Books by Nuh Fikri Soysal
Mehmet Salih İsmayilov 1962 yılında Üzeyir Hacıbeyli’nin Azerbaycan Halk Mûsikîsinin Esasları isi... more Mehmet Salih İsmayilov 1962 yılında Üzeyir Hacıbeyli’nin Azerbaycan Halk Mûsikîsinin Esasları isimli eserine yazdığı mukaddimede Hacıbeyli için “Azerbaycan incesanatının ilerlemesi yolunda geniş faaliyyet gösteren görkemli şahsiyetlerden biridir” diyordu. Araştırmamıza konu olan makâlelerin yazarı da bahsi geçen Azerbaycan mûsikîsinin görkemli şahsiyeti Üzeyir Hacıbeyli’dir. Hacıbeyli’nin makâlelerine muğam araştırmamız sırasında Ahundova kütüphanesinde rastladık. Orijinal baskılar özenle korunuyordu. İlgili makâleler kiril harflerine çevrilmesine karşın araştırmalarımız henüz latin harflerine çevrilmediğini gösteriyordu. Bu önemli makâlelerin günümüz araştırmacılarının başvurusuna sunulması gerektiği ortada idi. Ayrıca sadece araştırmacılar adına değil günümüz gençlerinin okuyabileceği duruma getirilmeliydi. Biz de bu makâleleri elimizden geldiği kadarıyla hem şerhini hem latinize işlemlerini gerçekleştirmeye çalıştık. Amacımız öncelikle makâleleri latinize etmek sonra çok gerekli gördüğümüz hususları detaylandırarak basit bir şerhini yapmak olarak düşünülmesi iyi olacaktır. Zaten her makâle başlı başına bir araştırma konusudur. Buna binaen müellifin verdiği bilgilere basit bir şerh ile açıklık kazandırarak dikkatleri konuya çekmek istedik. Biz Azerbaycan mûsikîsi araştırmaları için yolun başında sayılırız bundan dolayı cüretimizi gençliğimize, hatalarımızın ise yolun başında olmamıza sayılacağını umut ediyoruz. Özetle önemli bir şahsiyetin Türk mûsikîsi adına önemli makâlelerini çalışmak bilim dünyası adına gerekli, bizler adına bir fırsat ve gurur vericiydi. İlgili makâleler 1926 yılında Edebiyat Cemiyeti tarafından çıkarılan Maarif ve Medeniyet Mecmuası’nın güzel sanatlar bölümünde yayınlanmıştır. Hacıbeyli güzel, akıcı ve anlaşılır bir Türkçe ile makâlelerini kaleme almıştır.
1. 1926 sayı 1 (24) Yanvar (Ocak), “Azerbaycan Mûsikî Hayatına Bir Nazar” s.27-30
2. 1926 sayı 2-3 (25-26) Fevral (Şubat), s.23-26, “Azerbaycan Mûsikî Hayatına Bir Nazar (2. makâle)”
3. 1926 sayı 4 (27), Nisan, s.31-33, “Şark Mûsikî ve Garb Mûsikî Aleti”
4. 1926 sayı 5-6 (28-29) s. 25-26, “Mûsikîde Tercüme”
5. 1926 sayı 7(30), Temmuz, s.30-33, “Şark Mûsikîsi Hakkında Garb Âlimlerinin Tefsiri”
Makâlelerde Azerbaycan Türklerinin mûsikî ile münasebeti, mûsikînin helal-haram meselesi, dinî merasimler, mersiye, növhe, şebih, telli, nefesli ve ritim çalgıları, Avrupa’nın majör ve minör tonları, şark mûsikîsini batı çalgılarıyla icrâ etmenin mümkün olup olmadığı, icrâ edilirse istenilen sonuçların elde edilip edilemeyeği gibi hususlar üzerinde durulmuştur. Bu eseri öncelikle Azerbaycan’a, Müzikoloji alanına, araştırmacılara, meraklılarına, günümüz gençlerine sunmaktan gurur duyuyoruz. Çok kıymetli dostum mûsikîşinas Dr. Azer Abdurrahman’a tashih ve önemli tavsiyeleri için sonsuz minnet ile teşekkür ederiz. Son olarak İSAM’a, Ahundova Kütüphanesi’ne, Çiğdem Toker’e, Doç. Dr. Elçin Eneciyev’e ve Prof. Dr. Süreyya Agayeva’ya teşekkür ederiz.
Dr. Fikri SOYSAL Dr. Hikmet TOKER
Diyarbakır - 2014
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Papers by Nuh Fikri Soysal
Azerbaycan Rast Mugami cetvelinin 1920 yilindan beri Batililasma sureci neticesinde degisimi ve s... more Azerbaycan Rast Mugami cetvelinin 1920 yilindan beri Batililasma sureci neticesinde degisimi ve sadelesmesi, gunumuzde bilinen subelerin icinde bulunan ve ayrintida kalmis muzikal ifade ve cumlelerin ne oldugu ve nasil algilanmasi gerektigi onemli konulardir. Bu meselelerin sistematik muzikoloji icinde nasil sistemlesmesi gerektigi, metodolojik ihtiyaclarin neler oldugu, ayrica ele alinmasi ve cozum getirilmesi gereken hususlar olarak karsimiza cikmaktadir. Muzikal cumle ve ifadelere verilen isimler, analitik makam dusuncesinin eksikligi, Batililasma surecinde kendi oz musiki arastirmalarinin geri kalmis ve tahrif edilmis olmasi, Azerbaycan Rast Mugami hakkinda gunumuzde yapilan arastirmalarin yetersizliginin onemli sebepleri olarak siralanabilir. Turkiye ile Azerbaycan’in muzikal kulturunun ayni olmasi, muzikal dokusunda benzer ifadelerin bulunmasi, ayni nazariyeye tabi olmalari, Turk Musikisi uzerine yapilan muzikolojik arastirmalarda ve kadim nazari eserleri anlamada mugamlarin o...
