|
| Course Description |
|
| Course Name |
: |
History of Turkish Opera II |
|
| Course Code |
: |
SOP 714 |
|
| Course Type |
: |
Optional |
|
| Level of Course |
: |
Second Cycle |
|
| Year of Study |
: |
1 |
|
| Course Semester |
: |
Spring (16 Weeks) |
|
| ECTS |
: |
3 |
|
| Name of Lecturer(s) |
: |
Asst.Prof.Dr. MUSTAFA BAYIK
|
|
| Learning Outcomes of the Course |
: |
Gains comprehensive information on the developmental stages and significant periods on Turkey´s opera.
Gains comprehensive knowledge about important concepts of opera and the major currents in the history of Turkish music.
Gains comperehensive information about the main characters in the works of the Turkish opera and their musical structure.
Gains comprehensive information concerning the works and the lives of Turkish opera composers and their musical identities.
|
|
| Mode of Delivery |
: |
Face-to-Face |
|
| Prerequisites and Co-Prerequisites |
: |
None |
|
| Recommended Optional Programme Components |
: |
None |
|
| Aim(s) of Course |
: |
The history of the development of the Turkish opera, it is important periods and movements, characteristics of these currents, the recognition and analysis of major opera composers and works. |
|
| Course Contents |
: |
General review of the 1950s to the present day. |
|
| Language of Instruction |
: |
Turkish |
|
| Work Place |
: |
Classroom |
|
|
Course Outline /Schedule (Weekly) Planned Learning Activities |
| Week | Subject | Student's Preliminary Work | Learning Activities and Teaching Methods |
|
1 |
An overview of the First Generation Composers |
Examination of relevant sources |
Lectures |
|
2 |
Hasan Ferif Alnar and Ulvi Cemal Erkin |
Examination of relevant sources |
Lectures |
|
3 |
Cemal Reşit Rey ,Operas; Zeybek, Çelebi, Sultan Cem |
Examination of relevant sources |
Lectures |
|
4 |
Ahmet Adnan Saygun, Operas, "Özsoy", "Taşbebek", "Köroğlu" |
Examination of relevant sources |
Lectures |
|
5 |
An overview of the Second Generation Turkish Composers |
Examination of relevant sources |
Lectures |
|
6 |
History of Turkish Operetta, Operetta types and composed Turkish operetta. |
Examination of relevant sources |
Lectures |
|
7 |
"Zeybeks", Hirosto Efendi
"Roses in Kayseri - Istanbul Lord", Kaptanzade Ali Rıza Efendi |
Examination of relevant sources |
Lectures |
|
8 |
Midterm Exam |
|
Lectures |
|
9 |
"Ayşe", Muhlis Selahattin Bey |
Examination of relevant sources |
Lectures |
|
10 |
"Luxurious Living", Cemal Reşit Rey |
Examination of relevant sources |
Lectures |
|
11 |
"Mad Hail", Cemal Reşit Rey |
Examination of relevant sources |
Lectures |
|
12 |
"Alabanda Revue", Selahattin Kaynak |
Examination of relevant sources |
Lectures |
|
13 |
"Boulevard", Bülent Arel |
Homework |
Lectures |
|
14 |
"Saz caz", Cemal Reşit Rey |
Examination of relevant sources |
Lectures |
|
15 |
General review |
|
Lectures |
|
|
|
Required Course Resources |
| Resource Type | Resource Name |
| Recommended Course Material(s) |
 ALTAR, CEVAT MEMDUH, Opera Tarihi IV
YENER, FARUK, 100 Opera
SAY,AHMET, Türkiye´nin Müzik Atlası, Borusan Kültür Sanat Yayınları, İstanbul 1998
SEVENGİL, REFİK AHMET, Opera Sanatı İle İlk Temaslarımız, ME Basımevi, İstanbul 1969
|
| |
| Required Course Material(s) | |
|
|
|
Assessment Methods and Assessment Criteria |
|
Semester/Year Assessments |
Number |
Contribution Percentage |
|
Mid-term Exams (Written, Oral, etc.) |
1 |
50 |
|
Homeworks/Projects/Others |
1 |
50 |
|
Total |
100 |
|
Rate of Semester/Year Assessments to Success |
40 |
| |
|
Final Assessments
|
100 |
|
Rate of Final Assessments to Success
|
60 |
|
Total |
100 |
|
|
| Contribution of the Course to Key Learning Outcomes |
| # | Key Learning Outcome | Contribution* |
