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Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Social Sciences Research / Sosyal Bilimler Arastirmalari Dergisi is the property of ODU Journal of Social Sciences Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Müziği oluşturan seslerden çok o seslere yüklenen anlamların kimliğimizde nasıl bir karşılık bulduğu merak konusudur. Müziğin hem bireylerin ait olduğu sosyal kimlikleri tanımlayıp, ötekilerini ayırmada bir araç olabileceği hem de salt müziğin kendisinin bir grup yaratarak buradan bir sosyal kimlik inşasına zemin yaratabileceği araştırmalara konu olmuştur. Böylece müziğin hem bireylerin ait oldukları sosyal kimlikleri tanımlamada ve diğerlerini ayırmada hem de bir grup oluşturarak sosyal bir kimlik oluşturmalarında bir araç görevi görebileceği söylenebilir. Sosyal inşacı kuramsal bakış açısıyla müzik hem inşa eden hem de inşa edilendir. Literatürdeki araştırmalarda insanın kendisinden farklı müzikleri tercih edenleri bir dış grup olarak değerlendirdiği görülmektedir. Bu araştırmanın amacı, gençlerin sosyal kimlik bağlamında yerli 45'lik şarkıları dinleme nedenlerini toplumsal kimlik bağlamında araştırmaktır. Ayrıca araştırma, yerli 45’lik şarkıların tüketim biçimlerini, performans mekânlarını, zihinsel olarak hangi anlamlara karşılık geldiğini ve bunun sosyal kimliği etkileyip etkilemediğini de konu edinmektedir. Araştırma deseni olgubilim (fenomenoloji) olan bu çalışmada görüşme yöntemine uygun olarak, yarı yapılandırılmış sorular üzerinden toplanan verilere içerik analizi uygulanmıştır. Araştırma bulgularında, katılımcılar yerel 45'lik şarkılarının çalındığı mekanları en çok kafe (n=15, %39.47) ve bar (n=8, %21.05) olarak tanımlamış ve bu mekanların görünümü ile ilgili retro (n=6, %15.78) tasarım ifadesini kullanmıştır.Araştırma bulgularına göre; katılımcıların yerel 45'lik şarkıları dinleyen diğer kişilere nostaljisever (n=7, %20.59) ve açık fikirli (n=6, %17.65) gibi özellikler atfederken, bu şarkıları dinlemeyenlere en çok kaba ve saygısız (n=8, %14.54), bilinçsiz tüketici (n=10, %18.18), müzikten anlamayan (n=4, %7.27), önyargılı (n=2, %3.64), demode giyinen (n=3, %5.45), ezik (n=1, %1.81) gibi olumsuz sıfatlar atfettikleri görülmüştür. Yerli 45'lik şarkıları dinleyen kişilerin kendilerine benzer kişisel özelliklerini tanımlarken en yüksek açık fikirli (n=3, %13.04), saygılı (n=3, %13.04), ilgili ve meraklı (n=4, %17.39) temaları bulunmuştur. Katılımcıların yerli 45'lik şarkı dinleyicilerine atfettikleri özellikler arasında derin entelektüalite (n=2, %8,69) teması vardır. Onlarından kendilerine benzer özelliklerini anlatırken bu tür olumlu ve ortak göndermelerde bulunmaları dikkat çekici bir bulgudur. Öte yandan, katılımcıların diğerlerinin yerli 45'lik şarkıları sevmeme nedenlerine ilişkin yaptığı atıflar arasında, en yüksek anlamsız yaşam (n=5, %16,13) ve ön yargılılık (n=5, %16,13) temaları bulunmuştur.Katılımcılar ayrıca duygusal bağ (n=11, %2.44), nostalji (n=7, %15.56) ve kaliteli müzik (n=7, %15.56) tanımlarını da yerli 45’lik şarkıların çalındığı mekânın özellikleri olarak tanımlamışlardır. Bu mekâna gelen diğer insanlara da entelektüel (n=8, %14.03), hayatı bilinçli yaşayan (n=6, %10.53) ve dış görünüme önem veren (n=9, %15.79) gibi atıflarda bulunmuşlardır. Ayrıca diğerlerinin yerli 45'lik şarkılarını dinleme motivasyonlarına ilişkin atıflara bakıldığında, duygusal sebepler (n=12, %28.57) en sık görülen tema olup; diğerlerinin bu şarkıları tercih etmeme sebeplerini ise, anlamsız yaşamak (n= 5, %16.13) ve klişe bulmak (n=5, %16.13) şeklinde tanımlamışlardır.Bulgular, popüler müziği onu tüketenlerin kişisel anlamlarını yüklediği bir depo görevi gördüğünü göstermiştir. Ayrıca katılımcıların dinlediği şarkılara kişisel bir anlam yükleyerek özdeşim kurdukları ve kendilerinden farklı seçimler yapanları bu zihinsel özdeşleşmenin karşıt noktasına yerleştirdikleri gözlenmiştir. Dolayısıyla bu sonuçlar, müziğin hem aidiyet içeren kolektif bir kimlik taşıyıcısı hem de bir grup ile ötekiler arasındaki ilişkilerde norm koyucu rolünü üstlenen bir olgu olduğunu göstermektedir. Araştırmada elde edilen bu bulgular tartışma bölümünde sosyal inşacı kuram ve ilgili literatür araştırmaları çerçevesinde tartışılmıştır. Ayrıca sonuç bölümünde gelecekte yapılacak olan çalışmalara yönelik öneriler sunulmuştur.

