Template-Type: ReDIF-Article 1.0 Author-Name: Elif ÇETLİ Author-Email: elcet41@gmail.com Author-Workplace-Name: Hitit Üniversitesi Author-Name: Ayşe ÇALIŞKAN Author-Email: aysecaliskan84@gmail.com Author-Workplace-Name: Hitit Üniversitesi Author-Name: Fırat KOÇ Author-Email: firatkoc@hitit.edu.tr Author-Workplace-Name: Hitit Üniversitesi Author-Name: Vahdet ÖZKOÇAK Author-Email: vahdetozkocak@hitit.edu.tr Author-Workplace-Name: Hitit Üniversitesi Title: THE IMPORTANCE OF ANTHROPOLOGICAL AND GENETIC DATA IN FORENSIC PHOTOGRAPHY AND IMAGE ANALYSIS Abstract: The phenomenon of crime in the developing world is also changing day by day. Criminal acts which are difficult to resolve and nature have a negative impact on judicial functioning and even make it difficult to solve some cases. With the formation of the Forensic Science Branch, it is seen that it is easy to clarify almost every criminal activity and to reveal the perpetrators. Because the field of Forensic Science is related to many branches of Science and has the ability to host different branches of science. Criminality is a human act, the perpetrator and victim of the human being because of the nature of the field of Anthropology, Forensic Science has become a natural part. This discipline, which emerged as a sub-discipline of Physical Anthropology and called Forensic Anthropology, contributes to the research of crime through anthropological studies. Forensic Anthropology uses forensic image analysis techniques in identification studies with emerging technologies. A technique called resurfacing is based on the restoration of soft tissues of the face by benefiting from a skull. On the other hand, the first state of the crime scene, which is described as the scene after a judicial case, is filled with clues to illuminate the investigation and prosecution of the case. The so-called forensic photography field includes photographing these clues with special techniques and photographing them in order to resolve incidents or prevent contradictions that may occur after the crime. Forensic Imaging Analysis and forensic photographing provide great contributions to the clarification and rapid access to the results. The conclusion of the unsolved murders and the identification of unidentified bodies are very important in judicial terms. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 1-14 Volume: 11 Issue: 11 Year: 2019 Month: Feb DOI: 10.17740/eas.art.2019â€�V11â€�01 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/587 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:11:y:2019:i:11:p:1-14 Template-Type: ReDIF-Article 1.0 Author-Name: Parvana AZİMOVA Author-Email: azimovaparvana2019@gmail.com Author-Workplace-Name: Azerbaycan Tarih Müzesi Author-Name: Muzaffer DOĞANBAŞ Author-Email: sanat_tarihci@yahoo.com Author-Workplace-Name: Kültür ve Turizm Bakanlığı Amasya Müzesi Title: AZERIS IN AMASYA HISTORY AND THEIR ARCHITECTURAL WORKS Abstract: Amasia City has taken its rightful place in history as an important center from past to present. The fact that the Ottoman shahzadas were reigned here as sanjakbeys has made the city a center of attraction. Due to the fact that it is located on the caravan routes from Istanbul to the east, the importance of the city has more increased. In this context, from the past to the present, the Amasia region has become a center of migration. However, especially in the 19th century, intense migration from the Caucasus to the Amasia Sanjak is seen. A significant part of the migrations from the Caucasus has been happen from Azerbaijan region. At the present time, the people of Azerbaijan, known as Shirvans by the people of Amasya, have carried their culture with them to Amasya. In this article, emigration from Azerbaijani to Amasya, the life of Sheikh ?smail Siraceddin and Seyyid Mir Hamza Nigari and the architectural assets of the Azeris in the city of Amasia will be discussed and tried to be introduced. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 15-30 Volume: 11 Issue: 11 Year: 2019 Month: Feb DOI: 10.17740/eas.art.2019â€�V11â€�02 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/588 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:11:y:2019:i:11:p:15-30 Template-Type: ReDIF-Article 1.0 Author-Name: İncinur BEKTAŞ Author-Email: incinurbektas@hotmail.com Author-Workplace-Name: Hitit Üniversitesi Author-Name: Elif ÇETLİ Author-Email: elcet41@hotmail.com Author-Workplace-Name: Hitit Üniversitesi Author-Name: Fırat KOÇ Author-Email: firatkoc@hitit.edu.tr Author-Workplace-Name: Hitit Üniversitesi Author-Name: Vahdet ÖZKOÇAK Author-Email: vahdetozkocak@hitit.edu.tr Author-Workplace-Name: Hitit Üniversitesi Title: THE RELATIONSHIP BETWEEN POVERTY AND CRIME Abstract: One of the major problems facing many countries is poverty. The factor of poverty among the causes of crime increases its importance from day to day. Crime can be defined as a violation of the law for the purpose of causing material and moral harm that needs to be investigated in