MUSICOLOGY DEPARTMENT UNDERGRADUATE PROGRAMME COURSE CONTENT

 

COMPULSORY COURSES

MUSICAL HEARING READING AND WRITING I

 

The aim of this course is to provide students with the skills of single and multiple sound perception-recognition, horizontal and vertical (melody-chord) dictation, analysis, recognition of rhythmic structures, note analysis (deciphering), reading and writing skills together with theoretical knowledge within the scope of musical hearing, reading, and writing education. During two semesters or one academic year, studies will be carried out regularly every lesson to develop the students' ear through dictation. It is foreseen that the course will start with melodic, i.e. monophonic dictation.

 

 

MUSICAL HEARING READING AND WRITING II

 

In the Musical Hearing, Reading and Writing II course, it is planned that the student will move on to two voice and harmony dictation.

 

MUSIC THEORY I

 

In this course, which will start with basic harmony knowledge, it is planned to teach intervals, circle of fifths, basic rhythm elements, triads and seventh chords, diatonic triads and seventh chords according to the order in the current textbook.

 

MUSIC THEORY II

 

In this course, following the textbook, non-chord sounds, basic harmonization principles and chromatic harmonies will be taught.

 

MUSICAL FORM I

The aim of this course is to analyze musical forms, styles, and forms with important works of music history. The general forms to be taught in this course are lied, sonata, rondo, rondo-sonata, and fugue. In the first semester of this course, the course topics will be taught based on the current textbook, and it is planned to solve all or most of the exercises in the textbook.

 

MUSICAL FORM II

 

After introducing the basic concepts of harmony, the aim of this course is to enable students to analyse form to see works from a broader perspective. Within the scope of this course, students will be able to analyse and evaluate the form of a piece while composing or playing it, gain knowledge about musical form and the functional basis of musical form, and make harmonic analysis in direct proportion to form analysis.

 

INDIVIDUAL INSTRUMENT TRAINING I

 

In this course, it is aimed for the student to recognize the structure, parts and technical features of the chosen instrument and to learn the historical development of the instrument. In addition, within the scope of this course, it is foreseen to determine the correct grip and posture positions according to the physical characteristics of the student, information about the instrument learning process, basic playing techniques, movement characteristics, finger independence and coordination exercises and preparation of scales, etudes, and music pieces to improve the determined playing technique.

 

INDIVIDUAL INSTRUMENT TRAINING II

 

For the continuation of the technical development of the student, etudes and musical works containing selected playing techniques will continue to be performed. In addition, for the development of musicality, it is aimed to listen to musical works from different periods, to determine and discuss period characteristics.

 

INDIVIDUAL INSTRUMENT TRAINING III

 

This term, it is aimed to continue the expression and practice of the playing techniques determined for the development of playing techniques. In this context, it is planned to study etudes, scales, and musical works to reinforce the selected technique and to perform national and universal works suitable for the level of the student. In addition, in order to develop musical interpretation skills, it is envisaged that the student's idea production will be supported and reflected in the way he plays his instrument.

 

INDIVIDUAL INSTRUMENT TRAINING IV

 

Within the scope of this course, it is aimed to study the necessary etudes and exercises in order to ensure the student's mastery of the instrument, to examine the music forms and composers of different periods (Renaissance, Baroque, Classical, Romantic, Modern) and to examine and perform the performance techniques according to the period characteristics.

 

INDIVIDUAL INSTRUMENT TRAINING V

 

It is planned to continue the etudes containing basic techniques, to add etudes and music pieces to the repertoire for the examination and application of musical terms. In addition, it is aimed that the student recognizes different music genres and playing styles and playing techniques appropriate to these styles.

 

INDIVIDUAL INSTRUMENT TRAINING VI

 

Within the scope of this course, it is foreseen to reinforce the technical and musical knowledge learnt with etudes and music pieces suitable for the level; to perform works in multi-part, large forms, to practice speed and articulation.

 

INDIVIDUAL INSTRUMENT TRAINING VII

 

In order to increase the technical and musical skills of the student, it is aimed to perform etudes and music pieces covering advanced playing techniques and to create a strong repertoire of national and universal works.

 

INDIVIDUAL INSTRUMENT TRAINING VIII

 

In this course, it is aimed to reinforce and vocalize the repertoire covering all the learned technical, musical knowledge and skills by the student.