Aiming to examine the mental, affective and behavioural processes of individuals, psychology is one of the most important fields that should be utilized in order to determine the teaching methods and materials by examining the musical development and learning processes of the individuals in music education. There are many studies addressing different psychological dimensions in the music education literature. The purpose of the present study is to examine the tendencies of the graduate theses that constitute a significant majority of the literature in the intersection of music education and psychology, to present ideas to the researchers working in this intersection, and to contribute to direction of future studies. The study conducted the content analysis method. 149 theses from the Yüksek Öğretim Kurumu (YÖK) (Council of Higher Education [CoHE]) thesis center constituted the study universe. The data were collected using the Thesis Classification Form and analyzed by frequency and percentage calculations, two of the descriptive analysis methods. The study discussed the results regarding the distribution of postgraduate theses according to the demographic characteristics, music education sub-dimensions, psychology subject/specialization areas, psychology sub-dimensions, study design, determination of the research group, research group's characteristics, data collection tools, and data analysis methods. [ABSTRACT FROM AUTHOR]

Copyright of RAST Musicology Journal / Rast Muzikoloji Dergisi is the property of RAST Musicology Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

It is a matter of curiosity how the meaning attributed to the music corresponds to our identity, rather than the sounds that make up the music. It has been the subject of research that music can be a tool both to define the social identities that individuals belong to, and to separate others. Music also can create a group and provide a basis for the construction of social identity. Thus, it can be said that music can be a tool both to define the social identities that individuals belong to and to separate others, and to create a social identity by creating a group itself. From a social constructivist theoretical point of view, music is both the constructor and the constructed itself. In the body of the literature, it is seen that people evaluate others who prefer different music than themselves as an outgroup. The purpose of this research is to investigate the reasons young people listen to the local 45's songs within the context of social identity. In addition, the research also deals with the consumption patterns of the local 45's songs, the performance areas, mental attributions, and the effects of all these factors on social identity. The data of this phenomenological study is collected through semi-structured questions via interview method, and the content analysis is applied to the data. In the research findings, the participants mostly defined the places where local 45's songs are played as cafes (n=15, 39.47%) and pubs (n=8, 21.05%), and a retro (n=6, 15.78%) design about the appearance of these places. According to the research findings; the participants attributed the characteristics such as, nostalgia lover (n=7, 20.59%), open-mindedness (n=6, 17.65%), to the other people who listen to the local 45's songs. However, the participants attributed the most negative adjectives such as rude (n=7, 20.59%), disrespectful (n=8, 14.54%), unconscious consumer (n=10, 18.18%), ignorant of music (n=4, 7.27%), prejudiced (n=2, 3.64%), old-fashion (n=3, 5.45%), loser (n=1, 1.81%) to those who does not listen to these songs. Considering the personal characteristics that they think are similar to those of the local 45's listeners'; the highest is found to be open-minded (n=3, 13.04%), respectful (n=3, 13.04%), interested, and curious (n=4, 17.39%). There was a theme of deep intellectuality (n=2, 8.69%) among the features that the participants attributed to the local 45's listeners. Indeed, it is noteworthy that they made such references when describing their similar characteristics for themselves. On the other hand, the highest team about the participants' attributions to others' reasons about to dislike local 45's songs as follows: meaningless life (n=5, 16.13%) and being prejudiced (n=5, 16.13%). Participants also chose these definitions such as, emotional attachment (n=11, 2.44%), nostalgic (n=7, 15.56%), and playing qualified music (n=7, 