Gila National Forest Plan

Total Page:16

File Type:pdf, Size:1020Kb

Gila National Forest Plan United States Department of Agrukne Gila National Forest Plan F0N.t SWVbX Southwestern Region September 1986 I I I I I \ Gila National Forest Plan Table of Contents E21!. 1. INTAWUCTION Purposs of the Plan. 1 Orgemratron of the Proposed Forest Pten Document. 2 Planmng Area Osscriptlon . * . 2 2. PUBLIC ISSUES, MANAGEMENT CONCERNS, AND OPPORTUNITIES overvievr ................. ............ 3 Produce Timber and Wood Fiber ...... ............ 3 Range Msnsgemsnt ............. ............ 4 Lendownershlp .............. ............ 4 Aecrestlon ................ ............ 4 Wildlife ................. ............ 5 Trensportation .............. ............ 5 Wilderness ................ ............ G Fhparran ................. ............ B 3. SUMNARY OF THE MANAGEMENT SITUATION lAMSI Overvres ............................. 7 Tlmber . ............................. 7 Range. ............................. s Recreetlon ............................ 9 Wlldlrfe ............................. g Wats r. .............................. 9 4. MANAGEMENT DIRECTION 0verv1ew ............................. Mission ............................. :: Desired Future Condlt?ons .................... 11 Goals. .............................. II Qbjectlves ............................ Management Prsscnptrons ..................... Ei Nenegement Prescnptron Appllcabls to all Areas Except Wilderness. Management Prescrrptions Applxcsbls to ALL WxLdernsss. ...... :: FeclLxties Nsnagement Ares .................... 45 Developed Reoreatlon Management Ares ............... 47 Research Natural Areas Management Area .............. 4s Menegement Ares 2A ........................ 50 Management Area 28 ........................ Management Ares 2C ........................ E Management Area 20 ........................ Management Ares 2E ........................ ;: Management Area 2F ........................ 78 Management Area 26 ........................ B3 l+anegsment Area 2H ........................ Management Area 3A ........................ :: Management Ares 38 ........................ 100 Management Aree 3C ........................ 106 Management Area 30 ........................ 112 Management Area 4A ........................ 119 kmegement Area 48 ........................ 126 Management Area 4C ........................ 133 Management Area 40 ........................ 140 Management Area 5A ........................ 145 Management Area 5B ........................ 152 Management Area 5C ........................ 158 Management Area 50 ........................ 165 Nsnagement Area 6A ........................ 171 Management Area 88 ........................ 176 Management Area 6C ........................ 105 Management Ares 6D ........................ 193 Manage,,,ent Area 7A ........................ 200 Management Area 78 ........................ 206 Management Area 7C ........................ 210 Management Area 70 ........................ 215 Management Ares 7E ........................ 220 Management Area 7F ........................ 227 Management Area 76 ........................ 234 Management Area QA ........................ 240 Nonsgement Area QB ........................ 245 Management Area QA ........................ 252 Manegement Ares 96 ........................ 