 

SCIENTIFIC RESEARCH METHODS

 

In order to reach scientific knowledge, it is important to have knowledge about quantitative and qualitative research methods, to recognize the stages of research and to prepare a research plan. Therefore, within the scope of this course, it is aimed that the student will be able to examine the literature on his/her research topic in detail, to establish a connection between the existing knowledge and his/her own conclusions and ideas, and to express the findings obtained as a result of the research effectively.

 

 

 

CHAMBER ORCHESTRA I

 

In this course, it is aimed to enable students to perform music collectively (ensemble performance) and to put forth a musical performance. In this context, it is aimed that the student will gain basic performance skills to play with an ensemble, to perform musical works competently, to learn about the main aspects of chamber ensemble music, to manage the process of realizing a musical work and to gain the experience of performing together. Firstly, it is envisaged to analyze two small works of the Baroque period with different characteristics; in this context, it is envisaged that the student will be able to decipher the work and gain knowledge about playing techniques, the characteristics of ensemble performance and the characteristic style of this period.

 

CHAMBER ORCHESTRA II

 

In this course, it is planned to work on two different works belonging to the Baroque and Classical periods; to examine the stylistic and nuanced differences in the performance process of the works of these two different periods.

 

CHAMBER ORCHESTRA III

 

In this course, it is aimed to combine students into a trio and a quartet. It is envisaged that one work will be performed as a duet and the other as part of a trio or quartet with a more extended composition. Parts of works in sonata form are also planned to be included in the educational repertoire of this period. Depending on the preparation of the students, it seems possible to form a small chamber orchestra in this period and therefore it is aimed to work in this direction.

 

CHAMBER ORCHESTRA IV

 

In this semester, it is planned to continue the studies similar to the previous semester. In addition, the performance of at least one work from the Romantic period will be added to the sonatas, trio-sonatas, or quartets of which all parts have been studied.

 

CHAMBER ORCHESTRA V

 

The programme for this period will include one work in sonata form and two works from three different periods (one of which will be by a contemporary composer).

 

CHAMBER ORCHESTRA VI

 

In this last semester of the Chamber Orchestra course, it is aimed to include works by composers of different periods. It is aimed that students will be able to perform two different works in a major form.

 

PIANO I

 

The aim of this course is to provide the student with a basic knowledge and skills in the field of piano performance. In this context, the student is expected to master the basics of music literacy necessary to master the piano instrument. In the first semester of this course, it is aimed to study musical notation through exercises, musical terms and at least 2 or 3 works at basic level.

 

PIANO II

 

In this period, in parallel with the exercises, it is foreseen to start working on pieces of different character. Some pieces are planned to be played (four hands) with the accompaniment of the teacher. It is important that the pieces are chosen according to the individual characteristics of the student, especially for the first year of study.

 

PIANO III

 

In this period, the aim is to familiarize the student with the structure of major and minor scales. Major and minor scales are expected to be played with separate hands in one octave.

 

PIANO IV

 

In this period, the student is expected to play the scales studied in the previous period with two hands. The student is expected to play two different polyphonic works. In addition, it is planned to study works in the sonata genre.

 

PIANO V

 

In this period, it is aimed to add new technical touches to the piano performance, depending on the student's ability and development in the lessons. In the lessons of this period, polyphonic works and various pieces are compulsory. It is planned to start at least one or two movements of simple sonatas.

 

PIANO VI

 

In this period, it is aimed that the student will successfully complete the piano lessons with three and four-marked scales, etudes written on various types of techniques, a complete sonata, a polyphonic work and two works with different characters.

 

INTRODUCTION TO MUSICOLOGY

 

The aim of this course is to examine the changes that musicology has undergone from its birth to the present day in a historical context, to understand the methods used and to transfer the theories and methods of today's musicology with a holistic approach. In this context, the research topics of musicology, the emergence and distinctions of musicology branches such as systematic musicology, historical musicology, ethnomusicology, zoomusicology, ecomusicology, etc. are examined. In addition, written and oral sources, research methods and techniques used in musicology are explained.

 

MUSIC TECHNOLOGIES I

 

In this course, it is aimed to provide the student with information about the usage areas of technology in music and the main terminology. In this context, it is planned to teach analogue and digital sound concepts, computer notation, major sound recording programs and their application areas.

