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This research aims to determine the student's knowledge levels in the Department of music education after completing two semesters of Western music theory and practice courses. The study group consisted of 126 students studying in the 1st, 2nd, 3rd and 4th grades of Marmara University Atatürk Faculty of Education, Department of Fine Arts Education, Department of Music Education. The study was designed using a descriptive survey model, and the Western music theory and practice knowledge test and personal information form developed by the researchers were used as data collection tools. The data obtained were analyzed with the help of Kruskall-Wallis and Mann-Whitney U tests. According to the research results, the fact that the students studying in the Department of music education have taken only two semesters of Western music theory and practice courses shows that they are inadequate in musical hearing, reading and writing skills. In addition, variables such as the type of high school the students graduated from, their level of finding the duration of the course sufficient, and their musical hearing, reading and writing education before starting university revealed that there were significant differences between the total scores of the western music theory and practice course achievement test. This research is considered an important research that can contribute to the existing limited studies and develop a knowledge test to measure the knowledge of students studying in the Department of music education towards Western music theory and practice courses. [ABSTRACT FROM AUTHOR]

Turkish music compasses a wide time period and area. Altough the studies in Turkish-İslamic civilization involving music have started around last years of VIII. Century both the appearance of the works and studies becoming more comprehensive happened in IX. Century. With translations of Greek studies on music on theory to Arabic, for the first time, the physical and mathematical principles of music were emphasized in Turkish-Islamic civilization. Greeks' works on music theory have established a foundation for music theory in Islamic World and especially on music-mathematics and music-physics relations. This aspect of Greek works on music theory is clear in works of Kindi (d.874), Farabi (d.950), İhvân-ı Safâ (X. Century.) and Avicenna (980-1037) on music theory have started with "Systematic School" that is by Safiyüddin Urmevi. After Systematic School Abdülkadir Meragi, Ladikli Mehmet, Cemişgezekli Şükrullah and Molla Câmî have studied on the subject. After a long time, Rauf Yekta Bey came up with 24 tonic keys system. Rauf Yekta Bey had important studies on determanition of the scientific basis of our music, and acoustics. Salih Zeki Bey has contributed Rauf Yekta Bey's studies based on acoustics. After the system developed by Rauf Yekta Bey, various musical theories such as Töre-Karadeniz System and Arel-Ezgi System. In this work, there is a comparative review of "Cevâmiu İlmi'l-Mûsîka" part of Avicenna's Kitâbü'ş-Şifâ (The Book of Healing) and "Mûsiki Sesleri" (Sounds of Music) part of Salih Zeki Bey's Hikmet-i Tabîiyye-i Umûmiyyeden Mebhâs-ı Savt (Matter of Sound in Knowledge of Geneal Nature), based on music theory. The aim of the study is revealing both scientists' contributions to music theory, since they had many common qualities as they both were interested in branches such as philosophy, astronomy and mathematics. In this study Avicenna and Salih Zeki Bey's basic approaches to the music theory, basic differences and their way of taking up the subject are reviewed comparatively. [ABSTRACT FROM AUTHOR]

13th century appears as a period when the theory of music in Islamic civilization was considered as one of the Riyādī (ta‘limī) sciences based on wisdom and experience, and it was restructured in a comparative way with the works written. Quṭb al-Dīn al-Shīrāzī (d. 1311), who was among the first music theorists of the period, dealt with the science of music with theories and calculations that some of which are still in use today and at the same time he was interested in the practical part of music. His work called Durrat al-taj, in which he includes the views of al-Fārābī, Ibn Sīnā and Urmawī and criticizes their discourses, is in an encyclopedic structure in Persian-Deri dialect, which also including the music section. al-Shīrāzī, who was educated by the important masters of his time like Naṣīr al-Dīn al-Ṭūsī, and also distinguished himself as a teacher and music theorist, is a historical figure who was growed by the Iranian geography and played an important role in laying the basies of Turkish-Arabic-Iranian music, and affected many scholars like Maraghi after him. It is aimed to bring the musical part of al-Shīrāzī’s work named Durrat altaj into the theory of music by using historical musicology, analysis, interpretation, systematic musicology, comparative musicology, and source scanning methods. For this purpose, the work has been examined by making an examination on four different copies. With these studies, the theoretical and terminological innovations of the work and its historical value will be examined. At the same time, perception and meaning problems of the period will be put forward theoretically by considering the subjects in detail. As a result of the research, it has been determined that the work is not an Urmawī commentary, and besides, it has many original aspects. It has also been seen that it is a copyrighted work that includes all the basic subjects such as sound physics, sound theory, intervals, pitches, scales, and the genera that make up it, rhythm, in which computational methods are used extensively. The fact that he criticizes the views in some theoretical studies done before him, and the use of his own terminology and his detailed approach to the issues add value to the work. It has gained an important position in the music theory literature with its new intervals, scales and originality in the structures of these scales, additions to the writing of notes, the use of nuance, oud training and prosody in the music section. The fact that he gave place to a singing technique that could only be identified in the recent period with its technical details in his own period has been seen as another contribution of the work to our day. For all these reasons, the subjects of the musical part of al-Shīrāzī’s Durrat al-taj work and al-Shīrāzī’s personality, which is compatible with his music will be examined in this paper. [ABSTRACT FROM AUTHOR]