multidimensional ways. The reasons for the crime and crime in the research subjects of Social Sciences and Forensic Sciences are very important. Elements that lead to crime should be evaluated in terms of material and moral aspects. Individuals who have migrated from the village to the city, working in low-income jobs, are prone to economic reasons such as theft, extortion and captivity. It can be said that crime and poverty are in a relationship in the light of the efforts focused on poverty and crime. Crimes for economic harm are often committed by people with low socio-economic levels. The majority of children who are pushed to crime are children away from family supervision, which is growing in economic difficulties. The socio-economic situation of the family is very effective in dragging these children to crime. Poverty is a global problem, but its impact on crime is immeasurable. As the effects of poverty reach global levels, many international institutions implement policies to combat poverty. Decreasing poverty in parallel with these policies and crimes is important in judicial Sciences. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 31-41 Volume: 11 Issue: 11 Year: 2019 Month: Feb DOI: 10.17740/eas.art.2019â€�V11â€�03 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/589 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:11:y:2019:i:11:p:31-41 Template-Type: ReDIF-Article 1.0 Author-Name: Sernaz DEMİREL TEMEL Author-Email: sernazd@yildiz.edu.tr Author-Workplace-Name: Yıldız Teknik Üniversitesi Author-Name: Tan TEMEL Author-Email: ttemel@yildiz.edu.tr Author-Workplace-Name: Yıldız Teknik Üniversitesi Title: AN ANALYSIS ON THE DESIGN PROCESS OF THE DANCE PERFORMANCE: ?BODY ? THE PRESENT FLOWING INTO THE PAST Abstract: The dance performance ?Body - The Present Flowing into The Past? was presented in the group exhibition ?Past Meets Present? held at Anna Laudel Gallery as part of the parallel activities program of the 15th Istanbul Biennial. The concept of the exhibition curated by Huma Kabakc? and Mine Küçük was inspired by history and therefore the notion of time. It consisted of a selection of works of 16 local and international artists making use of different materials and techniques. The building, which has formerly served as the Ottoman Post Office from 1901 to 1915 and is currently active as Anna Laudel Gallery, based on its history and architecture, was chosen as a venue for this exhibition. In designing the performance, the body was defined as a space under continuous transformation that contains within itself, all time related concepts known as the past, the present and the future. In the process of movement creation, the body is positioned as an intermediary carrying the present into the past and so is in a state of conceiving the present from the memory of the past. The future is inspired by the present and still pursues its vagueness. Based on these concepts, contributing to the designs of sound, stage and costume, artists produce their own works. In their working process, they combine and develop in an interactive way, elements of movement, sound, stage and costume. In this paper, the formation process of the performance ?Body - The Present Flowing into The Past? will be analyzed by focusing on elements of movement, sound, materials used and design. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 42-50 Volume: 11 Issue: 11 Year: 2019 Month: Feb DOI: 10.17740/eas.art.2019â€�V11â€�04 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/590 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:11:y:2019:i:11:p:42-50 Template-Type: ReDIF-Article 1.0 Author-Name: Volkan GİDİŞ Author-Email: vgidis@medipol.edu.tr Author-Workplace-Name: İstanbul Medipol Üniversitesi Author-Name: Ayşe Başak HARMANCI İLHAN Author-Email: basakilhan75@hotmail.com Author-Workplace-Name: Marmara Üniversitesi Author-Name: Hanefi ÖZBEK Author-Email: hozbek@medipol.edu.tr Author-Workplace-Name: İstanbul Medipol Üniversitesi Title: HÜSEYNÎ SONG BY HÂFIZ SÂDEDD?N KAYNAK RHYTHMIC ANALYSIS Abstract: Usûl problems are encountered from time to time in the notes of Turkish Music works and problems related to the procedures cause difficulties in the performance of the works from the notes. The work is either incorrectly identified or incorrectly segmented. By reviewing the notes of Turkish Music works and correcting those who are wrong in terms of maqam, usûl or form, it will be possible to reach the correct forms of the works, and Turkish Music will be enriched with maqam, usûl and forms that have been forgotten or not yet realized in terms of usûl, maqam and form. In this study, Hüseynî song of Hâf?z Sâdeddin Kaynak was analyzed from the aspect of the usûlm and the method of the work was re-determined and the note of the song was written according to this method. For this purpose, Hâf?z Sâdeddin source's work was obtained from different sources and analyzed in terms of rhythm (usûl). The song, which started with the verse ?Ben bir çoban