Ista Bul Tech Ical U Iversity I Stitute of Social Scie
Total Page：16
File Type：pdf, Size：1020Kb
ISTABUL TECHICAL UIVERSITY ISTITUTE OF SOCIAL SCIECES ARRAGEMETS OF SELECTED TURKISH TUES FOR EARLY-ELEMETARY PIAO EDUCATIO Ph.D. Thesis by E. Ceylan ÜAL AKBULUT Department : Music Programme : Doctorate in Music JUE 2010 ISTABUL TECHICAL UIVERSITY ISTITUTE OF SOCIAL SCIECES ARRAGEMETS OF SELECTED TURKISH TUES FOR EARLY-ELEMETARY PIAO EDUCATIO Ph.D. Thesis by E. Ceylan ÜAL AKBULUT (409042003) Date of submission : 20 May 2010 Date of defence examination : 03 June 2010 Supervisor (Chairman) : Prof. Dr. Cihat AŞKI (ITU) Members of the Examining Committee : Prof. Ş. Şehvar BEŞĐROĞLU (ITU) Prof. Ruhi AYAGĐL (YTU) Doç. Dilek Yonat BATIBAY (MU) Yrd. Doç. eva ÖZGE (ITU) JUE 2010 ĐSTABUL TEKĐK ÜĐVERSĐTESĐ SOSYAL BĐLĐMLER ESTĐTÜSÜ BAŞLAGIÇ PĐYAO EĞĐTĐMĐ ĐÇĐ DÜZELEMĐŞ TÜRK EZGĐLERĐ DOKTORA TEZĐ E. Ceylan ÜAL AKBULUT (409042003) Tezin Enstitüye Verildiği Tarih : 20 Mayıs 2010 Tezin Savunulduğu Tarih : 03 Haziran 2010 Tez Danışmanı : Prof. Dr. Cihat AŞKI (ĐTÜ) Diğer Jüri Üyeleri : Prof. Ş. Şehvar BEŞĐROĞLU (ĐTÜ) Prof. Ruhi AYAGĐL (YTÜ) Doç. Dilek Yonat BATIBAY (MÜ) Yrd. Doç. eva ÖZGE (ĐTÜ) HAZĐRA 2010 FOREWORD The doctorate thesis, titled "Arrangements of Selected Turkish Tunes For Early- Elementary Piano Education" was prepared at the I.T.U.Social Sciences Institute, Dr. Erol Üçer Center for Advanced Studies in Music (MIAM). The piano which is the fundamental instrument of polyphonic music education all by itself has extensive literature from elementary level to virtuosity, covering almost every western music history eras. The quantity of the elementary methods for piano are undisputably innumerable. The beginner's repertoire includes both classical music concept which contains plenty of standardized piano scores and also the compositions that covers the country's local music. With nationalism, the native folk songs entered the classical music history scene more often creating a milestone in the early twentieth century. Indispensibly, some composers dealt out with this situation by writing the beginners' piano scores. Belá Bartók, the famous Hungarian composer, modelled worlwide by the other composers with his series called "For Children" and "Microcosmos". Even though we have no sufficient knowledge about the number of the regional repertoire in beginners' method around the world, we have determined that Turkey does not have the method which covers local music in one hand as a beginners' method. The research raised the question of the possibility of writing a piano method which comprises all Turkish tunes from Turkish Folk to Turkish Makam Music repertory in one source; which iniated the idea of this research. The beginners' piano methods both in Turkey and in foreign countries had been examined as much as these sources could be reached. In the questionnaire, the purpose of the study supported by the candidates. In the interviews, the need and the significance of the study strongly emphasized by the piano educators. I hope this thesis could be practicable by all piano beginners' students including amateurs and the lecturers in every music school worldwide. I would like to thank; my consultant Prof. Dr. Cihat Aşkın for all the positive contributions he has made during my studies, the members of the thesis committee, especially Prof. Dr. Şehvar Beşiroğlu for supplying the score of Prof. Necati Gedikli and her support, Doç. Dilek Yonat Batıbay for the motivation she has provided me with, all my piano teachers for supporting me on my thesis, Prof. Ruhi Ayangil for giving me direction on the name of the thesis, Dr. Gülçin Özkişi for all her constructive contributions, my co-workers for their reinforcement, all my teachers through Prof. Filiz Kamacıoğlu for their help, Özer Özel for sharing his makam knowledge, the participants of the questionnaire and interviews who have had a tremendous contribution in terms of the directional aspect of the research, all my students and colleagues who have provided me with their valuable comments on the arrangements which were prepared for this research. v I would also like to present my special thanks to; my one and only sister Melisa Mutluışık who has been an immense support through the process of supplying international sources and has always been there spiritually, the people who have helped me become who I am today, starting with my deceased grandmother and father, along with my dear mother who still offers her support. Finally, the dearest thanks to my beloved spouse and my lovely daughter, my everything, Rima Işık who have provided me with infinite understanding, support, love and respect all throughout this time period. May 2010 E. Ceylan ÜNAL AKBULUT Music vi TABLE OF COTETS Page FOREWORD ..............................................................................................................v TABLE OF COTETS.........................................................................................vii LIST OF TABLES.....................................................................................................ix LIST OF THE FIGURES .........................................................................................xi SUMMARY...............................................................................................................xv ÖZET........................................................................................................................xix 1 ITRODUCTIO................................................................................................21 1.1. The Statement of The Problem........................................................................31 1.2. The Purpose of The Study...............................................................................34 1.3. The Need for the Study and the Significance of the Study .............................35 1.4. Hypothesis.......................................................................................................36 1.5. The Limitations of the Research .....................................................................36 1.6. The Definitions of the Terms ..........................................................................37 1.7. Methodology ...................................................................................................38 1.7.1. Collecting the Data ...............................................................................39 1.7.1.1. Analyzing the Unique Data .....................................................40 1.8. The Piano Education in General......................................................................42 1.8.1. The Piano Education for Beginners ......................................................42 1.8.2. The Fundamental Piano Playing Techniques for Beginners................45 1.8.3. The General Rules for Learning Piano .................................................47 1.8.4. The Concise Background of Piano Ecoles............................................55 1.8.5. The Historical Background of Piano Education in Turkey...................59 1.8.5.1.The Current Piano Education System in Turkey ......................63 2 THE COMPARATIVE STUDY OF ELEMETARY PIAO METHODS ...........................................................................................................67 2.1. The Piano Methods' Principles Used Until the Twentieth Century ................67 2.2. The Piano Teaching Methods in General........................................................69 2.3. The Turkish Piano Methods for Beginners .....................................................72 2.3.1. The Composers' Piano Pieces ...............................................................74 2.3.2. Piano Educators' Methods.....................................................................89 2.3.3. The Piano Methods with Folk Tunes Arrangements ..........................100 2.4. The Foreign Piano Methods for Beginners ...................................................104 2.4.1. The Composers' Piano Pieces .............................................................106 2.4.2. The Piano Educators' Methods ...........................................................115 2.4.3. The Piano Methods with Folk Tunes Arrangements ..........................122 2.5. The General Outlook of Comparisons between Turkish and Foreign Piano Methods and Pieces.............................................................................127 3 THE IDICATIOS AD COMMETARY ................................................131 3.1. The Results of the Questionnaire ..................................................................131 3.1.1. The Commentary of the Questionnaire...............................................137 3.2. The Results of the Interviews........................................................................139 vii 3.2.1. The Commentary of the Interviews ....................................................141 4 THE COCLUSIO AD RECOMMEDATIOS....................................143 REFERECES .......................................................................................................154 APPEDICES ........................................................................................................160 CURRICULUM VITA...........................................................................................193 viii LIST OF TABLES Page Table 2.1: The Brief Comparison of the Turkish and Foreign Methods............127 Table 2.2: The Comparison of A.A.Saygun's Đnci'nin Kitabı No:1" Đnci" and R.Schumann's Youth Album Op.68 No.5 "Short Study" .................130 ix x LIST OF THE FIGURES