 

MUSIC TECHNOLOGIES II

 

The aim of this course is to transform the theoretical knowledge about the use of technology in music into practice. It is aimed to prepare the necessary infrastructure for the effective use of sound recording programmes, whether in field research or in order to be transformed into musical products.

 

 

MUSIC SOCIOLOGY

 

In this course, it is aimed to examine music as a sociological element; to transfer historical and current studies in the world and in our country. Students are expected to understand and analyse the sociological functions of music and to be able to make their own analyses in new examples.

 

ANATOLIAN FOLK MUSIC I

 

In this course, it is aimed to transfer the concepts of Anatolian Folk Music, melodic and rhythmic structures, regional differences. With examples of folk music from Anatolia, it is an introduction to the creation of the necessary theoretical and practical infrastructure.

 

ANATOLIAN FOLK MUSIC II

 

In this period of the course, it is aimed to explain the beginning of the transfer of Anatolian Folk Music concepts, melodic and rhythmic structures, regional differences in a more comprehensive manner. With examples of folk music from Anatolia, it is a continuation of the creation of the necessary theoretical and practical infrastructure.

 

 

POPULAR MUSIC I

 

In this semester of the course, it is aimed to analyze the main stages of the formation and development of jazz music in the context of socio-economic, national ethnic, artistic, and aesthetic phenomena. Within the scope of the course, it is planned to analyze the main stylistic variations that emerged during the development of jazz music both in the USA and Europe. Thus, at the end of the semester, the student will be able to gain skills in analyzing jazz works; to have knowledge in the field of jazz music based on the best examples of instrumental and vocal music; to know the aesthetic and theoretical foundations of classical, modern and avant-garde jazz.

 

POPULAR MUSIC II

 

In this course, it is aimed to analyse the history of rock and pop music and musicians and the processes affecting the formation of certain styles of this genre. In this context, it is planned that students will acquire certain knowledge about the fields of rock and pop music; create an awareness of the lifestyles and cultures of other peoples and be able to comparatively analyse the main stylistic varieties of pop music samples from both abroad and Turkey.

 

MUSIC HISTORY I

 

In this course, it is aimed that the student will learn about the historical development of music from the earliest known dates in the world until the 14th-15th centuries, the developments of these periods in the history of music and the important names and institutions of the period. In this context, cultural conditions surrounding human life in ancient civilizations, theories about the origin and formation of music, the first civilizations (music culture in Egyptian-Mesopotamian-Indian-Far Eastern Civilizations), Anatolian-Aegean Civilizations and music culture in Ancient Greece and Western Rome.

 

MUSIC HISTORY II

 

In this semester's course, topics such as music and culture in the Middle Ages, music culture in early medieval Christian Europe and the Gothic period will be covered.

 

MUSIC HISTORY III

 

In this course, it is planned to evaluate the genres and forms and musical development of European polyphonic music from the 15th century Renaissance period to the end of the Baroque period in the mid-18th century with a historical perspective. The main topics to be covered in the course are Medieval culture in Europe and its effects on music, the cultural environment preparing the Renaissance and its effects on music, composers and works of the Renaissance period, reform, late Renaissance (Golden Age), general appearance and characteristics of music in the Baroque period, the birth of opera, composers in early Baroque period music, technical and historical analysis of the works of the period, composers and works of late Baroque period music.

 

MUSIC HISTORY IV

 

In this course, the European polyphonic music culture, the musical genres, forms and composers that emerged from the mid-18th century until the end of the so-called Classical period, which lasted until the end of the Romantic period, which lasted until the beginning of the 20th century, will be evaluated in the light of the following main headings with a historical perspective: Transition from Baroque to Classical; Rococo, Style Galant; Mannheim School; Classical period musical forms; Mozart and Haydn: Their compositions and works; New expansions in opera; Viennese Classics and Beethoven; Beethoven: Composition and works; Early Romantic period composers Weber, Schubert, Berlioz, Mendelssohn; Chopin, Paganini, Lizst: Composition and works; Composers of the Nationalist Movement: Russian Five, Dvorak, Grieg; Wagner and the effects of his music on the period; Nationalist composers in the Romantic period; Development of opera music in the Romantic period; Composers at the end of the Romantic period: J. Brahms, P. Tchaikovsky C. Debussy, A. Dvorak, G. Mahler.

