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Eğitim fakülteleri müzik eğitimi bölümlerinde kullanılabilecek keman konçertoları dağarının incelenmesi

Başlık çevirisi mevcut değil.

  1. Tez No: 78275
  2. Yazar: SİBEL AKINCI
  3. Danışmanlar: PROF. DR. EDİP GÜNAY
  4. Tez Türü: Doktora
  5. Konular: Eğitim ve Öğretim, Müzik, Education and Training, Music
  6. Anahtar Kelimeler: Belirtilmemiş.
  7. Yıl: 1998
  8. Dil: Türkçe
  9. Üniversite: Marmara Üniversitesi
  10. Enstitü: Fen Bilimleri Enstitüsü
  11. Ana Bilim Dalı: Müzik Eğitimi Ana Bilim Dalı
  12. Bilim Dalı: Belirtilmemiş.
  13. Sayfa Sayısı: 516

Özet

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Özet (Çeviri)

SUMMARY The aim of this study is, to locate concertos and concertinos currently unknown and unused for violin training in the Music Departments of Education Faculties and in this way, to introduce these works to violin teachers so they can be performed and included in the repertory. For the realismon of this aim in terms of; A- Educational violin concertos which are experienced during violin training and B- The additional benefit for violin technique from increased repertory the following questions should be answered; a) In terms of the violin concertos which should be known and used: 1- Which educational violin concertos feature in the main stream of violin training programs? 2- How many violin concertos are known and used by violin teachers in lectures at the departments of music of education faculties, 3- Are violin concertos composed by Turkish composers being used in the above-mentioned departments? 4- What criteria are used for choosing educational concertos for training student? 5- How can concertos and concertinos be repertoired for four years (8 semestres) for violin training at the departments of music education of education faculties? 6- a) Which right and left hand techniques can be learnt and progressed by students using concertos and concertinos from the above-mentioned repertory ? b) What sort of critical passages are presented in this repertory, in terms of right and left hand violin techniques accepted as“hard”on this repertory? In this study, historical and descriptive methods were used. By the using historical methods, not only the notes of concertos were investigated but also their 111development and various other aspects: the origin of the word concerto, its status and definition in Turkey, Europa and the World during the history of music. The descriptive method has been used for answering questions related the study of the educational violin concertos collected by historical methods and to investigate works with the defined analysis technique. The study is based on two main subjects: The first is, concertos and concertinos present in the literature of violin education; the second is, the music departments of education faculties in Turkey. The necessary interviews in this research were carried out with the violin teachers of Education Faculty of Gazi University, Atatürk Education Faculty of Marmara University and the Education Faculty of Uludağ University. The 39 works used as educational violin concertos, were determined from the result of these interviews. The data gathering techniques used in this research were to arrange the interviews, to make the observations and to analyse the data collected. For the first problem, identifying the violin concertos which are being used for violin training; it was found that there is a satisfactory and organised repertory program for violin education requirements. However, it could not be ascertained from investigating of the programs, that the concertos and concertinos are actually used for violin education. An inquiry technique was used for investigating the second problem. The violin teachers at the departments of music, were asked which concertos and concertinos have been known and used for violin training.The results are interpreted below using answers taken from 17 violin teachers. 33% of 33 concertos were known by over half of the violin teachers interviewed; and 21% of 39 concertos have been used by more man 50% of the violin teachers for violin training. The third stage of this research investigated whether or not violin concertos composed by Turkish composers have been used for violin training in the departments wof music education of the education faculties. It was found that they are not used by reason of these concertos beinng very difficult and requiring virtuoso ability. The fourth stage; investigated the criteria which were used in choosing concertos for students exercises. The general results were interpreted as follows. The violin teachers considered that concertos should; a) be suited to the students' techinical and musical levels (61%), b) develop the students' musical and technical level (28%), c) be suitable for students* ability (5.50%), d) be enjoyed and appreciated by students (5.50%). There is a need to investigate whether educational violin concertos have been selected for violin training in music schools (Conservatory) in Turkey and abroad on the basis of student preferences, as determined by the teachers. In this study, for the departments of music of education faculties, the repertory of concertos and concertinos was considered in terms of; a) repertoire capasity, b) additive benefits to violin technique of violin training for four years. Students graduating from“Anatolian High Schools of the Fine Arts”and continuing their education at the department of music at the university were considered in two categories: I- Students newly commencing violin training, E- Students already in violin training. The findings according to these criteria are as follows: I)THE CONCERTO AND CONCERTINO REPORTORY FOR THE STUDENTS COMMENCING VIOLIN TRAINING AT THE DEPARTMENT OF MUSIC OF EDUCATION FACULTIES 1st YEAR: 1 st SEMESTRE: 1) F. Küchler Op.l 1. G Major Concertino, ( I st position) 2) 0. Rieding Op.35. B minor Concertino, (I st position)2nd SEMESTRE: 1) O. Rieding Op.34. G Major Concertino, (I st position) 2) A. Vivaldi G Major Concerto, (I st position) 3) J. Mokry G Major Concertino, (I st position) II ndYEAR: lst SEMESTRE: 1) L. Portnoff Op. 13. E minor Concertino, (I st position) 2) F. Kûchler Op.15. D Major Concertino, ( I st -IE rd position) 3) F. Kûchler Op. 12. D Major Concertino, ( I st - HI rd position) 2 nd SEMESTRE: 1) A. Vivaldi Op.3. No.6. A Minor Concerto, (I st - HI rd position) 2) L.