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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.)

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.)

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 Islamic Review / İslam Tetkikleri Dergisi is the property of Journal of Islamic Review 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 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 RAST Musicology Journal / Rast Muzikoloji Dergisi is the property of RAST Musicology 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.)

Türkiye’de müzikoloji disiplini kapsamında toplumsal cinsiyet konulu çalışmaların artışı ile kadın müzisyenler üzerine yapılan çalışmaların varlığı daha çok dikkat çekmektedir. Bu kapsamda yapılan çalışmaların çoğunlukla popüler müzik türünde yapılması, Türk müziği güftelerinde kadının varlığının nasıl olduğu sorusunu akla getirmiş ve bu çalışmanın doğmasına vesile olmuştur. Çalışma, Münir Nurettin Selçuk’un bestelediği eserlerin sözlerinde kadının nasıl temsil edildiği sorusu üzerine yapılandırılmıştır. Çalışma, Türk müziğinde kadın temaları içeren araştırmaların sayıca az olması ve Türk müziğinin 1900’lü yıllarda yaşamış olduğu değişimlerine tanıklık etmesi nedeniyle Münir Nurettin Selçuk’un bestelediği eserlerle sınırlandırılmıştır. Münir Nurettin Selçuk’a ait olan eserler tarama yöntemiyle tespit edilmiş, sözleri incelemeye tabi tutulmuştur. İncelenen 84 eserde içinde kadını temsil eden ifadelerin yer aldığı eserler çalışmanın verilerini oluşturmuştur. Kadını temsil eden ifadeleri içeren 28 eser müzikal ve sözel olarak analiz edilmiştir. Eserlerin öncelikle makam, usul, form, güftekâr açısından tasnifi yapılmış, elde edilen sayısal veriler grafiksel olarak gösterilmiştir. Kadına ilişkin ifadeler anlamlarına bağlı olarak kategorileştirilmiş, eserler içerisinde kadını temsil eden bu ifadeler anlamsal olarak incelenmiştir. Sonuç olarak incelenen bu 28 eserin içerisinde Münir Nurettin Selçuk’un en çok istifâde ettiği güftekâr Yahya Kemal Beyatlı, en çok kullandığı makam rast makamı, en çok kullandığı usûl aksak usulü, en çok tercih ettiği form şarkı formu olarak görülmüştür.

Copyright of Afyon Kocatepe University Journal of Social Sciences / Afyon Kocatepe Üniversitesi Sosyal Bilimler Dergisi is the property of Afyon Kocatepe University (AKU) Sosyal Bilimler Enstitusu 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 I.U. Journal of Translation Studies / İstanbul Üniversitesi Çeviribilim Dergisi is the property of I.U. Journal of Translation 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.)

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 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 Turkish Studies - Language & Literature 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.)

In addition to being an innate behavior, violence also includes learned behaviors. It is a social problem that a person grows up to and learns from his family, friends and mass media that he is constantly communicating with, sometimes he applies, and that is likely to spread over time. Not just physical, psychological, individual, cultural, is a phenomenon that needs to be addressed with social and gender dimensions. When the folk songs that ensure the continuity of the culture are examined, the presence of words containing different dimensions of violence draws attention. This study is structured on the basis of the idea that folk songs, which give important clues about the expression of the feelings of the society and are transmitted through generations, are passed on to future generations without being aware of violence as well as traditional elements, and that it is a means for the elements related to violence to become familiar over time. All the data of this study consists of 6517 folk songs in the TRT folk music repertoire obtained from the TRT music archive. Located in TRT repertoire of folk music, folk songs scope of the research were analyzed using total 6517 document analysis documentary screening model method was determined by the intensity of the word violence. This study was limited to the Central Anatolian Region, where the most violent words were identified, with 203 folk songs among a total of 1440 folk songs belonging to the regions within the Central Anatolia Region - recorded in the TRT folk music repertoire. In the region, it was determined that the folk songs that contain the most violent element in their lyrics are Sivas with 21 percent Kayseri with 12 percent, Aksaray with at least 1 percent folk songs, and Karaman with 1 percent folk songs. When the ratio of the number of folk songs was examined, it was determined that the folk songs with an element of violence were recorded in Niğde with 25.8 percent, Çankırı with 25.4 percent, Yozgat at the lowest rate with 12.8 percent and Sivas with 8 percent. As a result of the analysis of folk songs in terms of the type of violence and the dimension of violence, it was determined that there was the highest psychological dimension with 32 percent and the least sexual dimension with the rate of 7 percent. Detailed data on folk songs containing violence are presented graphically in the study. [ABSTRACT FROM AUTHOR]

