Pub Date : 2022-12-30DOI: 10.12975/rastmd.20221042
A. Rasi̇mi̇, Armend Xhoni̇
This study investigates the views and practices of teachers on the way of selecting the choral repertoire and the opportunities that this repertoire offers for encouraging musical development of from primary and lower secondary schools students within the framework of general education in Kosovo. In this aspect, the experiences during the practical work of choir teachers and the technical or professional difficulties they encounter during the selection of choral songs have been studied. Among other things, the research aims to identify and analyze these factors, through which it is intended to pave the way for further improvement in this matter. The design of this research was carried out through semi- structured interviews, including the detailed analysis of choral songs, both in terms of musical content and pedagogical aspects. The research was carried out with choir teachers of different schools in Kosovo and satisfactory results were achieved, which highlight the real situation regarding the selection of the repertoire, its quality in terms of musical and textual content and the opportunities it offers to students in encouraging and developing musical talent. The recommendations from this study are addressed to the relevant institutions which should aim to encourage and support the work with choral ensembles and the improvement of practices regarding work with choir within general education.
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Pub Date : 2022-12-30DOI: 10.12975/rastmd.20221043
Safiye Şeyda Erdaş
Şuğul, Türk Din Musiki’sinde Arapça güfteli ilahilere verilen isimdir. Bu ilahiler, geçmişte Osmanlı kültür havzasının her bölgesinde benimsenmiş ve özellikle 19. yüzyılın sonlarına kadar icrâ edilmiş, bugün Türk Musikisi olarak adlandırılan makam müziği ile bestelenmişlerdir. Şuğul formu daha çok Rifâî, Sâ’dî, Bedevî, Dessûkî gibi Arap kökenli ve kıyâmî zikir yapan tarîkler vasıtası ile Anadolu, İstanbul ve Balkanlara yayılmıştır. Yazılı kaynaklara bakıldığında şuğuller ile ilgili en kapsamlı eser Hicrî 1316 (m. 1898) tarihli Tekfurdağlı eş-Şeyh el-Hâc Hâfız Mehmed Rıfat Efendi tarafından derlenmiş olan Ebhe’n-nagâmât fî terennümâti’l-ilâhiyyât adlı güfte mecmuasıdır. Bu çalışmada Halep, Bâbu’l-Hadîd Keyyâlî Zaviyesi şeyhlerinden Şeyh Muhammed Bâkır el-Keyyâlî, kardeşi Şeyh Hasan el-Keyyâlî ve zaviyenin dervişleri tarafından günümüzde icrâ edilmekte olan şuğuller ile Ebhe’n-nagâmât fî terennümâti’l-ilâhiyyât adlı güfte mecmuasında bulunan bazı ortak eserler üzerinden İstanbul- Halep şehirlerinin ortak müzik geçmişinin izi sürülmüştür.
Shaul是土耳其宗教中阿拉伯神的名字。这些神在奥斯曼文化的古代海洋的每一个地区都是我的，尤其是19个地区。到本世纪末，他们一直在表演，今天，他们被分配到一种叫做土耳其语的当地音乐中。Şuğul formu dahaçok Rifâî、Sâdî、Bedevî，Dessûkîgibi Arap kökenli ve kıyâmîzikir yapan tarîkler vasıtasıile Anadolu，伊斯坦布尔ve Balkanlara yayılmıştır。就书面来源而言，Ebhe'n-nagâmât fîterennümáti'l-ilâhiyyat是诗歌史上最常见的诗人，1316年（1898年），Tekurdağl的前妻Sheikh el-Hâc，Mehmed Rifat大师的成员。在这部作品中，Halep，Sheikh Mohammed Bâkır al-Kiyali，《圣经》中的一件事，他的兄弟Sheikh Hasan el Kiyali和他的妻子在埃本·纳贾梅省的权力领域创作了一系列诗歌，并在伊斯坦布尔哈勒普省创作了一些诗歌作品。
