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In this study, it is aimed to examine the musical lives of artists Tromlitz, Briccialdi, and Dorus, who were involved in flute performance, flute making, and composition in the 18th and 19th centuries, as well as their contributions to music and the innovations they brought to flute making. In this study, which was designed with qualitative research method, biography analysis design was used to reveal the musical lives and experiences of three artists, and the data were collected through document analysis. As a data analysis technique, thematic, descriptive, and content analysis were utilized. Tromlitz, one of the artists who is both a flute performer and a flute maker, started flute making because he foresees that German-made flutes limit him during the performance and that he will contribute to his own performance because he cannot find the effect he expects from German flutes. One of Tromlitz's most important contributions to the flute system as a producer was his invention of the long F fret to be used with the little finger of the left hand. The most important innovation that Briccialdi added to the flute system was the addition of the movable si fret, which is still in use today, while Dorus developed a closed key as an alternative to Boehm's open left sharp key, which was widely used until 1860. [ABSTRACT FROM AUTHOR]

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This study aims to eliminate the current deficiency in the use of music in the field of special education, to increase musical activities in special education, and to present an accreditation model proposal to increase the skills of institutions, educators, and students. The research was designed with a grounded theory study pattern, one of the qualitative research methods. Data for the research were collected examining the necessary documents, and through semi-structured interviews with experts in both the field of special education and music. As a result of the interviews, it was concluded that music was used as both a goal and a tool in the education of individuals receiving special education and that different skills were developed through rhythm, melody, and lyrics. It has been revealed that individuals' body coordination skills are improved through the rhythm in music, self-care skills are improved through melodies and lyrics, and behavioral disorders are corrected through rhythm, melodies, and lyrics. All these results led to the emergence of an accreditation model proposal to develop and rehabilitate individuals receiving special education through music. [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.)

Regional instruments, as reflections of culture, play a significant role in folk culture. With a rich history, these instruments vary across regions, contributing to the diversity of culture. Examples of folk instruments, considered cultural heritage, are preserved in personal archives or displayed in ethnography museums. The Ethnography Museum in Antalya showcases and preserves Turkish folk music instruments specific to the region. The museum features a variety of instruments, including woodwind and brass instruments like the wooden and brass flute, wooden reed, reed and bone whistle, and reed mouthpiece; string instruments like the gourd fiddle and wooden-skin fiddle; and percussion instruments like the drum, totaling eight instruments unique to the region. This research aims to uncover the characteristics of these exhibited instruments and their usage in the local context. The study is important because the instruments exhibited in the Antalya Ethnography Museum belong to this region. In this study, a cultural analysis pattern, examining physical (tangible, visual) artifacts, was employed as a qualitative research method. Physical artifacts represent tools, techniques, and methods used within a culture. The instruments used in Antalya reflect not only the region's musical culture but also its overall folk culture. The identified instruments in the research serve as cultural tools in rituals, folk dances, and other events for entertainment purposes, following specific techniques. Data were collected through document analysis and analyzed through descriptive analysis. Criterion sampling, one of the purposeful sampling methods, was used in the study. It was determined that the Antalya Ethnography Museum exhibits eight instruments, with Central Asian origins. The study revealed that these instruments are made using bone and various types of wood, and they are used in local events such as henna nights, bride fetching, weddings, military send-offs, festivals, and celebrations. In the light of the data obtained in the study, the idea of preparing brochures with detailed explanations about the instruments exhibited in the museum and presenting them to visitors emerged. [ABSTRACT FROM AUTHOR]

Culture is the transfer of the experiences and living standards shaped by one or several societies to future societies, the defining element of societies aimed at their own characteristics, a combination of successively developed social ways of living and the functioning of social rules. Folk songs, which are considered within aesthetic culture, are important values that are transferred from one society to another and that involve the lives of people living in that society within their verses. Folk songs differ among regions or even among towns within the same region in terms of both their lyrics and their musical elements. In the present study, folk songs of Niğde province, which is located in Central Anatolia, are examined. During the Ottoman reign, Niğde province has been a place of cultural exchange because of being a town under the governance of Konya and being located on the Kayseri- Konya road. For this reason, Niğde folk songs were formed and shaped along this route. Niğde folk songs used in the study were obtained from the through a review of related literature and also through interviews with Turkish folk music authorities. The collected folk songs were classified based on musical elements and the topics expressed in their lyrics. The folk songs that were classified in two groups were presented in tables created based on frequency and percentage distributions of central distribution measurements. According to the findings of the study, it was concluded that the literary and musical elements of the folk songs of Niğde province had certain characteristics that could accurately narrate its own culture and suggestions were presented based on these conclusions. [ABSTRACT FROM AUTHOR]