257 Management Ares QC ........................ 263 Management Area 90 ........................ 268 Mansgsmsnt Ares QE ........................ 273 5. MONITORING PLAN Introductron . ........................ 279 Timber 1 . ........................ 2HO Timber 2 . ........................ Timber 3 . ........................ Timber 4 , . ........................ ~nh; g . * . ........................ * . * . ........................ Timber 7 . ........................ Timber B . ........................ 1’ Range 1 . ........................ Range 2 . ........................ 283 Range 3 . ........................ 283 Range 4 . ........................ 283 Range 5 . ........................ 284 Cultural Resources I....................... 284 Cultural Resources 2 ....................... 264 SOIL and \%ter 1 . ........................ 284 Al P . ........................ 285 Protect;a;! i . ........................ 286 Firs Management 1 ........................ 266 Fire Management 2 ........................ 267 Recreation 1 . ........................ 287 Recreation 2 . ........................ 287 Recreation 3 . ........................ 288 Lands . ........................ 28R Wlldernass 1 . ........................ 2QP Wilderness 2 . ........................ 288 I’hldl~fs 1 . ........................ PBQ Rlparlsn . ........................ 290 Fsc~Lltles . ........................ 291 Cost 1 . ........................ 292 cost 2 . * . ........................ 292 Cost 3 . ........................ 292 GLOSSARY ............................... 293 APPENDIX Appwdlx A - Activity Code Index ................. 321 Appendix B - Supplementary Timber Resource Exhibits. ....... 323 List of Tables Table Title hJ2 1. Comparison of the Proposed Plan Key Outputs wth Supply end PrOJeCted Demand . , . , . 7 2. Tentetlvely SuItable Land Class~ficetlon . 8 3. Proposed Plan Outputs - Period 1 . 13 4. Recrestlon Slts Construotlon Schedule - Penod 1 . 13 5. RehablLltatlon Schedule - Period 1 . 13 6. FacILltles Construction end Reoanstructlon Schedule - Period 1 . 14 7. V.I.S. [VisItor Informstlon 3ervtcee.J - Rehabxl~tetron Schedule -. 14 8. Trail Construction and Reconstruction Schedule - Penod 1 . 14 9. Lend L?ne Low&on Program - Ponod 1 . 14 10. Right-Of-Way Aoqwsltlon Schedule - Per;od ‘i : : : : : : : : : : : . 15 11. Road Construction end Reoonstwcr~on Schedule - Period 1 . 15 Ten Year Timber Sale Program - Period 1 . 16 432: Sunmary of Vegatatron Management Practices - Penod 1 end 2 . IS 1. introduction PUKJOGI- I.6 THE PLAN Thxs PLen defines the d,rect,on for msnsg,ng the Glls Patlonal Forest for the next IO-15 years. The Plan prcvldes for xntsgrsted multiple use end susts~ned yrstd of goods end ee~v~ces from ths Forest in e nay that mex1m1zes Long-te,n net public benefits rn en env~rcnmentelly sound manner. Preparet,cn cf the the Forest p!sn ,e rsqwred by the Rsnsasble ,?sscu;cae PLann>ng Act (KQA), 8s amended by the Natlcnal Forest Management Act (NFFIAI. The Fcree~ PLsn rep!aces oil preu,ou* ., rescu~cs msnsgsment plens piwpared for the Forest. Upon apprcval of the Foreet Plan, all eubssquent ect,v,t,ee affectrng these lands, lnclud>ng budget propcss!s, vnll be based nn the Forest Plan [36 CFR 219.10 Is]]. In addxtlan, all permrts, contracts , and other ,nbtwmente for the “se end occupancy of