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Pub Date : 2022-12-30DOI: 10.12975/rastmd.20221045
Sevilay Gök, Ünsal Yılmaz Yeşildal
Yüzyıllar boyu doğa ile iç içe yaşayan toplumlar, gerek yaşam biçimlerini oluşturan kültürel yapıları gerekse de dinî inançları etrafında bitki ve hayvanlara birtakım anlamlar yüklemişlerdir. Halkın sözlü kültürünün en önemli ögelerinden biri olan türkülerde de hayvan ve bitki sembolleri oldukça yaygın kullanılmıştır. Bu sembollerden biri olan “baykuş”, ölümü ve uğursuzluğu çağrıştırması bakımından binlerce yıl öncesinden günümüze kolektif bilinç aracılığıyla taşınan bir bilgi, algı ve tecrübe aktarımının sonucu olarak literatürdeki yerini almıştır. Bu çalışma, nitel araştırma yöntemlerinden doküman analizi modeli ile desenlenmiştir. Baykuş sembolünün geçtiği, TRT Türk halk müziği repertuvar arşivine kayıtlı 25, kayıtlı olmayan 9, toplamda 34 türkü; yöresi ve bestecisi, makam dizisi, ses genişliği, ölçüsü ve sözlerindeki tema bakımından incelenmiştir. Teması aşk, sevda ve sitem olan bu türkülerin makam dizisi çoğunlukla Hüseyni’dir. Ses genişlikleri en az 4, en fazla 11 olan türkülerin ölçü sayısı 9 farklı şekilde görülmüş, en yaygın 4/4’lük ölçünün kullanıldığı belirlenmiştir.
几个世纪以来，土著社区为动植物增添了一些意义，包括构成他们生活方式的文化结构。Halkın sözlükültürün enönemliögelerinden biri olan türkülerde de haywan ve bitki sembolleri oldukça yaygın kullanılmıştır。这些象征之一发生在文学中，来自数千年前为应对死亡和失败而进行的集体意识、感觉和体验。本研究采用基于形式化研究方法的文献分析模型进行设计。当鸟类符号通过时，TRT土耳其音乐曲目记录在25个档案中，9个未记录，共34种；标尺的旋转和方向，标尺的顺序，声音的宽度，单词的大小和主题。关于爱情、爱情和网站的话题大多是侯赛因。以9种不同的方式观察到了至少4种、最多11种物种的体积，其中使用了最常见的4/4尺寸。
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Pub Date : 2022-09-30DOI: 10.12975/rastmd.20221037
Suat Soner Erenözlü
The music reform, which was realized in the early years of the Republic, has felt its impact in many areas of life from education to everyday life to the present day. The studies effected on this subject are merged in the opinion that the young Republic of Turkey is making these reforms on the axis of “ideology” to an extent that cannot be underestimated. According to critics, the Republic of Turkey has faced to the West due to the “nationalist ideological” policies pursued and has become alienated from its own culture. Towards the principles of the music reform, the Turkish Art Music belonging to the Ottoman was abandoned and the compilation of Turkish folk songs and their arrangement in Western technique constitute the reason for this alienation. However, this alienation manifests itself as a cultural reflection of the Western-elitist ideology. Critics claim that everything that belongs to the music revolution, in terms of its ideological nature, also entails a number of negative consequences. The aim of this study is to make a philosophical analysis of the concept of ideology, to object to the criticisms that base the music reform on ideological foundations, and to suggest that the music reform consists of idealistic principles, not ideological ones. Therefore, in opposition to the view that the music reforms of the Republic are alienated from their own culture in terms of being “ideological”, the claim has been put forward that they are based on their own self-culture in terms of being “idealistic”.
