Türkülerin dinamik yapısını oluşturan olguların öğretiminde izlenecek bir yaklaşım önerisi: Orta Anadolu ağzı örneği
Türkülerin dinamik yapısını oluşturan olguların öğretiminde izlenecek bir yaklaşım önerisi: Orta Anadolu ağzı örneği
Dosyalar
Tarih
2022
Yazarlar
Uslu, Erhan
Süreli Yayın başlığı
Süreli Yayın ISSN
Cilt Başlığı
Yayınevi
Lisansüstü Eğitim Enstitüsü
Özet
Türkülerin, söyleniş özellikleri bakımından karakterini oluşturan ve ağız olarak ifade edilen icra biçimleri vardır. Cumhuriyet sonrasında şekillenen icra kurumlarının, kurulduğu yıllardan itibaren bir okul kimliği ile eğitim verdiği de bilinmektedir. Bu kurumlar, türkülerin gelenekteki aktarım sürecini yeni bir forma dönüştürerek buradan kentli, profesyonel icracıların yetişmesini sağlamıştır. İlk kuşak aktörlerin bu kurumlardan yetiştirdiği ikinci kuşak aktörler tarafından Türkiye'nin ilk Türk müziği konservatuvarı kurulmuş, böylece bahsedilen aktarım süreci akademilere taşınmıştır. Cumhuriyet sonrasındaki otuz yılı aşkın süre, alanda yapılan derleme faaliyetlerinin yoğun olduğu bir dönemdir. Bahsedilen yıllarda, ses sistemi arayışları ve derlenen türkülerin yazıya aktarımının (notasyon) şekillendirilmesi de söz konusudur. Dönemin kısıtlı imkânları ve zorlukları da göz önünde bulundurularak, yalnızca ana melodiyi tespit etme amacıyla, vokal icra ya da enstrüman özelinde şekillenmeyen, grafik bir notasyon mantığı ile türkülerin yazıya geçirildiği düşünülmektedir. Fakat, birinci ve ikinci kuşak aktörler, bu dönemde birçok kaynak kişi ile etkileşimde olup, aktarım sürecinde sadece notaya bağlı kalmayarak türkülerin yaşayan sürecini de paylaşmıştır. Birinci ve ikinci kuşağın zamanla aktarım sürecinden çekilmesiyle, ağız unsurlarının detaylı ifade edilmediği ilk dönem derleme notaları neredeyse tek kaynak haline dönüşmüştür. Türkülerin ağız özelliklerinin aktarımında; özden kopmaksızın hem yereli hem de günceli içeren, beraberinde zaman içindeki değişmeyi de kapsayacak yeni eğitim-öğretim yaklaşımlarına ihtiyaç duyulmaktadır. Tezimizin giriş bölümünde araştırmanın konusu, kapsamı, yöntemi ve amacı ile ilgili bilgiler verilerek ilgili literatür paylaşılmıştır. Orta Anadolu ağzı örneklemiyle türkülerin dinamik yapısını oluşturan vokal olguların öğretimine yönelik herhangi bir çalışmanın bulunmaması; konuyla ilgili mevcut literatür eksikliğini ortaya koymakta ve bu anlamda araştırmamızı özgün kılmaktadır. Çalışmamız, temelde nitel ve nicel araştırma süreçlerini içermesinden dolayı betimsel ve deneysel bir araştırmadır. Tezimiz, "dahil edilme kriterlerine uygun bir denek grubuna, Orta Anadolu ağzı örneklemiyle önerilen eğitim-öğretim yaklaşımları uygulanarak ağız ve hançere özelliklerinin kazandırılabileceği" hipotezine dayanmaktadır. İkinci bölümde araştırmanın kuramsal temelleri ortaya konmuştur. Bu bölümün amaçlarından biri: araştırma süresince deneysel süreçte aktarılacak verilere dair terminoloji ve kavramlara ışık tutmaktır. Ağız ve hançere, çalışmada aktarmak istenilen vokal unsurların başta gelenlerindendir. Ağız kavramı dilbilimi ve