 

MUSIC HISTORY V

 

In this course, European and American polyphonic music culture, emerging musical genres, forms and composers in the modern period from the beginning of the 20th century to the 21st century will be evaluated in the light of the following main headings with a historical perspective: Transition from Romanticism to Modern Period; Post Romantics; Richard Strauss; Nationalist movement in Russia and Russian composers: Rachmaninov, Skriyabin, Tchaikovsky; National movements in Europe; Music in America; Introduction to 20th century music; Modern Opera; Impressionism; New Classicism: Stravinski, Hindemith; Folklorism: Bela Bartok; French Sixties; Futurism; Opera in the 20th century; Opera, musical and electronic music in America; Webern and his followers; Randomness in Music and Minimalism.

 

MUSIC HISTORY VI

 

In this course, the reflections of polyphonic European music culture within the framework of the westernization movements that started with Tanzimat in the Ottoman Empire, the new music policy in Turkey, the development of polyphonic music, the composers of the period and their works will be evaluated under the following headings: Turkish influences in Western music; polyphonic music in the Ottoman Empire; Republican music policy and polyphonic music in Turkey; Turkish Five: Cemal Reşit Rey, Ulvi Cemal Erkin, Hasan Ferit Alnar, Ahmed Adnan Saygun, Necil Kâzım Akses; Second generation composers: Bülent Arel, İlhan Usmanbaş, Ferit Tüzün, İlhan Mimaroğlu, Nevit Kodallı; Third generation composers: Ali Darmar, Betin Güneş; Fifth generation composers and after: Kamran İnce, Aydın Esen, Hasan Uçarsu, Özkan Manav, Yiğit Aydın, Mahir Cetiz.

 

MUSIC HISTORY VII

 

This course includes Turkish Music Culture before Islam, Turkish Music Culture in Karahanli and Ghaznavid Periods, Seljuk Period, Safiyyüddin Urmevî, Timurid Period, Abdülkadir Merâgi, 15th Century Murad II and Fatih Sultan Mehmed Period and Anatolian Edvârs, 13. Century, Music and Worship in Anatolia, Alevî-Bektâşî Culture, Mevlevîlik and Semâ, 16th Century Bayezid II, Mehterhane, Şehzade Korkud, Gazi Giray Han and Western travellers, and the history of Turkish makam music tradition within the framework of theory, organology, forms, composers and performers.

 

MUSIC HISTORY VIII

 

In this course, Sultan Murad IV, Mehmed IV, Ahmed III, Şahkulu, Ali Ufkî, Kutb-i Nâyi Osman Dede, Kûçek Derviş Mustafa, Hafız Post, Buhurizâde Mustafa Itrî, Enfî Hasan Ağa, Kantemiroğlu, Kara İsmail Ağa within the scope of the 17th century; 18. century, the Tulip Period, Şeyhülislam Esâd Efendi, Ebûbekir Ağa, Zaharya, Dilhayat Kalfa, Tanbûrî Mustafa Çavuş, Tab'î Mustafa Efendi, Sultan III. Selim, Abdülbâkî Nâsır Dede, Hamparsum, Hammâmi-zâde İsmail Dede Efendi; music cultural life of the 19th century period; Turkish Music Culture and composers of the Late Ottoman and Early Republican Periods within the scope of the 20th century; Audio Music Broadcasting and Westernization Effects. Turkish Music Forms In this course, it is aimed to teach the concepts of form and genre; the relationship between form and method, form components such as melody particle, motif, sequencing, twin motif, theme, figure, passage, cadence, sentence, period, and the notation of musical form. In addition, this course includes analyzing the religious and non-religious forms of Turkish Makam music and reinforcing them with applications.

