Search

In this research, it is aimed to determine the music listening habits of the students studying at Bursa Uludag University Music Education Department, to evaluate the effects of listening to music on theoretical and instrument lessons, and to offer suggestions that will improve these habits and make them more conscious and effective. The case study method, which is one of the qualitative research methods, was used in the study. In order to obtain the data, a semi-structured interview form with 20 questions was developed by the researchers. The study group of the research consists of twenty students, ten women and ten men, studying at Bursa Uludağ University Music Teaching Department. The results obtained from the study were analyzed using the descriptive analysis method and 5 themes, 15 sub-themes and 67 codes were reached. As a result of the findings to be obtained from this study, it is aimed to determine whether the music listening habits of music teacher candidates are sufficient and conscious, to offer activities and methods that will gain these habits, and thus to shed light on the training of more cultured and well-equipped music teachers. [ABSTRACT FROM AUTHOR]

It is music that is one of the most important branches of art that affect society and individuals psychologically and physiologically, which allows man to act from the moment he exists on earth. Music is not just an entertainment tool or leisure activity. Music that athletes listen to before, during and after exercise is a method in which athletes express their emotions, thoughts and perceptions without words. Athletes get the feelings of relaxation, motivation, arousal and maximizing their performance thanks to the positive emotion acquisition with the music tool. In the years of 1970-1980’, the sports and music relationship gained a different dimension with the fact that the music was included in the sports applications. The inclusion of music in sports practices in the 1970s and 1980s accelerated the relationship between sports and music. Ethiopian runner Haile Gebrselassi broke the world record in the 10,000m race in 1998 by listening to Scatman John's song ' Scatman '. Haile Gebrselassi “Music gives me a rhythm that matches my record pace.” can be shown as an example of the effect of music in sports exercises. Due to the limited number of studies on the effect of music in sports exercises and the lack of studies on music exercises in the field of e-sports, this study aims to reveal the effect of music on e-sports exercises n e-sports. The sample of the research consists of 170 students in the e-sports team of Süleyman Demirel University. The Effect of Music on Sportive Practices Scale, developed by Karayol and Turhan (2020), was used in the research. In the study, Independent Sample t-Test was used to, single-factor analysis of variance (ANOVA. Pearson correlation analysis was applied. As a result of the analyzes, it was concluded that the perceptions of the effect of music in esports exercises differ according to the gender variable. Female e-sports players are more affected by music before and during e-sports exercises than male e-sports players are affected by music before and during e-sports exercises. As a result of the study, it has been observed that the gender variable is a factor affecting the effect of music in e-sports exercises, while the variables of age and education field do not have any significance. [ABSTRACT FROM AUTHOR]

Traditional music, which was formed around the oral tradition and first met with written culture and then other technology cultures, is seen as one of the most important legacies of the past, due to the attention paid to it since the 20th century. Although it takes place in these processes mainly due to ideological developments such as nationalization and institutionalization, and social developments such as urbanization and globalization, the main point that can be seen as a change for traditional music is the new transmission environments it encounters in these processes.With the establishment of the Republic, Turkish folk music became the object of written culture, first fixed with notation and turned into a sound recording as a result of the possibilities provided by the developing sound recording and broadcasting devices. It is one of the basic postulates of communication sciences about the transfer of culture that knowledge gains new social and institutional appearances, functions and aesthetic forms in each new transmission medium. These transmission media, which are divided into basic parts as oral, written and electronic, not only affect the way of transmission of messages, words and music in social communication, but also diversify the ways of using information and the perceptions of societies towards information. When traditional music is considered in particular, this means that music is first commodified, decontextualized, stripped of its usual institutional uses, and then recontextualized during its reproduction and gaining new institutional appearances. It is possible to consider all these processes together with the process of transferring folk music to new media environments that started before the establishment of the Republic in Turkey. It is important to consider the parallelism of such a nationalization- culture institutionalization together with its cultural and social aspects, in order to understand the rich media appearance of folk music today and the new appearances of folk music in the social field. The process of mediatization and mediation of folk music in Turkey has progressed from the presentation of large narratives about music to the public (receiver) during the single-channel public broadcasting period, to the dissemination and consumption of smaller artistic elements that can be structurally divided into different media as content in the developing media environments. The artist's life story, art and many other performative elements that can be presented as content in the media continue to exist by changing and transforming according to the structural and social boundaries determined by the media tools. In this study, "Neşet Ertaş" and the story of his art in the media are discussed as an example. Neşet Ertaş is one of the first examples of the "media resource person" generation, who has gained national recognition with his music surpassing faceto- face performance environments quantitatively. Neşet Ertaş in the media has become a part of the identities of the artists who take himself as an example by existing with various narrative elements such as mastery, local attitude, ethnographic identity, life story, threshold, which constitute parts of his musical life rather than a narrative integrity. The purpose of this article, in line with the above narrative, is to examine Neşet Ertaş as a mediatic artist character and to question the relationship between folk music and media through artists who use the views of his life and the meanings of his art. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Language & Literature Studies is the property of Turkiye Dil ve Edebiyat Dernegi 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 Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly 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 Istanbul Gelisim University Journal of Health Sciences / İstanbul Gelişim Üniversitesi Sağlık Bilimleri Dergisi is the property of Istanbul Gelisim Universitesi Saglik Bilimleri Yuksekokulu 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.)