müzik bilimi açısından iki boyutlu bir perspektifte incelenmiştir. Çalışmanın genelinde ağız teriminin müzik bilim boyutu ağırlıklı olarak aktarılmaya çalışılmış, dilbilimi özelinde, kaynak kişi icralarının dinletilmesi ya da tarafımızca aktarılması dışında bir yaklaşım ortaya konmamıştır. Ağzın Türk halk müziği açısından yörelere, bölgelere, topluluk ve aşiretlere, kişisel üsluplara, okunacak uzun hava türüne göre şekillenen bir kimlik göstergesi olduğu düşünülmektedir. Halk müziklerinde sık rastlanan bir ifade tarzı olan hançere ise seslendirilen müziğin anlam, etki ve vurgusunu güçlendiren bir niteliğe sahiptir. Bu anlamda müzikal ağza dair; gırtlak ile yapılan nüanslar, vurgular vb. çeşitli unsurların hançerede şekillendiği bu bölümde ifade edilmiştir. Genel müzik terminolojisinde yer alan: vibrato, tril, apojiyatür, çarpma, glissando ve portamento unsurları, "vokal icranın dinamikleri" başlığı altında, ağız ve hançere özelliklerine göre değerlendirilerek örneklerle açıklanmıştır. Eğitim bilimleri alanında uzman akademisyenlerle yapılan istişareler sonucunda çalışmamızın mevcut üç öğrenme alanından: bilişsel ve duyuşsal alanda yoğunlaştığı kanısı oluşmuştur. Deney süreci öncesinde deneklerin kazanması hedeflenen unsurlar, "revize edilmiş Bloom taksonomisi" ile tasnif edilerek, her bir denek için altı saatlik ders planı yapılmıştır. Hazırlanan ders planı dahilinde, hedeflenen kazanımların ve deneklere ait ön-test son test verilerinin geçerli ve güvenli bir şekilde elde edilmesi, yorumlanması ve tartışılabilmesi için performansa dayalı ölçümlemeyi içeren bir ölçek geliştirilmiştir. Deneklerden elde edilen ön test ve son test verilerini değerlendirmek üzere, İTÜ TMDK Ses Eğitimi Bölümü'nde Türk halk müziği repertuvarı içerikli dersleri vermiş ve vermekte olan, her biri alanında en az on beş yıl tecrübe sahibi uzman bir ekip kurulmuştur. Araştırmanın gövdesini oluşturan üçüncü bölümde, deney süreci ile ilgili bulgular paylaşılmıştır. Tek gruplu ön test-son test deney tasarımının çalışma için uygun olduğuna karar verilmiştir. Çalışmaya dâhil edilme kriterleri: konservatuvar öğrencisi olmak, daha önce ses eğitimi üzerine eğitim almamış olmak ve çevrimiçi eğitim koşullarında uygun ekipmana sahip olmak şeklinde belirlenmiştir. Denekler, ulaşılabilirlik ve hazır bulunuşluk açısından avantaj sağlayacağı düşünülerek, mensubu olduğumuz İTÜ TMDK'da eğitimine devam eden, Ses Eğitimi bölümü öğrencisi olmayan (üçü Müzik Teorisi, ikisi Çalgı Bölümü, biri Müzikoloji Bölümü olmak üzere) üç erkek, üç kadın öğrenciden seçilmiştir. Deney süreci için, Orta Anadolu yöresi ağız ve hançere özelliklerini yansıtma noktasında güçlü temsiliyeti olduğu düşünülen farklı türlerden altı adet eser seçilmiştir. Bu eserlerden beşi; belli usûl kalıpları içerisinde seyreden ritmik yapıda, bir tanesi ise serbest ritimli yapıdadır. Bu süreçte ağız, hançere ve icra yapısındaki nüanslara dair ifadeleri anlatma noktasında ortak anlayış güden fakat ritim ve serbest ritim unsuruna göre farklılaşan iki farklı notasyon anlayışı ile çalışma