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DEMİRBATIR, RASİM EROL

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DEMİRBATIR

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RASİM EROL

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    Publication
    A study on testing reliability of 2013 musical aptitude test scores conducted by music education department in Uludag University
    (Elsevier, 2015-01-01) Engur, Doruk; Çeliktaş, Hatice; Demirbatır, Rasim Erol; Alevriadou, A; ENGÜR, DORUK; ÇELİKTAŞ, HATİCE; DEMİRBATIR, RASİM EROL; Uludağ Üniversitesi/Eğitim Fakültesi/Müzik Eğitimi Bölümü; Alevriadou, A; 0000-0002-1337-9828; 0000-0002-9472-3001; 0000-0002-5917-1280; ABF-7081-2020; JHS-6569-2023; AAH-1672-2021; I-9833-2017
    Music Education is among Higher Education programs which accept their students according to their aptitude test scores. The aptitude tests are designed and applied specifically by the institution itself according to the specific needs and expectations of its education policy. Therefore, test contents, test formats, degree of difficulty and assessment criteria may vary accordingly. It is crucial for institutions to evaluate their test and examine its validity and reliability and they have to make the necessary changes when needed in order to sustain a better selection procedure. In accordance with this objective, this paper is an attempt to determine the reliability of the Musical Aptitude Test carried out by Music Education Department of Uludag University in 2013. To calculate the reliability, the Cronbach's Alpha is employed for the first part of the test, which only includes multiple choice questions and for the second part which is based on the performance of candidates, Kendall's W is carried out, since it measures the agreement among raters. The results indicate that the scores of Music Aptitude Test applied in 2013 have a high degree of reliability in terms of both parts of the test. (C) 2015 The Authors. Published by Elsevier Ltd. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of Academic World Education and Research Center.
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    Publication
    A comparative examination of the 2013 musical aptitude test scores of music education students and their 1st academic year GPAs
    (Elsevier, 2015-01-01) Demirbatır, R. Erol; Çeliktaş, Hatice; Engür, Doruk; Alevriadou, A; DEMİRBATIR, RASİM EROL; ÇELİKTAŞ, HATİCE; ENGÜR, DORUK; Uludağ Üniversitesi/Eğitim Fakültesi/Müzik Eğitimi Bölümü; Alevriadou, A; 0000-0002-1337-9828; 0000-0002-5917-1280; 0000-0002-9472-3001; AAH-1672-2021; ABF-7081-2020; I-9833-2017; JHS-6569-2023
    In Turkey, BA degree Music education programs accept students according to their Musical Aptitude Test scores in addition to the Transition to Higher Education Examination (YGS) scores due to the fact that music requires special talent. Musical Aptitude tests are prepared and applied by the Music Departments of universities. The Musical Aptitude Test that is used in Music Education BA program in Uludag University consists of two parts. The first part aims to determine the readiness level of the candidates in terms of music theory and ear training and serves as an elimination exam. The second part of the exam, on the other hand, intends to evaluate the musical talents of instrument and voice, and is used as a selection exam. Within this context, it is expected that students' success on the musical aptitude test has a significant impact on their GPAs. The relation between those two scores is thought to be crucial to obtain the data to determine validity of the test especially when the purpose of the test is considered. For this reason, students' GPAs, Ear Training and Musical Literacy I-II, Major Performance I-II, Solo Vocal Training I-II class average grades and 2013 Musical Aptitude test scores are analyzed comparatively. Positive correlation is sustained between the musical aptitude test scores and first year GPAs of the students as a result of descriptive analysis. Moreover, the results show that Musical Aptitude test applied in 2013 has a high degree of validity. (C) 2015 The Authors. Published by Elsevier Ltd. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of Academic World Education and Research Center.
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    Publication
    11-15 yaş grubu öğrencilerin beden perküsyonuna ilişkin metaforik algılarının incelenmesi
    (Bursa Uludağ Üniversitesi, 2023-07-12) DEMİRBATIR, RASİM EROL; Saraçoğlu, Hazal; Bursa Uludağ Üniversitesi/Eğitim Bilimleri Enstitüsü/Müzik Eğitimi Bilim Dalı; Bursa Uludağ Üniversitesi/Eğitim Fakültesi/Güzel Sanatlar Eğitimi Bölümü/ Müzik Eğitimi Ana Bilim Dalı; 0000-0002-9472-3001; 0009-0001-7503-8252
