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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.)

In order to present Yunus Emre as a common value to the world humanity and to be remembered once again in our country, on the 700th anniversary of his death, 2021 was included in the commemoration and celebration anniversaries by the United Nations Educational, Scientific and Cultural Organization (UNESCO). It is aimed to be commemorated as the "Year of Yunus Emre" and to keep his legacy alive. In this study, within the scope of "2021 Yunus Emre and Turkish Year" activities, first of all, folk dances, costumes, music and lifestyle reflecting the period Yunus Emre lived in were compiled and then the theatrical dance show "Our Yunus" was prepared using traditional and modern stage techniques. With this show, it is aimed to reveal the importance and role of theatrical dance and performing arts in both the protection of cultural heritage and the transfer of this heritage to young generations. The data obtained in the study were collected from the audience who watched the theatrical dance show "Our Yunus" and voluntarily agreed to participate in the study. Descriptive analysis, factor analysis, chi-square and t-test One-way ANOVA tests were applied to the obtained data using SPSS 24 program. The findings and results obtained from the study are given in detail under the relevant headings. In addition, with this show, it has been tried to determine the effect of the theatrical dance show on the younger generations by considering the structural features of the theatrical dance show, a show containing mystical elements, in the event experience. Thus, it has been revealed how mystical thoughts are made visible with symbols, words, actions, personifications, dance and music in a belief system, and how this situation can be effectively conveyed to the audience in the context of theatrical dance. In this respect, it is aimed that the findings and results of the study shed light on the issues that need to be investigated in the relevant field and contribute to these areas that are rarely studied in the literature. [ABSTRACT FROM AUTHOR]

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi 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 Erciyes Akademi is the property of Erciyes Universitesi Sosyal Bilimler Dergisi 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 Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches 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.)

Although jazz music and Ankara seem far apart both culturally and geographically, they did unexpectedly come together towards the middle of the last century. The foundation of the new government in 1923 transformed the appearance and the cultural atmosphere of the city. During this time, Western popular music became the favorite genre for modernization in the context of creating a "new life and new society." Jazz, the popular music of the period, had spread from the USA to Europe, and reached Istanbul in various different ways. The arrival and development of jazz music in Ankara was achieved by the musicians who traveled from abroad and from Istanbul, as well as by those musicians who played classical western music. Jazz and dance music were played in the same repertoires for many years since the proclamation of the Republic, and jazz gradually became separate from dance music. The period between 1940-1980 was when the development of jazz music took place in the cultural memory of Ankara. The factors affecting this development can be grouped under three main headings. The first is the broadcasts of Ankara Radio and The Voice of America. The second is the Turkish-American Association, the American News Center (USIS), Officers' and the NCO clubs, which were all established in the city by the USA. Finally, the foreign musicians who performed in hotels such as Ankara Palace, Balin, Barıkan, Büyük Ankara and night clubs such as Süreyya, İntim, Club Yaşar, Babylon, Bomonti, Gar Casino, Beer Park, Göl Casino, Derya, Feyman, Yeni Süreyya, Altınnal, Club X also raised the profile of jazz in the city. Over the years, the number of Turkish musicians gradually increased, and the orchestras, who started to call themselves "cazbants," rather than "jazz bands," helped develop many musicians who are acknowledged world-wide. Furthermore, venues gradually became jazz clubs where standards were often included in the repertoires. Artists gradually started to produce original works, compositions and arrangements that were blended with traditional music, and these became more enduring with the release of albums. The study brings together the data achieved from a literature review and various interviews with musicians who witnessed the period. The aim is to shed light on the historical process of how jazz music began and subsequently developed in Ankara. [ABSTRACT FROM AUTHOR]

Copyright of Erciyes Akademi is the property of Erciyes Universitesi Sosyal Bilimler Dergisi 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.)

International Akçaabat Music and Folk Dance Festival is arranged every year since 1991 and this festival contributes the Akçaabat's publicity and district tourism in various aspects with regard to activity tourism. In this study, social effect of the festival on hosting community and determination of expectation and perceptions of local folk were aimed. Within this context, descriptive statistics were applied by transferring the data gathered from questionnaire including 386 individuals to SPSS software. It was concluded that Akçaabat Music and Folk Dance Festival affects local tourism's socialization in a positive way [ABSTRACT FROM AUTHOR]

This study was carried out in Adıyaman, Southeastern Anatolia Region, in order to determine what they perceive when preschool students say "music", through the art of painting. The pictures of the children were evaluated by using content and visual analysis techniques by constructing a phenomenological design, one of the qualitative research methods. The study group consisted of 44 five (5) year-old students studying at Latife Hanım Kindergarten in the Barbaros district of Adıyaman city center in the 2019-2020 academic year. A4 size paper and pastel crayons were used as a painting material. "What comes to your mind when you say music?" they were asked to make a picture about this subject. In addition, when the paintings were completed, the students were interviewed about their paintings and asked what they wanted to tell by two teachers who were experts in the field of painting and were transcribed. As a result of the analysis of the pictures, six categories were identified as listening to music concept, instruments and other equipment, dancing with music, playing instruments, venues where music was performed and other activities with music. A total of fifty codes for these categories have been determined. Furthermore, a ninety-one frequency value was determined indicating the number of times the codes were repeated. According to findings, more often electronic devices and drum and pestle duo are frequently used in Adıyaman. This may indicate that the living environment is effective in children's perception of music. [ABSTRACT FROM AUTHOR]

The origin of the flow experience is based on Maslow's peak experience in the 1960s and was developed and conceptualized by Csikszentmihalyi in the 1970s. Currently, it is a research area within positive psychology. The flow experience is also referred to as the optimal experience or autotelic experience. Although the flow experience has been studied in applied research as dependent and independent variable at national and international scale; It is noteworthy that there is ambiguity about the definition and the Turkish literature can not find its exact equivalent. Therefore, in this article, a general literature review on the flow experience is made, theoretical background, definitions, research areas, dimensions and models of flow experience. According to the findings "psychological / mental / cognitive state, engaging in any activity, concentration, enjoyment of the activity, self-giving, struggling / struggling, optimal experience, feeling motivated, goal, skills for the relevant activity and feedback flow experience definitions, dimensions and models are the most commonly used concepts / expressions. It is noteworthy the research areas can be experienced in many places of human life such as games, art, dance and music, education and work, which started in the field of sports. As a result, the meaning, effect and results of the flow experience in future research can be suggested in the sample and field diversity. Thus, the diversity of resources, data and methods related to the flow experience will increase, research will be enriched and new awareness will be formed for scientific studies. [ABSTRACT FROM AUTHOR]

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.)