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Rast Müzikoloji Dergisi
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Rast Müzikoloji Dergisi
One of the issues waiting to be developed methodologically in our music, which is a separate scie... more One of the issues waiting to be developed methodologically in our music, which is a separate science with its maqam and methods, is the education of unmetered folk songs. Nowadays, there is still no methodological thought developed to teach unmetered folk songs. Therefore, each thought about this need is important. Methodological education of unmetered folk songs has been developed according to enthusiasts with musical literacy. Methodological education of unmetered folk songs consists of the headings of the recognition of rhythmic patterns, rhythmic reading, education of hearing, solfege, pleasant singing study, and in-depth text interpretation. Rhythmic recognition will provide the education of getting the information required for the transition to rhythmic reading, rhythmic reading, and solfege. It is aimed to systematize the education of unmetered folk songs in Turkish folk music and to provide it with a methodological order. Thus, methodological education of unmetered folk songs is considered to make a significant contribution to the field of Turkish folk music in music schools.
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Rast Müzikoloji Dergisi
Music has different functions, such as being a communication tool, in human life. It may sometime... more Music has different functions, such as being a communication tool, in human life. It may sometimes apply to people who have the same culture and language, and it may also apply to people who are from different cultures or who speak different languages. Folk music and art music are also communication tools of Turkish society. Folk music is considered as rural music, and art music is considered as urban music, and they are generalized to the population. However, a study should represent the population so that it can be generalized to the population. There are no adequate studies on folk music. Moreover, it is considered that acting as if Turkish music consists of Anatolia does not produce accurate results. In this study, it will be revealed that Turkish folk music has an artistic structure through the example of the Azerbaijani mugham form. The mugham form is a systematic musical form. The succession of sections is not accidental. On the contrary, each section occurs in a certain musical function relationship.
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Rast Müzikoloji Dergisi
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rast müzikoloji dergisi, 2014
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The Journal of Academic Social Science Studies, 2012
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Even though learning music can seem rather easy thanks to the popular methods in use today, such ... more Even though learning music can seem rather easy thanks to the popular methods in use today, such as those of Dalcroze, Kodaly and Orff, new technologies and well-qualified teachers, music theory lessons in elementary schools remain boring, dull and unattractive to students; they are difficult to understand and easy to forget. This also means that conducting the lesson can be boring for the teacher too. Here a new proposal is made for the solution to these problems, employing new approaches and methods; and an activity is devised in order to make the lesson an enjoyable experience. The idea of ‘Teaching Music Theory in an Effective and Amusing Way’ is to use the activity of drawing pictures with hand-written musical notations. The present research aims to determine, in scientific terms, how the method functions and what kind of learning outcomes and skills children may acquire by reviewing the research conducted in the fields of child development and educational psychology. The results of practices in the 1st, 2nd, 3rd and 4th grades of elementary schools are here analyzed. It is known that the development of children’s visual and auditory cortexes is at its maximum level at the age of 2 and 3(Nathan et al., 1999, p.15-17). A student ideally should be prepared for elementary school by learning to draw, attending concerts and experiencing some education in musical instruments in the preschool period. These students, and even students who have never had any preschool education, may vastly gain from a method of teaching music theory that is effective and enjoyable, by drawing pictures with hand-written musical notes. For instance, imagine that while starting a music theory lesson with a group of students aged 6-7 years old, a treble clef is drawn on the first page. Two eyes, two hands and a smiling face are drawn on the treble clef.
Figure 1: The treble clef with two eyes, two hands and a smiling face.
This example excites students. The method of ‘Teaching Music Theory in an Effective and Amusing Way’ aims to make students apprehend written musical symbols before teaching them their meanings. Drawing is a pleasure for children. The game of drawing symbolic pictures can be considered as the reflection of intellectual images on paper. In symbolic games, children can represent important experiences that they have never before assimilated and they can properly assess the experience. The pleasure taken in the game results from the fact that the player can have the same experiences but change it according to his/her delight(Piaget and Inhalder 1971). From this perspective, it is possible to provide an effective and enjoyable way of learning if we can convey the correct image to children via drawing.
Key Words: Musical Education, Method, Approach, Child, Painting, Early Learning, Elementary Education
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Journal by Nuh Fikri Soysal
Rast Musicology Journal (Rast) is a regional refereed journal which draws its contributions from ... more Rast Musicology Journal (Rast) is a regional refereed journal which draws its contributions from a wide community of researchers. The main focus of the Rast is firmly the analysis of Turkish music including Turkic world, eastern and Islamic civilization. Additionally, RAST provides a forum for cross-cultural investigations and discussions relating to all areas of musicology. Furthermore, Rast is a multidisciplinary journal devoted to issues and practices in music research.
Bookmarks Related papers MentionsView impact
Rast Musicology Journal (Rast) is a regional refereed journal which draws its contributions from ... more Rast Musicology Journal (Rast) is a regional refereed journal which draws its contributions from a wide community of researchers. The main focus of the Rast is firmly the analysis of Turkish music including Turkic world, eastern and Islamic civilization. Additionally, RAST provides a forum for cross-cultural investigations and discussions relating to all areas of musicology. Furthermore, Rast is a multidisciplinary journal devoted to issues and practices in music research.
