Mümtaz Hakan Sakar

Taking music as a text and trying to understand it requires being a part of a culture. Because music is the most important cultural form of “a” culture. Meaning and signifying are the communication itself. The unknowns cultural symbols such as a sign, symbol, password, etc. are cognitively and emotionally contented in individuals. The concept of meaning that can not be considered separately with taste can be thought societally and differently and individually and contextually. This work focuses on the formation of musical meaning, the different types of meaning and signfying.  Extended English summary is in the end of Full Text PDF (TURKISH) file.ÖzetBir metin olarak müziği ele almak ve bu metni anlamaya çalışmak, verili bir kültürün parçası olmayı gerektiriyor. Çünkü müzik “bir” kültürün kültürel biçimlerinden en önemlisidir. Anlam ve anlamlandırma iletişimin ta kendisidir. Verili bir kültüre ait simge, sembol, şifre gibi bilinmezler, bilişsel ve duygusal içerik olarak bireylerde k...

Bu çalışma, ilköğretim ve orta dereceli okullarda eğitim gören 12-18 yaş arası çocukların, gündelik yaşamda tüketicisi ve hayranı oldukları popüler müziği, resmi müzik eğitim sistemi içerisine dahil edip etmemeyi tartışır. Bu sayede çocukların müziğe ve sanata yönlendirilebilmeleri ve ...

This research was prepared with the aim of presenting opinions and suggestions on starting cello education from the fourth position. In cello training, the effect of the fourth positions on the development of kinesthetic skill is explained, where mind-body harmony perpetuates knowledge in the student. The effect of these processes, based on the central nervous system, on the fourth positions at the beginning stage of the student’s cello is explained. In accordance with the purpose of the research, semi-structured interviews were conducted with experts who served in four state conservatories, and the interviews were categorized and interpreted. In the research, the technical progress of the studies in the fourth position starting methods was given and interpreted. As a result of the research, opinions on the subject obtained from the literature survey were transferred and suggestions were presented.

Improvisation skill is the sign of “mastership” for any musician regardless of the type of music he/she is involved in. Taksim, at the beginning of “fasıl” phenomenon in Traditional Turkish Classical Music, is a type of improvisation which has specific rules and forms like as in Western Art Music and jazz. Therefore, “taksim”, as an instrumental practice of which its’ performer is called “creator”, “master” and thus “musician”, is seen as a male dominated practice. This study focuses on gender differences existing in the performance of taksim practice and aims to reveal how the practice is effected by gender culture. The data regarding the research are acquired through ethnographic observations and interviews and are conceptually analyzed. Keywords: taksim; improvisation; woman; gender