Araştırma Makalesi
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CONTEMPORARY MUSIC: THE MAINSTREAMS, THE TECHNIQUES OF MUSICAL COMPOSITION, AND PRINCIPAL COMPOSERS

Yıl 2011, Cilt: 20 Sayı: 3, 1 - 19, 01.09.2011

Öz

European (international) art music, which developed linearly in the several ages and periods from Middle Age that then there were new searches in music with social changes in the late Romantic period, and so that new streams (movements) and techniques of musical composition, called contemporary art music, emerged. But there is no Turkish-to-date information and documents, can be used in the branches of musicology, composition, performance and music education, about the composition mainstreams and techniques of contemporary art music. In this study, so the principal mainstreams and techniques of musical composition in contemporary art music with the composers were investigated within the framework of historical, conceptual and systematic approaches of musicology. So it is seen that contemporary art music is represented basically the thirteen mainstreams and eight techniques. These findings were described and interpreted in the relevant sections of this article. In addition, the composers of the mainstreams and the techniques were presented in Table 1.

Kaynakça

  • Baran, İ. (1997). Çağdaş Müzik Üzerine. Ve Müzik Araştırma ve Yorum Dergisi, (1): 6- 14.
  • Baran, İ. (2000). Frédéric Chopin‟den Bill Evans‟a. Ve Müzik Araştırma ve Yorum Dergisi, (6): 1-7.
  • Bietoletti, S. (2005). Neoclassicism&Romanticism. trans. Angela Arnone. Sterling Publishing Co., Inc., New York,
  • Bonardi, A. (2000). IR for Contemporary Music: What the Musicologist Needs. Paper at International Symposium on Music Information Retrieval (MUSIC IR 2000), October 23-25, 2000, Plymouth, Massachusetts, http, s.//ismir2000.ismir.net/papers/invites/bonardi_invite.pdf, ET: 04/07/2011.
  • Broder, N. (July, 1948). The Music of Samuel Barber. The Musical Quarterly, Vol. 34, No. 3, pp. 325-335, http://www.jstor.org/stable/pdfplus/739546.pdf, ET: 04/07/2011.
  • Byrnside, R. L. (1980). Musical Impressionism: The Early History of the Term. The Musical Quarterly, 66(4): 522-537, http://web.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=6&hid=12&sid=4ed9 3f08-ca83-415f-9c92-389284b8f84c%40sessionmgr14 ET: 05/07/2011.
  • Chase, G. (1986). America’s Music: From the Pilgrims to the Present. Univesity of Illinois Press, USA.
  • Cangal, N. (2008). Armoni. Arkadaş Yayınevi. Ankara.
  • Chatham, R. (1990). Composer's Notebook 1990: Toward a Musical Agenda for the Nineties. http://www.rhyschatham.net/nintiesRCwebsite/Essay_1970-90.html, ET: 08/07/2011.
  • Chevassus, B. R. (2004). Müzikte Postmodernlik. çev. İlhan Usmanbaş. Pan Yayıncılık, İstanbul.
  • Crittenden, C. (2000). Johann Strauss and Vienna: Operetta and the Politics of Popular Culture. Cambridge University Press, New York.
  • Çetişki, İ. (2003). Batı Edebiyatında Edebî Akımlar. Akçağ Yayınları, Ankara.
  • Dallin, L. (1974). Techniques of Twentieth Century Composition: A Guide to the Materials of Modern Music. California State University, Sacramento.
  • Delaere M., Beirens, M., and Staples, H. (2004). Minimal Music in the Low Countries. Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 54(1): 31-78.
  • Doss, E. (2002). Twentieth-Century American Art. Oxford University Press, New York.
