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Copyright of Journal of Turkish Music (TM) / Türk Müziği is the property of Young Wise Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

Copyright of Inonu University Journal of the Faculty of Education (INUJFE) is the property of Inonu University Journal of the Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Erdem is the property of Ataturk Kultur Merkezi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of International Yegâh Music Journal is the property of International Yegah Music Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Academic Journal of Philosophy / Felsefi Düşün is the property of Pinhan Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

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]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study aims to state the effect of musical teaching method in understanding training. The study was carried out as a suitable experimental research for the model of pre-test/post-test with control group which was examined the effect of musical teaching method over understanding training. At the end of the study, it was determined that musical teaching method helps for the understanding of read-listened poetry. [ABSTRACT FROM AUTHOR]