yürütülmüştür. Notasyonu yapılan eserlerle ilgili detaylı analizlerin de paylaşıldığı bu bölümde her bir denek ile ikişer saatten oluşan ve üç periyotta yürütülen, toplamda altı saatlik ders süreci bütün aşamaları ile paylaşılmıştır. Araştırma sürecinde Covid-19 pandemisinin devam etmesi sebebiyle, deneklerle yapılan çalışmalar çevrimiçi "Zoom" programı üzerinden yürütülmüştür. Tezin sonuç bölümünde, çalışmada uygulanan eğitim-öğretim yaklaşımları maddeler halinde açıklanmıştır. Tarafımızca geliştirilen on maddelik performans ölçeği ile deneklerin görüntülü ses kayıtlarını değerlendiren uzman ekipten elde edilen ön test ve son test verileri yorumlanmıştır. Bu verilerin iki test arasındaki yüzdelik değişim oranları paylaşılarak denek özelinde saptamalarda bulunulmuştur. Tezde önerilen ve denekler üzerinde sınanan eğitim-öğretim yaklaşımlarının sonucunda, ilk test ve son test verilerindeki ortalama değişim yüzdelerine göre deneklerin: eserin ağız özelliğine dair fonasyon, boğumlama (artikülasyon) becerisini %55, eserin ağız özelliğini oluşturan kalıp ezgilerdeki uygulama becerisini %65, eserin prozodi yapısına dair ifadesini %37, seslendirdiği eserin hançere özelliğine dair; artistik, estetik süslemelere ve nüanslara dair becerisini %78, seslendirdiği eserin hançere motiflerini dengeli ve kontrollü icra edebilme becerisini %53, vibrato kullanımını %57, genel hançere yetisini %49, eser üzerindeki hakimiyetini (entonasyon, senkronizasyon) %36, ses kullanımını (rahat ve doğru söyleme) %38, eserin genel karakterini yansıtmayı %58 oranında geliştirdiği görülmüştür. Performans ölçeğine göre; altı kriterde ortalama %50'nin üzerinde değişme olmuştur. Ağızla ilgili ölçme kriterinde ortalama %65, hançere ile ilgili ölçme kriterinde ortalama %78 oranında görülen değişmeler çalışmamız açısından dikkat çekicidir. Sonuç itibariyle toplam performans puanı açısından tespit edilen ortalama %59 oranındaki değişme, tezin ön hipotezini destekler niteliktedir. Genel değerlendirmelerde, erkek denekler için tespit edilen değişim yüzdelerinin kadınlara göre daha fazla olduğu görülmüştür; ancak tezde önerilen eğitim-öğretim yaklaşımlarının sonuçları, cinsiyet özelinde bir karşılaştırmadan uzaktadır. Bu noktada; her denek için değişkenlerin sabit olmadığını, yalnızca deneklerin kendi özelindeki değişmelerin saptandığını belirtmekte fayda vardır. Bu hususları göz önünde bulundurarak, kadın deneklerin ilk testte tespit edilen icra profillerinin, puanlama açısından erkeklere göre daha yukarıda olduğu, denek profillerinin ve algı düzeylerinin sabit olmadığı da bir gerçektir. Buradan hareketle, önerilen eğitim-öğretim yaklaşımları ile Orta Anadolu yöresi ile kültürlenmesi ve ön testteki icra profili ortalaması düşük olan deneklerin gösterdiği değişme oranlarının daha fazla olduğu ortaya çıkmıştır. Tezin ekler bölümünde, jüri değerlendirme formu, denek bilgi formu ve deneklerden alınan onam formu paylaşılmış, deneklerle yürütülen çevrimiçi çalışma sürecine ait ekran görüntüleri ve çalışmada kullanılan altı eserin notasına yer verilmiştir.
