Template-Type: ReDIF-Article 1.0 Author-Name: Demet GÜRHAN Author-Email: demgurhan@hotmail.com Author-Workplace-Name: Ankara Üniversitesi Author-Name: Güler DEMİROVA GYÖRFFY Author-Email: genceguler@yahoo.com Author-Workplace-Name: Ankara Üniversitesi Title: FERİT HİLMİ ATREK’S APPROACH TO LIED Abstract: Ferit Hilmi Atrek (1903-2006), follower of the contemporary Turkish music pathinitiated by “TurkishFivers” during the foundation of the new republic, concentrated on Turkish lied and composed numbers of songs apart from school songs. Unfortunately, the manuscripts on creativity of the composer are quitescarce. Number of published documents about the composer is away from adequate. The purpose of this study is to reveal contribution of the composer into Turkish lied, to investigate the subjects, characters, range of affection, forms, singing-piano relationship adopted by the composer as well as presenting examples of 5 songs of composer with a live performance session within the scope of Ferit Hilmi Atrek's book "Songs and Folk Songs "Lieds" with Piano Accompaniment. In our study, resourc escreening method was utilized in line with our objectives. It was a imed to accessands creen previousres earches concentrated on the composer’ssinging creativity. Conclusively, it was sent hat Ferit Hilmi Atrek paid significant interesttoTurkish lied and maderespective contribution by composing numbers of art songs. Accordingly, it is suggested that art directors need to pay attention to include vocal art songs of the composer into the irsinging repertoires. Journal: Avrasya Çalışmaları Dergisi Pages: 01-06 Volume: 17 Issue: 17 Year: 2023 Month: Mar DOI: 10.17740/eas.eus.2023-V17-01 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/1350 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:17:y:2023:i:17:p:01-06 Template-Type: ReDIF-Article 1.0 Author-Name: Merve YALÇINKAYA AKKAYA Author-Email: merve.yalcinkaya2@ogr.sakarya.edu.tr Author-Workplace-Name: Sakarya Üniversitesi Devlet Konservatuvarı Türk Halk Oyunları Bölümü Author-Name: Kerem Cenk YILMAZ Author-Email: kcyilmaz@sakarya.edu.tr Author-Workplace-Name: Sakarya Üniversitesi Devlet Konservatuvarı Türk Halk Oyunları Bölümü Title: TURKISH FOLK DANCES AND PROFESSIONAL RELATIONSHIP Abstract: Turkish folk dances are cultural elements that are transmitted through repetition practices in traditional life in social areas such as weddings, henna ceremonies, and sending off soldiers. With the establishment of the Republic of Turkey, within the framework of Atatürk's modernization and westernization policies, folk dances took part in institutions such as Community Centres and Village Institutes with the task of creating a national identity in the new Turkey. During this period, a number of developments took place that would affect the future presentation of folk dances. The activities of the Folk Dances Survival and Dissemination Facility established by Yapı Kredi Bank in festivals and competitions, the establishment of the State Folk Dances Ensemble, the establishment of Turkish Folk Dances departments and the shows of the group called Sultans of The Dance in the early 2000s, the tourism sector expanded the field of folk dances. stand out as affecting developments. The field of folk dances has established a bond with the profession in the light of these developments. A profession is a regular job or activity that individuals perform using the knowledge, skills and experience they have acquired in a specific field. It is usually shaped around a specific area of expertise and varies depending on factors such as cultural differences, sectoral variations and evolution over time. Professionals progress in their professions by gaining experience over time and following a specific career development path. A profession generally refers to a status that is recognized and accepted in a particular society. Folk dances are a phenomenon that the society loves and respects and is a tool in cultural transmission. Therefore, it is in a disadvantaged position in terms of being associated as a profession in society, and it is difficult for the society to associate profession and folk dances and put them in a status. The aim of this study is to reveal the relationship between folk dances and profession in the light of developments in the field. It is important to enable monitoring the developments of the field of study, especially to understand how folk dance professionals interact with the folk dance tradition and how they continue this tradition. In the study, the theoretical framework of the concept of profession was drawn and the conceptual infrastructure was created by scanning the literature. Turkish folk dances and the concept of profession are associated with the developments in the field and interpreted with the experiences the authors gained through participant observation in the field. Journal: Avrasya Çalışmaları Dergisi Pages: 30-37 Volume: 17 Issue: 17 Year: 2023 Month: Mar DOI: 10.17740/eas.eus.2023-V17-04 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/1355 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:17:y:2023:i:17:p:30-37 Template-Type: ReDIF-Article 1.0 Author-Name: Kürşad GÜLBEYAZ Author-Email: kursadgulbeyaz@hotmail.com Author-Workplace-Name: Kırgızistan-Türkiye Manas Üniversitesi Title: DANCE UNITS IN THE ANALYSIS OF TURKISH FOLK DANCES Abstract: Although Turkish folk dances are basically dances, it is obvious that they consist of a combination of “movement - music - rhythm – traditional clothing” in their traditional structure. We cannot exclude any of these. When we try to analyze or teach the dance structurally, we are faced with the fact that the elements of “movement - music – rhythm” are an integral part of folk dances. This intertwined structure brings about serious problems, confusion and