| MUSIC TECHNOLOGIES | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
| GEP0134 | Introduction to Turkish Classical Music | Fall | 3 | 0 | 3 | 4 |
| The course opens with the approval of the Department at the beginning of each semester |
| Language of instruction: | En |
| Type of course: | GE-Elective |
| Course Level: | Bachelor |
| Mode of Delivery: | Hybrid |
| Course Coordinator : | Instructor KENAN SAYACI |
| Course Lecturer(s): |
Instructor KENAN SAYACI |
| Course Objectives: | The aim is to provide students with a general culture and impression about our music, which is an important element of our culture, by providing information from different perspectives about the general structure, character (maqam, usul, form, pitch, interval…), genres, important composers and their works, and by having them practice. |
|
The students who have succeeded in this course; Developing a perspective on our national music, which is an important part of our culture, by learning about its general structure, historical development, character, types and periods • Understanding the differences between Turkish music and Western music • Gaining an impression by learning about “makams” through various examples through recitals and meşk • Gaining an impression by learning about “usuls” through various examples through recitals and meşk • Gaining an impression by learning about Turkish music forms through 70 different examples through recitals and meşk • Gaining an idea about the closeness of poetry and music in our culture by examining the lyrics in the verbal works to be meşk from a literary perspective • Gaining information about 27 different musical instruments used in our music • Gaining information and an idea about 28 important composers of classical Turkish music since its beginning • Gaining the ability to listen to, appreciate and perform classical Turkish music - albeit limited |
| Historical development of Turkish music Differences between Turkish music and western music “Maqams” through various examples through recitals and meşk “Usuls” through various examples through recitals and meşk Turkish music forms through 70 different examples through recitals and meşk 27 different musical instruments used in our music 28 important composers of classical Turkish music since the beginning |
| Week | Subject | Related Preparation | |
| 1) | OBJECTIVES OF THE COURSE, METHODS OF PROCESSING THE COURSE, GENERAL INFORMATION ABOUT TURKISH MUSIC, INTRODUCTION OF ABDULKADIR MERAGÎ AND HAFIZ POST AND PLAYING ONE OF THEIR WORKS INFORMATION ABOUT TURKISH FOLK SONGS AND SONG FORMS THROUGH TWO HICAZ EXAMPLES | ||
| 2) | HISTORICAL DEVELOPMENT OF CLASSICAL TURKISH MUSIC INTRODUCTION OF ITRÎ AND 3. SELİM, PRACTICE OF ONE WORK EACH INTRODUCTION OF THE KANUN-KIOMAN INSTRUMENTS | ||
| 3) | HISTORICAL DEVELOPMENT OF CLASSICAL TURKISH MUSIC INTRODUCTION OF İSMAİL DEDE EFENDİ AND ZEKÂÎ DEDE EFENDİ, PRACTICE OF ONE WORK EACH INTRODUCTION OF UD-LAVTA INSTRUMENTS | ||
| 4) | HISTORICAL DEVELOPMENT OF CLASSICAL TURKISH MUSIC INTRODUCTION OF HACI ARİF BEY AND ŞEVKİ BEY, PRACTICE OF ONE WORK EACH INTRODUCTION OF NEY-REBAB INSTRUMENTS | ||
| 5) | CLASSICAL TURKISH MUSIC THEORY INTRODUCTION OF NEYZEN TEVFİK AND EKREM GÜYER, PRACTICE OF ONE WORK EACH INTRODUCTION OF SANTUR-TANBUR INSTRUMENTS | ||
| 6) | CLASSICAL TURKISH MUSIC THEORY INTRODUCTION OF FEHMI TOKAY AND OSMAN NİHAT AKIN, PRACTICE OF ONE WORK EACH INTRODUCTION OF STRING TAMBUR-CLASSICAL KEMENÇE INSTRUMENTS INTRODUCTION OF NIM SOFYAN METHOD | ||