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Rast Musicology Journal (Rast) is a regional refereed journal which draws its contributions from ... more Rast Musicology Journal (Rast) is a regional refereed journal which draws its contributions from a wide community of researchers. The main focus of the Rast is firmly the analysis of Turkish music including Turkic world, eastern and Islamic civilization. Additionally, RAST provides a forum for cross-cultural investigations and discussions relating to all areas of musicology. Furthermore, Rast is a multidisciplinary journal devoted to issues and practices in music research.
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Books by Nuh Fikri Soysal
1. 1926 sayı 1 (24) Yanvar (Ocak), “Azerbaycan Mûsikî Hayatına Bir Nazar” s.27-30
2. 1926 sayı 2-3 (25-26) Fevral (Şubat), s.23-26, “Azerbaycan Mûsikî Hayatına Bir Nazar (2. makâle)”
3. 1926 sayı 4 (27), Nisan, s.31-33, “Şark Mûsikî ve Garb Mûsikî Aleti”
4. 1926 sayı 5-6 (28-29) s. 25-26, “Mûsikîde Tercüme”
5. 1926 sayı 7(30), Temmuz, s.30-33, “Şark Mûsikîsi Hakkında Garb Âlimlerinin Tefsiri”
Makâlelerde Azerbaycan Türklerinin mûsikî ile münasebeti, mûsikînin helal-haram meselesi, dinî merasimler, mersiye, növhe, şebih, telli, nefesli ve ritim çalgıları, Avrupa’nın majör ve minör tonları, şark mûsikîsini batı çalgılarıyla icrâ etmenin mümkün olup olmadığı, icrâ edilirse istenilen sonuçların elde edilip edilemeyeği gibi hususlar üzerinde durulmuştur. Bu eseri öncelikle Azerbaycan’a, Müzikoloji alanına, araştırmacılara, meraklılarına, günümüz gençlerine sunmaktan gurur duyuyoruz. Çok kıymetli dostum mûsikîşinas Dr. Azer Abdurrahman’a tashih ve önemli tavsiyeleri için sonsuz minnet ile teşekkür ederiz. Son olarak İSAM’a, Ahundova Kütüphanesi’ne, Çiğdem Toker’e, Doç. Dr. Elçin Eneciyev’e ve Prof. Dr. Süreyya Agayeva’ya teşekkür ederiz.
Dr. Fikri SOYSAL Dr. Hikmet TOKER
Diyarbakır - 2014
Papers by Nuh Fikri Soysal
Figure 1: The treble clef with two eyes, two hands and a smiling face.
This example excites students. The method of ‘Teaching Music Theory in an Effective and Amusing Way’ aims to make students apprehend written musical symbols before teaching them their meanings. Drawing is a pleasure for children. The game of drawing symbolic pictures can be considered as the reflection of intellectual images on paper. In symbolic games, children can represent important experiences that they have never before assimilated and they can properly assess the experience. The pleasure taken in the game results from the fact that the player can have the same experiences but change it according to his/her delight(Piaget and Inhalder 1971). From this perspective, it is possible to provide an effective and enjoyable way of learning if we can convey the correct image to children via drawing.
Key Words: Musical Education, Method, Approach, Child, Painting, Early Learning, Elementary Education
Journal by Nuh Fikri Soysal
1. 1926 sayı 1 (24) Yanvar (Ocak), “Azerbaycan Mûsikî Hayatına Bir Nazar” s.27-30
2. 1926 sayı 2-3 (25-26) Fevral (Şubat), s.23-26, “Azerbaycan Mûsikî Hayatına Bir Nazar (2. makâle)”
3. 1926 sayı 4 (27), Nisan, s.31-33, “Şark Mûsikî ve Garb Mûsikî Aleti”
4. 1926 sayı 5-6 (28-29) s. 25-26, “Mûsikîde Tercüme”
5. 1926 sayı 7(30), Temmuz, s.30-33, “Şark Mûsikîsi Hakkında Garb Âlimlerinin Tefsiri”
Makâlelerde Azerbaycan Türklerinin mûsikî ile münasebeti, mûsikînin helal-haram meselesi, dinî merasimler, mersiye, növhe, şebih, telli, nefesli ve ritim çalgıları, Avrupa’nın majör ve minör tonları, şark mûsikîsini batı çalgılarıyla icrâ etmenin mümkün olup olmadığı, icrâ edilirse istenilen sonuçların elde edilip edilemeyeği gibi hususlar üzerinde durulmuştur. Bu eseri öncelikle Azerbaycan’a, Müzikoloji alanına, araştırmacılara, meraklılarına, günümüz gençlerine sunmaktan gurur duyuyoruz. Çok kıymetli dostum mûsikîşinas Dr. Azer Abdurrahman’a tashih ve önemli tavsiyeleri için sonsuz minnet ile teşekkür ederiz. Son olarak İSAM’a, Ahundova Kütüphanesi’ne, Çiğdem Toker’e, Doç. Dr. Elçin Eneciyev’e ve Prof. Dr. Süreyya Agayeva’ya teşekkür ederiz.
Dr. Fikri SOYSAL Dr. Hikmet TOKER
Diyarbakır - 2014
Figure 1: The treble clef with two eyes, two hands and a smiling face.
This example excites students. The method of ‘Teaching Music Theory in an Effective and Amusing Way’ aims to make students apprehend written musical symbols before teaching them their meanings. Drawing is a pleasure for children. The game of drawing symbolic pictures can be considered as the reflection of intellectual images on paper. In symbolic games, children can represent important experiences that they have never before assimilated and they can properly assess the experience. The pleasure taken in the game results from the fact that the player can have the same experiences but change it according to his/her delight(Piaget and Inhalder 1971). From this perspective, it is possible to provide an effective and enjoyable way of learning if we can convey the correct image to children via drawing.