15.56%) regarding the features of the place where the local 45's songs are played. They also referred to other people who come to these places as intellectual (n=8, 14.03%), living life consciously (n=6, 10.53%), and care the external look (n=9, 15.79%). In addition, emotional reasons (n=12, 28.57%) is the most frequent theme among the motivations of listening to the local 45's songs, and the reasons for the others who do not prefer these songs are defined as meaningless life (n=5, %16.13), and to find cliché (n=5, %16.13). The findings show that popular music is a storage for the consumers to ascribe personal meanings. In addition, it has been observed that the participants identify with the songs they listen to by attributing a personal meaning, and they place those who make different choices at the opposite point of this mental identification. Thus, music is both a bearer of collective identity and a norm setter in the relations between a group and others. These findings are going to be discussed within the perspective of the social constructivist theoretical framework and the body of the literature. In addition, in the conclusion section, suggestions for future studies are presented. [ABSTRACT FROM AUTHOR]

Copyright of Hacettepe University Journal of Education is the property of Hacettepe University Journal of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of International Yegâh Music Journal is the property of International Yegah Music Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Considering its domain and range, folklore is a discipline suitable for interdisciplinary studies by contributing to many scientific disciplines, especially social sciences and arts, or benefiting from them. In this context, we notice that folklorists benefit from the scientific disciplines such as anthropology, linguistics, music, history, sociology and psychology at both theoretical and practical levels, and occasionally contribute to these disciplines. It is an unquestionable fact that among mentioned disciplines music, in particular, has a very wide and important place in folklore studies. Music has always appeared with its determinative and distinctive functions both in the process that covers the creation, transfer and sustainability of folklore outputs, and in the processes of defining, collecting, classifying, researching and analyzing them. In this context, even though the importance and function of music in folklore studies have been mentioned in many academic publications, musical features have been included in a specific and limited scope in a significant majority of these publications. Contrary to this situation, detailed musical analyses within the context of folklore have appeared in some studies; however, the number of these studies is limited. Considering current situation, this paper, written in the scope of Turkish folklore, has been prepared based on the view and thesis that it is important and necessary for researcher to incline to an interdisciplinary study, in its researches on musical folklore outputs, by obtaining musical knowledge or benefiting from it. In this context, the paper starts from the importance of music in the solution of the genre, form and maqam in the ashik poetry tradition. Then, it tries to explain with examples the determinative and distinctive features of music in the process of creation and transfer within the master-apprentice learning pattern in the context of ashik and Turkish epic narrative traditions; in the development and performance of religious or non-religious rituals and ritual-centred folklore outputs; the performance of folk dances; the process of creation and transfer of verse genres and forms of anonymous folk literature. The paper evaluates in which functions can be used musical items, such as rhythm (method), tune pattern (maqam/style), tempo, passages, strong pitch, increasing melodic interval size etc., within the processes of defining, collecting, researching, classification and analyzing folklore outputs that have musical features. After these evaluations, the paper discusses the necessity and importance of including musical features in studies in the period from finding and collecting to the analyzing folklore outputs within the scope of the text-centred and context-centred folklore theories. In this context, the paper puts forward the contributions which will occur as a result of the functional use of music in folklore studies. [ABSTRACT FROM AUTHOR]