thsot. l%t~cnal Forest System Lends muet be cons,stent with the Forest PLon [36 CFR 219.10 [e)]. The plsnmng pnncrplss I” the NFMA rsg”lat,ons [3E CFR 219.1 (b)] were lntegrstrd throughout the prccess. These pnnciples are: 1. Estebl~ehmnnt of gcols and obJectIves for multiple-use end s”sts,ned-y,e,d menegement of renewable rsec”rcse wthcut ,mpn,,ment of the prcduot;vlty of the Lend; 2. Ccnelderatlcn of the rsLet,ve va:ues of all renewable rsewi-yes, Including the ,eiat,onshrp of ncnrenecabla ~sscurces, such es m,nerals, to renewable resources; 3. AeCOgnitlcn thet the Net>cna: Forests are ecceyetsme and the,r management for goods and es~v,cee requrres end elye,eneee end cc’nbidf~e11cn <f :.hs ,nts,re,nt,cns1,,pe among p!ents, sn,ms!e, sc,L. water, a,~, and ether env~rcnmental factors wIthIn euch scoeyetems: 4. Prctectlon and, where app,cpr,sts, ,mprovement of the qual,ty of rsnewsbls resources: 5. Prsservat~on of rmpcrtsnt h,stc,,c, cultural, end netural aspects of our netlonal hentage; 6. Prctectlon and prsservn‘,on of the inhelent rxght of freedcn cf Amencon Indlens to bel~evs, express, end exsro,ss the,v trsdltlonel rellglcno; 7. PrCV~slcns for the ssfe “se end enJoymsnt of the forest i-se~u~~es by the public; 8. Prctsctrcn. through scc:cglcslly ccmpatlble meens, of all forest snd rangelend rseourcse from deprsdat,cns by fclest end rangelend pests; 9. Cccrd~netlan wth the Land and ?ssc”~ce planmng efforts of other Federel sgenc,ss, State end Local gave~nmsnte, end Ind?on trlbss; 10. Use of e systsmst,c. ,nterd,sc1pt1nary spprcech tc sneurs cccrd~netlcn and lntsgrstlon of planning ectlvltlse for multiple-we manegeme”t; 11. Early end frequent public pertlcrpstron; 12. Establishment of quent~tet~vs end quslrtetlve standards end gwdehnes for Lend and ,s6ource plsnnlng and management; 13. Management of NatIonal Forest System Lands tn s manner that IS sens,tive ,.u econcm~c aff,c,ency; and 14. Responsrvsnest to chsngrng ccndltrcns of Land end other ~escu~cse and to chsnglng 60~181 end ernnomlc demands nf the Amerrcan people, I :;;eFotrest PLen replaces all previous pescuwe nansgsment plans prspared for the 8 . Upon approval of the Forest PLan. all subsequent ectlv?ties nffecl?ng these lends. lncludlng budget prcpcsels, WILL be based on the Forest Plan [36 CFR 219.10 la]]. In addltrcn, DLL permits. ccntrecte. end other rnstruments for the uw and occupanoy of these Netlcnsl Forest System Lends must be ccns>atent with the Forest PLan [36 CFR 219.10 [a]]. Lend management prsscr~pt~cns end standards end guldellnes BP” e n~.atemsnt Of the PLsn’s menegement di rectlcn. PrcJeotsd output, ssPY1ces, end Petas of 1mplementat~cn era, however, dependent on the ennueL budget process. ImpLementat?on schedutes con be chsnged to reflect annusl budget and amended acccrd>ngly nftel spprcpnats public not fxcstlon. ORGACIZATION OF THE Chapter 2 of the proposed Forest Plan descrrbes the ms~cr ‘eeueb and ccncelnb PROPOSW FOREST and how the proposed ect,on tespcnds
Recommended publications
  • Tarih Boyunca Türk Askeri Müziğinde Kullanilan Sazlar
