The aim of this study is to determine how pre-service music teachers perceive family support during the process of individual musical instrument training. The study group of the research consists of undergraduate pre-service music teachers studying at Necmettin Erbakan University Ahmet Keleşoğlu Faculty of Education Fine Arts Education Department Music Education as a major in the 2019-2020 academic year. The "Perceived Family Support Scale in Instrument Education" developed by Girgin (2015) was used as a measurement tool in the study. Percentage, frequency, arithmetic mean, standard deviation values and Shapiro-Wilk, Mann-Whitney U and Kruskal-Wallis H tests were used in the analysis of the data. As a result of the research, it was determined that pre-service music teachers' perceptions of family support and sub-dimensions in musical instrument training were at a good level. In addition, it was concluded that the pre-service music teachers' perceived level of family support was higher in cases in which the parents were married, any of the parents was engaged in a branch of fine arts, and any of the parents had an instrument experience. Keywords: family support, musical instrument training, musical education

How teachers perceive concepts and facts is very important because teaching is a profession capable of shaping the cognitive, affective and behavioural behaviours of society through education. This research aims to determine the perceptions of prospective teachers studying at teacher education programmes of different fields regarding the concept of music. The main purpose here is to determine how music, which has an important place in human life with its individual, social, cultural, economic and educational functions, is perceived by prospective teachers. This research was conducted according to the descriptive survey model. The participants of the research consisted of three categories and a total of 186 people: prospective teachers attending departments whose curriculums do not include music lessons (PT, n = 57), prospective teachers attending departments whose curriculums include music lessons (preschool teaching, classroom teaching) (PTM, n = 66) and prospective music teachers (PMT, n = 63). The data were obtained through a form asking the participants to complete the statement ‘Music is like ... because ...’. The analysis of the produced metaphors was carried out in five steps: (1) coding and extracting, (2) collecting sample metaphors, (3) developing categories, (4) ensuring validity and reliability and (5) transferring data to Statistical Package for the Social Sciences for quantitative data analysis. As a result of the research, based on 83 different metaphors produced by prospective teachers, these metaphors were divided into seven categories. When the distribution of perceptual categories by participant type was examined, it was observed that the perceptions of the participants changed according to whether they took music lessons and how often they took them. Keywords: Metaphor, music, perception of music, teacher education.

öğretim yılı özel yetenek sınavının ilk aşamasını geçen 259 öğrenci oluşturmaktadır. Araştırmanın örneklemini ise Gazi Üniversitesi Müzik Öğretmenliği Anabilim dalı özel yetenek sınavını kazanan 47 öğrenci ve özel yetenek sınavının çok sesli işitme, ezgi ve ritim işitme boyutunda görev alan 3 öğretim üyesi oluşturmaktadır. Bu araştırma kapsamında, özel yetenek sınavını kazanan öğrencilerin başarı puanları, frekans ve yüzde kullanılarak tablolaştırılmış, ezgi işitme ve ritim işitme becerisinin geliştirilebilirliği ile ilgili olarak uzman görüşleri alınmış ve görüşlere içerik analizi uygulanmıştır. Araştırma sonucunda, elde edilen bulgulara dayalı olarak, öğrencilerin, sınavın 8 ölçülük ezgi işitme boyutunda, , en az 1 ölçü, en fazla 5 ölçüyü tekrarlayabildikleri, 8 ölçülük ritim işitme boyutunda en az 2 en fazla 6 ölçüyü tekrarlayabildikleri görülmüştür. Her iki boyutta da 8 ölçünün tamamını veren öğrenciye rastlanmamıştır. Araştırmada uygulanan görüşme yöntemine dayalı bulgulardan elde edilen sonuç ezgi ve ritimsel belleğin küçük yaşlardan başlanarak geliştirilebileceği yönündedir.

