İ.T.Ü. T.M.D.K. Temel Bilimler Bölümü T.S.M. Anasanat Dalı T.M. Repertuar Müfredatı Üzerine Bir Çalışma

Abstract

İ.T.Ü. Temel Bilimler Bölümü T.S.M. Anasanat Dalı Türk Musikisi Repertuarı Müfredatı üzerine yapılan çalışma hamlarınken uygulanmakta olan Türk Musikisi Repertuarı, T.M. Solfej - Nazariyat müfredatı, B.M. Solfej - Nazariyatını ve Ritm Bilgisi müfredat programlan incelenmiştir. Solfej - Nazariyat dersleri ile paralellik teşkil etmesi gereken Repertuar Müfredatı tüm bu bağlantılar düşünülerek usul öğrenimleri de gözönünde bulundurularak Basit makamlardan Şed (Göçürülmüş) makamlara, Mürekkeb (bileşik) makamlara doğru sıra takibi ile; küçük usullerden büyük usullere, dizi usullere kadar usul takibiyle ve Dini (ilahi), din dışı (Türkü, Şarkı, Yürük Semai, Ağır Semai, Beste, Karçe, Kâr) formlarından örneklerle Akademik takvimdeki süreye, haftalık ders programlarına, öğrenilen solfej-Nazariyat ve usül derslerindeki sıra takip edilerek paralellik sağlanmaya çalışılmıştır. Derslerdeki verilecek eserler, öncesi ve sonrasıyla bağlantılı olarak İstanbul Teknik Üniversitesi Türk Müziği Devlet Konservatuarı Temel Bilimler Bölümü Türk Sanat Müziği Anasanat Dalı Repertuar Müfredatı da örnek alınarak T.R.T. Kurumunun Repertuar numaralarıyla, makamı, usûlü, bestecisi, eserin ismi ve formuyla Hazırlık sınıfı için tüm yıl, diğer sınıflar için yarıyıllar olarak hazırlanmıştır