Key Words: Musical Education, Method, Approach, Child, Painting, Early Learning, Elementary Education
https://dergipark.org.tr/en/pub/rastmd
The aims of RAST are:
To publish original, well-designed, peer-reviewed research on issues in Musicology.
To underline the importance of evidence-based research in changing practices.
To present a forum for discussing current issues in music research.
While research on all types of music researches is encouraged, one special research interest of this journal is in the analysis of Turkish music including Turkic world, eastern and Islamic civilization music.
To provide review articles on topics of major importance in a systematic perspective of musicology.
Rast Musicology Journal (Rast) is a regional refereed journal which draws its contributions from a wide community of researchers. The main focus of the Rast is firmly the analysis of Turkish music including Turkic world, eastern and Islamic civilization. Additionally, RAST provides a forum for cross-cultural investigations and discussions relating to all areas of musicology. Furthermore, Rast is a multidisciplinary journal devoted to issues and practices in music research. The main contributors of RAST are musicologists, professionals musicians, music educators, social scientists and specialists from the other scientific disciplines such as medicine, literature, law, history, public health, ethnography, culture, philosophy, sociology, and psychology. The journal is concerned with the dissemination of ideas relating to practical and theoretical developments in the field.
The aims of RAST are:
To publish original, well-designed, peer-reviewed research on issues in Musicology.
To underline the importance of evidence-based research in changing practices.
To present a forum for discussing current issues in music research.
While research on all types of music researches is encouraged, one special research interest of this journal is in the analysis of Turkish music including Turkic world, eastern and Islamic civilization music.
To provide review articles on topics of major importance in a systematic perspective of musicology.
Arslan, F. (2016). Muhibban’ın “Nefes”leri. Rast Müzikoloji Dergisi, 4(3), 1396-1423. doi:10.12975/rastmd.2016.04.03.00095
Avşar, M., & Kolukırık, K. (2016). Tokatlı Halk Şairi Ve Mahallî Sanatçı Eşref Tonbuloğlu’nun Halk Müziği Formundaki On Eserinin Müzikal Çözümlemelerinin Yapılması. Rast Müzikoloji Dergisi, 4(3), 1305-1326. doi:10.12975 /rastmd. 2016.04.03.00090
Əliyeva, N. (2016). Taxta Nəfəs Alətləri Üçün Yazılmış Azərbaycan Milli Musiqisi İşləmələrində Rəna Qədimova’nın Dəsti Xətti. Rast Müzikoloji Dergisi , 4 (3), 1424-1429 Doi:10.12975/rastmd.2016.04.03.00096.
Gürel, M. (2016). Hakkı Derman’a Ait Bâyati Keman Taksiminin Analizi. Rast Müzikoloji Dergisi, 4(3), 1367-1395. doi:10.12975 /rastmd.2016.04.03.00094
Işık, S. T. (2016). Çalgılarda Kültürel Temsil. Rast Müzikoloji Dergisi, 4(3), 1299-1304. doi:10.12975 /rastmd.2016.04.03.00089
Karaca, T., & Akdağoğlu, T. (2016). Vech-i Arazbar Makamının, Dönemlere Ve Elde Edilen Kaynakçalardan Edinilen Bilgilere Göre İncelenmesi. Rast Müzikoloji Dergisi, 4(3), 1327-1337. doi:10.12975 /rastmd.2016.04.03.00091
Özdemir, E. (2016). Performans Teori, Âşık Fasılları Ve Doğaçlama. Rast Müzikoloji Dergisi, 4(3), 1357-1366. doi:10.12975/rastmd.2016.04.03.00093
Önal, F., & Seçkin, Y. (2016). Gaziantep’te Unutulmuş Bir Meşk Geleneği:İkindi sazı. Rast Müzikoloji Dergisi, 4(3), 1293-1298 . doi:10.12975 /rastmd.2016.04.03.00088
Satır, Ö. C. (2016). Çorum Ve Çevresinde Yaşatılan Zâkirlik Geleneği. Rast Müzikoloji Dergisi, 4(3), 1338-1356. doi:10.12975 /rastmd.2016.04.03.00092
Uslu, R. (2016). Urmevi’nin Müzik Anlatımında Kadim Altı-Parmak-Konum Metodu Ve Perde Transkripsiyon Çözümü. Rast Müzikoloji Dergisi, 4(3), 1281-1292. doi:10.12975/rastmd.2016.04.03.00087
