Protectionism and rapprochement in Turkish higher music education: An analysis of the mission and vision statements of conservatoires and university music departments in the Republic of Turkey

Music education institutions have played a prominent role in mediating national identity in the Republic of Turkey since its founding in 1923. Initially tasked with suppressing Ottoman heritage, their nature and status changed with the ascendance of political Islam, when interest in Turkey’s Ottoman past grew and the Western aesthetics of the founding elite were increasingly contested. While music education continues to be a site of national identity construction in Turkey, no studies focus on the ideological climate of music education in the era of the Justice and Development Party, who have heralded a ‘New Turkey’ rooted in conservative Islam. We explore the discursive terrain of Turkish music education by analysing the mission and vision statements and other website texts of 71 conservatoires and music departments. Our findings reveal protectionist attitudes towards repertoires and traditions associated with competing nationalist visions, but also an emergent, reconciliatory structure of feeling and advocacy for pluralism

Globally, songs and instrumental melodies are slower, higher, and use more stable pitches than speech: a registered report

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and (ii) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six preregistered predictions, five were strongly supported: Relative to speech, songs use (i) higher pitch, (ii) slower temporal rate, and (iii) more stable pitches, while both songs and speech used similar (iv) pitch interval size and (v) timbral brightness. Exploratory analyses suggest that features vary along a “musi-linguistic” continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of cross-cultural regularities in music and speech

The role and importance of light in stage performances

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 2010Thesis (M.Sc.) -- İstanbul Technical University, Institute of Social Sciences, 2010Bu çalışmada, sahne sanatlarında önemli bir yeri olan ışığın rolü, ışık tasarım süreci ve işleyişi anlatılmakta, ayrıca ülkemizin önde gelen dans gruplarının sahne ışık uygulamaları incelenmektedir. Sahne ışıklandırması konusu anlatılarak, ışığın tarih içindeki gelişimine ve günümüz teknolojisi ile kullanılan ışığın sahne sanatları üzerindeki etkisine dikkat çekilmiştir. Işığın günlük hayatımızdaki fonksiyonları, kontrol edilebilir özellikleri, sahne ışık elemanları ve ışık teknik ekibinin görevlerinden bahsedilmektedir. Sahne performanslarında uygulanan ışık tasarım teknikleri incelenerek, ışık tasarımları ile ilgili çalışma sistemleri ele alınmaktadır. Sonuç olarak; sahne ışık tasarımında tespit edilen sorunlara değinilmekte, mevcut durum tespiti yapılmakta ve çok değerli ışık tasarımcılarının görüşleri değerlendirilerek çözüm önerileri verilmektedir.This study explains the important role of lighting, lighting design process, lighting applications for the performing arts, and examines the lighting applications of this country?s premier dance groups. It evaluates lighting devolepments, and focuses on the effect of modern lighting on the performing arts. It explains light?s functions in daily life, lighting control methods, lighting equipment and the roles of lighting team members. It examines stage lighting design for large productions and the lighting design process in Turkey. In conclusion it discusses the problems of lighting design, examines the current situation and evaluates the recommendations of professional lighting designersYüksek LisansM.Sc

Geleneksel Oyun Ve Müziklerin Sürdürülebilirliği- Türkiye Domaniç Modeli

Tez (Doktora) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 2015Thesis (Ph.D.) -- İstanbul Technical University, Institute of Social Sciences, 201521. yüzyılda kültür, politikada stratejik bir öneme sahiptir. Etnomüzikolojik çalışmaların merkezi haline gelen unutulmaya yüz tutmuş geleneksel müzik ve oyunların sürdürülebilirliği, kültür politikaları ile ilgili teorik yaklaşımları, bunların somut olmayan kültürel miras ile olan ilişkilerini ve bu alanda rol alan tüm paydaşları anlamamızı gerekli kılmaktadır. Domaniç bölgesinde geleneksel oyun ve müzikler, göç ve toplumsal cinsiyet ayrımcılığı nedeni ile yok olma tehlikesi ile karşı karşıyadır. Yerel kültürün yaşatılması için atılacak adımlar disiplinlerarası çalışmayı da beraberinde getirmiştir. Bu çalışma, uygulamalı etnomüzikoloji, sürdürülebilirlik ve kültür politikaları disiplinleri çerçevesinde farklı bireysel gereksinimlere ve değişkenlere uyum sağlamaya açık dört boyutlu bir kültürel sürdürülebilirlik modeli sunmaktadır.Culture in the 21st century has acquired a new, strategically important place in politics. The sustainability studies of almost forgotten traditional music and dance cultures, which has become a centre of ethnomusicology, require an understanding of cultural policies and their relationship to both intangible cultural heritage and the associated stakeholders. The traditional music and dances of the Domaniç region are in danger of vanishing. The sustainability of this culture necessitates a cross-diciplinary approach. This study offers a four-dimensional cultural susutainability model which can be adapted to different requirements and variables within the scope of applied ethnomusicology, sustainability and cultural policy.DoktoraPh.D

Nation, Memory and Music Education in the Republic of Turkey: A Hegemonic Analysis

In this chapter, we consider the relationship between music education and national identity through a chronological focus on the Republic of Turkey. We chart how theories of Turkey’s preeminent sociologist Ziya Gökalp provided the basis for a new, post-Ottoman Turkish nationalism and directly informed models of music education that were intended to establish the cultural hegemony of the dominant political elite, but which inadvertently positioned music education as a key site of struggle for cultural representation, memory and national identity for at least the next century. We contribute to the internationalisation of both sociology and music education, in two principal ways: firstly, we situate Gökalp’s work and legacy—little known outside of Turkey—in relation to mainstream European sociology by illustrating Durkheim’s influence on Gökalp’s concept of Turkishness, and consider its application through music education reform in terms of coercion and consent, within a Gramscian understanding of hegemony. Secondly, through this broader sociological framing of Turkish music education, together with close analysis of contemporary music education policy, we generate transferable insight concerning how music education can represent, shape and challenge national identity and official culture

National Identity, Official Culture and Music Education in Turkey

This symposium introduces new ideas and concepts from the forthcoming Routledge Handbook to the Sociology of Music Education. The field of the sociology of music education has experienced and continues to experience rapid and global development. It could be argued that this handbook marks its coming of age. The handbook is dedicated to the exclusive and explicit application of sociological constructs and theories to issues such as globalization, immigration, post-colonialism, inter-generational musicking, socialization, inclusion, exclusion, hegemony, symbolic violence, and popular culture. Contexts range from formal compulsory schooling to non-formal communal environments to informal music making and listening. The symposium will be organized in two panels. Each panel will be organized around a theme to which presenters will contribute with discussion of the key concepts from their work. Following each panel there will be a twenty-minute discussion period to which audience and panellists may contribute

Globally, songs and instrumental melodies are slower, higher, and use more stable pitches than speech: a registered report

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: 1) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and 2) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six pre-registered predictions, five were strongly supported: relative to speech, songs use 1) higher pitch, 2) slower temporal rate, and 3) more stable pitches, while both songs and speech used similar 4) pitch interval size, and 5) timbral brightness. Exploratory analyses suggest that features vary along a “musi-linguistic” continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of cross-cultural regularities in music and speech