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This research aims to reveal the perceptions of Generation Z music education students regarding the concept of music teachers in their ideals, through metaphors. The research was conducted with 92 Generation Z students studying in the music education departments of different universities in Turkey. The data was collected by having the students complete the sentence, “My ideal music teacher is like…because…”. The answers given were subjected to content analysis and the metaphors that the students produced for the concept were determined. Students produced 50 valid metaphors. These metaphors were grouped under five different categories. The categories determined in line with the metaphors produced by Generation Z music education students were listed from the most given metaphors to the least. As a result of the ranking, it was revealed that the students perceived their ideal music teacher as enlightening-directing and guiding, helpful and informative, loving-nurturing and supportive, necessary and reassuring, and a source of change and happiness. In line with the findings, it was concluded that Generation Z music education students idealized a music teacher who would enlighten and guide them rather than a teacher who conveyed information.

Bu çalışmada Fransız piyanist ve besteci Henri Jerome Bertini’nin, piyano eğitiminde kullanılan, “25 Etudes Elementaires Op.137” adlı etüt kitabı incelenmiştir. Nitel bir çalışma olan bu araştırmada betimsel araştırma modeli kullanılmış ve literatür, döküman inceleme yoluyla taranmıştır. Yapılan incelemede, mesleki müzik eğitimi kurumlarının piyano eğitimi müfredatlarında da yer verilen Bertini’nin piyano etütlerine ilişkin herhangi bir çalışmaya rastlanmamıştır. Bu veriler ışığında, Henri Jerome Bertini’nin etüt kitabının analizine karar verilmiştir. “25 Etudes Elementaires, Op.137” etüt kitabında yer alan tüm etütler, içerdikleri teknikler, müzikal ifadeler ve bu doğrultudaki kazanımlar açısından incelenmiştir. Kitaptaki her etüdün, çalıştırmayı hedeflediği davranışlara ve kazanımlara yönelik birer alıştırma ve giriş bölümü taşıdığı saptanmıştır. Bu durumun, etütleri çalışacak öğrencileri, etütte edinecekleri kazanım ve donanımlara önceden hazırlaması açısından önemli olduğu düşünülmüştür. Elde edilen bulgular doğrultusunda etütlerin en çok, legato, staccato, çift ses, akor, arpej, gam çalışması, oktav, parmak geçişi, aynı notada parmak değişimi gibi temel teknikler içerdiği, tempo açısından etütlerde daha çok ağır tempoların tercih edildiği, nüans bakımından çok zengin olmayan etütlerin, ton açısından belli bir sıra izlediği ve yine etütlerde farklı bazı yapısal özelliklere yer verildiği sonuçlarına ulaşılmıştır. İncelenen etüt kitabının, piyano eğitiminde hem temel tekniklerin ve müzikal ifadelerin kazanımı hem de farklı yapısal özelliklerin tanınması ve öğrenilmesi açısından yararlı bir kaynak olduğu düşünülmektedir.

The aim of this research is to determine the characteristics of Generation Z piano students from the perspective of piano teachers. The sample of the study consists of 40 piano teachers working in state conservatories with piano departments in Turkey. The data were collected with the “Teacher Opinion Form” consisting of 24 questions, which took its final form with expert opinions, and the findings were tabulated. As a result of the research, it has been determined that the majority of Generation Z piano students are generally impatient, have high self-confidence but low self-awareness in terms of personality traits. In terms of studying and learning characteristics, they experience great difficulties in their individual studies without support, they do not know their own learning methods, they have difficulty in managing their study time properly, and their professional curiosity is not high. When students are evaluated according to their emotional state, they are temperamental, have difficulty accepting criticism and lose their belief in success quickly. Piano students, according to their digital literacy, are hasty and play fast due to the habit of quick action/quick response habit acquired from the digital environment, and they quickly get bored with the works they are practicing as they are unable to balance between the regular flow of new information in the digital environment and the flow in real life. It is also among the results obtained that the students of Generation Z, who were born into technology, do not use this technology efficiently in terms of contribution to the piano lesson. In the light of these results obtained, suggestions regarding the piano education of Generation Z and future field studies were presented.

