibility, Patriotism, and Helpfulness.Lyrics of 5384 metered folk songs and 1073 unmetered folk songs were examined, and 1347 value expressions were determined for 1218 folk songs. Accordingly, descriptive analyses of the folk songs were conducted using the "Form for Identifying the Suitability of Songs for Values Education", which was developed by the researchers and improved based on expert opinions. In this regard, the distributions of folk songs with identified values were determined by region. In addition, the relationship between the values identified by regions and the values-regions was examined in a sociological context.The results of this study indicate that the most intense value detected in folk songs is the value of love. It was also determined that the region where this value is most intensively observed is the Central Anatolia Region. It was further found that the diversity of values in the folk songs is highest in the Central Anatolia and Black Sea Regions. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:İbrahim Şevket Güleç Abstract: As virtuosity on the classical guitar gained importance in the early 19th century, a parallel increase occurred regarding methodological compositions. Guitarists and composers who conducted these works include Ferdinando Carulli (1770-1841), Fernando Sor (1778-1839), Francesco Molino (1768-1847), Matteo Carcassi (1792-1853), and Dionisio Aguado (1784-1849). Among these pioneering artists, Fernando Sor had a method and composed six étude books that are still used in modern classical guitar education. Technical analyses of the composer’s selected works have been addressed in the literature. Accordingly, the current study has identified its issue to be what the technical elements are in all of the composer’s étude books. The distribution of the étude books according to left- and right-hand techniques is shown in organized tables, with the purpose here being to visually present the technical distributions according to the études. This way, performers can easily identify the techniques on which they want to focus. When examining the tables, the most preferred technique in all the étude books is melody accompaniment, followed by chords, intervals, arpeggios, legato, barre, muting, ornaments, scales, agility, thumb, harmonics, tremolo, position jumping, and glissando. This situation emphasizes how important musical expression is in Sor’s étude books. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Mehmet Alişan Budak; Cenk Güray Abstract: The aim of this study is to reveal the theoretical performative elements behind Yorgo Bacanos’ performance of the aranağme [short instrumental passage between verses in Turkish music] at the end of the song “Gülşen-i Ezhar Açtı Her Yana” that he recorded with Hafız Kemal and Sadettin Kaynak. The study first examines preliminary information about Yorgo Bacanos the performer and the musical culture centered in Istanbul. The study then comparatively analyzes the performance of the aranağme and its score in the repertoire using the performance analysis method based on five criteria (i.e., pitches and maqam lines, motivic variations, ornamentation techniques, instrument positions, and form analysis). While this textitaranağme has a simple melodic structure in its original score, it is observed to have taken on a very different character in Bacanos’ performance. With Bacanos’ strong sense of rhythm and the self-confidence that comes from having mastered the ağır aksak usul [a tempo in 9/4], which is frequently used in fasıl [musical overture/series of compositions in the same maqam] performances, he was able to easily diversify the aranağme by using various motifs and practically recomposed it during the performance. By combining his agility in right hand technique with his improvisational skill, Bacanos created a piece that is extremely difficult to perform while at the same time demonstrates his strict adherence to the usul [tempo]. Bacanos’ aranağme performance is an attractive example of musical interpretation. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Ferhat Çaylı Abstract: This article examines the Abjad notation that was used to describe maqamic structures between the 13th-15th centuries starting with Safiyuddin Urmawi’s Book of Cycles. The article highlights the potential issues that may arise from considering the Abjad notation as a representation of the pitches in the Pythagorean 17-tone tuning system. The proposed solution is to view this notation as a contextual system that represents the lahnı [melodic] intervals. Accordingly, the notation implies the limma for consecutive notes, the mujannab for skipping one note, and the tone for skipping two notes. Therefore, the intention appears to be to indicate the intervallic relationships between notes rather than the notes themselves. The article demonstrates that associating the Abjad notation with a fixed tuning would lead to problems in interpreting the music theory of that period. The text discusses the possible authentic interpretation of the notation based on historical sources and also illustrates how the adwar [cycles] are formed by combining only these three intervals. In conclusion, the Abjad notation is interpreted as a practical notation system that facilitates the recognition of these lahniyyat [melodic intervals] that constitute the cycles, and the argument is made that this notation system should not be identified with a fixed pitch sequence. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Orhan Veli Özbayrak Abstract: The contents of Saygun’s various publications, in which he provides theoretical information on the modal structure of Turkish folk music, and the solmization book titled Töresel Musıki (Modal Music), which should be considered in the context of these publications, show that he has modally associated Turkish folk music with the ancient Greek musical system. The mode scales (töres) included in these publications also form the basis of the composer’s works from a modal point of view. One scale that Saygun included in only one of these publications, Alaca Dor Terkibi (Dorian scale in the chromatic genus), also possesses unique compositional sound material, for it is used frequently by the composer throughout his numerous works. This begs the question of whether the composer might have also used this scale as harmonic material.Karadeniz and Berki determined that the chord structure they formulated as [3,5,3] and its derivatives are frequently found in Saygun’s works and stated that, in light of an anecdote they quoted, the source for this is the Bestenigâr scale. However, this chord and its derivatives can also be obtained from some other scales the composer also uses, including the chromatic Dorian mode, and this study asserts that the [3,5,3] chord, a signature of Saygun according to Karadeniz and Berki, may have emerged from another scale, which essentially seems the genuine underlying signature. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Burcu Koşar; Nesibe Özgül Turgay Abstract: The aim of this study is to theoretically reveal the gains that can be obtained with the correct use of three different yoga poses: cobra pose, downward facing dog pose, and four-armed stick pose, which were selected with the motivation that they will benefit the Italian breathing technique appoggio through the relationship between sound and body. The study aims to, qualitative research method and scanning model and the data obtained from the literature were brought together and the results were reached. In the context of yoga poses and voice training, the connection between breath awareness and control for artistic needs and flexibility, strength, and dominance in the muscles related to artistic needs was investigated. In terms of vocal technique, the aim is to strengthen the appoggio technique by establishing the anatomical and practical relationship of inhalation-exhalation auxiliary respiratory muscles and to raise awareness among people who have artistic concerns in voice training. The idea that the theoretical and practical framework of ideas based on basic sources should be concretised and verified with sensory materials has been kept in mind throughout the article. From a multidisciplinary perspective, it is thought that it will be useful to concretise breath support, which is an abstract concept in voice training, by feeling it in the body with yoga poses. It is hoped that this study will be a source of multidisciplinary research. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Hakan Aykurt Abstract: The theoreticians of Ottoman (or classical Turkish) music defined some makams and in their compound forms with the new names they created by adding certain adjectives to the name of a known maqam. Based on these theoreticians’ explanations, the adjectives added to a makam name are understood to have usually had a specific melodic purpose. In this context, the study aims to examine the purposes for which the adjectives of atîk [old, ancient], kadîm [ancient], cedîd [fresh], eski [old], and yeni [new] were used in makam names and also questions the possibilities these makam names can provide in understanding the processes of change in the theoretical tradition. In line with this, the study has searched the makam names found in theoretical sources based on three different makam catalog studies and identified the makams with these aforementioned adjectives in their names. The study then analyzes and compares the definitions of the identified makams with other closely related makams in terms of what variations occurred to reveal the purposes of these adjectives. In accordance with the findings, the study has concluded these adjectives to have been used in makam names to emphasize the historical context of the makam, its forgotten status in terms of performance, or its characteristic of being newly invented. The study also reveals these makams to provide important clues for understanding the various characteristics of theoretical models, the theoreticians’ approaches, the evolution of makams, and the interaction between the fields of performance and theory. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Çağatay Gülmez; Köksal Apaydınlı Abstract: The Ayşe Opereti [Aisha Operetta] is one of the most popular works among the operettas of Muhlis Sabahattin Ezgi, who holds the identity of being a significant composer in the history of Turkish music. During the times when it was staged, Ayşe Opereti was met with considerable interest and appreciation by the public, earning its place among the significant operettas of the Republican Era. Ayşe Opereti was included in the repertoire of the State Opera and Ballet for the first time during the 2018-2019 season, being staged by the Ankara State Opera and Ballet in 2019. The aim of this research is to provide information about the life and works of Muhlis Sabahattin Ezgi as an important representative of Turkish operetta history, to examine the musical features of Ayşe Opereti that he wrote and composed, and to reveal its contribution to the Turkish operetta literature. This descriptive research was prepared using the case study model and obtained its data through a literature review by searching the relevant theses, articles, books, library archives, audio-visual archives, and personal archives. The article also examines the documents necessary for compiling findings related to the subject. As a result, the research has found Muhlis Sabahattin Ezgi to be a significant Turkish operetta composer who synthesized Turkish music maqams and rhythms with Western musical techniques. In addition, the study has found within the context of the development of operettas, particularly following the proclamation of the Republic, that Muhlis Sabahattin Ezgi’s Ayşe Opereti stands as one of the earliest examples of works produced utilizing Turkish music. The study also finds this work, which has gained popularity among the Turkish public, to possess both modal and tonal characteristics. