We found a match
Your institution may have access to this item. Find your institution then sign in to continue.
- Title
Ön Elemeyi Geçen İstiklal Marşı Bestelerinin Eğitim Müziği Açısından İncelenmesi.
- Authors
SONSEL, Ömer Bilgehan; BİLGİN, Selçuk
- Abstract
National anthems are in close relation with the literature, sociology, history, and music of a nation. Based on national epics, anthems are the collective products of the nation in question. Countries' national anthems are one of the most significant elements highlighting the concept of independence in international relations. A composition can only become a national anthem as long as it is embraced by the public of that country and approved by its state. Independence March was accepted as the national anthem of the Republic of Turkey on 12 March 1921. The date when the anthem was accepted is known to be corresponding to the acceptance of its lyrics. A total of 724 poems were evaluated and none of them were found to be suitable for the Republic. Then, it was written by Mehmet Akif Ersoy upon request. A total of 55 compositions entered the competition organized to compose the lyrics by Mehmet Akif Ersoy, and only ten qualified compositions reached today. Composition by Ali Rıfat Çağatay which was accepted in 1923, was replaced with the one by Osman Zeki Üngör in 1930. Our national anthem is of great importance in terms of music education. Although it is the primarily taught piece in music education curriculums, it was persistently criticized by several music scholars, in the sense of being an educational music, during the history of Republic. At this point, analysis of the ten qualified compositions becomes important. With this in mind, these qualified compositions were analyzed in terms of tonality/maqam, time signatures, vocal limits, monophony/polyphony, prosody, and verses composed. At the end of the analysis, it was concluded that one of the compositions was composed with maqami approach while the other nine were composed with a tonal approach. And that all of the orchestra accompaniments were composed with a tonal approach, as well. When the time signatures were analyzed in compositions, it was found that one of them was 3/4, three were 2/4, and six were in 4/4 form. Most of the compositions were observed to be tonal and mostly composed in minor tonality. Analysis of the composed verses showed that the first verse was composed by all of the composers; while the second verse was composed by 4, and fifth, seventh, and tenth verses were composed only by one of the composers. The data obtained from the research are tabulated and provided under related headings.
- Subjects
TURKEY; NATIONAL songs; MUSIC education; PROSODIC analysis (Linguistics); CURRICULUM; INTERNATIONAL relations; VERSIFICATION
- Publication
Gazi University Journal of Gazi Educational Faculty (GUJGEF), 2019, Vol 39, Issue 3, p1827
- ISSN
1301-9058
- Publication type
Article