| Ders Adı | Kodu | Yarıyıl | T+U Saat | Kredi | AKTS |
|---|---|---|---|---|---|
| Turkısh Musıc Meshk II | TMB 460 | 8 | 2 + 2 | 3 | 5 |
| Ön Koşul Dersleri | |
| Önerilen Seçmeli Dersler | Turkish Music solfege, Turkish Music Repertoire and Rhythm classes must be taken. |
| Dersin Dili | Türkçe |
| Dersin Seviyesi | Lisans |
| Dersin Türü | Seçmeli |
| Dersin Koordinatörü | Öğr.Gör. ERHAN BAYRAM |
| Dersi Verenler | Öğr.Gör. ERHAN BAYRAM, |
| Dersin Yardımcıları | Research Assistant Murat Dilber |
| Dersin Kategorisi | Alanına Uygun Öğretim |
| Dersin Amacı | Teaching and applying meşk system theoretically and practically which has been provided transfering music tradition. Strengthening teacher-student relationship. By improving the relation between memory and particular rhythmic body movements, reducing dependency to musical note writing. |
| Dersin İçeriği | Teaching work organisation of traditional meşk system. Teaching classic peaces by large rhythmic patterns. Talking sessions on lyrics of peaces. Improving the ability to memorize musical structures by establishing connections with rhythmic patterns and syllables. without using musical notes, scores and diction; providing more persistent makam integrity in mind by putting forward the musical intervals of vocalising. |
| # | Ders Öğrenme Çıktıları | Öğretim Yöntemleri | Ölçme Yöntemleri |
|---|---|---|---|
| 1 | Memorizes Sultaniyegah Ağır Semai "Nihan Ettim Seni Sinemde Ey Meypare Cânımsın" and Sultaniyegah Yürük Semai "Şad Eyledi Can ü Dilimi Ruhi Revanım" of Hammaizade İsmail Dede Efendi | Drilland Practice, Motivations to Show, Group Study, Self Study, | Oral Exam, Performance Task, |
| 2 | Learns Çifte Düyek, Hafif, Zencir and Aksak Semai usuls | Drilland Practice, Motivations to Show, Self Study, | Oral Exam, Performance Task, |
| 3 | Memorizes Sultaniyegah peşrev and saz semaisi of Nedim Ağa | Drilland Practice, Motivations to Show, Self Study, | Oral Exam, Performance Task, |
| 4 | Analyses Sultaniyegah taksims of Tanburi Cemil Bey and Niyazi Sayın and add up these to repertory | Drilland Practice, Self Study, | Oral Exam, |
| 5 | Has an absolute information about meşk system, memorizes whole Sultaniyegah takım with its usuls related and Sultaniyegah instrumental works of Nedim Ağa | Lecture, Drilland Practice, Motivations to Show, Group Study, Self Study, | Testing, Performance Task, |
| Hafta | Ders Konuları | Ön Hazırlık |
|---|---|---|
| 1 | Aksak Semai Usulü and working on lyrics of Sultaniyegah Ağır Semai "Nihan Ettim Seni Sinemde Ey Meypare Cânımsın" of Hammamizade İsmail Dede Efendi | Recording of Bekir Sıtkı Sezgin |
| 2 | Performing with usul of Sultaniyegah Ağır Semai "Nihan Ettim Seni Sinemde Ey Meypare Cânımsın" of Hammamizade İsmail Dede Efendi | Recording of Bekir Sıtkı Sezgin |
| 3 | Reviewed performing of Çifte Düyek, Hafif, Zencir and Aksak Semai | Previous preparation references |
| 4 | Yürük Semai Usulü and Sultaniyegah Yürük Semai "Şad Eyledi Can ü Dilimi Ruhi Revanım" of Hammamizade İsmail Dede Efendi | Yürük Semai Usulü and recording of Meral Uğurlu |