 

TURKISH MUSIC THEORY AND SOLMIZATION I

 

This course covers basic concepts such as maqam, usûl, pitch, scale, theoretical information such as the use of notes in Turkish Music, as well as the explanation of simple maqams and the practical teaching of usuls up to ten times through works. Within the scope of this course, in addition to the theoreticians of makam music, sources and topics such as makam music sound system, harmonies and intervals, theoretical explanation of Çargâh, Kürdi, Rast, Uşşak, Bayati, Simple Isfahan maqams and Hijaz family, reinforcing the teaching with course examples and work performances, It is planned to teach Nim Sofyan, Sofyan, Semâî, Turkish Accent, Walking Semâî, Devr-i Hindî, Devr-i Turan, Düyek, Müsemmen, Aksak, Evfer, Raks Aksağı, Oynak Aksak Semâî and curcuna methods up to ten time and to apply them on works.

 

TURKISH MUSIC THEORY AND SOLMIZATION II

 

This course includes theoretical explanations such as the concepts of shad and ink maqam, maqam transitions and Hüseyni, Muhayyer, Gülizar, Nevâ, Tahir, Karcığar Basit Sûznâk, Sûznâk, Mâhur, Acemaşiran, Nihavent, Sultânîyegah, it aims to reinforce the teaching of Hicazkar, Kurdîlihicazkar, Evcara, Suzidil, Nişabur, Segah, Hüzzam, Sabâ, Şevkefza, Segah, Ferahnak maqams with theoretical explanation, examples of progression and performances of works. It is aimed to teach the methods from ten time to fifteen time, as well as devr-i kebir, muhammes, hafif methods by applying them through the works to be performed during the learning of makam.

 

HUMAN, SOCIETY AND CIVILIZATION I

 

In this course, socio-cultural, religious, political, and economic changes, transformations, destructions, conflicts, and interactions shaping the historical adventure of human beings will be examined. In this context, the definition of the concept of civilization, the founding elements of a civilization, as well as the concepts of continuity in history, progress and regression in history will be explained.

 

HUMAN, SOCIETY AND CIVILIZATION II

 

In this course, how to read the history of thought and science, the basic paradigms in the history of Islamic and Western thought, what are the social and political movements that have been effective in the formation process of the modern world, how to define concepts such as modernity, nationalism, feminism, ethnic identity, and nation-state will be examined. In addition, how these phenomena have emerged in the historical process and how they constitute a field of activity in the social field will be examined.

 

TURKISH LANGUAGE I

 

In this course, it is aimed to provide students with information about the status and importance of language, language-culture relations, the place of Turkish among other languages, its historical development and spread.

 

TURKISH LANGUAGE II

 

In this course of the semester, topics such as language, noun, adjective, adverb, elements of the sentence, syllable types, the importance of the plan in composition, report preparation will be covered.

 

FOREIGN LANGUAGE (ENGLISH) I

 

In this course, it is aimed to enable students to read reading texts on various subjects. In this context, it is envisaged to gain the ability to establish relationships between texts, headings, and pictures, to search for main ideas, to scan words, sentences, paragraphs and texts.

 

FOREIGN LANGUAGE (ENGLISH) II

 

In this course, it is aimed to develop students' vocabulary at the beginning level and to work on the four basic skills of reading, writing, listening, and speaking in the target language.

 

ATATÜRK’S PRINCIPLES AND HISTORY OF REVOLUTION I

 

In this course, the political, social, cultural and socio-psychological problems arising from the encounter between Western and Turkish cultures, the reform movements that emerged as a reaction to the collapse and disintegration of the Ottoman Empire, the political events in the process of transition from the Ottoman Empire to the nation state and the establishment of the Republic of Turkey as a result of the liberation movement led by Mustafa Kemal Atatürk will be discussed.

 

ATATÜRK’S PRINCIPLES AND HISTORY OF REVOLUTION II

 

Within the scope of this course, the problem of sultanate and Lausanne Peace negotiations, groups in T.B.M.M, the proclamation of the Republic, the revolutions made on 3 March 1924, the 1924 Constitution, the transition to multi-party democratic life, efforts to destroy the revolution, revolutions, the basic qualities of the Republic of Turkey, the foreign policy of the Republic of Turkey during the Atatürk period.

 

INTRODUCTION TO ETHNOMUSICOLOGY

 

Ethnomusicology, as one of the sub-disciplines of musicology and musicology, is related to the approaches of many different disciplines in the research of music, but it is also based on the experiences of many fields of study. In this course, it is aimed for the student to learn disciplines such as the definition, scope, and fields of study of ethnomusicology. Then the history of ethnomusicology as a discipline, ethnomusicology studies in the world and in Turkey, ethnomusicology approach differences and schools are discussed. Ethnomusicology research methods and techniques as well as study areas or subjects are also examined. Current debates in this field are also discussed and at the end of the semester, it is aimed to provide the students with ethnomusicological approaches that they can use in their theoretical and practical studies.

