| Ders Adı | Kodu | Yarıyıl | T+U Saat | Kredi | AKTS |
|---|---|---|---|---|---|
| Instruments Iv | TBB 210 | 4 | 2 + 1 | 3 | 5 |
| Ön Koşul Dersleri | INSTRUMENT III |
| Önerilen Seçmeli Dersler | ------- |
| Dersin Dili | Türkçe |
| Dersin Seviyesi | Lisans |
| Dersin Türü | Zorunlu |
| Dersin Koordinatörü | Öğr.Gör. KORKUTALP BİLGİN |
| Dersi Verenler | Öğr.Gör. KAZIM GÜRKAN, Prof.Dr. FERDİ KOÇ, Öğr.Gör. TUNCAY KARDAŞ, Öğr.Gör. METİN GÜLSÜN, Öğr.Gör. HAMDİ İTİL, Dr.Öğr.Üyesi CENGİZ ATLAN, Öğr.Gör.Dr. ATALAY DURMAZ, Öğr.Gör. ERHAN BAYRAM, Öğr.Gör. KORKUTALP BİLGİN, Dr.Öğr.Üyesi FUNDA ESİN, Öğr.Gör. ATAKAN MEŞEKIRAN, Arş.Gör. HASAN HÜSEYİN ŞAHİN, Öğr.Gör. MEHMET KÜRŞAD TÜRKAY, |
| Dersin Yardımcıları | -------------- |
| Dersin Kategorisi | Diğer |
| Dersin Amacı |
To be able to comprehend the meaning of the finger numbers that will be seen in the methods used. To handle the aspects of Turkish music in relation to each other. To be able to define the instrument. To be able to recognize the authorities and perform the performance. Helping to gain experience about the method. Learning to read notes made up of various difficulties and mixed types of sequences and methods, learning the methods and sequences used in Turkish Folk Music, doing solfege, dictation and deciphering exercises, comprehending left major finger exercises written for the instrument.
|
| Dersin İçeriği | The introduction of the rhythm, the gripping technique, the playing of simple melodies. Method follow-up, work performance, exercises. Method follow-up, work in progress, exercises. Development of method and instrumentalism, exercises, playing of appropriate works, band dictation exercises, note writing styles. Interpretation of the method and leveling of works suitable for interpretation. Method is follow-up and hunger. Stack of methods and level appropriate works. Finishing the method, playing and developing works based on technique, attitude and interpretation. |
| # | Ders Öğrenme Çıktıları | Öğretim Yöntemleri | Ölçme Yöntemleri |
|---|---|---|---|
| 1 | Explain the meaning of the finger numbers in the Methods Used | Lecture, Drilland Practice, Demonstration, Motivations to Show, Self Study, | Homework, Performance Task, |
| 2 | It deals with the elements of Turkish music in relation to each other. | Lecture, Drilland Practice, Demonstration, Motivations to Show, Self Study, | Testing, Homework, Performance Task, |
| 3 | It explains the forms of these relations in terms of their technical and performance characteristics. | Lecture, Drilland Practice, Demonstration, Motivations to Show, Self Study, | Homework, Performance Task, |
| 4 | A variety of difficulties and mixed types of notes and notes made of sequences and procedures are studied. | Lecture, Drilland Practice, Demonstration, Motivations to Show, Self Study, | Testing, Homework, Performance Task, |
| 5 | Appropriate dictation and decryption exercises are applied. | Lecture, Drilland Practice, Demonstration, Motivations to Show, Self Study, | Testing, Homework, Performance Task, |
| 6 | Analyzes left major finger exercises written for the instrument. | Lecture, Drilland Practice, Demonstration, Motivations to Show, Self Study, | Testing, Homework, Performance Task, |
| Hafta | Ders Konuları | Ön Hazırlık |
|---|---|---|
| 1 | repeat of past semester | Repetition of the topics learned in the previous semester, voice recordings, retraining exercises |
| 2 | Vibrato and decoration studies | efforts to shake the voices of all the stages with the help of a cylindrical tube and lips |
| 3 | Salih Dede's "Acem Aşiran pesrev" | Theoretical information about Acem Aşıran makaması, composed by Acem Aşiran maker, work records, listening to ney taksim |
| 4 | Egyptian Abraham master "Acem Aşiran Saz semai" 1st and 2nd house | 10 Theoretical information about timed artifacts, information about the Egyptian master Ibrahim |
| 5 | Egyptian Ibrahim Efendi "Acem Aşiran Saz Semai" 3rd and 4th House | Elimination of the difficulties in removing 3rd and 4th stage sounds and treble sound in Ney |
| 6 | İsmail Hakkı BeyŞ's "Acem Kürdi Peşrev" | General information about united authorities, theoretical information about the characteristics of Acem kürdi makam |
| 7 | İsmail Hakkı Bey "Acem Kürdi Saz Semai" 1st and 2nd house | Acem kürdi peşrevinin 1.ve 2. hanelerinin solfejinin yapılması, bu bölgede yapılabilecek süslemelerin gözden geçirilmesi |
| 8 | İsmail Hakkı Bey "Acem Kürdi Saz Semai" 3rd and 4th House | Making solfege of the 3rd and 4th digits of Acem kürdi pşrevinin, recording and evaluating the places of the ornaments that can be made in this region |
| 9 | Repeat of learned works | Repetition of the works learned in the courses up to this point by watching them from scratch, preparation of performance on these works at home |
| 10 | Implementation of enforcement techniques | Investigating the schools used in Ney and searching for resources related to it |
| 11 | Implementation of enforcement techniques | Examination of the characteristics of Niyazi Sayın ney school, listening to the records of Ney artists who are raised in this school |
| 12 | Studies on simple ritm | Türk Musikisinde kullanılan basit usullerle ilgili nazari bilgiler |
| 13 | Studies on large rhythm | Theoretical information about large rhythm, research of the works used in these methods, listening to the voice recordings related to them |
| 14 | An overview | Learning and evaluating the subjects learned during this semester |
| Kaynaklar | |
|---|---|
| Ders Notu | Yar.Doç.Süleyman Erguner Ney Method Istanbul 2007, Neyzen Ahmet Kaya Ney Method Istanbul 2003 |
| Ders Kaynakları |
ÖZALP, Nazmi, Turkish Music Forms, TRT, Ankara, Publication no: 239 TRT TSM Archives, Turkish Music Course notes and instrument records, bands
AKDOĞU, Honor, Species and Forms in Turkish Music, İzmir, 1996.
|
| 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. | X | |||||
| Değerlendirme Sistemi | |
|---|---|
| Yarıyıl Çalışmaları | Katkı Oranı |
| 1. Performans Görevi (Uygulama) | 15 |
| 1. Ara Sınav | 55 |
| 2. Performans Görevi (Uygulama) | 15 |
| 3. Performans Görevi (Uygulama) | 15 |
| Toplam | 100 |
| 1. Yıl İçinin Başarıya | 60 |
| 1. Final | 40 |
| Toplam | 100 |
| AKTS - İş Yükü Etkinlik | Sayı | Süre (Saat) | Toplam İş Yükü (Saat) |
|---|---|---|---|
| Course Duration (Including the exam week: 16x Total course hours) | 16 | 3 | 48 |
| Hours for off-the-classroom study (Pre-study, practice) | 16 | 3 | 48 |
| Mid-terms | 1 | 8 | 8 |
| Performance Task (Application) | 3 | 5 | 15 |
| Final examination | 1 | 8 | 8 |
| Toplam İş Yükü | 127 | ||
| Toplam İş Yükü / 25 (Saat) | 5,08 | ||
| Dersin AKTS Kredisi | 5 | ||