Axundova, E. (2016). Əl-Fərabi Yaradıcılığında Elmi-Tətbiqi Musiqi Nəzəriyyəsi. Rast Müzikoloji Dergisi, 4(2), 1254-1258. doi:10.12975/rastmd.2016.04.02.00084
Əhmədov, Ə. (2016). Azərbaycanda xanəndəlik sənətinin İnkişaf xüsusiyyətləri. Rast Müzikoloji Dergisi, 4(2), 1217-1224. doi:10.12975/rastmd.2016.04.02.00079
Əmirbəyova, V. (2016). Вопрос Художественного Содержания Музыки В Творчестве Фикрета Амирова. Rast Müzikoloji Dergisi, 4(2), 1225-1228. doi:10.12975/rastmd.2016.04.02.00080
Əzizova, S. (2016). Azərbaycan Xalqının Toy Mərasim Musiqisi. Rast Müzikoloji Dergisi, 4(2), 1211-1216. doi:10.12975/rastmd.2016.04.02.00078
Özden, E. (2016). Effective Learning and Teaching Strategies for Ney Classes for the 9st and 10nd Grades of Fine Arts High Schools. Rast Müzikoloji Dergisi, Bakü Özel Sayısı, 4(2), 11185-1194. doi:10.12975/rastmd.2016.04.02.00074
HAZRAİ, B., (Çev. SEZİKLİ, U., & SALMANİ, M.) (2016). Abdülkadir Merâğî’ye Göre Telin Taksimi ve Sazin Perdelere Ayrilmasi. Rast Müzikoloji Dergisi, 4(2), 1266-1280. doi:10.12975/rastmd.2016.04.02.00086
Kazımova, Ü. (2016). Azər Dadaşov'un Fortepiano Sonatin Alarinda Milli Üslub Xüsusiyyətləri Və Müasir Yazi Texnikasi. Rast Müzikoloji Dergisi, 4(2), 1244-1253. doi:10.12975/rastmd.2016.04.02.00083
Məmmədova, G. (2016). Dar və Orta Həcmli Ladlara Əsaslanan Azərbaycan Mahnılarının İnkişafı. Rast Müzikoloji Dergisi(4), 1259-1265. doi:10.12975/rastmd.2016.04.02.00085
Növrəsli, A. (2016). Aqşin əlizadə yaradiciliğinda yeni təmayüllərin əksi(müvafiq əsərlər nümunəsində). Rast Müzikoloji Dergisi, 4(2), 1200-1204. doi:10.12975/rastmd.2016.04.02.00076
Qulamova, N. (2016). XX əsrdə muğamın ənənəvi tədrisində proqramların əhəmiyyəti. Rast Müzikoloji Dergisi, 4(2), 1236-1243. doi:10.12975/rastmd.2016.04.02.00082
Rzayeva, M. (2016). Tofiq Quliyev’in Dram Əsərlərinə Bəstələdiyi Musiqi(A. Saqareli’nin “Xanuma” Pyesinə Yazılmış Musiqinin Bəzi Dramaturji Xüsusiyyətləri). Rast Müzikoloji Dergisi, 4(2), 1195-1199. doi:10.12975/rastmd.2016.04.02.00075
Verdiyeva, G. (2016). Azərbaycan muğamı və Özbək şaşmakomunun müqayisəli tədqiqi məsələləri. Rast Müzikoloji Dergisi, 4(2), 1205-1210. doi:10.12975/rastmd.2016.04.02.00077
Zöhrabov, L. (2016). Bülbül Ve Halk Müziği. Rast Müzikoloji Dergisi, 4(2), 1229-1235. doi:10.12975/rastmd.2016.04.02.00081
Turan, N. S., & Işıktaş, B. (2016). The Deadlock of Nation-state: The Problem of Nationalisation of Music During the Early Republican Era in Turkey. Rast Müzikoloji Dergisi, 4(1), 1076-1092. doi:10.12975/rastmd.2016.04.01.00065
Özden, E. (2016). Music in Ottoman Higher Education. Rast Müzikoloji Dergisi, 4(1), 1093-1099.
Birson, A. M. (2016 ). Issues of Musical Identity During The Foundation of The Turkish Republic (1923-1950). Rast Müzikoloji Dergisi, 4(1), 1100-1110
Işıktaş, B. (2016). “Mûsikî İnkilâbı”nı Osmanlı-Türk Modernleşmesinin Kültürel ve Siyasi Mirasi Olarak Yorumlamak. Rast Müzikoloji Dergisi, 4(1), 1111-1126. doi:10.12975/rastmd.2016.04.01.00068
Söylemez, M. (2016). Bestekâr Koca Osman. Rast Müzikoloji Dergisi, 4(1), 1127-1134. doi:10.12975/rastmd.2016.04.01.00069
Özağaç, M. (2016). Türk Tasavvuf Mûsikisi İlâhilerine Yapısalcı Bir Yaklaşım: “İrfân-ı Aşk” Albümü Örneği. Rast Müzikoloji Dergisi, 4(1), 1135-1141.. doi:10.12975/rastmd.2016.04.01.00070
Köprülü, G. (2016). Benâî ve Mûsikî Risalesinde Makam Kavramı. Rast Müzikoloji Dergisi, 4(1), 1142-1152. doi:10.12975/rastmd.2016.04.01.00071
Özdemir, E. (2016). Sosyo-Kültürel Bir Müzik İcra Ortamı Olarak Âşık Kahveleri ve Bursa Âşıklar Kahvesi. Rast Müzikoloji Dergisi, 4(1), 1153-1165. doi:10.12975/rastmd.2016.04.01.00072
Turgay, N. Ö., & Ayangil, R. (2016). Fasıl Müziği İcrasında Nota Dışı Farklılıklar. Rast Müzikoloji Dergisi, 4(1), 1165-1184. doi:10.12975/rastmd.2016.04.01.00073
Sâhibzâde Mehmed Şevket Efendi’nin Medhal-ı Mûsikî Ve Telhîs-i Mûsikî Eserlerinde Yer Alan Ilâhiler Çamlı, Ş. 889-902
Cahangir Cahangirovun Yaradıcılığında Mahnı Janrının Rolü Əhmədova, D. 1031- 1036