| 7) | CLASSICAL TURKISH MUSIC THEORY INTRODUCTION OF SELAHATTİN PINAR, ŞEKİP AYHAN ÖZIŞIK and SADETTİN KAYNAK, PRACTICE OF ONE WORK EACH INTRODUCTION OF KUDÜM-BENDİR INSTRUMENTS INTRODUCTION OF DARBUKA- TEF-HALILE INSTRUMENTS INTRODUCTION OF SEMÂÎ USUL INTRODUCTION OF THE SOFIAN SYSTEM | ||
| 8) | MIDTERM WEEK | ||
| 9) | INTRODUCTION OF MÜNİR NURETTİN SELÇUK, YESARİ ASIM ARSOY AND ALAATTİN ŞENSOY, PRACTICE OF ONE WORK EACH INTRODUCTION OF CÜMBÜŞ-TAR INSTRUMENTS INTRODUCTION OF TURKISH AKSAĞİ USUL | ||
| 10) | INTRODUCTION OF ARİF SAMİ TOKER AND FETHİ KARAMAHMUDOĞLU, PRACTICE OF ONE WORK EACH INTRODUCTION OF BAĞLAMA-MEY-KAVAL INSTRUMENTS INTRODUCTION OF YÜRÜK SEMAİ USUL | ||
| 11) | INTRODUCTION OF YILDIRIM GÜRSES AND YUSUF NALKESEN, PRACTICE OF ONE WORK EACH INTRODUCTION OF KABAK KEMANE SAZI INTRODUCTION OF DEVR-İ HİNDÎ USUL | ||
| 12) | INTRODUCTION OF TEOMAN ALPAY AND SELAHATTİN İÇLİ, PRACTICE OF ONE WORK EACH INTRODUCTION OF SIPSI- DUDUK- ÇIĞIRTMA INSTRUMENTS INTRODUCTION OF DÜYEK USUL | ||
| 13) | INTRODUCTION OF AVNİ ANIL AND ALAATTİN YAVAŞÇA, PRACTICE OF ONE WORK EACH INTRODUCTION OF TULUM- BLACK SEA KEMENÇESİ INSTRUMENTS INTRODUCTION OF AKSAK USUL | ||
| 14) | INTRODUCTION OF AMİR ATEŞ and EROL SAYAN, PRACTICE OF ONE WORK EACH INTRODUCTION OF DAVUL-ZURNA INSTRUMENTS INTRODUCTION OF CURCUNA USUL | ||
| Course Notes: | |
| References: | GEP 1134 dersi için İtslearning portalında yer alan yazılı, sözlü, görsel ve işitsel tüm belgelerdir. Bunlar, aynı zamanda dersin içeriğidir Türk Müzik Tarihine Genel Bakış, Ahmet Gümüştekin Osmanlı Döneminden 21. Yüzyıla Türk Musikisi, Mehmet Güntekin Türk Musikisi Nazariyatı ve Usulleri, İsmail Hakkı Özkan Türk Musikisi Kimindir, Hüseyin Sadettin Arel Saz ve Söz Meclisi, Türkan- M. Hakan Alvan |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 1 | % 20 |
| Laboratory | % 0 | |
| Application | % 0 | |
| Field Work | % 0 | |
| Special Course Internship (Work Placement) | % 0 | |
| Quizzes | % 0 | |
| Homework Assignments | 1 | % 10 |
| Presentation | % 0 | |
| Project | % 0 | |
| Seminar | % 0 | |
| Midterms | 1 | % 30 |
| Preliminary Jury | 0 | % 0 |
| Final | 1 | % 40 |
| Paper Submission | % 0 | |
| Jury | % 0 | |
| Bütünleme | % 0 | |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 60 | |
| PERCENTAGE OF FINAL WORK | % 40 | |
| Total | % 100 | |
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 13 | 3 | 39 |
| Laboratory | 0 | 0 | 0 |
| Application | 0 | 0 | 0 |
| Special Course Internship (Work Placement) | 0 | 0 | 0 |
| Field Work | 0 | 0 | 0 |
| Study Hours Out of Class | 13 | 4 | 52 |
| Presentations / Seminar | 0 | 0 | 0 |
| Project | 0 | 0 | 0 |
| Homework Assignments | 1 | 10 | 10 |
| Quizzes | 0 | 0 | 0 |
| Preliminary Jury | 0 | 0 | 0 |
| Midterms | 1 | 2 | 2 |
| Paper Submission | 0 | 0 | 0 |
| Jury | 0 | 0 | 0 |
| Final | 1 | 2 | 2 |
| Total Workload | 105 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | To acquire an expertise in the Music Technology field | |
| 2) | To be able to apply theoretical and practical aspects in each stage of music production | |
| 3) | To be able to design music information retrieval applications | |
| 4) | To have a background in musical acoustics | |
| 5) | To be able to apply theoretical and practical knowledge in the fields of sound synthesis and programming | |
| 6) | To have expertise in live sound reinforcement applications | |
| 7) | To be able to collaborate efficiently with inter-disciplinary teams | |
| 8) | To realize the importance of live time learning and adopt to technological advancements | |
| 9) | To be able to develop creative production approaches with regard to recent technological advancements | |
| 10) | To be able to evaluate music and music productions with regard to analytical and aesthetical approaches |