    i T.C. SELÇUK ÜNøVERSøTESø SOSYAL Bø/øMLERø ENSTøTÜSÜ MÜZøK ANABø/øM DALI TÜRK SANAT MÜZøöø Bø/øM DALI TARøH BOYUNCA TÜRK ASKERø MÜZøöøNDE KULLANILAN SAZLAR Süleyman YARDIM YÜKSEK LøSANS TEZø DanÕúman Yrd. Doç. Dr. Sema SEVøNÇ Konya – 2010 ii T.C. SELÇUK ÜNøVERSøTESø Sosyal Bilimler Enstitüsü Müdürlü÷ü %ø/øMSEL ETøK SAYFASI Bu tezin proje safhasÕndan sonuçlanmasÕna kadarki bütün süreçlerde bilimsel eti÷e ve akademik kurallara özenle riayet edildi÷ini, tez içindeki bütün bilgilerin etik davranÕú ve akademik kurallar çerçevesinde elde edilerek sunuldu÷unu, ayrÕca tez yazÕm kurallarÕna uygun olarak hazÕrlanan bu çalÕúmada baúkalarÕQÕn eserlerinden yararlanÕlmasÕ durumunda bilimsel kurallara uygun olarak atÕf yapÕldÕ÷ÕQÕ bildiririm. Süleyman YARDIM iii T.C. SELÇUK ÜNøVERSøTESø Sosyal Bilimler Enstitüsü Müdürlü÷ü YÜKSEK LøSANS TEZø KABUL FORMU Süleyman YARDIM tarafÕndan hazÕrlanan Tarih Boyunca Türk Askeri Müzi÷inde KullanÕlan Sazlar baúOÕklÕ bu çalÕúma, tarihinde yapÕlan savunma sÕnavÕ sonucunda oybirli÷i/oyçoklu÷u ile baúarÕOÕ bulunarak, jürimiz tarafÕndan yüksek lisans tezi olarak kabul edilmiútir. DanÕúman Yrd. Doç. Dr. Sema SEVøNÇ jüri jüri Prof. Yusuf AKBULUT Yrd. Doç. Dr. Serdar ÇAKIRER iv TEùEKKÜR Yüksek lisans e÷itimim boyunca desteklerini hiç esirgemeyen tez danÕúman hocam Yrd. Doç. Dr. Sema SEVøÇ’ e, bu tezin baúlangÕFÕndan bugüne kadar gelemsinde sonsuz deste÷i bulunan sevgili hocam Prof. Yusuf AKBULUT’ a, ilk tez danÕúmanÕm ve konu seçiminde bana yardÕmcÕ olan hocam Yrd. Doç. Hamit ÖNAL’A, tezi hazÕrlamamda büyük yardÕmlarÕQÕ gördü÷üm Kültür ve Turizm BakanlÕ÷Õ Klasik Türk Müzi÷i ses sanatçÕVÕ Timuçin ÇEVøKOöLU beyefendi’ye ve bu tezin son haline gelmesinde bana yardÕmlarÕQÕ hiç esirgemeyen arkadaúÕm Arú. Gör. Murat CAN’ a sonsuz teúekkürlerimi sunarÕm.
    [Show full text]
  • 1 Understanding Different Interactions of Coffee, Tobacco and Opium Culture in the Lands of Ottoman Empire in the Light of the P
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Istanbul Bilgi University Library Open Access UNDERSTANDING DIFFERENT INTERACTIONS OF COFFEE, TOBACCO AND OPIUM CULTURE IN THE LANDS OF OTTOMAN EMPIRE IN THE LIGHT OF THE PIPES OBTAINED IN EXCAVATIONS ERTUĞRUL SÜNGÜ İSTANBUL BİLGİ UNIVERSITY 2014 1 UNDERSTANDING DIFFERENT INTERACTIONS OF COFFEE, TOBACCO AND OPIUM CULTURE IN THE LANDS OF OTTOMAN EMPIRE IN THE LIGHT OF THE PIPES OBTAINED IN EXCAVATIONS Thesis submitted to the Institute for Social Sciences In partial fulfillment of the requirements for the degree of Master of Arts in History By Ertuğrul Süngü İSTANBUL BİLGİ UNIVERSITY 2014 2 3 An abstract of the thesis submitted by Ertuğrul Süngü, for the degree of Master of Arts in History from the Institute of Social Sciences to be taken in September 2014 Title: Understanding Different Interactions of Coffee, Tobacco and Opium Culture in the Lands of Ottoman Empire in the Light of the Pipes Obtained in Excavations This M.A. thesis mainly focuses on tobacco introduced to the Ottoman Empire in the 17th century and along with tobacco, it questions how pipe making shaped the everyday life in the Empire both socially and culturally. This inventory, better known as Tophane pipe making, came out in a large part of the Ottoman Empire in different ways according to its period, region and production style. In a short span of time, tobacco spread to a large part of the empire, was first consumed as a remedy and soon after as a stimulating substance. The variety in the usage of opium, the consumption of wine despite its being banned, and especially the excessive consumption of coffee by almost everyone paved the way for tobacco.