Xəyyam Mirzəzadənin Estrada və Simfonik Orkestr Üçün Yazilmiş “Take Five” Suitasının Təhlilinə Dair Əliyeva, A. 1043 - 1051
Azərbaycan’ın Orta Əsr Kamança İfacıları Əsədullayev, T. 837-842
Azərbaycan Operası və Xanəndəlık Sənətı Əsgərova, V. 909-914
Geleneksel Türk Çalgı Müziği Üst Düzey İcracılarının Performans Gelişim Süreçleri Üzerine Bir Araştırma Göksu, A. 1020- 1030
Bileşik Makâm Bûselik İrden, S. 813-827
Tanburî Cemil Bey’in Taksîm İcralarında Hüseynî Makamı ve Arel Nazariyatına Göre Bir Karşılaştırma Işıldak, C. K., & Geboloğlu, B. 994 - 1007
Hûzî Makaminin Tarihsel Süreçlere Göre Değişim Çizgileri Üzerine Karaca, T. 953- 968
Dini Musiqi və Bəstəkar Yaradıcılığının Qarşılıqlı Təsirinin Tədqiqi Məsələləri Kərimova, R. 864-870
Amasyali Mevlidhân Haci Asiye Akbaş Hanimefendi Ve Kendisinden Derlenen Amasya İlâhîleri Koca, F. 930-952
Niyazi Sayin’in Üslup ve Tavrini Yansitan Artikülasyon Ögeleri Köroğlu, N. O., & Ahmethan, N. B. 847-863
Azerbaycan'da Lirik Operaların Tür Çeşitliliği
Maharramova, I. 871-876
Sabir Əliyev “Məktəb”inin Layiqli Davamçısı Mustafayeva, T. 976-982
Mecmua-i Saz u Söz’de Hafiz Post İzleri Söylemez, M. 920-929
Aşiklik Geleneğinde Kullanilan “Makam” Kavrami Üzerine Müzikal Bir Değerlendirme Sümbüllü, H. T. 828-836
Şüştər və Humayun Muğamların Müqayisəli Araşdırılması Şıxəliyeva, Ş. 983-988
Ney Açkısında Geleneksellik Tartışmaları ve Neyzen Niyazi Sayın Sistemi Tan, A. 804-812
İslam Rzayevin İfasinda “Çahargah” Azərbaycan Muğam Dəstgahinin Təfsiri Verdiyeva, S. 969-975
Hamparsum Defterinden Günümüze “Musi’nin Sazkar Saz Semaisi” Yener, M. 887-888
Bəstəkar Oqtay Kazımının Simfonik Yaradıcılığında “Şəhidlər” Simfoniyasi Yusifova, T. 1008 - 1019
Mısır Xalq Mahnılarının Formaları Zedan, M. 780-803
Роль женщин-исполнителей в 100 летней сценической жизни оперы-мугама «лейли и меджнун» Алиева, Г. 915-919
Кантата Для Солиста, Хора И Инструментального Сопровождения «Вы Открыли Путь» У.Иманова, На Слова М.Магеррамова Гумбатов, В. 1052-1056
Творчество шафиги ахундовой гумматова, Н. 843-846
Роль Mенеджмента в Cтановлении Cовременной Mузыкальной Kультуры Гусейнова, Р. 903-908
Взгляд на творческий стиль Рамиза Миришли Шахмамедова, Н. 989- 993
Güçtekin, N. (2015). İlk Türk Mûsikî Cemiyeti: Dârülmûsikî-i Osmanî Cemiyeti (Mektebi) Ve Faaliyetleri (1908-1914). Rast Müzikoloji Dergisi, 3(1), 42-58. doi:http://dx.doi.org/10.12975/rastmd.2014.02.01.00034
Özden, E. & Bülbül, A. (2015). Music Societies That Belonged to the Minorities in the Ottoman Empire. Rast Musicology Journal, 3(1), 101-110. doi:http://dx.doi.org/10.12975/rastmd.2014.02.01.00037
Rowson, E. K. (Çev. Ahmet Hakkı Turabi, Erhan Özden) (2015). İlk Dönem Medîne'de Efemineler. Rast Müzikoloji Dergisi, 3(1), 1-31. doi:http://dx.doi.org/10.12975/rastmd.2014.02.01.00032
Tıraşçı, M. (2015). Keşfü'l-Hümûm Ve'l-Kürab Fî Şerhi Âleti't-Tarab İsimli Anonim Musiki Eserinde Çalgılar. Rast Müzikoloji Dergisi, 3(1), 59-79. doi:http://dx.doi.org/10.12975/rastmd.2014.02.01.00035
Toker, H. (2015). Courtier Minstrels. Rast Musicology Journal, 3(1), 80-100. doi:http://dx.doi.org/10.12975/rastmd.2014.02.01.00036
Uslu, R. (2015). Ünlü Müzisyen Abdülkadir Meragi Hakkında Yeni Bulgular. Rast Müzikoloji Dergisi, 3(1), 32-41. doi:http://dx.doi.org/10.12975/rastmd.2014.02.01.00033
Bahar Sayısı Hakkında
Kapak tasarımı, Websitesi güncelleme, Doi Ataması, İç Tasarım, Kurucu, Baskı,
Kurucu ve Baş Editör: Fikri Soysal
Bahar Sayısı Editörü: Erkan Yürümez
Bu dergide yayınlanan bütün makaleler birbirinden bağımsız alanının uzmanı iki hakem tarafından incelendikten sonra yayınlanabilir raporuna istinaden yayına kabul edilmektedirler. Yılda iki kez çıkarılmaktadır. Ancak bu sayı Rast Müzikoloji Dergisinin alacağı karar ile artabilir.
Website: www.rastmd.com, Yayınlanma Tarihi:17 Nisan 2015, Tokat, Türkiye,
Telif Hakları Rast Müzikoloji Dergisine Aittir © 2015 Atıf yapılmadan kullanılamaz.