It is known that "türkü"s (Turkish folk song) have performance styles that form their character in terms of their style and are expressed as "ağız". After the establishment of Republic, since the years they were founded, the performing institutions provided education with a school identity. These institutions transformed the transfer process of the "türkü"s into a new form in the tradition, allowing urban, professional performers to grow from here. Turkey's first Turkish music conservatory was established by the second generation of actors trained by the first generation of actors from these institutions, so that the aforementioned transfer process was moved to academies. More than thirty years after the Republic is a period of intense compilation activities in the field. In the years mentioned, the search for a tunning system and the notation of the compiled "türkü"s are also shaped. Considering the limited possibilities and difficulties of the period, it is thought that the songs were written with a graphic notation logic that was not shaped in terms of vocal performance or instrument, only for the purpose of detecting the main melody. However, the first and second generation actors who interacted with many source people during this period, taught with not only the notes but also shared the living process of the "türkü"s during the transfer process. With the withdrawal of the first and second generations from the transfer process over time, the first period compilation notes, in which the "ağız" elements were not expressed in detail, became almost single source. In the transfer of the "ağız" characteristics of the "türkü"s; new educational approaches are needed, including both local and current, and including change over time. In the introduction to our thesis, information about the subject, scope, method and purpose of the research was given and the relevant literature was shared. Lack of any studies on the teaching of vocal phenomena that constitute the dynamic structure of "türkü"s with the central Anatolian "ağız" sample; it reveals the lack of existing literature on the subject and in this sense makes our research unique. Our study is a holistic and experimental study as it mainly includes qualitative and quantitative research processes. Our thesis is based on the hypothesis that "ağız" and "hançere" characteristics can be gained by applying the proposed educational approaches with the Central Anatolian "ağız" sample to a group of subjects in accordance with the inclusion criteria. In the second part, the theoretical basis of the research is revealed. One of the aims of this section is to shed light on the terminology and concepts related to the data to be transferred in the experimental process during the research process. "Ağız" and "hançere" are one of the leading vocal elements that are desired to be conveyed in the study. The concept of "ağız" has been examined in a two-dimensional perspective in terms of linguistics and music science. Throughout the study, the music science dimension of the term "ağız" has been tried to be conveyed predominantly, and no approach has been put forward other than listening to the source person's performances or transferring them by us, in linguistics. In terms of Turkish folk music, "ağız" is thought to be an identity indicator shaped according to regions, communities and tribes, personal styles, and the genre of "uzun hava" to be sing. "Hançere", which is a common expression style in folk music, has a quality that strengthens the expression, influence and emphasis of the music performed. In this sense, it has been stated that the nuances, emphasis etc. and various elements of the musical "ağız" made with the larynx are shaped in the "hançere". In general music terminology: vibrato, tril, apogiatur, glissando and portamento elements are evaluated according to the characteristics of the "ağız" and "hançere" under the heading "dynamics of vocal performance". The concepts of technique, approach and methods that are important for educational sciences and our study are also explained within the theoretical framework. In the process of education of Turkish folk music, it is an educational approach to teach the "ağız" and "hançere" characteristics. Written, visual and auditory materials created for this purpose and the whole of learning-teaching path studies refer to the method, while the applications in this process refer to the technique. It consists of an educational approach to gaining the characteristics of the "ağız" and "hançere", or in other words, the education strategy, method and techniques that demonstrate this method. As a result of consultations with academicians specializing in educational sciences, it is believed that our study is concentrated in two of the three existing learning areas: cognitive and sensory. It is impossible to evaluate the physiological effects of psychomotor learning without any medical monitoring. With medical support, comparative evaluations of the subjects' vocal cords and laryngeal images at the beginning and end of the study can be the focus of another study. Taxonomy, known as the science of classification, is an important field of study in the discipline of educational sciences. The most effective way to understand or describe a complex whole is to identify all the functional parts of the phenomenon to be perceived/transmitted. An information classification study is important to obtain a complex whole. With this understanding, the