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Pub Date : 2022-09-30DOI: 10.12975/rastmd.20221031
G. Mammadova
The aim of this article is to examine the cultural and musical aspects of the wedding ceremonies of the Nakhchivan region, which is one of the important elements of Azerbaijani folklore. The research model was designed in accordance with the case study and document analysis techniques from qualitative research methods. The reason for choosing the Nakhchivan region in the research is that the region has a rich content in terms of folkloric features and is protected folklorically. Relevant documents and interview method were used as data collection tools in the research. In the research, the elements of the Nakhchivan wedding ritual are presented in the light of relevant sources and interviews. The works performed in the elements of the wedding ritual were examined musically. The problem of the research is stated below. What are the musical features of the wedding rituals of Nakhchivan Region, which is one of the folkloric elements of Azerbaijan, and the works performed at weddings? The research model was designed in accordance with case study and document analysis techniques from qualitative research methods. The reason for choosing the Nakhchivan region in the research is that the region has rich content in terms of folkloric features and is protected. Relevant documents and interview method were used as data collection tools in the research. In the research, the elements of the Nakhchivan wedding ritual are presented in the light of relevant sources and interviews. The works performed in the elements of the wedding ritual were analyzed musically. Sibelius notation program was used in the notation of the works. The researcher conducted interviews with the elderly living in the Nakhchivan region. Transcriptions of the interviews were made and the findings were presented. In Nakhchivan region weddings; There are stages of liking a girl, interrupting, embassy, engagement, holiday, girl’s wedding, henna night, men’s wedding, veil ceremony, hand kissing. Yallı Dance is an important musical symbol of the region. This dance is performed collectively, its variety and dance melodies are unique. Other games played at weddings; Kocheri, Tanzara, Tello, Gala-to-galaya, Urfanı have survived to the present day with cultural transfer. In the research, the musical notes of the folk songs Hakışta, Gülüm Hey, Henna Night and Bride’s Farewell were presented. mong the wedding ceremonies in the Nakhchivan region, the most important stages are the Engagement ceremony and the Hınayahdi ceremony. These are the most important parts of wedding preparation.Depending on the stages of the wedding ceremonies, the content and melody of the songs are different. Although the music sung at the initial stage is distinguished by its simplicity, the melodies gradually become complex. The richest examples of music can be found in the “Hınayahdı” ceremony.
本文的目的是考察纳希切万地区婚礼的文化和音乐方面，这是阿塞拜疆民间传说的重要元素之一。研究模型是根据定性研究方法中的案例研究和文献分析技术设计的。之所以在研究中选择纳希切万地区，是因为该地区具有丰富的民俗特色，并受到民俗保护。研究采用相关文献和访谈方法作为数据收集工具。在研究中，纳希切万婚礼仪式的元素是根据相关资料和采访呈现的。在婚礼仪式的元素中表演的作品在音乐上得到了检验。研究的问题如下所述。纳希切万地区的婚礼仪式是阿塞拜疆的民俗元素之一，婚礼上表演的作品有什么音乐特色？该研究模型是根据定性研究方法中的案例研究和文献分析技术设计的。之所以在研究中选择纳希切万地区，是因为该地区具有丰富的民俗特色，并受到保护。研究采用相关文献和访谈方法作为数据收集工具。在研究中，纳希切万婚礼仪式的元素是根据相关资料和采访呈现的。对婚礼仪式元素中的作品进行了音乐分析。西贝柳斯的记谱程序被用于作品的记谱。研究人员对居住在纳希切万地区的老年人进行了采访。制作了访谈记录，并介绍了调查结果。在纳希切万地区举行婚礼；有喜欢一个女孩的阶段，打断，大使馆，订婚，度假，女孩的婚礼，指甲花之夜，男人的婚礼，面纱仪式，接吻。雅尔舞是该地区重要的音乐象征。这种舞蹈是集体表演的，其多样性和舞蹈旋律都是独一无二的。婚礼上玩的其他游戏；Kocheri、Tanzara、Tello、Gala to galaya、Urfanı在文化转移中幸存至今。在研究中，呈现了民歌《Hakışta》、《Gülüm Hey》、《Henna Night》和《新娘的告别》的音符。在纳希切万地区的婚礼中，最重要的阶段是订婚仪式和Hınayahdi仪式。这些是婚礼准备中最重要的部分。根据婚礼的不同阶段，歌曲的内容和旋律也有所不同。尽管初期演唱的音乐以简单著称，但旋律逐渐变得复杂。音乐最丰富的例子可以在“Hınayahdı”仪式中找到。
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Pub Date : 2022-09-27DOI: 10.12975/rastmd.20221036
Teuta Agaj Avdiu, Shqipe Mori̇na, Arta TİKA BEKTESHİ
The English-speaking market is huge. English dominates the international music. The two most powerful countries in the world, the USA and the UK are the bases of the music industry. There is over one billion people who speak English worldwide. It is no surprise that the English language is used as a base for music by so many musicians. This work’s main objective is to find out the Albanian musicians’ English language proficiency level as well as gain knowledge about the importance of being an English-speaking musician. The present study delves further into examining the internationalization of Albanian songs from the viewpoints of musicians in Kosovo and investigating whether the Albanian songs would have a different impact or would be more successful if translated and sung into the English language. Last but not least, the researchers are also interested in discovering if there is any difference between Albanian and English languages in terms of songs and singing. To go deep into the understanding and the perception of the issue and answer our research questions, a descriptive qualitative approach was used. To collect the data, semi-structured interviews with open-ended questions were conducted. Ten (10) Kosovar musicians who have a lot of knowledge on the issues participated in this study and thus provided us the necessary information. The results of this research correspond with the theoretical framework. The results obtained from the data analysis reveal that Kosovar musicians are proficient in English which is considered very advantageous since performing in English can help musicians build an international music career. It is also indicated that an Albanian song can also be an international success without the need to translate it into English since music is a universal language, musical notes sound the same in all languages around the world, they are written the same, they have the same position. Thus, the melody sounds the same in every language of the world and this is the beauty of music.