Dergimiz uluslararası olup, EBSCO, RILM indekslerince taranmaktadır.
About Spring Issue
Cover Design, Website, Registration of DOIs, Print Editor, Founder and
Editor-In-Chief: Fikri Soysal
Contributing Editor: Erkan Yürümez
Submitted papers are examined with respect to originality, concept, academic
quality, methodology, social benefit, evidence and intellectual framework By
Reviewers.
Double-blind Journal
Rast Musicology Journal is published semi-annualy (Spring and Fall)
Visit Website: www.rastmd.com, Publication Date: 2015, Tokat, Turkey.
Copyright © 2015 by Rast Musicology Journal
Cilt III, Sayı 1 (2015), Bahar Sayısı, 17 Nisan 2015
Tokat, Türkiye
Volume III, Issue 1 (2015), Spring
Tokat, Turkey
Asst. Prof. Nuri Güçtekin, in his article, Ismail Hakki Bey and the First Private Music School in the Ottoman State: The School of Ottoman Music (1910-1920), explains the establishment process of the institution and its contributions to the field of Turkish Music in light of the information obtained from the first-hand sources. Author also presents the biography of İsmail Hakkı Bey, the founder of the school, with the additional data from archive documents that had never been published before. In virtue of these new information, we now have some untold anectodes about the life of İsmail Hakkı Bey.
In another significant article, Asst. Prof. Ali Tan and Demet Uruş analyze the differences between the six notated versions of Itrî’s composition of the Mevlevi Ayin in maqam Segâh. Based on this analysis, the authors examine the reasons behind these differences and the placement of notation within the realm of Turkish music performance.
The article, Usûl Hymns in Turkish Religious Music, written by Asst. Prof. Mehmet Nuri Uygun of Marmara University Department of Turkish Religious Music, examines in great detail the musical structure and performance style of this particular form of religious music.
In the last article of this issue, The Place and Importance of Notacı Hacı Emin Bey's Book "Nota Muallimi" in the History of Turkish Music Education” written by Asst. Prof. Gökhan Yalçın examines the Notacı Hacı Emin Bey’s book, “Nota Muallimi” and exhibits how music texts are used in Turkish music education. The author also addresses the issue of notation of several compositions that are deemed fundamental to the history of Turkish music theory and emphasizes the importance of the book “Nota Muallimi” using the information about these compositions.
Prof. Nilgün Doğrusöz and Asst. Prof. Esra Karaol in “Mısırlı Ahmet Technique And Its Performance Analysis On The Clay Darbuka”, methodize this particular technique through the composition analyses with the help of special symbols defining the strokes made on the instrument. Asst. Prof. Fikri Soysal and Mustafa Uğurlu Aslan have studied on the Hâfız Abdülbâkî’s lyrics journal written in 1774, a handwritten manuscript containing lyrics to 328 musical pieces and a makam index on an illuminated zahriyepage and introduce it to the field of musicology.
Teaching Asst. Bilen Işıktaş in his study “From (Non)Enlightenment To Commodity”: On the Relationship Between Individual and Music During the Enlightenment, discusses the relationship between individual and music in terms of culture industry. In her study “Approachment of Arthur Schopenhauer and Friedrich Neitzsche to Programme Music”, the young musicology researcher Duygu Tardü focuses on the discussions between the two philosophers regarding programme music in the romantic period.
Asst. Prof. Erhan Özden who has a number of studies on the history of Turkish music education focuses in his study “The Musical Training In Ottoman Educational System -I-”, on the status of the musical training in Ottoman educational system established in the second half of 19th centuryin thelight of the official documents of the time. Researcher Hüseyin Aktaş, in his study that could be deservedly considered as the very first in its field, tackles the issue of “Terminological Problems of Harezm Makam Music in the 20th Century”.
The musicologist Okan Murat Öztürk, who is also one of the most prominent bağlama players of Türkiye, discusses in his study the structure called Makam, Avaze, Şube ve Terkib: The Representation of Perception of Pythagorean Harmony / Music of the Spheresin Ottoman Musical Doctrines and analyses the concepts of “makam”, “avaze”, “şube” and “terkib” and the said structurewith the help of ancient transcripts. Through these analyses, he points out that these concepts and the principle of “harmony of the spheres” within the Pythagorean tradition are,in fact, connected.
One of the most interesting articles in this issue is authored by Asst. Prof. Rohat Cebe in which he informs us about the current Law no. 5846 on Intellectual and Artistic Works and explores its significance from the viewpoint of intellectuals and artists.
Research Asst. Sami Dural, in his study, studies the “Uzzal Pishrev” that is notated by Ali Ufkî Bey, Cantemir and Kevserî in their successive periods and performes every notation separately which enables us to make a comparison in terms of transmission, perception and performance of Turkish Music tradition.
Hoping that 2014 Spring issuewill be beneficial for the world of musicology, we would like to express our deepest gratitude to all the authors and referees for their contributions and İstanbul University for undertaking the printing of this issue.