This study aims to reveal the perceptions of preservice music teachers on the concepts of “Distance Education, Home, Graduation, University and Future” through metaphors. The study group of the research consists of 80 preservice music teachers studying the final year of their undergraduate education at the Department of Music Education in Gazi University, Kastamonu University, Bolu Abant İzzet Baysal University, Uludağ University, Van Yüzüncüyıl University, Necmettin Erbakan University and Muğla Sıtkı Koçman University as of 2020-2021 academic year. Data of the research were collected by participants completing the sentence “The concept reminds me of….because….”. Collected data were analyzed with content analysis method. Participants developed 133 different metaphors; 26 related to distance education, 19 to home, 27 to graduation, 29 to university, and 32 to the concept of the future. While the metaphors they developed on the concept of distance education reflect a negative view, those about home and graduation are considered to be relatively positive. The metaphors developed on the concept of university express a longing rather than representing either a positive or a negative view. Future, on the other hand, was a concept on which preservice music teachers came up with the highest number of metaphors and all found ambiguous. Distribution of the metaphors developed by the participants and the sample sentences selected from the opinions are demonstrated under the relevant headings.

This research aims to examine pre-service music teachers’ views on piano lessons provided in the emergency remote education process during Covid-19 lockdown. The population of the research comprises 82 students studying at the Departments of Music Education at Kastamonu University and Gazi University. The survey model, which is one of the quantitative research methods, was used in the research. Research data were collected through a “pre-service teacher feedback form” comprising 19 questions prepared by the researchers and finalized through expert opinions; the data obtained are compiled under relevant tables. The results of the research indicate that majority of the pre-service teachers follow piano courses through their computers, that more than half of the students have the opportunity to play the piano and/or keyboard at home, that they have problems with sound and image synchronization, and that they evaluate the infrastructure of the courses as inadequate. The opinions of the pre-service candidates expressing that they want to pursue their piano education face-to-face after the pandemic ends and that the instrument education they received during emergency remote teaching is not acceptable, which also due to the insufficient level of digital literacy, are also among the results of the research. Pre-service music teachers suggested that piano courses should be held one-on-one and face-to-face, the synchronization problem should be resolved, and the hours for piano courses should be increased. The results of the research presented suggestions regarding the instrument education process and future studies to be conducted on this subject.

Muzik, insan yasamindaki islevlerinin onemi nedeniyle, her zaman etkili bir egitim alani olmustur. Muzik egitimi yoluyla bireyin saglikli ve dengeli bir kisilik ve kimlik gelistirebilmesi, yasamda mutlu, bariscil, huzurlu ve basarili olabilmesi, belli bir yeterlik duzeyine ulasabilmesi ve cevreyle uyumlu bir iletisim kurabilmesi beklenir. Bu noktada bireyin kisisel gelisimine ve degisimine, inanclarina ve degerlerine yonelik duzeyler uzerinde durmak gereki Bu duzeylerin kisisel degisim surecinde yarattigi etkileri birebir gozlemlemenin, yine birebir gerceklestirilen ve muzik egitiminin temel alanlarindan biri olan “calgi egitimi” surecinde mumkun oldugu dusunulmektedir. Bu calismada, cevre, davranis, yetenek, inanc ve kimlik duzeylerini iceren, mantiksal duzeyler modeli ile calgi egitiminin iliskisi ele alinarak incelenmistir.

Müzik, insan yaşamındaki işlevlerinin önemi nedeniyle, her zaman etkili bir eğitim alanı olmuştur. Müzik eğitimi yoluyla bireyin sağlıklı ve dengeli bir kişilik ve kimlik geliştirebilmesi, yaşamda mutlu, barışçıl, huzurlu ve başarılı olabilmesi, belli bir yeterlik düzeyine ulaşabilmesi ve çevreyle uyumlu bir iletişim kurabilmesi beklenir. Bu noktada bireyin kişisel gelişimine ve değişimine, inançlarına ve değerlerine yönelik düzeyler üzerinde durmak gereki Bu düzeylerin kişisel değişim sürecinde yarattığı etkileri birebir gözlemlemenin, yine birebir gerçekleştirilen ve müzik eğitiminin temel alanlarından biri olan “çalgı eğitimi” sürecinde mümkün olduğu düşünülmektedir. Bu çalışmada, çevre, davranış, yetenek, inanç ve kimlik düzeylerini içeren, mantıksal düzeyler modeli ile çalgı eğitiminin ilişkisi ele alınarak incelenmiştir., Music, due to its significant functions in people's lives, has always been a highly effective educational tool. Through music education, an individual is expected to develop healthy and balanced identity and personality, a happy, peaceful and successful life, and to establish good communication with the people around himself/herself. At this point, it is important to consider and focus on the individual’s personal development and change, and his/her personal beliefs and values. The effects and consequences of these aspects on the process of personal development should be observed closely, and it is argued that doing so is very plausible in the process of instrument education, which is one of the fundamental areas in music education. This study investigates the relationship between logical levels model, including environment, behavior, capability, beliefs and identity levels, and instrument education