|
1 |
understands the conversion lines based on the past to the future development of the performing arts, and applies them according to the needs of our time. |
5 |
|
2 |
shows the ways that would help them to obtain competency in using Turkish correctly, beautifully and efficiently |
0 |
|
3 |
ensures effective and correct use of the voice mechanism, the coordination of breath and sound ability, and health protection of voice as part of the opera singing training, |
0 |
|
4 |
creates a critical perspective by taking into account the requirements of the era and synthesizes the learned information while investigating all aspects of theatre and opera of national and international literature. |
4 |
|
5 |
knows the methods, theories, history, and uses of the voice and body techniques and their relationship with theories of art, aesthetics, and behavioral psychology. The student understands the art in particular with a level of knowledge that enables them to transfer it into the future. |
5 |
|
6 |
has sufficient knowledge in terms of scene technology, and comprehends the way the artistic and expressive images of the game will be expressed. |
0 |
|
7 |
gains a social and aethetic point of view of theatre-acting and opeara-singing and ensures adequacy of application in performing arts, radio, television and cinema. |
0 |
|
8 |
gains the ability to assess the universal values with his/her acquired knowledge in the field of study. |
3 |
|
9 |
gains the sensitivity of being an artist conscious of the responsibility that falls on him/her personally, nationally, and globally. |
4 |
|
10 |
knows and has the ability to show the ways that help him/her to find the necessary documents, tools, resources, and organize an archive regarding the sources related to performing arts. |
4 |
|
11 |
gains the ability to provide information to different audiences about the area of performing arts within the realm of the art of theatre-acting / opera – singing. |
0 |
|
12 |
gains the ability to individually carry out the process of working on the work(s) he/she is obliged to work on. |
0 |
|
13 |
constantly improves himself as a man of art, and keeps up-to-date about the current art events. |
3 |
|
14 |
shows and uses the ways to use the correct technique of voice and speech sound on stage by singing, solfege and ear training. |
0 |
|
15 |
has a sense of social responsibility, social competence, and communication skills required by Performing arts. |
0 |
|
16 |
gains professional ethics and professional discipline of art along with attributes, and awareness of being a professional performing artist in theatre-acting/opera-singing. |
0 |
|
17 |
continuously improves himself as a man of art, relates the knowledge and skills of professional ethics to other art fields, and establishes ties between them. |
0 |
|
18 |
shows the ways to bring the character’s thoughts and feelings into existence on the stage through techniques and methods of performing arts. |
0 |
|
19 |
gains the ability to use his/her natural mechanism as an instrument on the stage by improving his skills of coordination, and knowing his/her body, emotions and thoughts. |
0 |
| * Contribution levels are between 0 (not) and 5 (maximum). |
|
|
| Student Workload - ECTS |
| Works | Number | Time (Hour) | Total Workload (Hour) |
| Course Related Works |
|
Class Time (Exam weeks are excluded) |
16 |
1 |
16 |
|
Out of Class Study (Preliminary Work, Practice) |
16 |
3 |
48 |
| Assesment Related Works |
|
Homeworks, Projects, Others |
1 |
3 |
3 |
|
Mid-term Exams (Written, Oral, etc.) |
1 |
2 |
2 |
|
Final Exam |
1 |
2 |
2 |
|
Total Workload: | 71 |
| Total Workload / 25 (h): | 2.84 |
| ECTS Credit: | 3 |
|
|
|