Müzik teorisine dair yazılmış edvar ve risâleler müzikolojik çalışmalara önemli kaynaklık teşkil etmektedir. Bu çalışma müzikolojik ilmi kaidelere göre ele alınarak incelemeye tabi tutulmuştur. Cemâlüddîn Hasan İbn Ahmed tarafından kaleme alınan bu risâle, tespit edilebildiği kadarıyla çalışılmamıştır. Makalede giriş, yöntem ve metodoloji belirlenmesinin ardından eserin iç ve dış tanıtımı, müellifin hayatı, eserin yazıldığı dönem, risalenin kaynakları, mûsikî felsefesi, mûsikî nazariyesine dair bilgiler sistematik şekilde sunulmuştur. XV. yüzyıl kaynakları ile benzerlik ve farklılıkları hususunda tablolardan istifade edilmiştir. Daha sonra mûsikînin kökeni, önemi ve tesirine dair konular ele alındıktan sonra sonuç ve risalenin Türkçe çevirisi ile makale sonlandırılmıştır. Makalede izah edildiği gibi XIV. yüzyılın ikinci yarısından sonra ele alındığı tahmin edilen bu eser, kendi döneminin mûsikî düşüncesine katkı sağlayan mûsikî tarihi kaynaklarından birisidir.

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.)

Mûsikî tarihine ilişkin çeşitli bilgileri elde ettiğimiz, aydınlatıcı ve özgün bilgiler sağlayan kaynakların başında mûsikî risâleleri gelmektedir. Risâlelerde mûsikî nazariyâtına, çalgılara, mûsikîşinaslara, mûsikînin te’sîri vb. gibi çeşitli konulara ilişkin bilgi elde etmek mümkündür. Mûsikî yazıcılığına tarihsel olarak bakıldığında; 9. yüzyıldan 19. yüzyıla kadar birçok mûsikî bilgini mûsikînin te’sîri husûsu üzerinde durmuş ve bu maksatla makamları, usûlleri vb. gibi mûsikî unsurlarını sıhhî durumlarla veya insan ve doğaya özgü özelliklerle ilişkilendirmişlerdir. Elyazması mûsikî kaynakları evreninden çalışmamızın konusunu teşkil eden, “Risâle-i Mûsikî” adı verilen bu özgün kaynak; müzikoloji alanına kazandırılmak, mûsikî çalışmalarına katkı sağlamak ve risâlede bulunan mûsikînin te’sîriyle ilgili bilgileri incelemek amacıyla örneklem olarak seçilmiştir. Bu risâlenin incelenmesinde çeviri ve bilgiyi sınıflandırma (sistematik müzikoloji) yöntemleri kullanılmıştır. Makalenin esas amacını, risâlenin tanıtılması yanında mûsikî nazarîyâtıyla, mûsikînin te’sîriyle, ud ve çeng çalgılarıyla ilgili içerdiği birçok bilginin Türk müzikolojisine kazandırılması teşkil etmektedir. Bunun için yapılan çeviri- inceleme çalışmaları arasında dikkati çeken “mûsikinin te’sîri” konusuna öncelik verilmiştir.

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.)

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]

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 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 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 RAST Musicology Journal / Rast Muzikoloji Dergisi is the property of RAST Musicology 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 bilig: Journal of Social Sciences of the Turkish World is the property of bilig: Journal of Social Sciences of the Turkish World 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.)

Postyapısalcılık, genel olarak, yapısalcılıktan doğan birçok farklı alandaki düşünce ve fikir hareketidir. Başlangıçta tıpkı yapısalcılık gibi dile ve onun bağlantılarına odaklanırken zamanla tüm sosyal bilimler için önemli bir anahtar kavram haline gelmiştir. Müziğin bilimsel yanını ortaya koyan çalışmalarda da bu yaklaşımın ağırlık kazandığı söylenebilir. Ele alınan bu çeviri, müzikolojik çalışmaların postyapısal izdüşümünü takip etmek açısıdan önem arz etmektedir.

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.)

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.)

Copyright of Journal of Sociology / Sosyoloji Dergisi is the property of Istanbul Universitesi Edebiyat Fakultesi 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 naming of historical periods, universal events that affect humanity are taken as basis. Social, political, cultural and economic developments played an important role when these periods were determined. It is important for the cultural and structural change process to be divided into layers in order to make more sound determinations in the researches made about Turkish music history. The history of Turkish music is divided into various periods, from the first stages to the present day. As far as the number of period finding studies belonging to Turkish music, there are different period grades. In some of the works done, the same names were used in Western music period understanding. While in other studies only an understanding of the period was based on centuries. Differences in the understanding of such a period lead to confusion among researchers. The copying of the western termination theory into Turkish music history has been a controversial practice in itself. Within this study, a proposal consisting of original seven periods of Turkish music history was developed. Care has been taken to ensure that this proposal is in parallel with political, cultural, economic developments and music styles. [ABSTRACT FROM AUTHOR]