The perception of musical hearing has been one of the most prominent elements within the framework of musical talent and many studies have been conducted on it. The main subject of this research is musical hearing perception which is important concept that musical ability tests have been trying to measure for many years. Musical hearing perception is a concept that can be developed with the necessary educational planning, especially in childhood. In this context, based on the constructivist approach, early detection is important according to the level of readiness of the person. The scale in this study was designed to measure the musical hearing perception of children between the ages of 9-12, and was created in such a way that the variable of whether or not to know notes was disabled. Thus, it is aimed to bring the perception of musical hearing, which is the main subject to be measured, to the fore. The scale consists of 3 parts: interval test, melody test and rhythm test. Firstly, the field study was conducted with 100 students, and then 160 students during implementation throughout the design phase of the scale, As a result of the research, statistical reliability and validity analyzes were made and the applicability of the scale was revealed. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly 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.)

Considering its domain and range, folklore is a discipline suitable for interdisciplinary studies by contributing to many scientific disciplines, especially social sciences and arts, or benefiting from them. In this context, we notice that folklorists benefit from the scientific disciplines such as anthropology, linguistics, music, history, sociology and psychology at both theoretical and practical levels, and occasionally contribute to these disciplines. It is an unquestionable fact that among mentioned disciplines music, in particular, has a very wide and important place in folklore studies. Music has always appeared with its determinative and distinctive functions both in the process that covers the creation, transfer and sustainability of folklore outputs, and in the processes of defining, collecting, classifying, researching and analyzing them. In this context, even though the importance and function of music in folklore studies have been mentioned in many academic publications, musical features have been included in a specific and limited scope in a significant majority of these publications. Contrary to this situation, detailed musical analyses within the context of folklore have appeared in some studies; however, the number of these studies is limited. Considering current situation, this paper, written in the scope of Turkish folklore, has been prepared based on the view and thesis that it is important and necessary for researcher to incline to an interdisciplinary study, in its researches on musical folklore outputs, by obtaining musical knowledge or benefiting from it. In this context, the paper starts from the importance of music in the solution of the genre, form and maqam in the ashik poetry tradition. Then, it tries to explain with examples the determinative and distinctive features of music in the process of creation and transfer within the master-apprentice learning pattern in the context of ashik and Turkish epic narrative traditions; in the development and performance of religious or non-religious rituals and ritual-centred folklore outputs; the performance of folk dances; the process of creation and transfer of verse genres and forms of anonymous folk literature. The paper evaluates in which functions can be used musical items, such as rhythm (method), tune pattern (maqam/style), tempo, passages, strong pitch, increasing melodic interval size etc., within the processes of defining, collecting, researching, classification and analyzing folklore outputs that have musical features. After these evaluations, the paper discusses the necessity and importance of including musical features in studies in the period from finding and collecting to the analyzing folklore outputs within the scope of the text-centred and context-centred folklore theories. In this context, the paper puts forward the contributions which will occur as a result of the functional use of music in folklore studies. [ABSTRACT FROM AUTHOR]