“Portnoff Op. 14. A Minor Concertino, (I st - III rd position) IIIrdYEAR: 1st SEMESTRE: 1) A. Vivaldi Op. 12. No.l. G Minor Concerto, (I st - HI rd position) 2) O. Rieding Op.25. D Major Concertino, (I st -V th position) 3) A. Huber Op.5. D minor Concertino, (I st -V th position) 2 nd SEMESTRE: 1) J.S.Bach No.l. La minor Concerto, (I st -V th position) 2) A. Vivaldi D Minor Concerto, (I st -V th position) 3) J.B.Accolay No. 1. A Minor Concertino, (I st -V th position) IVthYEAR: 1st SEMESTRE: 1) J. Haydn G Major Concerto, (I st -V th position) 2) A. Vivaldi E Major Concerto, (I st -V th position) 3) J.S.Bach No. 2. E Major Concerto, (I st -V th position) 2st SEMESTRE: 1) Fr. Seitz Op.15. Re Major Concerto, (I st -V th position) 2) A Vivaldi PV 276 Re Minor Concerto, (I st -VII th position) 3) H. Millies D Major Concerto,- J. Haydn style- (I st -VH th position) VIE) THE CONCERTO AND CONCERTINO REPORTORY OF STUDENTS ALREADY TRAINED VIOLIN EDUCATION AT THE DEPARTMENT OF MUSIC OF EDUCATION FACULTIES 1st YEAR: l st SEMESTRE: 1) L. J. Bear, Op. 47. E Minor Concerto, (I st position) 2) H. Sitt, Op. 93. A Minor Concerto, (I st position) 3) W. A. Mozart, No. 1. G Major Concerto (I st position) 2 nd SEMESTRE: 1) L. J. Beer, Op. 81. D Minor Concertino,(I st position) 2) H. Millies, D Major Concertino, -W. A. Mozart style- (I st position) End YEAR: l st SEMESTRE: 1) 0. Rieding, Op. 21. A Minor Concertino, (I st - HI rd position) 2) A Vivaldi, Op. 12. No. 1. G minor Concerto, (I st - HI rd position) 3) 0. Rieding, Op. 25. D Major Concertino, (I st-V th position) 2 nd SEMESTRE : 1) T. Albinoni, Op.9. No.l. B Rat Major Concerto, (I st -V th position) 2) J. B. Accolay, No. 1. A Minör Concertino, (I st -V th position) III rd YEAR: l st SEMESTRE: 1) J. Haydn, G Major Concerto, (I st -V th position) 2) F. Seitz, Op. 15. D Major Concerto, (I st -V th position) 3) P. Nardini, E Minor Concerto, (I st -V th position) 2 nd SEMESTRE: 1) H. Millies, D Major Concerto, -J. Haydn style- (I st -VII th position) 2) J. B. Accolay, No. 2. D Minor Concerto, (I st -VII th position) IV th YEAR l st SEMESTRE: 1) A Vivaldi (Ft. Kreisler), C Major Concerto, (I st -VII th position) 2) A Vivaldi, G Major Concerto, (I st -VH th position) 2 nd SEMESTRE : 1) F. Seitz, Op.7. No. 5. D Major Concerto, (I st -VII th position) vu2) G. B. Viotti, No. 23. G Major Concerto, 3) W. A. Mozart, K. 216. G Major Concerto. In terms of violin technique, the concerto and concertino reportory from which right and left hand exercises could be learnt and developed was analysed. The concertos were investigated from simple to complex forms and the general results are seen below ; Left hand violin techniques seen in the concertos written in the first position ; - The technique of first position, - The technique of finger movements, - Intonation, - The technique of having two, three and four notes, Right hand violin techniques; - Detache bow technique, - Legato bow technique, - Staccato bow technique, Left hand techniques seen in the concertos having the first and third positions; - The playing technique attached to the first and third position and the changing of it, - The technique of rapid finger movements, - The technique of the fingers held on the two strings, - Intonation, - Vibrato technique, - The technique of playing of harmonic sound with the trill and artistic notes. Considering the right and left hand violin techniques, in addition to right hand violin techniques seen at the first position, right hand pizzicato techniques in various forms ( two, four, eight, sixteen and syncopate notes) are bounded playing techniques. The left hand techniques seen in concertos having the first, third and fifth position, in addition to the techniques mentioned above are steady form at the positionof the first, third and fifth and playing technique by changing position. In addition to this exercise, martele bow techniques can be counted or right hand violin techniques. For the left hand, in addition to positions of first, third, fifth; and time by time for harder concertos, the position of IV th and VI th can be used. Finally, in this study; the suggestions of arranging concertos from basic to hard according to their critical passages accepted as difficult for the right and left hand techniques were presented as seen below: - F. Küchler Op. 1 1 G Major, - O. Rieding Op.35 B Minor, - 0. Rieding Op.34 G Major, - F. Küchler Op. 12 D Major, - F. Küchler Op. 15 D Major, - 0. Rieding Op. 21 A Minor ”Ungarischer Weise“, - A. Vivaldi Op. 12 No.l G Minor, - 0. Rieding Op.25 D Major, - A. Huber Op.5 D Minor, - J. B. Accolay No.l A Minor, - J. Haydn G Major, - A Vivaldi D Minor, - Fr. Seitz Op.7 No.5 D Major, - W. A. Mozart K.207 B Rat Major, - G. B. Viotti”No.23 G Major. IX

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