| Ders Adı | Kodu | Yarıyıl | T+U Saat | Kredi | AKTS |
|---|---|---|---|---|---|
| The Turkısh Musıc Theory and Solfege (Tcm) Iv | TBB 437 | 7 | 2 + 2 | 3 | 5 |
| Ön Koşul Dersleri | |
| Önerilen Seçmeli Dersler | |
| Dersin Dili | Türkçe |
| Dersin Seviyesi | Lisans |
| Dersin Türü | Seçmeli |
| Dersin Koordinatörü | Öğr.Gör. HAMDİ İTİL |
| Dersi Verenler | |
| Dersin Yardımcıları | Research Asst.Özge ZEYBEK |
| Dersin Kategorisi | Diğer |
| Dersin Amacı | Teaching basic imformation about Turkish Music Theory and Solfeggio,Turkish Music Sound and Interval System,and teaching Turkish music rhytms in a definite system. |
| Dersin İçeriği | Teaching the şed maqams and 10 time usuls including Lenk Fahte. |
| # | Ders Öğrenme Çıktıları | Öğretim Yöntemleri | Ölçme Yöntemleri |
|---|---|---|---|
| 1 | The Students make classification of maqams. | Lecture, Drilland Practice, Motivations to Show, | Testing, Homework, |
| 2 | The Students define the Sed maqams. | Lecture, Question-Answer, Drilland Practice, Motivations to Show, | Testing, Oral Exam, Homework, |
| 3 | The Students explain the concepts of şed,transposition and to making collapse. | Lecture, Question-Answer, Drilland Practice, Motivations to Show, | Testing, Oral Exam, Homework, |
| 4 | The Students obtain information about modal classification in Turkish Music | Lecture, Question-Answer, Drilland Practice, Motivations to Show, | Testing, Homework, |
| 5 | The Students make applications in transposing maqams | Lecture, Question-Answer, Discussion, Drilland Practice, Motivations to Show, | Testing, Homework, |
| 6 | The students learn 10 time usuls and make applications. | Question-Answer, Drilland Practice, Motivations to Show, Self Study, | Testing, Homework, Performance Task, |
| 7 | The Students analyze of rhytmic structure of Turkish music | Lecture, Question-Answer, Discussion, Drilland Practice, Motivations to Show, Self Study, | Testing, Homework, Performance Task, |
| 8 | According to the aim lesson,the method of study and techniques are given to students. | Lecture, Question-Answer, Discussion, Self Study, | Testing, Homework, Performance Task, |
| 9 | Alternative sources are shown to students in order to calculate the subject in a wide perspective | Lecture, Discussion, Drilland Practice, Motivations to Show, Self Study, | Testing, Homework, Performance Task, |
| 10 | The students write preliminary studies by using current note values for solfeggio. | Lecture, Question-Answer, Motivations to Show, Self Study, | Testing, Homework, Performance Task, |
| Hafta | Ders Konuları | Ön Hazırlık |
|---|---|---|
| 1 | Teaching the şed´s of Kurdi Maqam and introduction to Kürdilihicazkar Maqam. | ERGÖZ, H. S.; Türk Müziği Nazariyatı ve Solfeji Uygulama Kitabı I, Değişim Yayınları, Ekim 2007; |
| 2 | Applications in Kürdilihicazkar maqam and passing to 10 time usuls ,exercises in Aksak Semai Usul. | ÖZKAN, İ.H.; Türk Müziği Nazariyatı ve Usulleri, Kudüm Velveleleri<br>Ötüken Neşriyat, İstanbul 1987 |
| 3 | Applications in Kürdilihicazkar maqam and passing the Ağır Semai Usul. | ERGÖZ, H. S.; Türk Müziği Nazariyatı ve Solfeji Uygulama Kitabı I, Değişim Yayınları, Ekim 2007; |
| 4 | The şed´s of Zİrgüleli Hicaz Maqam and introduction to Hicazkar Maqam. | ERGÖZ, H. S.; Türk Müziği Nazariyatı ve Solfeji Uygulama Kitabı I, Değişim Yayınları, Ekim 2007; |
| 5 | Applications in Hicazkar Maqam and teaching Curcuna Usul. | ERGÖZ, H. S.; Türk Müziği Nazariyatı ve Solfeji Uygulama Kitabı I, Değişim Yayınları, Ekim 2007; |
| 6 | Applications in Zirgüleli Suzinak Maqam. | ERGÖZ, H. S.; Türk Müziği Nazariyatı ve Solfeji Uygulama Kitabı I, Değişim Yayınları, Ekim 2007; |
| 7 | Applications in Lenk Fahte Usul. | ÖZKAN, İ.H.; Türk Müziği Nazariyatı ve Usulleri, Kudüm Velveleleri<br>Ötüken Neşriyat, İstanbul 1987 |
| 8 | Evcara Maqam and its application. | ERGÖZ, H. S.; Türk Müziği Nazariyatı ve Solfeji Uygulama Kitabı I, Değişim Yayınları, Ekim 2007; |
| 9 | Applications | ÖZKAN, İ.H.; Türk Müziği Nazariyatı ve Usulleri, Kudüm Velveleleri<br>Ötüken Neşriyat, İstanbul 1987 |