    [Show full text]
  • Joël Bons E C | P Music1 Air#3In C Contextair#4 Air#0 Air#1 Air#2 Joël Bons
    Joël Bons E C | P Music1 air#3in C contextair#4 air#0 air#1 air#2 Joël Bons Invitation / 3 The international music world is increasingly shaped by music from diverse cultures. However, almost no structural research has been performed into the impact this has, or might have in the future, on musicians in training. air#3 That the distinction between composition and performance differs according to culture is also an area of interest. The Amsterdam Conservatory has invited Joël Bons to investi- gate the opportunities arising from the combination of differ- ent music cultures, for both composition and performance prac- tice. Particular attention will be given to bringing these two practices closer to one another. Where possible he will, in response to his findings, advise the Board on the selection of guest tutors and other teaching air#4 staff, the development and reform of the curriculum, and the programming of the Composition Department. In addition, the Amsterdam Conservatory has asked Joël Bons to investigate the feasibility of a Centre of Excellence at the Conservatory devoted to various aspects of non-Western music, namely knowledge, research, composition and performance. air#0 air#1 From the letter of appointment air#2 Joël Bons Joël Bons studied guitar and composition at the Sweelinck Conservatory in 4 5 Amsterdam. After completion of his composition studies, he attended summer Winds courses by Franco Donatoni in Siena and the Darmstädter Ferienkurse für Neue Musik. In 1982 he resumed his composition studies, with Brian Ferneyhough in Freiburg. and Strings At the beginning of the 1980s, Joël Bons co-founded the Nieuw Ensemble, a leading 3 international ensemble for contemporary music that is pioneering in its programming (02–2005) / and innovative in its repertoire.
    [Show full text]
  • Çok Sesli Türk Müziği Bestecilerinin Eserlerinde
    The Journal of Academic Social Science Studies International Journal of Social Science Doi number:http://dx.doi.org/10.9761/JASSS7988 Number: 74 , p. 271-287, Spring 2019 Araştırma Makalesi / Research Article Yayın Süreci / Publication Process Yayın Geliş Tarihi / Article Arrival Date - Yayın Kabul Tarihi / Article Acceptance Date 22.01.2019 05.03.2019 Yayınlanma Tarihi / The Published Date 25.03.2019 ÇOK SESLİ TÜRK MÜZİĞİ BESTECİLERİNİN ESERLERİNDE MAKAM OLGUSU: DÖRT TÜRK BESTECİSİNDEN DÖRT ÖRNEK ÜZERİNE BİR ÇALIŞMA MAKAM IN THE WORKS OF TURKISH POLYPHONIC MUSIC COMPOSERS: A STUDY OF FOUR EXAMPLES FROM FOUR COMPOSERS Dr. Öğr. Üyesi Mustafa Eren Arın ORCID ID: https://orcid.org/0000-0001-8762-2002 Ondokuz Mayıs Üniversitesi, Devlet Konservatuvarı, [email protected] Öz Türk Çoksesli Müziği bugünden geriye bakıldığında en azından 150 senelik bir geçmişe sahiptir. 19. Yüzyılın ortalarına doğru gelindiğinde Mehterhane büyük oranda Batı Bandosu tarafından yerinden edilmişti ki bu, batılılaşma hareketi olarak adlandırı- lan eğilimin bir parçası olarak 1839 yılında ilan edilen Tanzimat fermanı ile açığa çıkmış ve Osmanlı İmparatorluğu'nun sosyal ve politik hayatında yaşanan birçok radikal deği- şiklikle hayata geçmişti. Osmanlı İmparatorluğu'nun son on yıllarında devam edip ni- hayetinde 1923'te Cumhuriyetin kurulmasına zemin teşkil eden sosyal ve politik alanda yaşanan değişim süreci boyunca, çok sesli müzik ve onun türleri hızlı bir biçimde sanat- sal ifadenin taşıyıcılarına dönüşerek Feodal toplumdan Burjuva toplumuna geçişin ve eskinin değerlerinin yeninin değerleriyle yer değiştirdiğinin göstergesi oldular. O za- mandan beri Türkiyede Çoksesli Müzik besteciliğinin temel amacı Kültürel ögeleri içeri- sinde barındıran yeni Modern müzik formları yaratmak olmuştur. Bu çalışmamda, çeşit- li dönemlerden seçtiğim Türk Modern ve Çağdaş Bestecilerinin eserlerini teknik yönden incelemeye çalışacağım.
