Template-Type: ReDIF-Article 1.0 Author-Name: Kerem ÖZDEMİR Author-Email: keremsanat@gmail.com Author-Name: Kerem Cenk YILMAZ Author-Email: kcyilmaz@sakarya.edu.tr Author-Workplace-Name: Sakarya Üniversitesi Title: THE PAST TODAY TOMORROW OF THE USE OF TECHNOLOGY IN TURKISH FOLK MUSIC Abstract: Mankind is faced with a technological hardware and software war that kills the previous version as it changes and changes with technological production when it comes to technology. The digitalization that came with the widespread use of the Internet has enabled the creation of a virtual communication, sales and marketing areas globally and in all areas. Music, which has reached millions of people with vinyl, cassette and cd technologies and has become a huge commercial sector all over the world, is one of these sectors. With the use of technology in the field of music, the reflection of the folk music style, we see that our bards, who sing a landing folk song in their hands, and who perform their songs by singing language by language, can reach large audiences without going anywhere from their seats with a phone and an internet connection. With digitalization, very useful works have been done in the music sector, and the chance to appeal to more audiences has emerged in less time and with less budget. However, the vulnerabilities of the virtual environment, after a while, paved the way for unfair earnings, which we call Pirate, in the field of music, as in all sectors where commercial gain and profit purpose come to the fore. Pirated album sales result in damages to the rights of copyright holders who make a living in this field. Big music sales and listening stores such as YouTube, YouTube Music, Spotify, iTunes, which are among the biggest in this field, have become the biggest platforms of the digital music market. Although copyright violations in the record, cassette and cd market in the past continue to be carried out on these large platforms, they have only changed shape. In the process that started with the use of technology in Turkish Folk Music, this work has been carried out too many people, from organizers, tonmaists, songwriters, mix mastering specialists, instrument performers, artists, music producers, producers, teachers and lecturers, who worked in music and made a living with music. It aims to offer constructive suggestions to the system while examining the copyright issues affecting the music worker in a cause and effect relationship. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 1-13 Volume: 14 Issue: 14 Year: 2021 Month: Feb DOI: 10.17740/eas.art.2021-V14-01 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/605 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:14:y:2021:i:14:p:1-13 Template-Type: ReDIF-Article 1.0 Author-Name: Feyza KEŞAN Author-Email: feyzakesan@gmail.com Title: NIGHTINGALE IN MU?ÎDÎ DÎVAN?S FROM KALKANELEN (TETOVO) Abstract: The aim of the study is to determine the couplets related to the nightingale in Mu'îdî's Dîvân? and to reveal with which elements the nightingale mazmunu was associated by the said poet. Another aim of this research is to examine a lesser known poet and make him take part in scientific researches. Nightingale in Divan literature; His name is mentioned in terms of the beauty of his voice, his representation of the love for the rose, his representation of the lover, and his reminder of many imaginations between the rose and the nightingale. Again, in the light of these context examples, it is the bird most frequently mentioned in classical poetry as a species of bird from the animal world. In this study, first of all, a brief information about the life of Mu'îdî from Tetovo, who was a little known poet was given. Dîvân of the poet has been examined under two main headings. These titles have been classified based on the studies made on the ghazel samples found in Mu'îdî's Dîvân?. The limit of the nightingale's gazel analysis, on the other hand, is the nightingale mazm, which is perhaps one of the most written masons on classical poetry, and the structures with which it is associated. The couplets that can be examples of each title identified in the review; At least one and at most two examples are given. Many more examples of some titles have been found and are also mentioned in the footnote for enthusiasts. The article includes topics such as nightingale, exile and its attributes; social life will end with its analysis and interpretation within the context of social structure. Many more elements like this in classical poetry await to be explored from a folklorist perspective. The page number and couplet number of similar examples in the poet's divan are given in the footnote next to the couplets. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 14-26 Volume: 14 Issue: 14 Year: 2021 Month: Feb DOI: 10.17740/eas.art.2021-V14-02 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/606 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:14:y:2021:i:14:p:14-26 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: FIRST STEPS OF MODERN DANCE IN TURKEY AND PIONEERING WORKS OF GEYVAN MCMILLEN Abstract: Geyvan McMillen, is one of the pioneers of modern dance in Turkey. McMillen, who has contributed to the development of modern dance in our country as a choreographer, instructor and art director for years, has graduated from Ankara Hacettepe University State Conservatory Ballet Department in 1960. She has danced at the Ankara State Opera and Ballet from 1960 to 1970. Mc Millen has completed her modern dance education on Martha Graham Technique at the London Contemporary Dance School and on Cunningham Technique at the New York Merce Cunningham Dance School during the years 1970-1975. After returning to Turkey in the last months of 1974 she has continued to work at the Ankara State Opera and Ballet. While working for this institution, she has introduced to Turkish dancers the modern dance technique. She has designed her choreographies with a contemporary understanding. Geyvan McMillen's first modern dance classes in the academy and her first independent works in Ankara and Istanbul are of great importance for the development of modern dance art in our country. This paper, has been focused on Geyvan McMillen's modern dance journey which has begun in the 70's and on McMillen?s contributions to the development of modern dance in Turkey. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 27-43 Volume: 14 Issue: 14 Year: 2021 Month: Feb DOI: 10.17740/eas.art.2021-V14-03 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/607 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:14:y:2021:i:14:p:27-43 Template-Type: ReDIF-Article 1.0 Author-Name: Deniz GÜNEŞ Author-Email: denizgunes8476@gmail.com Author-Workplace-Name: İstanbul Teknik Üniversitesi Title: DHIKR PERFORMERS IN ANATOLIAN ALEVI-BEKTASHI FAITH Abstract: The word root of the word zâkir, which comes from the root of "zekere (yezkuru)" in Arabic, is based on "zikr". It is known that in every belief [religious sect-religious cult] perception, dhikr basically occurs with the practices of belief acquired from the Allah and afterwards. Zâkir; all the important elements of a belief are the person who dictates that belief in the place of worship and perception. A person who verbally describes all important personalities in the faith, social rules, social structures, worship and practices, advice and discourses, doctrines and cultural traditions, is forbidden. As in many belief systems; uses music in order to strengthen the memorization, to keep the belief elements / facts in mind and to transfer them to the future easily. In this context, our study includes the formation and reflection of traditional music perception in Anatolian Alevi-Bektashi belief practice in terms of its definition and application in Islamic Religion, based on the etimilogy of the terms of zâkir and dhikr. For the zâkir, the deep meaning of the poetry is important, not the performance technique of the music and the instrument used. In addition to the discourses about the formation and stages of the history of Alevi-Bektashi, there are very deep meanings in the narratives of the zâkir and dede that they took to the foundation of the world. Our aim, as in these narratives, is the historical process of Alevism in traditional music culture, the effects of pre-Islamic belief, the Anatolian phase of Islam and how its socio-cultural structures are handled and conveyed by the dignitaries. This situation is important in keeping the tradition alive and transferring it. Because the roots of religious leaders such as Dede, Talip, Pir, Rehber, and Mür?îd are based on pre-Islamic beliefs. In the past in the context of "Shaman", "Ozan", "Â??k", "Pir", "Ata", "Baba", "Dede", today the stellarness that has come to this day; It has left its place for expressions such as "â??k baba", "güvende", "sazandar", "cem â????", ?starikat a????". Because it is unthinkable that a word of Arabic origin is used in daily life in the rural belief pattern. Even in religious settings, the Alevi community does not use the term "â??k" rooted words, rather, in cemes. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 44-59 Volume: 14 Issue: 14 Year: 2021 Month: Feb DOI: 10.17740/eas.art.2021-V14-04 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/608 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:14:y:2021:i:14:p:44-59 Template-Type: ReDIF-Article 1.0 Author-Name: Hülya KALYONCU Author-Email: hulya.kalyoncu@fideltus.com Author-Workplace-Name: Işık Üniversitesi Title: THE AESTHETICS OF TURKISH COFFEE CULTURE IN OTTOMANS Abstract: This paper analyzes the Turkish coffee culture as one of the most significant parts of dining culture in Ottoman period, and presents how holistic this tradition is with grand serving rituals, as well as interesting practices from coffee making tools and serving to exceptional serving traditions. The research also examines general composition schemes of the tools used during the service of the coffee and the motifs on these utensils. The purpose of this paper is to introduce one of the most characteristic attributes of the Ottoman period in terms of aesthetics, taste and socio-cultural life, and it presents the status and significance of coffee in Turkish culture. Journal: Avrasya Sanat ve Medeniyet Dergisi Pages: 60-73 Volume: 14 Issue: 14 Year: 2021 Month: Feb DOI: 10.17740/eas.art.2021-V14-05 File-URL: https://eurasianacademy.org/index.php/arthum/article/view/609 File-Format: Application/pdf Handle: RePEc:eas:arthum:v:14:y:2021:i:14:p:60-73