{"title":"Kosovo musicians' efficacy of using English language: Internationalization of Albanian songs","authors":"Teuta Agaj Avdiu, Shqipe Mori̇na, Arta TİKA BEKTESHİ","doi":"10.12975/rastmd.20221036","DOIUrl":"https://doi.org/10.12975/rastmd.20221036","url":null,"abstract":"The English-speaking market is huge. English dominates the international music. The two most powerful countries in the world, the USA and the UK are the bases of the music industry. There is over one billion people who speak English worldwide. It is no surprise that the English language is used as a base for music by so many musicians. This work’s main objective is to find out the Albanian musicians’ English language proficiency level as well as gain knowledge about the importance of being an English-speaking musician. The present study delves further into examining the internationalization of Albanian songs from the viewpoints of musicians in Kosovo and investigating whether the Albanian songs would have a different impact or would be more successful if translated and sung into the English language. Last but not least, the researchers are also interested in discovering if there is any difference between Albanian and English languages in terms of songs and singing. To go deep into the understanding and the perception of the issue and answer our research questions, a descriptive qualitative approach was used. To collect the data, semi-structured interviews with open-ended questions were conducted. Ten (10) Kosovar musicians who have a lot of knowledge on the issues participated in this study and thus provided us the necessary information. The results of this research correspond with the theoretical framework. The results obtained from the data analysis reveal that Kosovar musicians are proficient in English which is considered very advantageous since performing in English can help musicians build an international music career. It is also indicated that an Albanian song can also be an international success without the need to translate it into English since music is a universal language, musical notes sound the same in all languages around the world, they are written the same, they have the same position. Thus, the melody sounds the same in every language of the world and this is the beauty of music.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47651729","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-13DOI: 10.12975/rastmd.20221035
Sevgünur TANDOĞDU KILIÇ
The 20th century is known as a period in which the understanding of music changes and develops, and at the same time it seeks different ways. In many musical genres such as classical music, jazz and blues, this search has led to different technical trials and studies on instruments. The changing and developing understanding of music with the development of globalization and technology has led to the emergence of many new works, and composers have developed and tried different and extraordinary methods as well as popular techniques to make a difference in their works. It can be advantageous for practitioners and educators seeking careers in the trombone field to have in-depth knowledge of modern solo trombone work. Other classical instruments, the repertoire spans the centuries and can be found in almost every musical period. However, the fact that the trombone was added to the orchestra after the other instruments and was not seen as a solo instrument until recently increases the interest in the works written after the 20th century. While the trombone repertoire had few solo works until the twentieth century, its use as a solo instrument has increased since the 20th century and many works have been written by composers. In the second half of the twentieth century, there was a change of direction in the trombone repertoire and performance practices, as will be explained in the following sections. With the development of technology, composers who pushed the limits of the trombone increased and new possibilities emerged that could be applied on the instrument. In the article, an analysis will be presented on the works written in the second half of the 20th century under the titles of trombone and voice, multiphonic and microtones, trombone and electronics.