While preparing this study conducted on the Turkish Music repertoire curriculum of the Turkish Classical Music Main Art Division of the Basic Sciences Depertment of the Turkish Music State Conservatory of the Istanbul Technical University, we have also taken into consideration and examined the curriculum of three courses lectured in our school in connection with and in parallel to the repertoire course. Basic Science, Repertoire and Curriculum which are goals and features of Basic Sciences Division were explained in encyclopedic terms. In the elements which constitute music works, form (with its structure and explanations), rhythm (with method and methods), melody (with tune and selection), composer (with his / her life), model series (with its structure extending from past until today), music information of person who put the work into musical notes were explained theoretically with the alteration of sound system. The principle which is taken into consideration while preparing curriculum of repertoire is the transmission of repertoire from master to apprentice in tradition. People learned thousands of works and aimed to be music master in this way. Today the purpose of principles is to give priority to the basic music education rather than works to be taught and to learn tune, method, theory and to reach to the level which ensures easy learning of new works. Since repertoire supports solfeggio - theory due to its nature, solfeggio and theory supports repertoire. This support ensures development and establishment of theoric information by way of learning of work and reinforces repertoire by way of learning of solfeggio and theory information. The repertory's support of solfeggio-theory, to own a repertory of verbal works, to understand, to develop and perform them needs together with performance ability; together with the composition; the supreme ability of vii improvision between the composition and mode that is the unification of performer, composer, improvisation serving the repretory as a whole. In the tradition it is woven into each other, the performer has digested the wavings (if there are any) and interprate the words and sentences well and present them; to clearify the form, divisions, sentences, compositions that is the repertory has always been at the service of theory has been proven from tradition to today. Another support is that the solfeggio-theory supports the repertory. The Turkish musical system that has been presented in theory, has been presented as a whole with its voice, divisions, commas, scales, series, enlargements of the series, modes, pitch names and many different methods. A solfeggio, method and tone that has been learned in theoryhas been settled in a certain known and basic system. The divisions and methods of a solfeggio, has been shown in a formation of a tone. That tunes all important places in the music is explained, and in practice is shown with easy practices and directions. The ezamples are shown with musical or verbal pieces. These practices are the service of solfeggio-theory to the repertory. In the repertory lessons the way to learn a composition is to choose a composition in the repertory, to learn the theoric knowlede (tone, method, notes) of the composition in the reperotory related classes, that is Rhitm knowledge lessons an in Turkish Art Musics solfeggio-theory lessons according to the education plan, are important for the easiness of the solfeggio and for explaining of the theory. A short explanation of the composition would be as follows : Compositions T.R.T. Repertory Number 7106 Compositions Name "Kamer Çehre" Compositions Tone Hicaz Uzzal Compositions Method Miisemmen (Eight Beats) Compositions Ordnance B1), F #, C # Composer Hacı Arif Bey ( 1 83 1- 1 885) Lyrics by Hacı Arif Bey (183 1-1885) viii accordance with the Classical Turkish Music Education Scheme of the Basic Sciences Department. We have completely examined and analysed an example work with all details pertaining to it such as T.R.T. Repertoire Number, Tune, Method, Composer, Period, Expense, Syllabic rhythm, unknown words, sections and told and set forth all these components via a table. We have asked the viewpoint of our instructors who enter to repertoire courses in relation to the subject of how and in which way to progress the repertoire course and indicated their answers and blended all above narrations like a mosaic table and explained the example work. Currently the repertoire courses begin in our scholl in the second semester of the preparatory academic year. In this sutdy I wanted to state that the repertoire courses could begin in the first semester of the preparatory academic year and simple and easy-to-learn works could be taught in accordance with their main purpose. The important repertoire course should be instructed by aiming to gain sympathy for the courses and works to be given in the courses of subsequent years should be introduced by giving examples. In brief some numbers in the repertory hist of T.R.T. were taken as examples and the forms, composers, tunes and methods of such works were prepared for complete academic year in the preparatory class and for semesters in subsequent classes. XI Method construction 8/8 J.-, Musemmen (Eight Beats) He smallest is 19. And also dotty 8. Notes are present. As for divisions 2., 3., 4., 5., 6., 8., and 9., divsions are present. The presence of these divisions are shown in the prepatory class and in "1A Lavignac" books examples. This composition, which is a very good example of Nazzal tone, in the first line the two sentences and up with a stop as a characteristic speciality of Uzzal tone. The way to be pursued after the selection of works is to learn theoretical information of work and subsequently to make good solfeggio and additionally to place method and to establish the same work in divisions after repetitions and to determine and explain selections and to show breathing points and most importantly to make applications of arescendo, forte, forte piano, piano forte and piano sections with their explanations and to finish the work. The Turkish Music Solfeggio Theory and the Western Music Solfeggio Theory and Rhythm information courses advarce in correlation with each other and headings such as tune, method and form which should be learnt, followed and applied in the repertoire gain basis. All these courses assisting in the repertoire follow a certain order from simple tunes to combined and sophisticated tunes, from small methods to large methods and serial methods, from religous forms to non-religous forms and from divine forms to non-divine forms. While determining the order and number of works given to classes, the academic calender including the term of one educational year and holidays and working days in this term were examined and taken into account and most importantly while deteranmng the number of works in compliance with the weekly course schedule prepared by our school, the studies were conducted in accordance with the Classical Turkish Music Education Scheme of the Basic Sciences Department. We have completely examined and analysed an example work with all details pertaining to it such as T.R.T. Repertoire Number, Tune, Method, Composer, Period, Expense, Syllabic rhythm, unknown words, sections and told and set forth all these components via a table. We have asked the viewpoint of our instructors who enter to repertoire courses in relation to the subject of how and in which way to progress the repertoire course and indicated their answers and blended all above narrations like a mosaic table and explained the example work. Currently the repertoire courses begin in our scholl in the second semester of the preparatory academic year. In this sutdy I wanted to state that the repertoire courses could begin in the first semester of the preparatory academic year and simple and easy-to-learn works could be taught in accordance with their main purpose. The important repertoire course should be instructed by aiming to gain sympathy for the courses and works to be given in the courses of subsequent years should be introduced by giving examples. In brief some numbers in the repertory hist of T.R.T. were taken as examples and the forms, composers, tunes and methods of such works were prepared for complete academic year in the preparatory class and for semesters in subsequent classes.