| Ders Adı | Kodu | Yarıyıl | T+U Saat | Kredi | AKTS |
|---|---|---|---|---|---|
| The Turkısh Musıc Theory and Solfege (Tfm) I | TBB 206 | 4 | 4 + 2 | 5 | 6 |
| Ön Koşul Dersleri | |
| Önerilen Seçmeli Dersler | |
| Dersin Dili | Türkçe |
| Dersin Seviyesi | Lisans |
| Dersin Türü | Zorunlu |
| Dersin Koordinatörü | Prof.Dr. SERTAN DEMİR |
| Dersi Verenler | Prof.Dr. SERTAN DEMİR, |
| Dersin Yardımcıları | |
| Dersin Kategorisi | Diğer |
| Dersin Amacı |
To be able to learn the maqam structures used in Turkish Folk Music. To be able to write the notarials and durations of the voices heard.
|
| Dersin İçeriği | Starting out from the concepts of people and music; recognizing and applying the values ??of silent and silent periods used in music and recognizing the maqam structures (Hicaz, Huseyni, Saba, Hicazkâr, Nihavend, Rast and Evc) which are frequently used in Turkish Folk Music by acting from the sound changers during this practice and accelerating the reading (deciphering) and to write a note (dictation) to prepare.Sound ranges and some of maqams in Turkish folk music. |
| # | Ders Öğrenme Çıktıları | Öğretim Yöntemleri | Ölçme Yöntemleri |
|---|---|---|---|
| 1 | Compare music and folk concepts. | Lecture, Question-Answer, Discussion, | Testing, Homework, |
| 2 | Uses valid definitions in Turkish Folk Music. | Lecture, Question-Answer, Discussion, Drilland Practice, Brain Storming, Self Study, | Testing, Homework, |
| 3 | Applies basic note information. | Lecture, Question-Answer, | Testing, Homework, |
| 4 | It uses sequences used in Turkish Folk Music. | Lecture, Question-Answer, Drilland Practice, | Testing, Homework, |
| 5 | Analyzes the sequences used in Turkish Folk Music. | Lecture, Question-Answer, Drilland Practice, | Testing, Homework, |
| Hafta | Ders Konuları | Ön Hazırlık |
|---|---|---|
| 1 | What is art ?, What is music ?, What is folk ?, What is a Turk ?, What is the formation process of the Turks? Porte, Voice values of notes, rhythm values of notes | |
| 2 | What to note when solfege is done, sample etudes | Etude 1, 2, 3, 4 |
| 3 | 3-range operation. | Etude 5, 6, 7,8, 9 |
| 4 | Quadrant range operation. A single sound dictation of natural sounds in the La-Re range, and a rhythm dictation of 4, 2 periods. | Etude 10, 11, 12, 13, 14 |
| 5 | 5-interval operation. A single dictaphone consisting of natural sounds in the La-Mi range and a rhythm dictation of 4, 2, 8 periods. | Etude 15, 16, 17, 18, 19 |
| 6 | 6-interval operation. A single dictaphone consisting of natural sounds in the La-Fa range and a rhythm dictation of 4, 2, 8 periods. | Etude 20, 21, 22, 23, 24 |
| 7 | 7-interval operation. A single dictaphone consisting of natural sounds in the La-MSol range and a rhythm dictation of 4, 2, 8 periods. | Etude 25, 26, 27, 28, 29 |
| 8 | Similar to Rast Maqam's use of Turkish folk music. A single voice dictation consisting of natural sounds in 1 octave, and a rhythm dictation of 8 and 16 periods. | Etude 30, 31, 32, 33, 34 |
| 9 | Similar to Hicaz Maqam's use of Turkish folk music. A single voice dictation consisting of natural sounds in 1 octave, and a rhythm dictation of 8 and 16 periods. | Etude 35, 36, 37, 38, 39 |
| 10 | Similar to Evc Maqam's use of Turkish folk music. A single voice dictation consisting of natural sounds in 1 octave, and a rhythm dictation of 8 and 16 periods. | Etude 40, 41, 42, 43, 44 |
| 11 | Similar to Nihavend Maqam's use of Turkish folk music. A single voice dictation consisting of natural sounds in 1 octave, and a rhythm dictation of 8 and 16 periods. | Etude 45, 46, 47, 48, 49 |
| 12 | Similar to Hicazkar Maqam's use of Turkish folk music. A single voice dictation consisting of natural sounds in 1 octave, and a rhythm dictation of 8 and 16 periods. | Etude 50, 51, 52, 53, 54 |
| 13 | Similar to Saba Maqam's use of Turkish folk music. A single voice dictation consisting of natural sounds in 1 octave, and a rhythm dictation of 8 and 16 periods. | Etude 55, 56, 57, 58, 59 |
| 14 | Similar to Hüseyni Maqam's use of Turkish folk music. A single voice dictation consisting of natural sounds in 1 octave, and a rhythm dictation of 8 and 16 periods. | Etude 60, 61, 62, 63, 64 |
| Kaynaklar | |
|---|---|
| Ders Notu | Demir, Sertan, Turkish Folk Music Unpublished Lecture Notes |
| Ders Kaynakları | Demir Sertan (2013); Türk Halk Müziği Solfejine Giriş, Usar Yay., İstanbul. |
| 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. | ||||||
| 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. | ||||||
| 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. Ödev | 5 |
| 1. Ara Sınav | 30 |
| 1. Kısa Sınav | 30 |
| 2. Kısa Sınav | 30 |
| 2. Ödev | 5 |
| Toplam | 100 |
| 1. Final | 50 |
| 1. Yıl İçinin Başarıya | 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 | 6 | 96 |
| Hours for off-the-classroom study (Pre-study, practice) | 16 | 2 | 32 |
| Mid-terms | 1 | 5 | 5 |
| Quiz | 2 | 4 | 8 |
| Assignment | 2 | 2 | 4 |
| Final examination | 1 | 4 | 4 |
| Performance Task (Application) | 1 | 1 | 1 |
| Toplam İş Yükü | 150 | ||
| Toplam İş Yükü / 25 (Saat) | 6 | ||
| Dersin AKTS Kredisi | 6 | ||