{"title":"An analysis on the use and performance of contemporary avant-garde trombone techniques","authors":"Sevgünur TANDOĞDU KILIÇ","doi":"10.12975/rastmd.20221035","DOIUrl":"https://doi.org/10.12975/rastmd.20221035","url":null,"abstract":"The 20th century is known as a period in which the understanding of music changes and develops, and at the same time it seeks different ways. In many musical genres such as classical music, jazz and blues, this search has led to different technical trials and studies on instruments. The changing and developing understanding of music with the development of globalization and technology has led to the emergence of many new works, and composers have developed and tried different and extraordinary methods as well as popular techniques to make a difference in their works. It can be advantageous for practitioners and educators seeking careers in the trombone field to have in-depth knowledge of modern solo trombone work. Other classical instruments, the repertoire spans the centuries and can be found in almost every musical period. However, the fact that the trombone was added to the orchestra after the other instruments and was not seen as a solo instrument until recently increases the interest in the works written after the 20th century. While the trombone repertoire had few solo works until the twentieth century, its use as a solo instrument has increased since the 20th century and many works have been written by composers. In the second half of the twentieth century, there was a change of direction in the trombone repertoire and performance practices, as will be explained in the following sections. With the development of technology, composers who pushed the limits of the trombone increased and new possibilities emerged that could be applied on the instrument. In the article, an analysis will be presented on the works written in the second half of the 20th century under the titles of trombone and voice, multiphonic and microtones, trombone and electronics.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44213395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-13DOI: 10.12975/rastmd.20221032
Ardita Devolli, Shqipe Avdiu-Kryeziu
The main principle of the Kosovo Curriculum is inclusiveness which means providing equal opportunities for all children and young people in quality education without discrimination. (MASHT (b), 2016) The purpose of this research is to present the role that the subject Music Education has in the inclusion of students with special needs in primary schools. The main research question is: What is the role of the subject Music Education in the inclusion of students with special needs in primary schools? Our research has been conducted by studying various literature related to this issue as well as the practical aspect through a semi-structured interview with primary school teachers who teach children with special educational needs. The qualitative research method was used and data were collected through a semi-structured interview for primary school teachers, grades I-V. According to the results of this research, it can be said that the subject of Music Education plays an important role in the inclusion of students with special educational needs based on the curriculum which includes the integration of different fields and subjects in primary education.
{"title":"Music as an inclusion tool: can primary school teachers use it effectively?","authors":"Ardita Devolli, Shqipe Avdiu-Kryeziu","doi":"10.12975/rastmd.20221032","DOIUrl":"https://doi.org/10.12975/rastmd.20221032","url":null,"abstract":"The main principle of the Kosovo Curriculum is inclusiveness which means providing equal opportunities for all children and young people in quality education without discrimination. (MASHT (b), 2016) \u0000The purpose of this research is to present the role that the subject Music Education has in the inclusion of students with special needs in primary schools. \u0000The main research question is: What is the role of the subject Music Education in the inclusion of students with special needs in primary schools? \u0000Our research has been conducted by studying various literature related to this issue as well as the practical aspect through a semi-structured interview with primary school teachers who teach children with special educational needs. \u0000 The qualitative research method was used and data were collected through a semi-structured interview for primary school teachers, grades I-V. \u0000According to the results of this research, it can be said that the subject of Music Education plays an important role in the inclusion of students with special educational needs based on the curriculum which includes the integration of different fields and subjects in primary education.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47346031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-13DOI: 10.12975/rastmd.20221034
Nona Ni̇kabadze, Lile Tandilava, Maia Baramidze
Shota Rustaveli's poem "The Knight in the Panther's Skin" is an epic poem containing medieval lyrical passages. The poem is distinguished by a variety of musical instruments. Our article deals with the issue of translating the most commonly used musical instruments in the Turkish translation of "The Knight in the Panther's Skin ". Using empirical material, source and target texts have been compared to understand how adequately the musical instruments are translated in the Turkish translation of "The Knight in the Panther's Skin " performed by Bilal Dindar. Our goal is to investigate the principle of selection of equivalents and evaluate its adequacy. In this article, we will discuss the most commonly used musical instruments, which can be grouped as follows: String instruments - Chang, Eban, Barbuti, Chaghana; Wind instruments -Buki and Na; Percussion musical instrument -Tsintsilani; Drums - Noba and Nobati, Kosi, Tablaki. In many cases, these musical instruments have the corresponding words in the Turkish language, however, the translator does not translate them into the target language. Based on the comparison of the texts, we will empirically determine the proximity of the source text and the translation text. The methodological basis of the study is a corpus-linguistic analysis of the original text and the translation of "The Knight in the Panther's Skin". In the process of work, the corpus-linguistic method is used, which is common in modern humanitarian studies. Using this method allows us to quickly and efficiently process large volumes of empirical material.
