| Ders Adı | Kodu | Yarıyıl | T+U Saat | Kredi | AKTS |
|---|---|---|---|---|---|
| Instruments III | TMB 205 | 3 | 2 + 1 | 3 | 5 |
| Ön Koşul Dersleri | INSTRUMENT II |
| Önerilen Seçmeli Dersler | --- |
| Dersin Dili | Türkçe |
| Dersin Seviyesi | Lisans |
| Dersin Türü | Zorunlu |
| Dersin Koordinatörü | Dr.Öğr.Üyesi CENGİZ ATLAN |
| Dersi Verenler | Öğr.Gör. KAZIM GÜRKAN, 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 examine the relationship between the elements of Turkish music in terms of each other. To be able to define the instrument. To be able to recognize the authorities and perform the performance. Helping to gain experience with the method. |
| 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 | Works based on technique, attitude and interpretation | Lecture, Drilland Practice, Demonstration, Motivations to Show, Self Study, | Testing, Homework, Performance Task, |
| 2 | Works based on technique, attitude and interpretation | Lecture, Drilland Practice, Demonstration, Motivations to Show, Self Study, | Testing, Homework, Performance Task, |
| 3 | It reaches the ability to accomodate the instrument. | Lecture, Drilland Practice, Demonstration, Motivations to Show, Self Study, | Testing, Homework, Performance Task, |
| 4 | Gives examples of peşrevler. | Lecture, Drilland Practice, Demonstration, Motivations to Show, Self Study, | Testing, Homework, Performance Task, |
| 5 | Analyze the studies related to positions. | Lecture, Drilland Practice, Demonstration, Motivations to Show, Self Study, | Testing, Homework, Performance Task, |
| 6 | Free work makes interpretation. | Lecture, Drilland Practice, Demonstration, Motivations to Show, Self Study, | Testing, Homework, Performance Task, |
| Hafta | Ders Konuları | Ön Hazırlık |
|---|---|---|
| 1 | Buselik maqam | Basic information about buselik makam, information about cruising character, strong string, sequence, general information about cruising character, listening to voice recordings about buselik makaması |
| 2 | Kemençeci Nikolaki's Buselik Peşrev 1st chapter | Listening to the voice recordings of Kemalçeci Nikolaki's voice recordings, researching and listening to the voice recordings related to the buselik voice |
| 3 | Buselik Peşrerevi 2nd chapter with bas sounds | Long sound studies in demos, exercise exercises in 2/4 and 4/4 notes with demos |
| 4 | İsmail Baha Sürelsan's Buselik Song "Güle sor bülbüle sor" | Listening of songs and saz works in buselik makam |
| 5 | Hicaz maqam | Theoretical information about the Hicaz makam, examples of the course, listening to the voice recordings of song samples made in the satirical hajaz |
| 6 | Hicaz divine "Ah Nice Bir Uyursun" | Searching and resting of the idolaters written in the Hijaz makam, determining the similarities and similarities of rhythmical features |
| 7 | Introduction to peshrevs | Getting information about the forms used in Turkish music and determining the forms in which works are produced most |
| 8 | Introduction to saz quarrel | Differences between peşrev and saz semilari, have information about the forms they are used with, studies, researches, listening to voice recordings |
| 9 | Veli Dede's Hijaz Humayun Peşrev | Theoretical information about the Hijaz family's offices, listening to records related to the satanic authority |
| 10 | Refik Fersan's Hijaz Humayun Peşrev | General information about Hicaz humayun makam, stop, strong, row, looking character .. |
| 11 | Köçek Derviş Mustafa Dede Bayati Ayin Fourth Farewell | General information about Mevlevi rites, sections about Mevlevi rites, general information about rhythmic structures |
| 12 | Hica last fast semai | General information about 6/8 procedures and places where these procedures are used |
| 13 | Studies on positions | Use of finger positions, finger numbers and finger positions in 2nd and 3rd level in Ney |
| 14 | Genel Tekrar | This semester, the information learned by working at home and repeating all the theoretical issues |
| Kaynaklar | |
|---|---|
| Ders Notu | Ass.Prof.Süleyman Erguner Ney Method Istanbul 2007, Neyzen Ahmet Kaya Ney Method Istanbul 2003, Cengiz Atlan Lecture Notes |
| 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 | Besides the Turkish music ,while searching the music with all respesct, musicologist also forms a critics view by synthesing the learned information considering requirements of time | X | |||||
| 2 | Musicologist;improves himself as a music person continuously; tries to connect informations and abilities which are appropriate for Professional ethics rules with other science areas | X | |||||
| 3 | examines the music considering its place in the education area, watches cultural developments and take up it in historical process while the music is one arm of the art | X | |||||
| 4 | Because Turkish music carries a nations name, musicologist analizes the trade among the other cultures considering its place and importance in the history. Student moves this to future | X | |||||
| 5 | Culture, history, literature, theories and solfej of Turkish music is supported with instrument information. Musicologist gives sufficient information to move it to future together with its past by compasing his music | X | |||||
| 6 | Musicologist;shows and secures the way of finding necessary document, materials, source and archive related to his own area | X | |||||
| 7 | While musicologist educates students who are candidate for science expertise, he also teaches lessons which have the formation to educate in education area. | X | |||||
| 8 | While learning to analyze our culture with scientific wiew, musicologist also gains the ability to make synthese with other cultures | X | |||||
| 9 | gives the ability to apply esthetic wiew in other art areas by the help of music art | X | |||||
| 10 | secures to have adequate information about applying technology in music area | X | |||||
| 11 | gains the ability of examining universe information related to his own area | X | |||||
| 12 | gains the ability of presenting information to other mass related to his own area. | X | |||||
| Değerlendirme Sistemi | |
|---|---|
| Yarıyıl Çalışmaları | Katkı Oranı |
| 1. Ara Sınav | 70 |
| 1. Performans Görevi (Uygulama) | 10 |
| 2. Performans Görevi (Uygulama) | 10 |
| 3. Performans Görevi (Uygulama) | 10 |
| 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 | ||