This research was conducted to examine the musical problem-solving skills of music education students during the process of studying a new piece of music. The correlational survey model was used to determine the musical problem-solving level of the students and the relationship between problem definition and resolution levels. The criterion sampling method was used to determine the participants of the study (i.e., 14 flute students from the department of music education). To collect the data, an observation form consisting of definition, synthesis and analysis steps, selected by the researchers for the basic musical problems of musical instruments education, consisting of tonality, articulation, nuance, tempo, interval and rhythmic patterns content, was used by using the 'Bridge Model' developed by Adair. Observation took place in three steps. Problem identification was the first step in solving a musical problem, which was to detect the existence of the problem, and students identified all other problems except for the nuance. In the synthesis step, we determined which of the options the students used to solve the problem she or he defined. Instead of using specific solutions to the problems, the students mostly preferred the option of playing the piece from beginning to end. In the analysis step of the musical problem, while the students were playing the musical piece from beginning to end, the results of the problems studied for the solution were evaluated. It was determined that the students did not have any problems with the tonality and rhythm of the work, but had difficulties in the analysis of articulation, interval and nuance. In addition, it was determined that there was a positive significant relationship between the students’ levels of defining and solving musical problems. According to the general results, students are able to define the problem, but cannot apply different approaches to how to solve the problem in the synthesis and solution stages. This research is limited to determine the situation of that based on individual practice performance on a single instrument. For this reason, future research can provide a detailed perspective on the cause of the problem by considering different instrument performances supported by student and teacher opinions.   Keywords: Instrument training, musical problem-solving, study process, problem-solving skills.

Ülkemizin en önemli ve kapsamlı sanat festivallerinden biri olan Uluslararası İzmir Festivali’nin uzun yıllardır İzmir’e ve ülkemiz sanat hayatına pek çok yönden katkı sağladığı düşünülmektedir. Bu araştırmada ise sanatsal etkinliklerin ülkemizde yaygın hale getirilmesinde festivallerin büyük katkısı olduğu varsayımından yola çıkarak, festivalde gerçekleşen etkinliklerin sanat türleri, etkinliklerin gerçekleştiği mekânlar ve ilçeler, konserlerde yer alan müzik türleri ve konserlerin aktif katılımcıları bakımından incelenmesi amaçlanmıştır. Amaca ilişkin durumu kapsamlı bir şekilde incelemek üzere, betimsel tarama modeli kullanılmıştır. Bu kapsam çerçevesinde 1987-2022 yılları arasında gerçekleşmiş Uluslararası İzmir Festivali’ne ait tüm festival programlarına ulaşılmış ve programlar doküman incelemesi yapılarak incelenmiştir. Elde edilen verilerin analizinde betimleyici istatistiksel bir analiz olarak frekans ve yüzde dağılımlarından yararlanılmıştır. Araştırma sonucunda; İlki 1987 yılında düzenlenen Uluslararası İzmir Festivali’nde müzik, dans, tiyatro, opera ve müzikal sanat türlerinde toplam 356 etkinliğin gerçekleştiği, festival düzenlenmeye başladığından beri sanat türü bakımından müzik ve dans etkinliklerinin diğer türlere oranla belirgin bir farkla festivalde daha çok yer aldığı sonucuna varılmıştır. Festival etkinlikleri 36 farklı mekânda gerçekleşmiş ve bu mekânların çoğunun İzmir’in kültürel mirası mekanlar olduğu saptanmıştır. Düzenlenen etkinlikler en çok Selçuk, Konak ve Çeşme ilçelerinde gerçekleştirilmiştir. Festivalde günümüze kadar 264 konser gerçekleştirilmiş, bu konserlerde en geniş yer tutan müzik türü Klasik Batı Müziği, en az yer verilen türler ise Bando Müziği, Osmanlı Saray Müziği ve Dini/Tasavvufi Müzik olmuştur. Son olarak festivale yabancı katılımcıların yerli ve karma katılımcılardan daha yüksek olduğu sonucuna varılmıştır.