elements intended to gain by each subject were classified with "revised Bloom taxonomy" and a six-hour lesson plan was made for each subject. Within the prepared lesson plan, a scale including performance-based measurement was created in order to obtain, interpret and discuss the targeted achievements and the pre-test and post-test data of the subjects in a valid and safe way. In order to evaluate the preliminary test and final test data obtained from the subjects, a team of experts, each with at least fifteen years of experience in the field and teach Turkish folk music repertoire in Istanbul Technical University, Turkish Music State Conservatory Voice Education Department was selected. In the third part of the research, the experimental designs used in social sciences and music research were examined to determine how to proceed during the experimental phase. Inclusion criteria for the study: to be a conservatory student, not to have received voice training before and to have the appropriate basic technical requirements for online education. Three male and three female students (three of them from Music Theory, two of them from the Instrument Department, one of them from the Musicology Department) were selected as the subjects who are not students of Voice Education department but study at Istanbul Technical University, Turkish Music State Conservatory. The subjects were selected from this conservatory because it is taught that it would provide advantages in terms of accessibility and readiness. A signed consent form was obtained from the subjects who declared their voluntary participation in the study and shared in the appendix section of the thesis. For the experimental process, six folk songs from different genres, which are thought to have strong representation in terms of reflecting the "ağız" and "hançere" characteristics of the Central Anatolia region, were selected. Five of these "türkü"s; rhythmic structure that follows within certain patterns, and one is free rhythmic structure. In this process, the study was carried out with two different notations that have a common technique in terms of explaining the nuances of the "ağız", "hançere" and execution structure, but differ according to the element of rhythm and free rhythm. In this section, detailed analyses of the notated works were shared with each subject and the course process consisting of two hours and carried out in three periods, totaling six hours, was shared with all stages. Due to the continuing Covid-19 pandemic during the research process, the studies carried out with the subjects were carried out through the online "Zoom" program. In the conclusion section of the thesis, the educational approaches applied in the study are explained. With the ten-point performance scale developed by us, preliminary test and final test data obtained from the expert team evaluating the video audio recordings of the subjects were interpreted. The percentage exchange rates of this data between the two tests were shared and the subject-specific determinations were made. As a result of the teaching approaches suggested in the thesis and tested on the subjects, the results according to the average percentages of change in the first test and post test data for each subject are as follows: The phonation skills of the subjects, depending on the "ağız" increased by 55%, the skill of practice in the pattern melodies that form the "ağız" feature increased by 65%, the expression about the prosody structure increased by 37%, about the "hançere" feature; their skills in artistic, aesthetic decorations and nuances increased by 78%, the ability to performing the motifs in a balanced and controlled manner increased by 53%, use of vibrato increased by 57%, general "hançere" abilities increased by %49, dominances over the "türkü"s (intonation and synchronization) increased by 36%, voice controlling (comfortable and correct singing) increased by 38%, expressing overall character of "türkü" increased by 58%. By performance scale; the average change of over 50% was observed in the six criteria. The changes seen by an average of 65% in the measurement criteria related to the "ağız" and 78% in the measurement criteria related to the "hançere" are remarkable for our study. The average change of 59% in terms of total performance score supports the preliminary hypothesis of the thesis. In general evaluations, it was observed that the percentage of change detected for male subjects was higher than for women; however, the results of the educational approaches proposed in the thesis are far from a gender comparison. At this point; it is worth noting that the variables for each subject are not constant, only that the subjects have their own changes. Considering these issues, it is a fact that the performance profiles of female subjects determined in the first test are higher than males in terms of scoring, and that the subject profiles and perception levels are not fixed. From this point of view, with the proposed teaching approaches, it was revealed that the change rates of the subjects who were not acculturated with the Central Anatolian region and have lower profile average in the pre-test were higher. In the appendices section of the thesis, the jury evaluation form, the subject information form and the consent form obtained from the subjects were shared, screenshots of the online study process with the subjects and the notes of the six "türkü"s used in the study were included.