k?z?y?m?, belongs to Vecdi Bingöl and his composer Hâf?z Sâdeddin Kaynak was written in two different ways. The note obtained from the TRT note archive is indicated as ?Oynak+Sofyân?. This work has been shown as ?Aksak-Sofyân? in the publications of Emin Ongan Üsküdar Mûsiki Cemiyeti Ne?riyat? and ?zmit Büyük?ehir Musiki Derne?i. When Münir Nurettin Selçuk was listened to and re-noted from the voice of the work, it was understood that the work was a new usûl with nine strokes and five strokes arranged exclusively by Hâf?z Sâdeddin Kaynak. It was found that the part of the work that started with ?Hey da?lar?n meral?? verse started with the Düyek usûl and from time to time Sofyân and Düyek usûls were mixed. It was found that the section that started with ??n dallardan a?a??? verse was composed by the method at the beginning of the work. The determination and notation of the usûl of the work is wrong; it is concluded that the usûl of the work is a different 9-time procedure which has not been used in another work before. The note of the work was rewritten according to the corrected usûl. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 51-66 Volume: 11 Issue: 11 Year: 2019 Month: Feb DOI: 10.17740/eas.art.2019â€�V11â€�05 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/591 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:11:y:2019:i:11:p:51-66 Template-Type: ReDIF-Article 1.0 Author-Name: Mohammad RANJBARI Author-Email: mohammadranjbari@yyu.edu.tr Author-Workplace-Name: Yüzüncü Yıl Üniversitesi Title: RECOMMENDAT?ONS FOR ERRORS OR PREFERENCES FOUND ?N THE ANDRE SEGOV?A ED?T?ON BASED ON THE OR?G?NAL MANUSCR?PT OF FEDER?CO MOMPOU'S SU?TE COMPOSTELANA Abstract: Every work deserves to be dubbed as the composer edited, and every performer wants to present it perfectly. In order to present a work flawlessly, it is necessary to explore and thoroughly understand every aspect. famous guitar virtuoso Andres Segovia has arranged works dedicated to him to reflect his own interpretations.Therefore, many of today's guitarists decide to accept or reject Segovia's editorial decisions by comparing theoriginal manuscripts or new publications based on the original manuscripts to the published versions of Segovia.In this study, Federico Mompou's Suite Compostelana, which he wrote to the classical guitar, reached the manuscript and compared with the edition of Segovia, and found that there were some transmission errors or preferences. Based on this, the researcher examined the composer style and classical guitar playability of this work and tried to propose a solution by creating a new edition of the related mistakes or preferences. In this research, scanning method was used. Based on the data obtained from the scanning, problems were identified and a new model (edition) was developed. Scanning methods are classified in various aspects. These are general Scan methods and Case Study scans. In this research, Single Scanning which is a subspecies of General Scanning method and Sectioning Model which is a subspecies is used. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 67-75 Volume: 11 Issue: 11 Year: 2019 Month: Feb DOI: 10.17740/eas.art.2019â€�V11â€�06 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/592 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:11:y:2019:i:11:p:67-75 Template-Type: ReDIF-Article 1.0 Author-Name: Şehriban KOCA Author-Email: sehriban.koca@mersin.edu.tr Author-Workplace-Name: Mersin Üniversitesi Title: INVESTIGATION OF PEDAGOGICAL KNOWLEDGE AND SKILLS of CLASS TEACHERS FOR MUSIC TEACHING Abstract: In this study, it was aimed to examine the pedagogical knowledge and skills of classroom teachers towards music teaching. The research was conducted in the 2018-2019 academic year with the participation of classroom teachers working in different districts and schools of Mersin. Pedagogical knowledge and skill scale which was developed by Wong, Chong, Choy and Lim (2012) and revised by Gökçek and Y?lmaz (2019) was used in the study in which research model was used. The scale is a 5-point Likert type and the lowest and highest scores that can be obtained from the scale are 37 to 185. For the reliability of the instrument, Cronbach's alpha reliability coefficient was 0.94 in the whole scale and 0.70 to 0.88 in the sub-dimensions. In the study, it was concluded that classroom teachers generally considered themselves sufficient in teaching music pedagogically. However, when the items related to the sub-dimensions of the scale are examined, it is seen that the average level of the lesson planning is low. The findings obtained in the light of the research results are discussed in the light of the literature and recommendations are made for future researches. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 76-87 Volume: 11 Issue: 11 Year: 2019 Month: Feb DOI: 10.17740/eas.art.2019â€�V11â€�07 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/593 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:11:y:2019:i:11:p:76-87