{"title":"Şota Rustaveli’nin “Kaplan Postlu Şövalye” Destanın Türkçe Çevirisinde Müzik Çalgıları","authors":"Nona Ni̇kabadze, Lile Tandilava, Maia Baramidze","doi":"10.12975/rastmd.20221034","DOIUrl":"https://doi.org/10.12975/rastmd.20221034","url":null,"abstract":"Shota Rustaveli's poem \"The Knight in the Panther's Skin\" is an epic poem containing medieval lyrical passages. The poem is distinguished by a variety of musical instruments. Our article deals with the issue of translating the most commonly used musical instruments in the Turkish translation of \"The Knight in the Panther's Skin \". Using empirical material, source and target texts have been compared to understand how adequately the musical instruments are translated in the Turkish translation of \"The Knight in the Panther's Skin \" performed by Bilal Dindar. \u0000 Our goal is to investigate the principle of selection of equivalents and evaluate its adequacy. In this article, we will discuss the most commonly used musical instruments, which can be grouped as follows: String instruments - Chang, Eban, Barbuti, Chaghana; Wind instruments -Buki and Na; Percussion musical instrument -Tsintsilani; Drums - Noba and Nobati, Kosi, Tablaki. In many cases, these musical instruments have the corresponding words in the Turkish language, however, the translator does not translate them into the target language. Based on the comparison of the texts, we will empirically determine the proximity of the source text and the translation text. \u0000 The methodological basis of the study is a corpus-linguistic analysis of the original text and the translation of \"The Knight in the Panther's Skin\". In the process of work, the corpus-linguistic method is used, which is common in modern humanitarian studies. Using this method allows us to quickly and efficiently process large volumes of empirical material.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41984444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-13DOI: 10.12975/rastmd.20221033
Kaya Kiliç
Although music is a branch of art, it is scientifically researchable. As a result of these researches, the equipment of the B flat clarinets used in classical music has developed and changed for years with the advancement of technology. B flat clarinet players, which is a wind instrument, are in different quests to find the best way to express themselves musically. For years, they try to find the most beautiful timbre by trying different equipment to make the tone and tone of the instrument sound good to them first and then to the listeners. In order to achieve these timbres, instrument luthiers and various music companies have gone to different product development paths for each equipment. One of the most important points to remember is that everyone's mouth and lip, in short, have different anatomical structures. Developed or newly made equipment shows different results for everyone. For this reason, performers want to try B flat clarinet equipment and choose the equipment that suits them. In the article, mouthpieces, ligatures, reeds and barrels will be discussed as equipment used in the B flat Clarinet, and detailed information will be presented about the differences in usage areas by grouping them according to model, brand and features.
{"title":"Investigation of B Flat Clarinet Equipment Used in Classical Western Music and Differences in Usage Areas","authors":"Kaya Kiliç","doi":"10.12975/rastmd.20221033","DOIUrl":"https://doi.org/10.12975/rastmd.20221033","url":null,"abstract":"Although music is a branch of art, it is scientifically researchable. As a result of these researches, the equipment of the B flat clarinets used in classical music has developed and changed for years with the advancement of technology. B flat clarinet players, which is a wind instrument, are in different quests to find the best way to express themselves musically. For years, they try to find the most beautiful timbre by trying different equipment to make the tone and tone of the instrument sound good to them first and then to the listeners. In order to achieve these timbres, instrument luthiers and various music companies have gone to different product development paths for each equipment. One of the most important points to remember is that everyone's mouth and lip, in short, have different anatomical structures. Developed or newly made equipment shows different results for everyone. For this reason, performers want to try B flat clarinet equipment and choose the equipment that suits them. In the article, mouthpieces, ligatures, reeds and barrels will be discussed as equipment used in the B flat Clarinet, and detailed information will be presented about the differences in usage areas by grouping them according to model, brand and features.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44116834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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