It is known that "türkü"s (Turkish folk song) have performance styles that form their character in terms of their style and are expressed as "ağız". After the establishment of Republic, since the years they were founded, the performing institutions provided education with a school identity. These institutions transformed the transfer process of the "türkü"s into a new form in the tradition, allowing urban, professional performers to grow from here. Turkey's first Turkish music conservatory was established by the second generation of actors trained by the first generation of actors from these institutions, so that the aforementioned transfer process was moved to academies. More than thirty years after the Republic is a period of intense compilation activities in the field. In the years mentioned, the search for a tunning system and the notation of the compiled "türkü"s are also shaped. Considering the limited possibilities and difficulties of the period, it is thought that the songs were written with a graphic notation logic that was not shaped in terms of vocal performance or instrument, only for the purpose of detecting the main melody. However, the first and second generation actors who interacted with many source people during this period, taught with not only the notes but also shared the living process of the "türkü"s during the transfer process. With the withdrawal of the first and second generations from the transfer process over time, the first period compilation notes, in which the "ağız" elements were not expressed in detail, became almost single source. In the transfer of the "ağız" characteristics of the "türkü"s; new educational approaches are needed, including both local and current, and including change over time. In the introduction to our thesis, information about the subject, scope, method and purpose of the research was given and the relevant literature was shared. Lack of any studies on the teaching of vocal phenomena that constitute the dynamic structure of "türkü"s with the central Anatolian "ağız" sample; it reveals the lack of existing literature on the subject and in this sense makes our research unique. Our study is a holistic and experimental study as it mainly includes qualitative and quantitative research processes. Our thesis is based on the hypothesis that "ağız" and "hançere" characteristics can be gained by applying the proposed educational approaches with the Central Anatolian "ağız" sample to a group of subjects in accordance with the inclusion criteria. In the second part, the theoretical basis of the research is revealed. One of the aims of this section is to shed light on the terminology and concepts related to the data to be transferred in the experimental process during the research process. "Ağız" and "hançere" are one of the leading vocal elements that are desired to be conveyed in the study. The concept of "ağız" has been examined in a two-dimensional perspective in terms of linguistics and music science. Throughout the study, the music science dimension of the term "ağız" has been tried to be conveyed predominantly, and no approach has been put forward other than listening to the source person's performances or transferring them by us, in linguistics. In terms of Turkish folk music, "ağız" is thought to be an identity indicator shaped according to regions, communities and tribes, personal styles, and the genre of "uzun hava" to be sing. "Hançere", which is a common expression style in folk music, has a quality that strengthens the expression, influence and emphasis of the music performed. In this sense, it has been stated that the nuances, emphasis etc. and various elements of the musical "ağız" made with the larynx are shaped in the "hançere". In general music terminology: vibrato, tril, apogiatur, glissando and portamento elements are evaluated according to the characteristics of the "ağız" and "hançere" under the heading "dynamics of vocal performance". The concepts of technique, approach and methods that are important for educational sciences and our study are also explained within the theoretical framework. In the process of education of Turkish folk music, it is an educational approach to teach the "ağız" and "hançere" characteristics. Written, visual and auditory materials created for this purpose and the whole of learning-teaching path studies refer to the method, while the applications in this process refer to the technique. It consists of an educational approach to gaining the characteristics of the "ağız" and "hançere", or in other words, the education strategy, method and techniques that demonstrate this method. As a result of consultations with academicians specializing in educational sciences, it is believed that our study is concentrated in two of the three existing learning areas: cognitive and sensory. It is impossible to evaluate the physiological effects of psychomotor learning without any medical monitoring. With medical support, comparative evaluations of the subjects' vocal cords and laryngeal images at the beginning and end of the study can be the focus of another study. Taxonomy, known as the science of classification, is an important field of study in the discipline of educational sciences. The most effective way to understand or describe a complex whole is to identify all the functional parts of the phenomenon to be perceived/transmitted. An information classification study is important to obtain a complex whole. With this understanding, the elements intended to gain by each subject were classified with "revised