Template-Type: ReDIF-Article 1.0 Author-Name: Saygın ÇETİNER Author-Email: saygincetiner@gmail.com Author-Workplace-Name: Sakarya Üniversitesi Title: AN OVERVIEW OF THE GRADUATE/POSTGRADUATE THESES WITH INTENSIVE CONTENTS ON PIANO; TURKEY, 2013-2018 Abstract: This research, carried out adopting the general screening model, is a descriptive study and it aimed to examine the graduate/postgraduate theses with an intensive content on piano in terms of the level of study depending on university-institute, thesis type, research types, in terms of categories depending on contents and approaches, and in terms of elements emphasized in the titles of these theses. As a result of the researches and analyzes carried out with the theses obtained from the YÖK database, it was found that 127 theses focused on the piano in terms of focus and content. On the other hand, although 39 theses did not focus on (or did not solely focus on) the piano, it was found that, these theses had an intensive content on the piano (or the content also intensively included the piano). It was seen that the researches were mainly carried out in the Social Sciences, Fine Arts, and Educational Sciences Institutes of the Universities and the research levels were mainly ?Descriptive?. In terms of thesis type, the majority of the theses were at the graduate level (MSc.), followed by the postgraduate degree including PhDs and Proficiency in Arts. In terms of contents and approaches in the dissertations, the studies mostly focused on ?literature? and ?education?. In addition, it is remarkable that the number of related studies in the last 5 years is equivalent to the number of studies in the previous 10 years. At the end of the study, it was suggested that future studies should focus on the position of the study in its related field and its intensity (e.g. focus subjects, content intensity, approach and its relevance to the area). Also, in terms of obtaining scientific data in new and different approaches in the field, it should be focused on research levels which are found to be limited in the previous studies. Journal: Avrasya Çalışmaları Dergisi Pages: 0-0 Volume: 12 Issue: 12 Year: 2020 Month: Mar DOI: 10.17740/eas.eus.2020-V12-01 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/437 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:12:y:2020:i:12:p:0-0 Template-Type: ReDIF-Article 1.0 Author-Name: Emre SOYLU Author-Email: soyluemre@gmail.com Author-Workplace-Name: Kırıkkale Üniversitesi Author-Name: Nilgün DOĞRUSÖZ Author-Email: dogrusozn@itu.edu.tr Author-Workplace-Name: İstanbul Teknik Üniversitesi Title: A SUGGESTION FOR TRANSCRIBING EARLY TURKISH MUSIC NOTATIONS WRITTEN WITH SINGLE SHARP AND SINGLE FLAT TO AEU SYSTEM Abstract: Westernization movements in the Ottoman Empire also showed their influence in the field of music. With the introduction of European music notation to record and perform Turkish music, a process of change had also begun in the tradition of me?k (transfering the music orally). The use of European music notation caused the transformation of Turkish music notes into a pitch that comes out of the perception that it consists of a narrow or wide frequency band which varies according to the makam melodies. As a result, the Arel-Ezgi-Uzdilek system was built on this understanding and reached a point far from the traditional system and its music. The recordings of Turkish music were not of course only consist of European music notations. The first ever person to write Turkish music with Western notation in a genuine way was a Polish convert known as Ali Ufkî by the Ottomans and who lived in the 17th century. The genuine method he developed was not used by anyone else. Other notations can be line up as Ebced and its derivatives and Hamparsum notation which was developed by Hamparsum Limonciyan. However, none of these notations were used actively but only for recording. Performing was depending on the memory in tradition. There are many sources that contain Turkish music works, which were also used for performance, started to be written with European music notation in the 19th century. Some of those are manuscripts with Mevlevî âyîn composings. Therefore, arguably, Mustafâ Câzim el-Mevlevî?s was the first ever compilation of âyîn composings which he heared from Râif Dede and wrote with Western notation. Nevertheless, it is not possible to sing or play these composings from these notes without maqam practice. In this study, it is aimed to draw attention to some details of the pitches (here pitch bands) of a piece noted with single flat and single sharp by using European music notation in AEU system. The examined example is a striking section found in the first part of Ferahfeza Âyîn of Hammâmizâde ?smâîl Dede Efendî. The melody in this section can not be understood at first glance. Journal: Avrasya Çalışmaları Dergisi Pages: 0-0 Volume: 12 Issue: 12 Year: 2020 Month: Mar DOI: 10.17740/eas.eus.2020-V12-02 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/438 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:12:y:2020:i:12:p:0-0 Template-Type: ReDIF-Article 1.0 Author-Name: Muhammed Gani ŞAHİNOĞLU Author-Email: muhammedganisahinoglu@gmail.com Author-Workplace-Name: Ardahan Üniversitesi Title: THE CLARINET AND ITS PERFORMERS IN THE AGRI REGION Abstract: Turkish music has survived to the present day by preserving its existence with a memory based training ?me?k system?, mostly in the form of a master-apprentice relationship. The information about when, where and how the performance of the clarinet belonging to A?r? province has not been revealed clearly. One of the most important elements that shed light on the researches that reveal the cultural identity of a region is the field research studies on music. In this study, development, performance areas of the clarinet instrument of A?r?, which is located in the north east of the Eastern Anatolian region, called ?G?ranata or Granet? in the region, and to examine the clarinet performers, masters of this province and the point of view of the local people towards the clarinet instrument. The existence and history of music and clarinet instruments, which have been forgotten in the region, are not recorded in any study, reaching from ear to ear, have been investigated for the first time. While