    Beden perküsyonu olarak da bilinen beden müziği, bedenin çeşitli yerlerini bir çalgı gibi kullanarak bilinçli bir şekilde elde edilen seslerin ve hareketlerin bütünü olarak tanımlanabilmektedir. Orff ve Dalcroze gibi müzik eğitimi yaklaşımlarında hareket ve müzik birlikte kullanılmakta, okullarda uygulamaları yapılmaktadır. Ancak beden perküsyonu uygulaması yapan öğrencilerin bu uygulama hakkında nasıl bir algıya sahip olduğu merak konusu olmuştur. Dolayısıyla ortaokul ve lise kademesinde öğrenim gören 11-15 yaş arası öğrencilerin müzik derslerinde uyguladıkları beden perküsyonuna yönelik algılarının metaforik olarak incelenmesi bu çalışmanın konusunu oluşturur. Fenomenoloji (olgu bilim) desenine dayanan araştırmanın örneklemini, özel bir okulda öğrenim gören ve müzik derslerinde beden perküsyonu çalışmaları yapan 120 öğrenci oluşturmaktadır. Veri toplayabilmek amacıyla “Beden perküsyonu ... gibidir/benzer. Çünkü ...” cümlelerinden oluşan bir metafor formu hazırlanmış ve öğrencilerden boşlukları doldurmaları istenmiştir. İçerik analizi yapılarak incelen metaforlar 14 farklı kategoride toplanmış kavramsal olarak ortak özelliklerine göre beş farklı tema altında birleştirilmiştir. Miles ve Huberman testi sonucundan %90 oranında güvenilir bir analiz yapılmıştır. Bulgulara göre öğrenciler beden perküsyonunu %34 oranında “Olumlu bir duygu durumu “olarak “Eğlenceli, Başarılı Hissettiren ve Rahatlatan” şeklinde algılamaktadırlar. Öğrenciler aynı zamanda beden perküsyonunu %23 oranında “Olumsuz bir duygu durumu” olarak “Sıkıcı, Can yakan ve Yorucu” şeklinde algılamaktadırlar. Elde edilen bulgular doğrultusunda sayısal değerler incelendiğinde öğrencilerin beden perküsyonunu olumlu bir duygu durumu olarak algıladıkları söylenebilir. Sonuç itibarıyla gelecekte yapılacak araştırmalara ışık tutabileceği düşünülen bu çalışmanın daha geniş kapsamlı bir örneklem ve farklı araştırma desenleri kullanılarak farklı özellikteki örneklem gruplarıyla da yapılmasının yararlı olacağı düşünülmektedir.
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    Publication
    Development of flute works in Turkey from Turkish republic to present
    (Nesibe Aydin Education Inst, 2012-01-01) Şenol, Ajda; ŞENOL SAKİN, AJDA; Demirbatır, Erol; DEMİRBATIR, RASİM EROL; Bursa Uludağ Üniversitesi/Eğitim Fakültesi/Müzik Eğitimi Anabilim Dalı.; AAH-1426-2021; ABF-7081-2020; JHS-6569-2023; HKM-4998-2023
    Problem Statement: This study will giand briefly historical information of the development of Turkish flute repertoire from the Turkish Republic to the present Turkish flute works and their musical development and styles will be examined.Purpose of the Study: The purpose of the study is to mirroring the historical development process of Turkish flute repertoire from the beginning of Turkish Republic to present by analyzing important Turkish flute works.Method: Methods of this study are literature review, interview with composers and works analysis.Findings and Results: In Turkish Republic the first Turkish flute works was composed by talented young composers who were sent cultural centers of Europe for education and after they turn back to Turkey. Solo flute, flute-piano, flute and orchestral works were composed since Turkish Republic were found, also contemporary composers composed works for different groups like for flute-guitar-vibraphone-conga, pieces with accompaniment of electronic music. Necil Kazim Akses. s Sonata for Flute and Piano, composed in 1933, is composed of three interconnected sections. It has a modal effect rather than being tonal. Sayram Akdil. s one of the most performed flute chamber music piece Music for 3 Flutes and Piano was composed in 1981. Long flute sounds that enter in regular turns give the movement an unmetered folk song effect. The Mouldy Existence, composed in 1992 by Meliha Doguduyal, starts with a long flute solo in an improvised manner. There is no measurement in the atonal part. Deformed Reflections was composed by Mesruh Savas and he, thus, hopes to have shown the audience the modern unusual skills of the flute and where music stands today.Conclusions and Recommendations: According to the study results it was seen that at the beginning of Turkish flute repertoire composers aimed to place polyphonic music in Turkey and then different style flute music was composed. As an example contemporary composers used modern techniques and included electronic sounds.
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    Publication
    A model proposal for the use of Hicaz Saz Semaisin cello training
    (Turkish Education Assoc, 2022-01-01) Önder, Osman; Yıldız, Gokay; Demirbatır, R. Erol; DEMİRBATIR, RASİM EROL; Bursa Uludağ Üniversitesi/Eğitim Fakültesi/Güzel Sanatlar Eğitimi.; JHS-6569-2023
    This research study was carried out to propose a model for the use of Hicaz saz semais in cello training and to determine the effectiveness of the proposed model in addressing the difficulties faced by cello students in performing Hicaz saz semais. In this study, two methods were simultaneously used, namely, the survey model (descriptive) and the experimental model (empirical). The study group of the study consists of eight cello students. Yusuf Pashas Hicaz Humayun Saz Semai was adapted to the cello to be used in this study and performed by the students in the study group, and the challenges the students encountered in performing this saz semai were identified. A six-part model proposal has been created, and this proposal includes exercises to address the difficulties faced by students. The exercises were carried out with the students in the experimental group for a period of six weeks. The "pre-test-post-test control group design" was applied in the experimental phase of the study, and the obtained data were analysed using the t-test, a parametric test. The t-test results showed a statistically significant difference between the post-test scores of the students in favour of the experimental group. It has been found in this study that the proposed model was effective in eliminating the challenges faced by cello students in performing the Hicaz Humayun Saz Semai.