Özet:

One of the subjects of the western movement, which began with the Tanzimat era and continued to include the proclamation of the Republic and the state institutions and the social structure, was music. In the understanding and practices linked to the ideal of the processing of Turkish People's Music, which is considered as our own music, in accordance with the principles of the new civilization in which we are trying to be included, the connection, which is considered as the self-play of our own music, has also inevitably come to the position of the main actor of this music. The practices of the "Yurttan Voices" Community, founded in the 1940s and the Turkish Music Conservatories, founded about 35 years later, have been in the form of the understanding of the official institution of the ICR, shaping the theoretical and practical framework in the academy. When we look at the basic approach in these practices, we can see that the concept of "power" has found a vucut around, and that a understanding arranged according to the essence of styling the local, agile and rhythmic structures in the thesis strikes is at the heart of the issue. Initially, this understanding, which we can see as a necessary and important step towards the establishment of the connections that form the spine of the playful community, in order to ensure their unity within a order, has become a dogmatic form of belief and ideology in the future. With the potential negative effects of this understanding, we can also say that the differentiated kinds, echoes or locations, such as the "Arabescist", "short scratch", "shelpeci", "traditional", "Happy", have brought together a comparison of comparison in a rail, by closing or counting themselves out of their own practices. As a result of the lack of consistency of the evidence that should be formed in education and education, a qualified educational model and the level of education has not been captured. By evaluating the topic we are trying to briefly address, according to historical, social and cultural data, the aim is to provide a contribution to the end of the contradictions in approaches that are uncomparable to each school or school teacher to another teacher, with the enthusiasm to learn to connect in the Turkish Music Conservatories with increasing number of days.

Özet:

The Music became as a subject of Westernization movement from begining Tanzimat era and declaration of Republic of Turkey to present, including government agencies and social structure. Turkish Folk Music has been accpeted as an our own music, we try to be included in the new civilization is mainly processed in accordance with the ideal that is connected to our self understanding and technics, The “ Bağlama” has been accepted become Chief Ensturiment of Turkish Folk Music. “Yurttan Sesler” chorus Has been founded 1940’s, after that approximately 35 years later Turkish music conservatory established. The technics of conservatories, assist to Public Enterprise’s perspective by the Academic has been in the form with the theoreticals and practicals. If we look at the basic approach this technics, the concept of "tavır", shaped by the local, melodic and rhythmic structures, and we can see that “Tezene” shots, on the basis of a stylized sense of focus of the edited. At the begining, the instrument constituting the backbone of the Bağlama in a scheme of providing domestic partnership aspect also needed and as an important step in later times this understanding, we are prepared to accept dogmatic beliefs and ideology features to the format. With the possible negative effects of this approach, "Arabeskçi", "Kısa Sapçı", "Şelpeçi", "Gelenekselci", "Neşetçi", as well as difference species, Edith or the region, focusing on the technics of their own outside of the performer connect themselves by closing or ignoring, like a train compartment on the railway has brought a decay. Training and Executive Directors in accordance with the amount of the deficiency should be formed as a sourced, is not a qualified training model and executive-level capture. In short, we try to take the topic of historical, social and cultural evaluation should be done according to the data. Thus, we need to finalized to differences between the students who wants to play “Bağlama” or their teacher at the Turkish Music.

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