making a connection between the province of A?r? and the clarinet, the data on the history of A?r?, the music culture of A?r? and the history of the clarinet were collected and the interview form was prepared. While making a connection between the province of A?r? and the clarinet, the data was collected in the light of previous studies such as the history of A?r?, the music culture of A?r? and the history of the clarinet, and an interview form was prepared. In the study, the screening model method was chosen, and the opinions of the people who have knowledge in the region and the local artists in the city were studied. According to the data obtained in the study, clarinet performance in A?r? province appeared in 1920s in Ele?kirt district for the first time. The clarinet instrument has an important place in the weddings in the region, henna nights, bride at the crying ceremony, during the groom's shaving, in the male session meetings. As a result, the clarinet completely disappeared in this region between 2000 and 2013. However, it was determined that new clarinet performers started to catch up with the opening of the Department of Music Teaching at A?r? ?brahim Çeçen University in 2013. This study is important in terms of contributing to clarinet performers and enthusiasts, local music performers, local people, Turkish music and folklore. Journal: Avrasya Çalışmaları Dergisi Pages: 0-0 Volume: 12 Issue: 12 Year: 2020 Month: Mar DOI: 10.17740/eas.eus.2020-V12-03 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/439 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:12:y:2020:i:12:p:0-0 Template-Type: ReDIF-Article 1.0 Author-Name: Deniz KÖKTAN Author-Email: ddeniz@sakarya.edu.tr Author-Workplace-Name: Sakarya Üniversitesi Author-Name: Yavuz KÖKTAN Author-Email: ykoktan@sakarya.edu.tr Author-Workplace-Name: Sakarya Üniversitesi Title: THE TRADITION OF WEDDING CONGRATULATIONS IN ANTAKYA AND THE COLORS Abstract: The tradition of marriage contains many customs and traditions. Besides many customs such as engagement, word, henna, there is a custom of receiving congratulations, made in Antakya after the wedding. Receiving congratulations, was a custom made in Antakya, which has been intensely used in the past, but has become increasingly forgotten today. The ceremony of receiving congratulations between women after the wedding takes a few days. During these ceremonies, the bride wears a different colored dress every day to welcome the guests. The study highlights Antakya's wedding tradition in general, and in particular, the importance of the colors in the dresses that the bride wore during the receiving congratulations ceremony. The study was carried out based on the literature search and field study. Journal: Avrasya Çalışmaları Dergisi Pages: 0-0 Volume: 12 Issue: 12 Year: 2020 Month: Mar DOI: 10.17740/eas.eus.2020-V12-04 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/440 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:12:y:2020:i:12:p:0-0 Template-Type: ReDIF-Article 1.0 Author-Name: İsmail SINIR Author-Email: ismailsinir@mu.edu.tr Author-Workplace-Name: Muğla Sıtkı Koçman Üniversitesi Title: FORMAL AND TONAL ANALYSIS OF J.S.BACH?S BWV 779 TWO VOICE INVENTION Abstract: Polyphonic forms such as fugue, canon, prelude, ricercare, inventions are important tools in terms of music education as well as they have an important place in composition and performance fields. Especially the fugue and inventions which written by J. S. Bach, the last composer of the baroque period, constitute an important resource in music education. As with all polyphonic forms, composing techniques, which are frequently used in polyphonic writing styles, are the main texture of the works of J. S. Bach. Understanding the formal and tonal structure in both polyphonic and homophonic music genres, recognition of the basic constructing devices of the compositions is an important topic in music theory education. Therefore, this study focuses on the formal and tonal analysis of J. S. Bach's two-voice invention coded BWV 779. It is aimed to contribute to the students' knowledge about the formal and tonal structures of polyphonic music forms through the analyzing an invention. This study was designed as a qualitative study and the formal and tonal structure of the work was analyzed descriptively. As a result of the analysis, it was observed that the analyzed invention was constructed in a two-part section, and contrapuntal writing techniques were used as musical material. Journal: Avrasya Çalışmaları Dergisi Pages: 0-0 Volume: 12 Issue: 12 Year: 2020 Month: Mar DOI: 10.17740/eas.eus.2020-V12-05 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/441 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:12:y:2020:i:12:p:0-0 Template-Type: ReDIF-Article 1.0 Author-Name: Muhittin ZÜGÜL Author-Email: muhittin.zugul@bilecik.edu.tr Author-Workplace-Name: Bilecik Şeyh Edebali Üniversitesi Title: THE FINANCIAL PERSPECTIVE ON THE STOCK POSITION WITHIN RELIGIOUS RULES Abstract: In the introduction we try to show the importance of the paper?s subject. Fort this we handle stock investments with their advantages. Because of religious sensitivity of a particular segment of the society we touch on the relationship of Islam with the subject. In addition to it, we give place to the risks in the stock investments along with their gains, provided rights and obligations. Also, we try to mention the functions of the stocks in terms of general economy by public aspect. We handle the rules of the Islamic religion that can be associated with stocks as basic principles under the title of Islamic finance. We try to show the position of the stock in relation to the principles of fardh (religious duty), deception, gambling, haram activities, and risks. In the conclusion, we share the facts that stocks are not in contradiction with the principles of Islamic finance. At the end we emphasize the importance of keeping the paper?s subject on the agenda both in terms of the general economy and the individual aspects. Journal: Avrasya Çalışmaları Dergisi Pages: 0-0 Volume: 12 Issue: 12 Year: 2020 Month: Mar DOI: 10.17740/eas.eus.2020-V12-06 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/442 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:12:y:2020:i:12:p:0-0