ISTANBUL OKAN UNIVERSITY INFORMATION PACKAGE / COURSE CATALOGUE
| Music | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
General course introduction information
| Course Code: | MZK162 | ||||||||
| Course Name: | Theoric and Solfege of TM I | ||||||||
| Course Semester: | Spring | ||||||||
| Course Credits: |
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| Language of instruction: | TR | ||||||||
| Course Requisites: | |||||||||
| Does the Course Require Work Experience?: | No | ||||||||
| Type of course: | Compulsory | ||||||||
| Course Level: |
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| Mode of Delivery: | Face to face | ||||||||
| Course Coordinator : | Dr.Öğr.Üyesi ÇETİN KÖRÜKÇÜOĞLU | ||||||||
| Course Lecturer(s): |
Öğr.Gör. MÜGE HALE ÇETİNTÜRK |
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| Course Assistants: |
Course Objective and Content
| Course Objectives: | To provide education and training in Turkish music theory, based on theoretical and scientific foundations and in accordance with a certain understanding of art, together with solfege practice. |
| Course Content: | • General characteristics of Turkish Music • Concepts of “Turkish Music Sound System”, “Maqam”, “Pitch”, “Usul” • Flavor Groups of Four and Five Forming Maqams in Turkish Music • Çargah, Buselik, Rast, Uşşâk, Beyâtî, Nevâ and Tâhir Modes from the Simple Modes of Turkish Music • The Concept of Usul in Turkish Music and Solfeggio of Works in 2, 3, 4, 5, 6 Time Usul Structures |
Learning Outcomes
The students who have succeeded in this course;
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Lesson Plan
| Week | Subject | Related Preparation |
| 1) | • Introducing TSM Solfeggio and Theory Course to Students. • “Features of Turkish Music Sound System” • Explaining the concepts of "Turkish Music intervals", "Faulty and faultless sounds", "Pitch", and memorizing the "pitch names". • “Change Signs in Turkish Music”. | |
| 2) | • Double intervals used in TSM, simple and special fourths and fifths used in makam formation, explanation of the concept of "flavor". • The concept of pitch used in TSM and the naming of 24 pitches. | |
| 3) | • Explanation of the Concept of Maqam in TSM through the concepts of "sequence", "course", "strong", "equivalent" and "decision". • “Sequence”, “cruise”, “strong”, “equivalent” and “decision” types. | |
| 4) | • “Simple Seasoning” (quadruples and quintets) deposition exercises used in the maqam formation in TSM. • Voicing of simple fourths and fifths in TSM. | |
| 5) | • “Classification of Authorities” used in TSM. • Definition and types of Simple Makams. • Expansion of makam series in TSM. • Teaching the concept of usul in TSM and the 2-time Nim Sofyan, 3-time Semaî and 4-time Sofyan usuls. • Solfeggio of navigational patterns with 2, 3, 4 time rhythmic structure. | |
| 6) | • General information about “Çargah” and “Buselik” makams. • Vocalizations of sample etudes from Çargah and Buselik makams. Çargâh Eser: Playful atmosphere- Sadettin Arel (Usûl- Sofyan) This piece of work: Song- “Dil-bestenim mesurunum” Vecdi Seyhun (Usul- Semai) | |
| 7) | "An overview". | |
| 8) | MIDTERM EXAM • Introducing TSM Solfeggio and Theory Course to Students. • “Features of Turkish Music Sound System”, • “Maqam”, “Pitch”, and “Fault Signs in Turkish Music” • Double intervals used in TSM, simple and special fourths and fifths used in makam formation, the concept of "flavor". • The concept of pitch used in TSM and the names of the 24 pitches. • Explanation of the Concept of Maqam in TSM through the concepts of "sequence", "course", "strong", "equivalent" and "decision". • “Sequence”, “cruise”, “strong”, “equivalent” and “decision” types. • “Imposition studies in fourths and fifths used in makam formation in TSM. • Voicing of simple fourths and fifths in TSM • “Classification of Authorities” used in TSM. • Definition and types of Simple Makams. • Expansion of makam series in TSM. • The concept of usul in TSM and the 2-time Nim Sofyan, 3-time Semaî and 4-time Sofyan usûls. • General information about “Çargah” and “Buselik” makams. • Voiceovers of sample etudes from Çargah and Buselik makams | |
| 9) | • Exam evaluation, | |
| 10) | • Explaining the maqams “Kürdî” and “Rast”. • Performing sample etudes in Kürdi and Rast makams, • Teaching the 5-time Turkish Aksağı style, sample etude studies. | |
| 11) | • Explaining the maqams “Uşşâk” and “Beyâtî”. • Performing sample etudes from the "Uşşâk" and "Beyâtî" maqams in the learned usûl structures. • Teaching the 6-time “Yürük Semaî” usûl | |
| 12) | • Explaining the maqams “Nevâ” and “Tâhir”. • Performing sample etudes in the "Nevâ" and "Tâhir" maqams, which are among the learned usûl structures. | |