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]
  • T.C. Dışişleri Bakanlığı Tercüme Dairesi Başkanlığı Mart 2016 A
    T.C. Dışişleri Bakanlığı Mart 2016 Tercüme Dairesi Başkanlığı MÜZİK VE SAHNE SANATLARI TERMİNOLOJİSİ MUSIC AND PERFORMING ARTS TERMINOLOGY TÜRKÇE İNGİLİZCE a capella a cappella absürt tiyatro theatre of the absurd adaptasyon adaptation afiş poster akordiyon accordion akort tuning akort aleti tuner akort etmek to tune akortçu tuner aksesuar prop aksesuarcı propman aktör actor aktris actress akustik acoustics akustik ses efekt şefi chief of acustic sound effects alaylı sanatçı self-taught artist alkış applause alt sahne aygıtları under machinery alto alto amfitiyatro amphitheatre ana karakter protagonist ana sahne main stage anti tiyatro anti-theatre antik tiyatro ancient theatre apar aside ara intermission ara oyunu interlude armoni harmony armonika harmonica arp harp arp grup şefi principal harp arya aria askeri bando military marching band atonalite atonality avangart tiyatro avant-garde theatre bağlama baglama bakır nefesli çalgı brass instrument balad ballad bale ballet bale notasyonu ballet notation bale notatörü ballet notator bale öğretmeni ballet master / ballet mistress bale piyanisti ballet pianist bale sanatçısı ballet dancer balerin ballerina balet danseur balkon balcony bando marching band T.C. Dışişleri Bakanlığı Mart 2016 Tercüme Dairesi Başkanlığı bariton baritone bas bass basılı müzik materyali sheet music başdekoratör head set designer başdramaturg head dramaturgist başdramaturgluk office of head dramaturgist başışık uzmanı chief light technician başkemancı concertmaster başkoreograf head choreographer başkorrepetitör
    [Show full text]
  • Techniques of Saxophone Playing Free
    FREE TECHNIQUES OF SAXOPHONE PLAYING PDF Marcus Weiss,Giorgio Netti | 188 pages | 31 Aug 2010 | Barenreiter-Verlag Karl Votterle | 9783761821145 | English, German | Germany The Techniques of Saxophone Playing/ Die Spieltechnik des Saxophons Because we all relate very intimately to the sound of a human voice, its innate ability to express the emotional part of human nature is indisputable. Of course, all of this is just my opinion, but my guess is that many of you will agree. I believe that we can hone certain skills so that when it comes time to express those powerful emotions we have engrained in our consciousness the techniques necessary to get those emotions across in the most powerful way possible. Remember when you first learned how to scoop notes? For most of us, as newcomers to the instrument, the tendency is to overdo the bending and scooping. There are countless approaches to vibrato and I could probably write an entire article on this subject Techniques of Saxophone Playing. Used by players from Dexter Gordon to David Sanborn, this is an extremely common approach to vibrato in jazz and jazz-related music. Dynamics are a great way of adding elements of depth, drama, and storytelling to your playing. But his approach of playing at a mostly loud volume was his method of deep self expression. For example, we may want to calm our listeners into a mellow trance, and then work our way up to a swift kick in the pants. To make the saxophone really sing, we need to notice the way we attack and release notes.
    [Show full text]
  • EJ1246383.Pdf
    Cypriot Journal of Educational Sciences Volume 15, Issue 1, (2020) 127-143 www.cjes.eu Analysis of high school students’ cognitive structures related to musical genre via word association test Burcu Ozer*, Faculty of Fine Arts Music and Performing Arts Department, Hacibektas Veli University, 50100 Nevsehir, Turkey Suggested Citation: Ozer, B. (2020). Analysis of high school students’ cognitive structures related to musical genre via word association test. Cypriot Journal of Educational Science. 15(1), 127–143. https://doi.org/10.18844/cjes.v15i1.4557 Received from; August 12 2019; revised January 2, 2020; accepted February 1, 2020. Selection and peer review under responsibility of Prof. Dr. Huseyin Uzunboylu, Near East University, Cyprus. ©2020. United World Center of Research Innovation and Publication. All rights reserved. Abstract The aim of this study, via the Word Association Test, an alternative assessment and evaluation technique, to reveal the cognitive structures by determining high school students' perceptions about music genres. For this purpose, in the spring semester of 2015–2016 academic year, Data in the study is obtained with the participation of 100 students in 11th and 12th. Independent word association test was used to collect data. In order to create the test, music genres, namely, Turkish Folk Music, Turkish Art Music, Pop Music and Classical Western Music, were chosen as key concepts. The data were evaluated according to the content analysis; frequency values were given and divided into categories. In line with the findings of the research, the categories of ‘cultural’ related to the concept of Turkish Folk Music, ‘instrument’ about Turkish Art Music, ‘rhythmic’ about Pop Music, and ‘instrument’ related to Classical Western Music, answer words were produced.