When vocal formation is examined physiologically, this leads us to the definition of the register concept, to the physiological formation, and only to the extent to which it responds to the acoustic appreciation. As a result of this review, register concept, register formations and acoustically perceived counterpart will be examined and tried to find out the reasons for different perception in different societies as well as the effect of this on the sound health and usage. In this research, the above-mentioned topics have been tried to be explained within a certain scientific framework. At the same time, the research was supported by national and international sources. [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.)

In the research, it was aimed to reveal the goal attainment levels of the 2018 music course curriculum 8th grade gains in line with the opinions of the music teachers. The research is based on the Descriptive Research Model and was carried out by the survey method. As a data collection tool used a questionnaire in which the gains in the 8th Grade Music Lesson program of the 2018 music education program was turned into questions, and the levels of achievement of the objectives were questioned in line with the opinions of the music teachers. Working group of the research consists of 413 music teachers in Turkey's seven regions (Mediterranean, Eastern Anatolia, the Aegean, Southeastern Anatolia, Central Anatolia, Marmara and Black Sea). In line with the data obtained from the research, it has been determined that the achievements of the "Musical Perception and Enlightenment" and "Musical Creativity" learning areas do not reach their target to a large extent. It is concluded that the gains of the fields of learning "Listening-Singing" and "Music Culture" mostly reach their goals, but especially the vocalization of various genres of Turkish music, the makam structure of Turkish music, the musical cultures of Turkish communities and the forms of Turkish music do not reach their goals. In addition, it was determined that managing the National Anthem did not reach its target. [ABSTRACT FROM AUTHOR]

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University 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.)

The aim of this research is to determine how successful the candidates are based on their answers to the questions constituting the sub-dimensions of the “musical perception test,” applied instead of the preliminary stage of the Music Ability Exam. The sample of this study is comprised of the data obtained by the preliminary stage of the Music Ability Exam for 2010-2011 Academic Year at Ondokuz Mayıs University. All the data required for the study were acquired by the scale developed by the researcher. Accordingly, the scores of 336 candidates who took the exam were examined and concrete information was reached regarding their success. The research is important in terms of revealing the auditory characteristics of prospective students who want to study music education and revising the musical perception scale in the light of the obtained data. [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 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.)

Müziksel algılamanın teori pratik bağlantısına (nexus) odaklanan bu çalışma, etnomüzikoloji disiplininin de doğasına uygun olarak disiplinler arası bir yaklaşımla ele alınmıştır. Genel anlamda teori ve pratik arasında her zaman var olan açı farkı, müzik teorisi ve pratikleri bağlamında tartışılırken müzik yazısının müziğin kendisi olarak kabul edildiği „çağdaş söylencesi‟ de dahil olmak üzere müzik teorisi bağlamında perde, aşıt, makam ve ritim gibi müziksel kavramlar birer örnek olay olarak ele alınacaktır. Çokça alıntılanan “Müzik üzerine yazı yazmak, mimarlık üzerine dans etmeye benzer” sözünün de ima ettiği bu teori ve pratik arasındaki açı farkı, kültürel bağlamda ele alındığında adı geçen topluluklar açısından bir sorun teşkil etmemektedir. Aksine sosyokültürel mutabakata dayalı olarak devam eden performans pratikleri yoluyla kuşaktan kuşağa dinamik olarak yeniden inşa edilmektedir.

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 research has been done by experimental method. The perception performance of the students who are at the last class in mathematics and Turkish departments have been compared. The student in mathematics department represent logical and mathematical mental field and the students in Turkish department represent Turkish-linguistics mental field. Today, learning music early has an importance, to identify of the mental field of our children and to develop and to grow the whole mental field have been the target of the educators. In conclusion, there occurs a result that musical perception is closer to logical-mathematical mental field than Turkish-linguistics mental. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Cukurova University Institute of Social Sciences is the property of Cukurova University Institute of Social Sciences 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.)