Bloom taxonomy" and a six-hour lesson plan was made for each subject. Within the prepared lesson plan, a scale including performance-based measurement was created in order to obtain, interpret and discuss the targeted achievements and the pre-test and post-test data of the subjects in a valid and safe way. In order to evaluate the preliminary test and final test data obtained from the subjects, a team of experts, each with at least fifteen years of experience in the field and teach Turkish folk music repertoire in Istanbul Technical University, Turkish Music State Conservatory Voice Education Department was selected. In the third part of the research, the experimental designs used in social sciences and music research were examined to determine how to proceed during the experimental phase. Inclusion criteria for the study: to be a conservatory student, not to have received voice training before and to have the appropriate basic technical requirements for online education. Three male and three female students (three of them from Music Theory, two of them from the Instrument Department, one of them from the Musicology Department) were selected as the subjects who are not students of Voice Education department but study at Istanbul Technical University, Turkish Music State Conservatory. The subjects were selected from this conservatory because it is taught that it would provide advantages in terms of accessibility and readiness. A signed consent form was obtained from the subjects who declared their voluntary participation in the study and shared in the appendix section of the thesis. For the experimental process, six folk songs from different genres, which are thought to have strong representation in terms of reflecting the "ağız" and "hançere" characteristics of the Central Anatolia region, were selected. Five of these "türkü"s; rhythmic structure that follows within certain patterns, and one is free rhythmic structure. In this process, the study was carried out with two different notations that have a common technique in terms of explaining the nuances of the "ağız", "hançere" and execution structure, but differ according to the element of rhythm and free rhythm. In this section, detailed analyses of the notated works were shared with each subject and the course process consisting of two hours and carried out in three periods, totaling six hours, was shared with all stages. Due to the continuing Covid-19 pandemic during the research process, the studies carried out with the subjects were carried out through the online "Zoom" program. In the conclusion section of the thesis, the educational approaches applied in the study are explained. With the ten-point performance scale developed by us, preliminary test and final test data obtained from the expert team evaluating the video audio recordings of the subjects were interpreted. The percentage exchange rates of this data between the two tests were shared and the subject-specific determinations were made. As a result of the teaching approaches suggested in the thesis and tested on the subjects, the results according to the average percentages of change in the first test and post test data for each subject are as follows: The phonation skills of the subjects, depending on the "ağız" increased by 55%, the skill of practice in the pattern melodies that form the "ağız" feature increased by 65%, the expression about the prosody structure increased by 37%, about the "hançere" feature; their skills in artistic, aesthetic decorations and nuances increased by 78%, the ability to performing the motifs in a balanced and controlled manner increased by 53%, use of vibrato increased by 57%, general "hançere" abilities increased by %49, dominances over the "türkü"s (intonation and synchronization) increased by 36%, voice controlling (comfortable and correct singing) increased by 38%, expressing overall character of "türkü" increased by 58%. By performance scale; the average change of over 50% was observed in the six criteria. The changes seen by an average of 65% in the measurement criteria related to the "ağız" and 78% in the measurement criteria related to the "hançere" are remarkable for our study. The average change of 59% in terms of total performance score supports the preliminary hypothesis of the thesis. In general evaluations, it was observed that the percentage of change detected for male subjects was higher than for women; however, the results of the educational approaches proposed in the thesis are far from a gender comparison. At this point; it is worth noting that the variables for each subject are not constant, only that the subjects have their own changes. Considering these issues, it is a fact that the performance profiles of female subjects determined in the first test are higher than males in terms of scoring, and that the subject profiles and perception levels are not fixed. From this point of view, with the proposed teaching approaches, it was revealed that the change rates of the subjects who were not acculturated with the Central Anatolian region and have lower profile average in the pre-test were higher. In the appendices section of the thesis, the jury evaluation form, the subject information form and the consent form obtained from the subjects were shared, screenshots of the online study process with the subjects and the notes of the six "türkü"s used in the study were included.
Açıklama
Tez (Doktora) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2022
Anahtar kelimeler
Etnomüzikoloji,
Ethnomusicology,
Yerel müzik,
Local music