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This study examines the alignment of melodic and rhythmic expressions used in identifying musical talent in Turkish music with contemporary music theory pedagogy, emphasising inclusivity, developmental appropriateness, and cultural diversity. Traditional assessments have predominantly focused on technical skills like pitch and rhythm production, rooted in early psychological theories that prioritise cognitive competence. In contrast, current pedagogical approaches advocate for a holistic framework, suggesting that rhythmic and melodic determinants should encompass diverse musical traditions and acknowledge students' varied cultural backgrounds. Aligning talent identification methods with modern pedagogical principles is critical for cultivating a more inclusive generation of musicians. Data were collected from 120 melodic and rhythmic phrases provided by music educators of all levels at a regional seminar. These phrases were analysed for compliance with modern educational principles, considering criteria such as representation of various musical traditions, suitability for different developmental stages, and alignment with inclusive educational practices. Findings revealed that the musical materials used are predominantly based on Western music, with limited representation of Turkey's diverse musical traditions like makam music and folk melodies, and insufficient complexity to engage more advanced students. This indicates a need for more inclusive and differentiated assessment strategies that better reflect different musical contexts and developmental stages. The study underscores the necessity of developing comprehensive evaluation frameworks that integrate a broader spectrum of musical traditions to promote an inclusive and effective music talent identification system in Turkey. Future research should focus on developing specific strategies that enhance the inclusivity and pedagogical value of musical talent assessments and promote the widespread adoption of appropriate identification systems. Addressing these needs could enable the education system to better recognise and nurture the diverse musical talents within the student population, leading to a richer and more culturally diverse musical environment. [ABSTRACT FROM AUTHOR]

Post skip reversals, where a significant melodic leap is followed by a change, in direction have been recognized in Western Classical music but haven>t been extensively explored in non-Western traditions like Turkish makam music. We investigated the presence of skip reversals in both the Rast and Nihavent makam within SymbTr encompassing 50 and 45 pieces respectively. To compare types of skip reversals in Rast and Nihavent we categorized all melodic intervals based on their median pitch into four types; landing, approaching, departing and crossing. Chi Squared tests were utilized to analyze the significance of direction changes. Our findings reveal that post skip reversals are prevalent in Turkish makam music. In Rast makam 88.62% of crossing leaps resulted in a change of direction. Similarly, for Nihavent makam, 87.38% of crossing leaps exhibited this pattern. These outcomes support the notion that certain cognitive processes associated with reversals may possess traits that align with theories proposing that melodic skips generate a perceptual imbalance necessitating a reversal. Furthermore, cultural practices and stylistic conventions play a role, in influencing the occurrence of skip reversals. For instance, the strong association between crossing leaps and direction changes in Nihavent makam reflects specific stylistic practices within Turkish classical music, such as the emphasis on maintaining a balanced melodic contour. This indicates that while there are aspects to how we perceive music cultural influences play a role in shaping how these processes are expressed. It shows the interplay, between cognitive tendencies and cultural traditions. The findings focus on the complex interplay between universal cognitive processes, cultural practices and physical constraints, which contribute to a wider understanding of melodic organization in different cultures. In future research, the analysis should expand to include a wider range of makams and incorporate qualitative methods for deeper insight into cultural, historical or performance contexts that influence Post-skip reversal. [ABSTRACT FROM AUTHOR]