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Sibel Karaman; Nihat Ozan Köroğlu, Gamze Nevra Köroğlu, Harun Baki, Mehmet Murat Demet Abstract: There is a relationship and publication information on anxiety and depression that can adversely affect the success of theoretical education and skill training. In this study, we aimed to investigate the effect of anxiety, depression, and anxiety sensitivity on standard rhythm education and applied it to students studying music. Research is done by; Manisa Celal Bayar University Faculty of Fine Arts Design and Architecture, Department of Music. Research has been conducted on the first-grade students studying, Basic Sciences and Sound Education Departments of the State Conservatory of Turkish Music at Aegean University. Research has been conducted on first grade students studying Basic, Sciences and Sound Education Departments of the State Conservatory of Turkish Music at Aegean University. The students mentioned above were given a voluntary consent form to fill; however, because of the Covid 19 pandemic and the online education system, 30 of 55 students could attend the research. A standard (basic) rhythm education is given to 30 of our students to evaluate anxiety, sensitivity, the effect of anxiety, and the depressive mood on the success of rhythm training. During the research on the subjects (students), Anxiety Sensitivity Index-3 and Hospital Anxiety Depression scale has been conducted. Description of standard rhythm education: It has been executed with kudum instrument, including holding, sitting, execution positions of the instrument correct postural positions to prevent long-term postural deformities. The training includes 2–8 beats and patterns and beating the usûls of Turkish Music, dividing them by section. During the stages of education, achievement evaluation is done on a 5-point scale to obtain the results. The relationship between current anxiety sensitivity, anxiety itself, and depressive effect on the success of rhythm training has been statistical analysed by SPSS programme and shown in conclusion section. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:İsmail Hakkı Burdurlu Abstract: The process of musical creation involves the artist bringing conflicts from the unconscious into consciousness based on their biological, cultural, and psychological experiences. In other words, the transformation of psychic resources into tangible sound arrangements intricately intertwined with cultural aesthetics plays a fundamental role in the formation of music. This study aims to contribute to the analysis of Western art music by emphasizing the interaction between musical creation and the unconscious through Freudian and Lacanian psychoanalytic methods. Simultaneously, in this regard, it holds significance as an interdisciplinary and explanatory research field that can guide the generation of meaning towards the inner worlds of musicians. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Sonat Coşkuner Abstract: Teaching the technical behaviors in violin education is delivered through various exercises, etudes and works. Throughout the history of the violin, composers, such as P. Billot and R. Kreutzer, J.P., and performers, such as Rode, H. and Sitt, A. Seybold wrote various etudes to improve techniques in playing the violin. Later, famous pedagogues I. Galamian, C. Flesch, and L. Auer worked on advanced techniques. Violin works supported by all these technical studies, have been written and classified in a systematic manner from the earliest to the most difficult works in Western music literature. Examining the violin literature in Turkey, the study finds that violin works are written only for those at the intermediate and advanced levels and works written for beginners are scarce. If the notion that education written in the students’ culture and made with melodies familiar to one’s ears is more reliable were to be true, then beginning education by playing the works of Turkish composers is important. In this research, Onur Özmen’s Op. 41 This study aimed to examine a work entitled “Sonata for Violin–Piano” from the technical aspect and determine its level. The study is descriptive in nature and employs a questionnaire to violin educators. Data were analyzed as percentage and frequency. PubDate: Mon, 24 Jun 2024 00:00:00 +030
Authors:Emine Öztürk Kızmış Abstract: This article aims to reveal the similarities between the works classified as the “theatre of the absurd” by Martin Esslin and the theater works of the group known as OBERIU from the Russian avant-garde period. Although evaluations are found in different Western sources stating OBERIU to have been able to expand the temporal boundaries of the theatre of the absurd genre, the art of OBERIU has been evaluated more in the context of avant-garde art. The concept of the theatre of the absurd, which had been put forward based on the common aspects of the absurd elements in theatrical works written after World War II in different European countries, also shows similarities with the theatrical works produced by the writers from OBERIU who’d witnessed World War I and Russia’s October Revolution. The nicknames of group members, which mean “nonsense” in Russian, absurd derivation of words, and their portrayal of the world in an absurd atmosphere in their art make the similarities appear more visible. This paper aims to show the absurd themes and absurd techniques in Vvedenksy’s “Christmas Tree at the Ivanovs” at the OBERIU, which can be described as the precursors to the theatre of the absurd genre in Russia. PubDate: Mon, 24 Jun 2024 00:00:00 +030
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