inextricable problems if it is not handled scientifically. In Turkish folk dances, there are examples where “dance and music/melody" overlap and do not overlap in terms of time. We can call the dances in which the dance and melody overlap each other, that is, they are in harmony in terms of their beginnings and endings, “regular dances”, and the dances in which they do not overlap, that is, they are not in harmony in terms of their beginnings and endings, “irregular dances”. Although there are generally no problems in the examination and teaching of regular dances, serious problems occur in irregular dances. The biggest confusion in the study and teaching of irregular dances arises from the use of melody phrases as a basis in terms of timing. However, since it is a dance being examined, action should be taken based on the dance, and the beginning and end of the dance sentence should be taken into consideration for timing. In order to achieve this, the dance must be examined structurally well, the movement units must be well explained, and the definitions must be applicable to all dance examples. Only by analyzing and teaching in this way can a successful result be achieved. Our study was conducted to eliminate this confusion. In the study, it is revealed how the dance can be divided into units structurally, from the smallest unit to the largest unit, each of them is defined and exemplified. As a result, the units of the dance are scaled from smallest to largest as "figure, movement, motif, action sentence, episode, dance" and are supported with examples. Journal: Avrasya Çalışmaları Dergisi Pages: 07-17 Volume: 17 Issue: 17 Year: 2023 Month: Mar DOI: 10.17740/eas.eus.2023-V17-02 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/1356 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:17:y:2023:i:17:p:07-17 Template-Type: ReDIF-Article 1.0 Author-Name: Cem İNCESU Author-Email: c_incesu@hotmail.com Author-Workplace-Name: Prof. Dr. Fuat Sezgin Anadolu Lisesi Author-Name: H. Seval KÖSE Author-Email: hsevalkose@gmail.com Author-Workplace-Name: Mehmet Akif Ersoy Üniversitesi Title: ORFF AND ULWILA APPROACHES IN THE MUSIC EDUCATION OF MILD MENTALLY DISABLED INDIVIDUALS WITH SPECIAL NEEDS Abstract: In this study, Orff and Ulwila approaches applied for the music education of individuals with mild mental disabilities and special needs were examined. The aim of the research is to use Orff and Ulwila approaches in the education of individuals with mild mental retardation and/or to determine the effects and problems encountered during applications. The study has the importance to contribute to the field with the scientific results to be achieved in line with this scope and purpose. In the method of the research, the systematic review model was used. The data were obtained through printed and electronic sources (books, journals, thesis, etc.) within the scope of the problem. The data were processed through descriptive content analysis. The findings obtained through the analysis with the descriptive analysis technique are listed in the order of sub-problems. In the conclusion, discussion, and suggestions part of the study, it was determined that Orff and Ulwila approaches had positive effects on students with mild mental disabilities and special needs. Journal: Avrasya Çalışmaları Dergisi Pages: 18-29 Volume: 17 Issue: 17 Year: 2023 Month: Mar DOI: 10.17740/eas.eus.2023-V17-03 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/1359 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:17:y:2023:i:17:p:18-29 Template-Type: ReDIF-Article 1.0 Author-Name: Dilek CANTEKİN ELYAĞUTU Author-Email: dcantekin@sakarya.edu.tr Author-Workplace-Name: Sakarya Üniversitesi Author-Name: Kadir KAYHALAK Author-Email: kadir.kayhalak1@ogr.sakarya.edu.tr Title: CINEMATIC LANGUAGE OF TURKISH FOLK DANCES; AN İNVESTIGATION OF VISUAL AND SEMANTIC ELEMENTS IN THE MOVIE “BİTMEYEN YOL” Abstract: Cinematic language refers to the techniques and methods that filmmakers use to convey meaning and emotions through visual and auditory elements. These elements include camera angles, lighting, sound effects, music, dialogue, and editing. Turkish folk dances are also presented as an area in which cinema language can be reflected in every dimension. So much so that Turkish folk dances add semantic color and mobility to films in that they reflect Turkish traditional ways of life and reveal the richness of Turkish culture. In addition, it is seen that Turkish folk dances add a plus value to films in areas such as costume, choreography, music, space, emotional meaning, symbolism. Therefore, the academic study of films in which Turkish folk plays are exhibited can contribute both to the development of cinema and to the realization of the importance of Turkish folk dances. For this purpose, the film “The Endless Road”, one of the historical Turkish cinemas of the 1960s, will be examined in terms of visual and semantic elements. This work basically consists of two main parts. The first is the section where the visual elements in the selected film are examined and in this part the analysis will be made in the context of costume, choreography, music, and space. In the second part, the semantic elements in the selected film will be examined and in this part the analysis will be made in the context of historical and cultural context, emotional meaning, symbolism. The thesis of the study is that the film “The Endless Road” is very rich in cinematic elements and is an important work in the promotion of Turkish folk dances with this aspect. Journal: Avrasya Çalışmaları Dergisi Pages: 38-50 Volume: 17 Issue: 17 Year: 2023 Month: Mar DOI: 10.17740/eas.eus.2023-V17-05 File-URL: https://eurasianacademy.org/index.php/eurasian/article/view/1360 File-Format: Application/pdf Handle: RePEc:eas:eustud:v:17:y:2023:i:17:p:38-50