    [Show full text]
  • 1 Turkish Classical Clarinet Repertoire
    Turkish Classical Clarinet Repertoire: Performance, Accessibility, and Integration into the Canon, with a Performance Guide to Works by Edward J. Hines and Ahmet Adnan Saygun D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Sarah Elizabeth Korneisel Jaegers Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee Dr. Caroline A. Hartig, Advisor Dr. David Clampitt Professor Katherine Borst Jones Dr. Russel C. Mikkelson 1 Copyrighted by Sarah Elizabeth Korneisel Jaegers 2019 2 Abstract While American and western European works make up the majority of the classical clarinet repertoire known and studied in the West, works of Turkish origin are the focus of this document. Though over 100 pieces of Turkish classical clarinet repertoire exist, they are widely unknown to Western musicians, uncatalogued, and seldom performed. Consequently, although the clarinet is a staple of Turkish music and is extremely popular in the country’s folk tradition, classical clarinet music by Turkish composers remains difficult for Western musicians to find and acquire. The history of Anatolia as a cultural melting pot resulted in diverse and unique classical and folk musical traditions, both based on the makam modal system. Unlike the Western tradition, which developed twelve-tone equal temperament, the octave in the Turkish modal system comprises twenty-four unequally-spaced tones. The clarinet was introduced to Turkey by Giuseppe Donizetti (1788–1856), who traveled to Turkey at the behest of the sultanate to found European-style bands. Particularly appreciated was the clarinette d’amour, pitched in G.
    [Show full text]
  • Library of Congress Medium of Performance Terms for Music
    A clarinet (soprano) albogue anzhad USE clarinet BT double reed instrument USE imzad a-jaeng alghōzā Appalachian dulcimer USE ajaeng USE algōjā UF American dulcimer accordeon alg̲hozah Appalachian mountain dulcimer USE accordion USE algōjā dulcimer, American accordion algōjā dulcimer, Appalachian UF accordeon A pair of end-blown flutes played simultaneously, dulcimer, Kentucky garmon widespread in the Indian subcontinent. dulcimer, lap piano accordion UF alghōzā dulcimer, mountain BT free reed instrument alg̲hozah dulcimer, plucked NT button-key accordion algōzā Kentucky dulcimer lõõtspill bīnõn mountain dulcimer accordion band do nally lap dulcimer An ensemble consisting of two or more accordions, jorhi plucked dulcimer with or without percussion and other instruments. jorī BT plucked string instrument UF accordion orchestra ngoze zither BT instrumental ensemble pāvā Appalachian mountain dulcimer accordion orchestra pāwā USE Appalachian dulcimer USE accordion band satāra arame, viola da acoustic bass guitar BT duct flute USE viola d'arame UF bass guitar, acoustic algōzā arará folk bass guitar USE algōjā A drum constructed by the Arará people of Cuba. BT guitar alpenhorn BT drum acoustic guitar USE alphorn arched-top guitar USE guitar alphorn USE guitar acoustic guitar, electric UF alpenhorn archicembalo USE electric guitar alpine horn USE arcicembalo actor BT natural horn archiluth An actor in a non-singing role who is explicitly alpine horn USE archlute required for the performance of a musical USE alphorn composition that is not in a traditionally dramatic archiphone form. alto (singer) A microtonal electronic organ first built in 1970 in the Netherlands. BT performer USE alto voice adufo alto clarinet BT electronic organ An alto member of the clarinet family that is USE tambourine archlute associated with Western art music and is normally An extended-neck lute with two peg boxes that aenas pitched in E♭.