Due to fact that Turks have been in Balkans for hundreds of years, Turkish and Macedonian cultures are very similar. There are a lot of Turkish words in Macedonian and cultural influence can be felt in all aspects of life. This situation is also valid for music. Music culture takes place in weddings very effectively. So analysing the wedding traditions is of importance to determine the closeness of the two cultures. Speaking of drum and shawm which have developed hundreds of years in cultural history, this importance increases. In this research which is based on literature review and fieldwork, it has been aimed to compare Turkish and Macedonian drum and shawn in terms of their features and where they are being played throughout the history. [ABSTRACT FROM AUTHOR]

Wedding traditions are very important parts of Turkish culture. However, as with many of our values, traditional wedding customs are also disappearing. One of these traditions is the "seğmen alayı" (regiment of seğmen). This ceremony was an indispensable tradition of traditional Niğde weddings. When we look at the history of Anatolia, we see that the segmen regiments were established to defend the country during the days of national disaster. This formation, in which the themes of heroism and bravery prevailed, was maintained during the taking of bride from her father house at weddings. The segmen regiment, led by the segmenheaded, chosen from the leading people of the village, usually consists of horses and armed persons. Over time, all the inhabitants who were going to get the bride from her father house were included in this ceremony. Music has a very important place in all kinds of entertainment and ceremonies in Turkish culture. One of the indispensable features of the segmen regiments is music and musical instruments. In this study which is based on field research, interview technique and literature review, primarily has been addressed the concept of seğmen and regiment of seğmen. Following this, it has been presented information about tradition of seğmenlik in Niğde weddings and music instruments which have been take place in this tradition in the light of the interviewees. As a result of interviews with villagers and musicians, it has been determined that the seğmen regiment was the most important part of the traditional Niğde weddings. Drums, shawm, cümbüş, clarinet, darbuka, violin and baglama took place in celebrations, games, rituals and entertainments in Niğde. [ABSTRACT FROM AUTHOR]

Copyright of bilig: Journal of Social Sciences of the Turkish World is the property of bilig: Journal of Social Sciences of the Turkish World 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 Humanitas: International Journal of Social Sciences / Uluslararasi Sosyal Bilimler Dergisi is the property of Humanitas: International Journal 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.)

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.)

The Ottoman Empire it has been in constant interaction with non-Muslim communities share to social life in areas continue to live while creating cultural identity. This non-Muslim communities are largely influenced by the prevailing culture in their regions while maintaining their cultural lives. Music art is attract attention just a branch of art that the impact is most felt of interaction. Until the first quarter of 20th century, the Greek-Orthodox community, not only do various publications belonging to their musical traditions, but also they benefit from traditional Turkish music theory for explaining their musical systems. Written sources belonging to period related this type of music which also known as Byzantine music bears traces of the interaction between the two cultures too . In this research; has examined two theoretical work published on Byzantine music and to be determined expression forms belonging to traditional Turkish music to used for expressed of theoretical structure in these books. As a result of research; it has understood to used of many elements belonging to traditonal turkish music for expressed theoretical structure of Byzantine Music. [ABSTRACT FROM AUTHOR]

The Huns, who reigned between the fifth century B.C. and the fifth century A.D., had their own unique music. The origins of the Huns' music are in army and religious musical traditions too, like the other Turk tribes. The Huns' musical tradition is dated to ancient times, and can be distinguished from the world's other military music through performance, performance location, and ritual aspects. The military music community was called "tug team" in the Hun period. The first Hun military music ensembles consisted of yırağ (surnay, shawm), borguy (pipe), tümrük (drum), küvrük (drum) and çeng (bell) in this age. We are able to obtain information about the Hun period from Chinese and Byzantine sources and archaeological findings, which are an important cultural element to the Tug team. This study will exhibit the historical journey of the Huns' military music traditions. This military music ensemble's tasks in the imperial palaces, entertainments, wars and religious rituals will be discussed. [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.)

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 paper focuses on the manner of reflection and discourse production on music outside the academia in Turkey. And points out that in order to increase their own credibility, such kind of civil-intellectual attempts often use so-called "scientific" statements and arguments to 'spice up' their own discourses. However it seems impossible to come across any application of serious scientific research and writing principles -which are the essentials of already existing disciplines in the field such as musicology and musical sciences- in their self-proclaimed scientific works and publications. This essay tries to demonstrate that the claim of scientific approach and the writing practices resting on this claim is destined to remain as an example of an unpersuasive social engineering attempt and a selfproclaimed science in essence. [ABSTRACT FROM AUTHOR]