Ulakbilge - Sosyal Bilimler Dergisi
Cilt 6, Sayı 31  2018/12  (ISSN: 2148-0451, E-ISSN: )
Nuran AYAZ, Sema SEVİNÇ, Nesibe Özgül TURGAY

NO Makale Adı

With its monophonic and heterophonic features, Turkish Makam Music contains different styles. The teaching of oral works in the tradition of Meşk has lost some of its features from the past to the present and is still widely used today. Students sit in front of their teachers, listening to the end of the work from the beginning of the teacher; assimilating all kinds of ornamentation and technical movement; Although it is applied today as a one-to-one repetition; In addition to this method of teaching, the use of the notation, but not to match the writing of notes with one-on-one execution of technical skills in the execution of imitation does not arise enough. This reveals the problem of technically unsatisfactory development because of the notation that does not reflect the performance of the work.

In addition to the knowledge of ın makam and usûl ası which constitutes the basis of Turkish authority music performance, it is necessary to recognize the technical features of this style which is based on the sound of a particularly strong dagger region, to provide sound sound production and to understand the technical features of decoration elements and to perform a perfect execution. In the field of Western music education prepared for educational purposes. It is known that every nuance, tempo and adornment performed in the works in the materials are equivalent to the notes. However, in the tradition of the Turkish Makam Music tradition, note writing is not used frequently, and the works are transferred from ear to ear. The aim of this study is to provide a positive contribution to the sound education and style and attitude of students.

Keywords: Turkish Makam Music, Sound Education, Decoration Elements