TABLE OF CONTENT
Makam (Maqam, Melody - Type), Âvâze (Voice), Şûbe (Branch) and Terkib (Compound): Representation of the Pythagorean Concept of Harmony / Music of the Spheres in the Ottoman Music Theory
Okan Murat Öztürk 1-49
Mısırlı Ahmet: The Clay Darbuka Technique and Its Performance Analysis
Esra Karaol & Nilgün Doğrusöz 50-67
An Analysis of the Lyrics Journal (Majmua) by Hâfız Abdülbakî Dated 1774
Fikri Soysal & Mustafa Uğurlu Arslan 68-88
Music in Ottoman Education -I-
Erhan Özden 89-107
"From (non)Enlightenment to Commodity" on the Relationship between the Individual and Music
Bilen Işıktaş 108-119
Intellectual and Artistic Works Short History of the Law and Its Significance for Work Manifacturers
Rohat Cebe & Hayrettin Suçin 120- 127
Terminology Problems of Khwarezm Maqam Music in XX. Century
Hüseyin Akbaş 128-146
Investigation on the Music Notation System of Alî Ufkî, Kantemiroğlu and Kevserî in the Context of Tradition of Turkish Music on the Example of Uzzal Peşrevi
Sami Dural 147-162
Arthur Schopenhauer and Friedrich Nietzsche's Approaches on Program Music
Duygu Tardü 163-173
Musicology Journal. This edition is dedicated to Gazi University’s Turkish Music State
Conservatory, which fulfills a significant gap as it sets a model for this study and other
similar studies and aims to support Turkish music and culture in the field of musicology
in Turkey. Before sharing the studies of researchers who have demonstrated a significant
commitment to musicology in this issue, we deem it necessary to thank our founder and
manager of the Turkish Music State Conservatory at Gazi University, Professor Dr.
Gülçin YAHYA KAÇAR, who provided full support and help during this process; the
founding editor of Rast Musicology Journal, Assistant Professor Dr. Fikri SOYSAL, who
encouraged us to conduct this study; and our distinguished instructors, who accepted our
request for arbitration; members of the editorial board who allocated their precious time
for this study; and our authors who contributed to this journal with their significant
studies in the field of musicology.
In his article titled, A Research on Audio Systems of Qanun, Serkan Günalçin, a
teaching assistant for the Turkish Music State Conservatory at Gazi University, who
conducts research on audio systems in Qanun and Turkish Music, investigated the
compatibility of the fret range of qanun with audio systems of Turkish music. According
to this system, he investigated the frets in Turkish music and the success level in playing
modes of Turkish music forall available rhythms. This article provides a meaningful
contribution to the musicology literature sincethere is few studies in this area.
In his article titled, Research on Mevlana and Mevleviyeh in Konya Folk Songs,
Dr. Attila Özdek, from the Turkish Music State Conservatory at Selçuk University,
investigated Konya folk music. The article discusses characteristics in Turkish folk music
that illustrate a influence of Mevlana; a sufi and thinker who deeply affected the culture
of his time and thus, affected music genres and local music. The author investigates
Konya folk songs in terms of rhythm, structure, subject and words and explores the
relationship between Konya folk songs and Mevlana/Mevleviyah.
Music historian Erhan Özden wrote an article about Ottoman Musical Schools
and he evaluates these schools in light of archival documents. He provides a discussion
about the musical education in the Darülbedâyi Theatre and Musical School.
Music history researchers Dr. Erhan Özden and Dr. Hikmet Toker provide a
follow-up to their previous study about prominent musical education institutions in the
Ottoman Empire. They offer an exploration of Enderûn, Mehterhâne, Mevlevîhâneler,
Musikâ-i Hümâyûn, Dârülelhan, and Dârülbedayi, communities that provided musical
education and schools that gave Turkish education and had musical education in their
curricula after the declaration of the rescript of Gülhane.
Assistant Professor Dr. Togay Şenalp, a teaching assistant in the Performing Arts
Department of Fine Arts at Muğla University, analyzed oral history interviews conducted
with 40 Turkish Music artists between 2008 and 2010 in his article titled, What should be
our National Route in Music? Solution Suggestions Through an Oral History Project. He
suggests the connective term, "Modal Music" to define Turkish music. This term can be
divided into two—folk music and art music. Dr. Şenalp recommends a method to
synthesize the West-East paradigm in order to protects our modal language and manner
In his article titled, Musicologist Mahmut Ragıp Gazimihâl's discusses articles
about Music in Konya that were published in Ekekon Newspaper, Assistant Professor Dr.
Timor Vural, from the Turkish Music Conservatory at Niğde University, introduces the
articles of Gazimiâl that have significant contributions such as book, article, collection
etc. to musicology in Turkey. These articles were published in the abovementioned
newspaper in 1947 and 1984, but were not mentioned in the science world. In addition,
the author compares the musical movement expressed by Gazmihâl in those years and
today's music life in Konya that presents the 65 year-old tradition of Konya music.
In his article titled, Harmonic and Terminological Approaches in Harmony Books
of Hüseyin Saadettin Arel, Assistant Professor Dr. Gökhan Yalın, a lecturer in the Music
Sciences Department at Kırıkkale University, reveals harmonic and terminological
approaches in H. SadettinArel's unknown studies titled, "Theoretic and Practical Lessons
for Beginners" (Mübtediler için Nazari ve Ameli Ahenk
About Fall Issue
Cover Design: Fatih Akçay (MarAjans, email: info@marajans.org) and Fikri Soysal
Website, Registration of DOIs, Print Editor, Founder and Editor-In-Chief: Fikri Soysal
Contributing Editors: Sevilay Çınar and Burçin Uçaner
Proofreading Services: tercume@yenibentercume.com
Submitted papers are examined with respect to originality, concept, academic
quality, methodology, social benefit, evidence and intellectual framework By
Reviewers
Triple-blind Journal
Rast Musicology Journal is published two times for a year (Spring and Fall)
Visit Website: www.rastmd.com
Diyarbakır, Turkey
Copyright © 2013 by Rast Musicology Journal
Publication Date:22 November 2013