    [Show full text]
  • Asma Davul Eğitimi Kurs Programi
    T.C. MİLLÎ EĞİTİM BAKANLIĞI Hayat Boyu Öğrenme Genel Müdürlüğü MÜZİK VE GÖSTERİ SANATLARI ALANI ASMA DAVUL EĞİTİMİ KURS PROGRAMI ANKARA,2016 i İÇİNDEKİLER PROGRAMIN ADI ...................................................................................................................... 1 PROGRAMIN DAYANAĞI ......................................................................................................... 1 PROGRAMA GİRİŞ KOŞULLARI .............................................................................................. 1 EĞİTİMCİLERİN NİTELİĞİ ......................................................................................................... 1 PROGRAMIN AMAÇLARI .......................................................................................................... 1 PROGRAMIN UYGULANMASIYLA İLGİLİ AÇIKLAMALAR ....................................................... 1 PROGRAM SÜRESİ VE İÇERİĞİ .............................................................................................. 3 MÜZİĞİN TEMEL ÖĞELERİ………………………………………………………………………… 3 ASMA DAVUL VE RİTİM…………………………………………………………………………….. 3 ASMA DAVULDA ANA USULLER………………………………………………………………….. 3 ASMA DAVULDA BİLEŞİK USULLER…………………………………………………………….. 3 ASMA DAVULDA KARMA USULLER……………………………………………………………… 5 ÖLÇME VE DEĞERLENDİRMEYLE İLGİLİ ESASLAR .............................................................. 5 PROGRAMIN UYGULANMASINDA KULLANILACAK ÖĞRETİM ARAÇ-GEREÇLERİ ............. 6 BELGELENDİRME ...................................................................................................................
    [Show full text]
  • Evrensel Müziğin Gelişiminde Etnik Müzik Ve Enstrümanların Rolü Yazar: Rahşan İzmirli
    T. C. İSTANBUL ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ MÜZİK ANA SANAT DALI KOMPOZİSYON SANAT DALI Yüksek Lisans Tezi EVRENSEL MÜZİĞİN GELİŞİMİNDE ETNİK MÜZİK VE ENSTRÜMANLARIN ROLÜ Rahşan İZMİRLİ Okul No : 2501070445 Tez Danışmanı K. Mete SAKPINAR İSTANBUL 2010 ÖZ Başlık: Evrensel Müziğin Gelişiminde Etnik Müzik ve Enstrümanların Rolü Yazar: Rahşan İzmirli Bu tezde, etnik müzikten etkilenen bestecilerin izledikleri yolu ve bu bestecilerin kendi müziklerine olan katkılarını araştırdım. Öncelikle ele aldığım bestecilerin gerek kendi gerekse başka kültürlerin müziklerinden nasıl etkilendiklerini inceleyerek kullandıkları malzemelere dikkat ederek ortaya çıkardıkları eserlerden örnekler verdim. Hem etnik müzik hem de evrensel müzik içinde yer alan enstrümanların birbirleriyle olan bağlarına dikkat çekerek bu enstrümanların tarihsel gelişimlerini ve hangi müziklerde kullanıldıklarını araştırdım. Etniklik bağlamında ortaya çıkmış müziklerin ve bestecilerin kültürel ilişkilerinin, müzik içinde geniş bir yer tuttuğunu gördüm. Evrensel müziğin içinde yer almış bestecilerin etnik müzik ve kültürden etkilenerek kendilerine özgü tekniklerle bambaşka bir tarz oluşturdukları sonucuna vardım. Bu tez, etnik müzik ve enstrümanların, üretim süreci içinde yararlanılan en önemli unsur ve malzeme olduğunu ortaya çıkarmayı hedeflemiştir. ABSTRACT Title: The Role of Ethnic Music and Instruments in the Improvement of Universal Music Written by: Rahşan İzmirli In this study, I researched the way followed by compositors, who are affected by ethnic music, and their contribution to their own music. Previously, I reviewed how such composers are affected both by their own music and other cultures’ music; paid attention to the instruments used by them; and exemplified any works created by them. By drawing attention to interaction of the instruments which take place in both ethnic and universal music, I researched their historical improvements and in which iii musics they have been used.
    [Show full text]