Five kinds of neys are mostly used today which are performed both as solo and in accompaniment. These are the mansur (D-yegâh), which also gives its name to the tunings in the Classical Turkish Music theory, each of which is also a kind of ney, the kiz (E-hüseyniaşiran), supurde (G-rast), mustahsen (F balance '4 commas' sharp-irak) and bolahenk (A-dugah). These types of ney can be modified according to the exercise or can be used by transposition of different tunings with a single ney. At the same time, this is considered an indicator of mastery indicator the ney. In this study, the Dede Efendi's Rast Kar-i Nâtik has been chosen as an exemplary work in order to have many maqam passes and to provide the opportunity to the transposition of different curtains with this feature. The selected sample work was passed on to the bolahenk tuning with the kiz ney and the passages of the maqam were analyzed. In the study, suggestions were made in order to overcome technical difficulties in terms of transposition of the ney. [ABSTRACT FROM AUTHOR]

Hawi al-Funun wa-Salwat al-Mahzun was written by Ibn al-Tahhan who was one of the palace musicians in Egypt (Fatimids period) between X-XI centuries. According to the available sources, it is the only known musical work that has survived since the Fatimids period. This work, written by a professional musician, consists of two main articles dealing with the scientific and practical aspects of the music art and has an encyclopedic feature with a hundred and two subject titles. One of the most important features that distinguishes Hawi al-Funun wa-Salwat al-Mahzun among early music sources is that the work sheds light on the music of the Fatimids period, as well as the seven hundred musicians who lived between the Jahiliyya period and the Fatimids period. This study, firstly, gives information about Ibn al-Tahhan and his famous study Hawi al-Funun wa-Salwat al-Mahzun, and secondly, as mentioned by Ibn al-Tahhan, gives information about the famous musicians who lived between the period of jahiliyyah and the Fatimids period. [ABSTRACT FROM AUTHOR]

In this study, a scale was developed in order to measure the attitudes of students studying in music departments towards harmony course. The scale was applied to 175 students who were studying in different music programs of universities. The scale consists of a total of 34 items and is a 5-point Likert-type scale. Ratings were made between 1 and 5. Cronbach's alpha reliability coefficient of the scale was calculated as 0.966. As a result of the factor analysis, it was found that the attitude scale for the harmony course consisted of only one dimension and the contribution of this dimension to the total variance was 47.708%. The factor loads of the obtained items vary between 0.603 and 0.840. According to the results obtained, the Attitude Scale for Harmony Course is a valid and reliable scale and it can be used in the field of music education. [ABSTRACT FROM AUTHOR]

Turkey is an important country that keeps the modal music culture. In this respect, there is a large study area for music researchers. Spatial analysis is often used as a superficial interpretation by listening to a melody or looking at its note. However, in today's technology age, it is necessary to reach more clear and precise results in such analyzes. In this sense, it is inevitable to use computer aided software. In this study, the frequency of use of pitches, which constitute seven different makams, has been calculated meticulously. In calculating the data, MusicXML and SQL query languages were used and pitch time value distributions were obtained. On the basis of the data obtained, the compatibility and incompatibilities between theory and practice were examined. Incompatibility of theory and practice has been observed in some maqams. [ABSTRACT FROM AUTHOR]

During the Ottoman period in the time of Mahmud II (1826), the education of Western music started to be given formally alongside Turkish music by doing away with the janissary band, through the establishment of the military band, Muzıka-i Hümâyun and by the commissioning of the Italian composer Giuseppe Donizetti. Donizetti trained many students until his death in 1856. After that another Italian composer, Callisto Guatelli, was commissioned by Abdulhamid II until his death in 1899. The Spanish composer D'Arenda helped Guatelli in Muzıka-yı Hümâyun and replaced him later.Turkish students have published many books or translations of Western music theory and solfege education. One of the first and most important works among these publications is "Solfej Yahud Nazariyat-ı Musiki (Solfege or Music Theory) (1888/1889)" by the flautist Mustafa Safvet [Atabinen] Bey, who is an educator of the Muzıka-i Hümâyun (The Imperial Band of the Ottoman Empire) and the other is "Kütübhane-i Musikiden Talim-i Kıraat-ı Musiki (Teaching and Reading of Music From Library of Music) (1899/1900)" by theviolinist Mehmed Zati [Arca] Bey, who is also an educator of the Muzıka-i Hümâyun. These works are the first printed Turkish solfege books of the Ottoman period. The aim of this study is firstly to examine the extant terms used by converting these two books from old letters to new letters and then to investigate the usability of the solfege samples included in the books in today's professional music education and to bring them into today's solfege education. The titles of the works which were prepared for practice are determined as follows: "ta'lîmler", "temrîn", "kırâat", "vazifeler", "tenbîhler", "mülâhâzat", "meşk" and "imlâ". These titles are determined according to the purposes of consolidating, performing, printing and evaluating the theoretical knowledge. Moreover, in this book, twenty five "two voice solfege" examples are also included. Some of these solfeges are vocal works. Turkish music works are used for teaching syncopated rhythms which occur frequently in the book. Moreover it can be said that two voice solfege examples are also crucial in terms of polyphonic hearing. It is seen that the books Solfej Yahud Nazariyat-ı Musiki and Kütübhâne-i Musikiden Talim-i Kırâat-ı Musiki play an important part in comprising the terminology of Turkish Western music. [ABSTRACT FROM AUTHOR]