 

FIELD RESEARCH METHODS

 

The aim of this course is to teach field research methods and techniques in practice. For this purpose, it is aimed that students learn how to prepare a research proposal, survey and interview techniques, preparation of survey and interview form, sample selection, how to collect data in the field, how to process and report these data. In addition, technical information such as audio and video recording and photography is provided. At the end of the semester, the student is expected to transform the institutional knowledge he / she has learnt into practice and is expected to carry out an application on the subject he / she has chosen.

 

SEMINAR

 

The main aim of the seminar course is to transfer the basic principles that will ensure that the undergraduate graduation work is written in accordance with scientific rules. Within the scope of this course, it is aimed that the student learns the types of scientific publications (thesis, article, report, etc.), literature analysis, ethical principles to be followed in scientific research and publication; to be able to systematically transfer the current developments in the field and their own studies to the groups in and out of the field in written, oral and visual form by supporting them with quantitative and qualitative data.

 

GRADUATION PROJECT

 

Graduation Project is an individual or group study that shows that the student has reached the desired level of professional knowledge and skills and is carried out under the supervision of counsellor lecturers or lecturers. The aim of the graduation study is to ensure that the student who graduates from the university at the undergraduate level performs a study with academic content. The aim of this course is to enable the student to recognize the terms of instrument classification, to have basic knowledge about the emergence and change processes of instruments, to evaluate innovations in the field of instrument design from a scientific point of view and to have knowledge about the cultural meaning and social functions of instruments.

 

ELECTIVE COURSES

 

MUSIC AND MEDIA

 

The aim of this course is to analyze the use of music in the media with examples and to provide students with the necessary qualifications in the context of media literacy. In this context, it is aimed that the student will be able to think critically on issues such as current communication and media theories, the use of music in social media and the marketing and function of music in these contexts.

 

MUSICAL ARCHIVING

 

The aim of the course is to transfer the historical process and working areas of music archiving in the world and in our country to the students and to explain the usage patterns in musicology discipline. It is foreseen to examine the music archives in the world and in our country, the use of music archives, the importance of music archives in folklore and ethnomusicology branches, and the protection of cultural products.

 

ACOUSTICS

 

The aim of this course is to teach the definition of sound, the formation, behaviour and physical properties of sound waves, their progression, and mechanisms in the outer and middle ear.

 

NEUROMUSICOLOGY

 

The aim of this course is to provide students with an in-depth understanding of how music is processed in the mechanisms of reception and cognition in the human brain in the light of current primary sources. The general structure and functioning of the brain, identification of music in the brain, music appreciation, music creation mechanisms, music and memory connection are the topics to be covered in the course.

 

 

ADVANCED MUSIC TECHNOLOGIES I

 

The aim of the course is to provide a theoretical introduction to advanced recording techniques, digital audio production and sound effects and to understand their practical applications. It is an introduction to the working logic of sound synthesizers and sound effects, frequency ranges of common instruments and mixing techniques in recording programmes.

 

ADVANCED MUSIC TECHNOLOGIES II

 

In this semester, students are expected to transform the theoretical knowledge learnt from the previous semester into practice through creation. In addition, examples of current mixing techniques, mastering and its importance, general usage are planned to be conveyed to the students.

 

 

DICTION

 

The aim of this course is to train individuals who can use their voice, breath, and body language correctly, have a command of Turkish, have a rich vocabulary, can evaluate the text they read, and have internalized the art of speaking. It is aimed that the student can empathize, express himself in society and play team games. This course includes topics such as diction, phonetic concepts, relaxation, concentration, breathing, voice use, Turkish grammar rules, intonation, emphasis, articulation exercises, overcoming speech defects, body language exercises, stress control, improvisation exercises, poetry reading, emotion transfer, story vocalization, news text evaluation, presentation skills.

