Event schedule
IRMC2023 (3rd) will be announced at November 23 (completely), 2023 on this page
3rd IRMC 1st Day
Meeting ID 862 2412 7090
Passcode 484490
https://us06web.zoom.us/j/86224127090?pwd=uaeA8b1a3yxw2bJjchwiJXsfBE7HbZ.1
3rd IRMC 2nd Day
https://us06web.zoom.us/j/85135799162?pwd=0tEAShj3qZf1meK4TxZUfW8JenbZtK.1
Meeting ID 851 3579 9162
Passcode 170274
Please note that this is Turkey time
Attention
Late participants must register until the first hour of the congress opening. After this time, no new participants will be included in the congress. Late participants should contact Dr. Alper Şakalar on +90 0535 4648765 Participation to the CONGRESS can only take place when the necessary permissions are given by the problematic member of the organizing board.
In this session, Young Wise Publishing Director Dr. Hasan Said Tortop will give information about academic journals and IRMC organization.
In this session, IRMC Congress President, Turk Muzigi journal editor, Prof. Dr. Ömer Türkmenoğlu will give information about the goals, objectives, vision and mission of the IRMC.
Proceedings:
``Functional and benefits of BmT as a tool in reducing stress in neurological disease patients``
Junita Batabura
``The effect of timbre on verbal identification performance in Turkish makam music``
Mustafa Bedirhan Çiftçi and Fırat Altun
``Harmony studies in Aranti’s code musical works``
Erucakra Mahameru
``Musical sparrings in Djiboutian traditional music: Flirting through a melodic dialogue``
Göknur Ege and Mourad Meraneh Youssouf
``Threads of Unity: The Transcultural Tapestry of Sidi Larbi Cherkaoui's contemporary dance and theatrical production “Sutra”``
Gvantsa Ghvinjilia
``The Instrumentation of Tingkilan's Music on Begurau Song among Kutai Kartanegara Tribe of East Kalimantan Indonesia``
Eli Irawati and Tri Septiana Kurniati
Coffee Break
Proceedings:
‘’Analysis of the song “Neyleyim” by composer Emin Sabitoglu ’’
Gunay Mammadova
``Features of timbre and texture in Arif Malikov’s symphonies``
Lale Caferova
``Issues of sound recording, notation and research of Azerbaijani tasnif (national rhythmical melody)``
Jala Gulamova
``The art of Azerbaijani ashug in the context of researches and revelations``
Sehrana Kasimi
``......... ``
Naile Rahimbeyli
Coffee Break-Lunch
Coffee Break-Lunch
Coffee Break
Coffee Break
Proceeding:
‘’Research on the Practice of Kürdî Maqam in Turkish Pop Music’’
Göksal Öztürk and Şevki Özer Akçay
``The future of online violin education with virtual reality videos``
Yiğitcan Kesendere
``A qualitative study on the effect of the Kahramanmaraş earthquake on the musical climate``
Günsu Yılma Şakalar and Şaziye Nur Yurdalan
``The School Problem of Turkish Opera Art and Solution Suggestions``
Ömer Türkmenoğlu
``The concept of open form in contemporary music and its representation in İlhan Usmanbaş’s work “Form/Less”``
Tülin Değirmenci
Coffee Break
Coffee Break
A variety of Turkish musics have been continuously compared with Western classical music for several centuries. Perhaps the geographical proximity of Europe along with various trends of Westernization made this particular art music tradition an obvious candidate for such comparisons. However, the evolution of Western classical music led this tradition to becoming entirely composer-controlled as a result of which it became devoid of improvisation especially during the 20th century. Therefore, it is surprising to note that the densely improvisational traditions Turkish musicians perform continued to be compared with Western classical music throughout the 20th century at least. Yet another Western music, namely jazz, which made its appearance over a hundred years ago in the United States is a highly improvisational tradition, but it has not been included in such comparative analysis at all. I will present several different comparisons between the art of classical Ottoman/Turkish taksim and jazz improvisation in order to provide a different model for future comparative analysis.
1st day closing
Openning Concert
Openning Concert
``The Reflection of Islamic Musical Culture in the Laksmana Raja di Laut Secular song Performed by Iyeth Bustami``
Suryati, Andre Indrawan and Sevi Qurrotu A’yun
``Examination of imported guitars used at the beginner level in Turkiye in terms of technical and musical aspects``
Şerif Gayretli
``Analysis of Women's Themes in the Poems of Turkish World Poet Âşık Veysel Şatiroğlu``
Serap Duran
``Arabesque music and the relationship between taste``
Taha Sinan Kalkan
Coffee Break
Coffee Break
``Examining the book ``Online Violin Teaching`` in terms of online and self-teaching violin``
Yiğitcan Kesendere
``Represential Model of Modulation in Modal Works: Cycle Mode Space``
Ümit Fışkın
``An analysis on pharmacological and natural supports for stage anxiety in singer``
Alper Şakalar and Remziye Eda Kazancı
``Examining the Relationship Between Self-Efficacy Levels and Attitudes Towards Instrument Playing of Students Studying in Turkish Folk Dance Departments``
Hüseyin Yılmaz and Selahattin Bastan
``A review on the Variant of folk Songs``
İbrahim Öz
``Examination of Minstrel Patterns Similar to the Segâh Makam Series within the Scope of Kars Minstrel Music``
Yakup Acar and Ferhat Acay
Coffee Break
Coffee Break
``Development principles of the foundations of the music education system``
Könül Hüseynova
``Performance Article: Black Orpheus``
Yiğitcan Kesendere
``Harput müziği ve tasavvuf geleneği ilişkisi: Harput sela örneği``
Meryem Sena Zeyrek
``Performance Article: Blues Rock Improvisation``
Yiğitcan Kesendere
``An overview of the postgraduate theses written in the field of Turkish music voice education: a systematic review``
Ömer Üçer and Ömer Türkmenoğlu
Coffee Break
Coffee Break
Playing scales is critical in all styles, and for this reason, many methods exist. The focus of this method is to develop fluency in playing scales in all twenty-four keys from the bottom to the top of the keyboard with control over the tone, balance of the hands in varying dynamic levels, and in all tempi.
This method gives the student a topo-graphic awareness of each key—the white and black key arrangement for each scale. Especially critical for the young pianist, is the awareness of the thumb and its use. The simultaneous use of the thumbs in the fingering pattern for every key, gives students an understanding of the fixed two and three black key pattern of the keyboard, eliminates the crossing of the thumb at different times in both hands, allowing for a clearer understanding of the fingering pattern and keyboard layout. It also allows students to focus on the correct use of the thumb, one that allows for a smooth shift in hand position without creating accents. It has turned out that the new method is particularly suitable for playing contemporary music, since here the starting point is not necessarily the fundamental.
Coffee Break
Coffee Break
3rd Rast Music Awards Announcement
Rast Music Awards is dedicated to promoting music researchers, performers, and artists on the rise and established high-quality music standards while supporting charitable causes through the Rast Musicology Journal Academic Board. This award was established by the Young Wise Publishing Ltd at London, UK, music publishers, in 2021, and is given for the publication of a work by gifted scientists, artists, performers, and composers.
Closing Ceremony
Closing Speech:
Prof.Dr. Ömer Türkmenoğlu, IRMC Chair