| 13) | • Repetition of the makams Çargâh, Buselik, Kürdî, Rast, Uşşak, Bayâtî, Nevâ and Tâhir. • Verbal and written feedback studies | |
| 14) | • An overview. | |
| 15) | • An overview. | |
| 16) | FINAL EXAM |
Sources
| Course Notes / Textbooks: | 1.Arel S, (Hz: Onur Akdoğu) “Türk Musikisi Nazariyatı Dersleri”, Kültür Bakanlığı Yayınları/1347, 1993, Ankara. 2. Özkan, İ.H, “Türk Musikisi Nazariyatı ve Usulleri”, Ötüken Yayınları, 1990, İstanbul. 3. Varol, N., “ Türk Müziği Nazariyat, Usul , Solfej”, Türk Musikisi Vakfı Yayınları, 1998, İstanbul. 4. Kutluğ, F., “Türk Musikisinde Makamlar”Yapı Kredi Yayınları, 2000, İstanbul 5. Yılmaz, Z., “Türk Musikisi Dersleri”, Kardeşler Matbaa, 1988, İstanbul. 6. Hatipoğlu , A., “Türk Musikisi Solfeji”, Dağarcık Yayınları, 1982, Ankara. 7. Bingöl, E., “Türk Musikisinde Makamlar ve Seyir Örnekleri”, Bakırköy Musiki Vakfı Yayınları, 1999, İstanbul. 8. Karadeniz, E., “Türk musikisi Nazariyatının Esasları”, İş Bankası yayınları, İstanbul. 9. Öztuna, Y., “Türk Musikisi Ansiklopedisi”, Milli Eğitim Basımevi, 1969, İstanbul. 10. Öztuna, Y., “Türk Musikisi Teknik ve Tarihi”, 1987, İstanbul. 11. Ungay, M.H., “Türk Musikisinde Usuller ve Kudüm”, 1981, İstanbul. 12. Çakar, Ş., “Türk Musikisinde Usul”, Üsküdar Musiki Cemiyeti Yayınları, İstanbul. 13. Çakar, Ş., “Türk Musikisi Nazariyatı”, Üsküdar Musiki Cemiyeti Yayınları, İstanbul. 14. Körükçü, Ç., “Türk Sanat Müziği”, Hürriyet Gazetecilik ve Matbaacılık, 1998, İstanbul. 15. Ezgi, S., “Nazari ve Ameli Türk Musikisi”, İstanbul. |
| References: | 1. İTÜ Konservatuvar Türk Musikisi Nazariyat Ders Notları-Yavuz Özüstün. 2. Kanun, Tanbur vb. Müzik çalar, kaset ve CD |
Course-Program Learning Outcome Relationship
| Learning Outcomes | 1 |
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| Program Outcomes | |||||||||
| 1) To make students more effective and capable in their future professions as artists | |||||||||
| 2) To increase students’ intuition and discover their creative power throughout their academic careers | |||||||||
| 3) By enhancing creative potential, to widen the horizons of habitual thought and form open-minded and captivating artists | |||||||||
| 4) To support students along their artistic journey and prepare them for fruitful, fulfilling careers | |||||||||
| 5) By combining the reason of science and the sense of art, to create citizens ready to meet the substantial and spiritual needs of society | |||||||||
| 6) To build aesthetic awareness | |||||||||
| 7) To increase awareness of local and international values surrounding music | |||||||||
| 8) To create a space where abstract and concrete concepts can be converted into creative power, as well as original and innovative artistic work | |||||||||
| 9) To build a sensibility for success in their professional lives | |||||||||
| 10) To become well-rounded individuals enriched with an interdisciplinary and diverse education | |||||||||
Course - Learning Outcome Relationship
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | To make students more effective and capable in their future professions as artists | |
| 2) | To increase students’ intuition and discover their creative power throughout their academic careers | |
| 3) | By enhancing creative potential, to widen the horizons of habitual thought and form open-minded and captivating artists | |
| 4) | To support students along their artistic journey and prepare them for fruitful, fulfilling careers | |
| 5) | By combining the reason of science and the sense of art, to create citizens ready to meet the substantial and spiritual needs of society | |
| 6) | To build aesthetic awareness | 5 |
| 7) | To increase awareness of local and international values surrounding music | |
| 8) | To create a space where abstract and concrete concepts can be converted into creative power, as well as original and innovative artistic work | |
| 9) | To build a sensibility for success in their professional lives | |
| 10) | To become well-rounded individuals enriched with an interdisciplinary and diverse education |
Learning Activity and Teaching Methods
| Expression | |
| Individual study and homework | |
| Lesson | |
| Reading | |
| Homework |
Assessment & Grading Methods and Criteria
| Written Exam (Open-ended questions, multiple choice, true-false, matching, fill in the blanks, sequencing) | |
| Oral Examination | |
| Homework | |
| Application | |
| Observation | |
| Individual Project |
Assessment & Grading
| Semester Requirements | Number of Activities | Level of Contribution |
| Midterms | 1 | % 40 |
| Final | 1 | % 60 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 40 | |
| PERCENTAGE OF FINAL WORK | % 60 | |
| total | % 100 | |
Workload and ECTS Credit Grading
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 16 | 2 | 32 |
| Midterms | 1 | 1 | 1 |
| Final | 1 | 1 | 1 |
| Total Workload | 34 | ||