| 5 | Improvisation analysis of Sultaniyegah by Tanburi Cemil Bey | Related recording of Tanburi Cemil Bey |
| 6 | Reviewed performing of Previous Sultaniyegah Ağır Semai "Nihan Ettim Seni Sinemde Ey Meypare Cânımsın" and Yürük Semai "Şad Eyledi Can ü Dilimi Ruhi Revanım" | Related previous preparation references |
| 7 | Reviewed performing of previous Sultaniyegah Beste "Can ü Dilimiz Lütfu Keremkar ile mamur" and Sultaniyegah Beste "Misalini ne zemin ü zaman görmüştür" | Previous preparation references |
| 8 | Vize | |
| 9 | Performing of 1. and 2. hane Sultaniyegah Saz Semaisi of Nedim Ağa | Related recording of Necdet Yaşar ve Niyazi Sayın |
| 10 | Performing 3th and 4th hane of Sultaniyegah Saz Semaisi of Nedim Ağa | Recording of Necdet Yaşar ve Niyazi Sayın |
| 11 | A complete reviewed performing of Sultaniyegah Takım of Hammaizade İsmail Dede Efendi including instrumental works. | Related recordings of Aleaddin Yavaşça, Bekir Sıtkı Sezgin, Meral Uğurlu, Niyazi Sayın, Necdet Yaşar and Cüneyt Kosal. |
| 12 | Individual performing of whole repertory | Previous preparation references |
| 13 | Final preparation, review and Sultaniyegah recording of Niyazi Sayın on ney | All preparation references and related recording of Niyazi Sayın |
| 14 | Final |
| Kaynaklar | |
|---|---|
| Ders Notu | |
| Ders Kaynakları |
Behar, Cem. 1993. Zaman, mekan, Müzik: Klasik Türk Musikisinde eğitim (meşk), icra ve Aktarım. AK Printhouse. İstanbul.
Behar, C. (2005): Musikiden Müziğe, Osmanlı / Türk Müziği: Gelenek ve Modernlik. YKY Publishing. İstanbul.
Behar, C. (2016): Aşk Olmayınca Meşk Olmaz. Geleneksel Osmanlı / Türk Müziğinde Öğretim ve İntikal. YKY Publishing. İstanbul.
Delice, S. (1999): Klasik Türk Musikisinde Meşk usulü ve üslup edinimi. Musikişinas, S3. BÜTMK Publishing. İstanbul.
Doğrusöz D.N., Uruş, D. (2012): Trasferring Music by Meşk: Suzidilara Mevlevi Ayini of Sultan Semil III. Journal of Human Sciences. 9(2).
G. Gedik (2005): Bekir Sıtkı Sezgin, Dini Musiki ve Meşk Usulü, Musikişinas, Boğaziçi University, s7, İstanbul.
Karahasanoğlu, S. (2012): Meşk: The Traditional Teaching System of Turkish Music. Journal Of Teaching and Education. 1(7). ISSN: 2165-6266
Paçacı, G. (2010): Osmanlı Müziğini Okumak (Neşriyat-ı Musiki). İstanbul 2010 European Culture Capital Agency, Ministry of Culture and Turism.
|
| 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 | ||||||
| 12 | gains the ability of presenting information to other mass related to his own area. | X | |||||
| Değerlendirme Sistemi | |
|---|---|
| Yarıyıl Çalışmaları | Katkı Oranı |
| 1. Kısa Sınav | 55 |
| 1. Performans Görevi (Uygulama) | 15 |
| 2. Performans Görevi (Uygulama) | 15 |
| 3. Performans Görevi (Uygulama) | 15 |
| 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 | 4 | 64 |
| Hours for off-the-classroom study (Pre-study, practice) | 16 | 3 | 48 |
| Mid-terms | 1 | 2 | 2 |
| Performance Task (Application) | 3 | 3 | 9 |
| Final examination | 1 | 2 | 2 |
| Toplam İş Yükü | 125 | ||
| Toplam İş Yükü / 25 (Saat) | 5 | ||
| Dersin AKTS Kredisi | 5 | ||