Copyright of Gazi University Journal of Gazi Educational Faculty (GUJGEF) is the property of Gazi University Journal of Gazi Educational Faculty (GUJGEF) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Higher Education & Science / Yüksekögretim ve Bilim Dergisi is the property of Zonguldak Bulent Ecevit Universitesi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

It can be considered that the need for scientific studies to ensure that the problem of music education is seen as a necessity for the increasingly complicated human being to construct humanist identity in order to gain comprehensive and new possibilities. The problem of your research; When we examine today's music, we are looking for the answer to the question: What is the art of music in terms of the psychological dimension of music, the philosophical dimension of music, the sociological dimension of music, and the cultural dimension of music. This research; Contribution to the field education of the theoretical knowledge which is formed by the data of the sciences which evaluates in the field of music education in the field of music education is aimed to examine the music sciences in a multidimensional way in this frame. [ABSTRACT FROM AUTHOR]

The aim of this study is investigating body's role in musical understanding. General tendency about this topic gives body a passive role in musical understanding and gives importance to mental activities. However, last researches in this field have broken this traditional thought and the body's role in musical understanding has begun to explain. These researches showed that body is not an object or tool in musical understanding process, it is as active as mind, but mostly in a unconscious level. In the light of this information, we can understand the importance of body in music education. [ABSTRACT FROM AUTHOR]

Copyright of Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cagdas Egitim Dergisi is the property of Cagdas Egitim Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

AIM: Art is known to be a tool which provides relaxation and helps therapy especially in psychiatric diseases and in many other health problems. But the effect of art in artists is not known well. The aim of this study was to ascertain if there is a difference in anxiety and depression symptom scores between students of conservatoire and the other faculties. METHOD: In this study, anxiety and depression scores of volunteer students in conservatoire and other faculties were determined via a self administered questionnaire consisting of socio-demographic questions and Hospital Anxiety and Depression Scale (HADS). Percentages, chi-square, student-t test and one-way ANOVA tests were used in statistical analyses. RESULTS: Study population was composed of 171 students in the ages of 17-29 (mean=21.36±2.31) years and 89 (52%) were female. Among 55 (32.2%) conservatoire students and 116(67.8%) other faculties' students 104(60.8%) were living in a hostel. Mean anxiety and depression scores were 7.21±3.37, 5.80±3.49 for conservatoire students and 7.56 ±3.62, 5.81±3.41 for the comparisons, respectively. There were symptoms above the cut- off levels for anxiety in 28 students (16.4%) and for depression in 47 students (27.5%) in the whole group. While anxiety and depression symptoms percentages were 18.2 %( n=10) and 15.5 %( n=18) in conservatoire students, that were 32.7 %( n=18) and 25.0 %( n=29) in other students. The difference was not statistically significant for both anxiety and depression symptoms (p>0.05). CONCLUSION: We found that dealing with music as an art didn't made difference in anxiety and depression symptoms in this study population. Art is always accepted as a relaxation tool but individuals making art as a lesson, as a job or as a way to gain money can feel different. [ABSTRACT FROM AUTHOR]

This research has been done by experimental method. The perception performance of the students who are at the last class in mathematics and Turkish departments have been compared. The student in mathematics department represent logical and mathematical mental field and the students in Turkish department represent Turkish-linguistics mental field. Today, learning music early has an importance, to identify of the mental field of our children and to develop and to grow the whole mental field have been the target of the educators. In conclusion, there occurs a result that musical perception is closer to logical-mathematical mental field than Turkish-linguistics mental. [ABSTRACT FROM AUTHOR]

Copyright of Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Cukurova University Institute of Social Sciences is the property of Cukurova University Institute of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)