| 10 | Suzidil Maqam and its application. | ERGÖZ, H. S.; Türk Müziği Nazariyatı ve Solfeji Uygulama Kitabı I, Değişim Yayınları, Ekim 2007; |
| 11 | Applications | ÖZKAN, İ.H.; Türk Müziği Nazariyatı ve Usulleri, Kudüm Velveleleri<br>Ötüken Neşriyat, İstanbul 1987 |
| 12 | Şedaraban Maqam and its application. | ERGÖZ, H. S.; Türk Müziği Nazariyatı ve Solfeji Uygulama Kitabı I, Değişim Yayınları, Ekim 2007; |
| 13 | Applications | ÖZKAN, İ.H.; Türk Müziği Nazariyatı ve Usulleri, Kudüm Velveleleri<br>Ötüken Neşriyat, İstanbul 1987 |
| 14 | General Repetition | ERGÖZ, H. S.; Türk Müziği Nazariyatı ve Solfeji Uygulama Kitabı I, Değişim Yayınları, Ekim 2007; |
| Kaynaklar | |
|---|---|
| Ders Notu | ÖZKAN, İ.H.; Türk Müziği Nazariyatı ve Usulleri, Kudüm Velveleleri Ötüken Neşriyat, İstanbul 1987; ERGÖZ, H. S.; Türk Müziği Nazariyatı ve Solfeji Uygulama Kitabı I, Değişim Yayınları, Ekim 2007. |
| Ders Kaynakları | TRT TURKISH MUSIC NOTE ARCHIVE AND BOOKS PUBLISHED ABOUT TURKISH MUSIC SOLFEGE |
| Sıra | Program Çıktıları | Katkı Düzeyi | |||||
|---|---|---|---|---|---|---|---|
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | Musicologist; learns the music with all respects by searching, arrives information and synthesis, at the same time; forms a critics view that he can percevie his environment and world. | X | |||||
| 2 | renews, interogates himself continuously in change and development, analyses new information and methods. Besides the contributions secured to musicology, works with the other diciplines and connects relations. | X | |||||
| 3 | takes up music art in many respects like education, esthetics, history; examines it; arrives deductions. | X | |||||
| 4 | follows the renevals in writing musical note and music technology. Has the ability of using technological possibilities in moving traditional music and today’s music to the future. | X | |||||
| 5 | analyses the music culture which is the very important part of national culture in historical perspektive and moves it to future. | X | |||||
| 6 | has the ability of transfering the characteristics of musicology by using the effective communication techniques of public relations to listener who are the expert or not expert. | X | |||||
| 7 | has the ability of using technological possibilities in moving traditional music and today’s music to the future. | X | |||||
| 8 | has the ability of taking up culture with the critics view which popular culture has formed, by resting on scientific information and anaylsing popular culture | X | |||||
| 9 | is candidate for science and art expertise. | X | |||||
| 10 | Besides the theories and solfej of West music, musicologist illuminates the theories and solfej, history, literature of Turkish music by supporting with instrument information. While compassing his own national music and moving it to future, musicologist gives scientific information to examine and compare Europa and world music at adequate level. | X | |||||
| 11 | secures sufficient materials, source and archive support retaled to area. | X | |||||
| 12 | gives methods and tecniques that interrogate, analyse and synthese the themes of musicology. | X | |||||
| 13 | teaches necessary team and informations in writing musical note and music Technologies themes | X | |||||
| 14 | gives social, scientific and ethical rules in the stages of gathering, interpreting and making heard of scientific datums entered musicology. | ||||||
| Değerlendirme Sistemi | |
|---|---|
| Yarıyıl Çalışmaları | Katkı Oranı |
| 1. Ara Sınav | 60 |
| 1. Ödev | 10 |
| 2. Ödev | 10 |
| 3. Ödev | 10 |
| 4. Ödev | 10 |
| Toplam | 100 |
| 1. Yıl İçinin Başarıya | 50 |
| 1. Final | 50 |
| Toplam | 100 |
| AKTS - İş Yükü Etkinlik | Sayı | Süre (Saat) | Toplam İş Yükü (Saat) |
|---|---|---|---|
| Course Duration (Including the exam week: 16x Total course hours) | 16 | 5 | 80 |
| Hours for off-the-classroom study (Pre-study, practice) | 16 | 3 | 48 |
| Mid-terms | 1 | 1 | 1 |
| Assignment | 1 | 4 | 4 |
| Final examination | 1 | 1 | 1 |
| Toplam İş Yükü | 134 | ||
| Toplam İş Yükü / 25 (Saat) | 5,36 | ||
| Dersin AKTS Kredisi | 5 | ||