 

MUSIC AND POLITICS

 

In this course, the relations between music, society and politics, the role of music in the construction of national identities, especially in European and African societies, through various societies, musical genres, and different time periods; jazz, black liberation and civil rights movement, music as a means of political organization and resistance, Cold War and music diplomacy, music as a tool of violence and oppression, Music in the context of Turkish modernization.

 

MUSIC THERAPY

 

In this course, it is aimed to examine the findings related to music applications in treatment in historical development and to theoretically examine the methods of music therapy application, which are becoming increasingly important today, and to provide students with an idea about music therapy applications. Within the scope of the course, human emotions and music, the effects of music, music in treatment in the ancient period, music therapy in Asclepieion, music in treatment in the Christian period, music in treatment from Renaissance to 20th century, music therapy in Turks, music therapy centers in Turkish-Islamic civilization, music-therapy and methodology, examination of music therapy applications in various diseases, selection of appropriate music in music therapy.

 

PHILOSOPHY OF MUSIC I

 

This course includes the developments and theoretical knowledge in the field of philosophy of art and philosophy of music. Philosophical developments, practical and theoretical effects of the theories of art are evaluated in the context of music and philosophy of music. For this purpose, a comparative analysis of the philosophy of music and theories of art as western-eastern, classical, and modern is made. In the first semester of the course, after the general history and development of the theories of philosophy of art and philosophy of music, the basic concepts of philosophy of art and aesthetics will be discussed. Philosophy of music in Ancient Greece, China, and India, Pitagoras, Plato, Aristotle theories of philosophy of art will be discussed.

 

PHILOSOPHY OF MUSIC II

 

In this semester of the course, 17th century Enlightenment, Kant, Schopenhauer-Hegel, Romantic Philosophy-Romantic music, Nietzsche-Beethoven, Wagner, Marx - Frankfurt School - Adorno Philosophy of Music, Islamic Philosophy of Art and Music Aesthetics, Heidegger-Schoenberg, Post Modernism-Post Structuralism, Modern Philosophy of Music.

 

MUSIC INDUSTRY

 

The aim of this course is to provide information about the historical development of the Turkish music industry and the future of music. Within the scope of this course, it is aimed that the student will learn the process of music production as a business line; music production, management, organization, copyrights and collecting societies, digital and physical music distribution, music promotion and marketing, social media and its use, music studio, work, arrangement, recording, mixing, mastering.

 

 

HISTORY AND LITERATURE OF TURKISH POPULAR MUSIC I

 

The aim of this course is to provide students with information about the history of popular music in Turkey. Within the scope of the course, it is aimed to learn the intertwining of popular music with social processes and popular music forms that change in parallel with social change.

 

HISTORY AND LITERATURE OF TURKISH POPULAR MUSIC II

 

At the end of this course, students will have knowledge and experience about what popular music is, the historical development of its main genres, important representatives, important movements, and styles.

 

ANALYSIS OF MUSICAL WORK

 

In this course, it is aimed to examine the methods of work analysis and to determine the appropriate analysis method for the purpose. In this context, the student is expected to be able to divide the musical work into its constituent parts, to determine the characteristics of the parts that play a role in the whole of the work, to reveal the structure, function, and connection of these parts with each other. In addition, it is aimed that the student will be able to determine the style and period characteristics, cultural characteristics, musical structure of the work; melody, motif, sentence parts, tone, rhythmic characteristics, form, functions of structural elements by comparison method and to reveal the features of lyrics and language in oral works.

 

ART HISTORY

 

The aim of this course is to create a theoretical background by examining the meaning and scope of art; to discuss the emergence of art starting from pre-written / prehistoric ages, its stages, and its re-establishment / shaping in these stages by chronologically travelling; to examine the basic concepts, theories / movements of art and to examine the intersection points / relations of art with the social field. In this context, it is aimed to teach students the basic concepts of art and the basic stages of art history and to examine the Western-centered approach to art history.

 

 

COUNTERPOINT

 

In this course, it is aimed to introduce the basics of counterpoint and to provide the student with competence in the use of one to one, one to two, one to two, one to syncopated, one to four and embroidered, three-voice counterpoint techniques. Within the scope of the course, Renaissance and Baroque polyphonic music writing within the framework of three-voice counterpoint techniques, two or three-voice motet, four-voice chorale writing in Bach style and other software techniques of the periods in question are planned to be discussed.