  • Emmerson, S. (2007). Where next? New music, new musicology. EMS: Electroacoustic Music Studies Network, http://www.ems- network.org/IMG/pdf_EmmersonEMS07.pdf, ET: 07/07/2011.
  • Frisch, W. (2001-02). Reger's Bach and Historicist Modernism. 19th-Century Music, 25(2-3): 296-312, http://www.jstor.org/stable/pdfplus/10.1525/ncm.2001.25.2- 3.296.pdf, ET: 05/07/2011.
  • Foucault, M., Boulez, P., and Rahn, J. (1985). Contemporary Music and the Public. Perspectives of New Music, 24(1): 6-12, http://www.jstor.org/stable/pdfplus/832749.pdf?acceptTC=true, ET: 04/07/2011.
  • Furness, R. S. (1973). Expressionism. Methuen, London.
  • Galanter, P. (2002). Against Reductionism: Complexity Science, Complexity Art, and Complexity Studies. Paper presented at 1st International Workshop on Complexity and Philosophy, 29-30 July 2002, Norwood, http://isce.edu/ISCE_Group_Site/web- content/ISCE_Events/Norwood_2002/Norwood_2002_Papers/Galanter.pdf, ET: 08/07/2011.
  • Garcia, F. (2006). Liszt’s Bagatelle Without Tonality: Analytical Perspectives. Unpublished Doctoral Dissertation. University of Pittsburgh, Pittsburgh, http://etd.library.pitt.edu/ETD/available/etd-08022006- 114731/unrestricted/Garcia-ETD-2006.pdf, ET: 10/07/2011.
  • Griffiths, P. (2011). Modern Music and After. 3rd edition. Oxford University Press, USA.
  • Goldwater, R. (1986). Primitivism in Modern Art. Random Haouse, Inc., USA.
  • Haskins, R. (September 12, 2005). Another Look at Philip Glass: Aspects of Harmony and Formal Design in Early Works and Einstein on the Beach. Jems: Journal of Experimental Music Studies, http://www.users.waitrose.com/~chobbs/haskinsglass.html , ET: 10/07/2011.
  • Hillman, D. J. (July, 1962). The Measurement of Simplicity. Philosophy of Science, 29(3): 225-252, http://www.jstor.org/stable/pdfplus/186043.pdf, ET: 08/07/2011.
  • Hoffer, C. (2010). Western Music Listening Today. Schirmer Cengage Learning, USA.
  • Holmes, T. (2002). Electronic and Experimental Music: Pioneers in Technology and Composition. Routledge, London.
  • Holmes, T. (2008). Electronic and Experimental Music: Technology, Music, and Culture. Routledge, New York.
  • Kahramankaptan, Ş. (2010). Müzikte Derin Zirve: İlhan Baran. Sevda Cenap And Müzik Vakfı Yayınları, Ankara.
  • Kelly, M. (Dec., 1998). Essentialism and Historicism in Danto's Philosophy of Art. History and Theory, 37(4): 30-43, Theme Issue 37, http://www.jstor.org/stable/pdfplus/2505394.pdf, ET: 08/07/2011.
  • Kutluk, F. (1997). Müziğin Tarihsel Evrimi. Çiviyazıları, İstanbul.
  • Koyuncu, S. (2002). Empresyonizm. Ondokuz Mayıs Üniversitesi Eğitim Fakültesi Dergisi, (14): 1-5.
  • Kütahyalı, Ö.(1981). Çağdaş Müzik Tarihi. N.İ. Leblebicioğlu, Ankara.
  • Larson, S. (Autumn, 1998). Schenkerian Analysis of Modern Jazz: Questions about Method. Music Theory Spectrum, 20(2): 209-241, http://www.jstor.org/stable/pdfplus/746048.pdf?acceptTC=true, ET: 11/07/2011.
  • Machlis, J. (1979). Introduction to Contemporary Music. 2nd editions. W.W. Norton & Co Inc., USA.
  • Martindale, C., and Uemura, A. (Summer, 1983). Stylistic Evolution in European Music. Leonardo (Special Issue: Psychology and the Arts), 16(3): 225-228, http://www.jstor.org/stable/pdfplus/1574920.pdf?acceptTC=true, ET: 04/07/2011.
  • Marvin, R. M. (2004). Scholarly Inquiry in Historical Musicology: Sources, Methods, Interpretations. In Historical Musicology: Sources, Methods, Interpretations. eds. Stephen A. Crist and Roberta M. Marvin. The University of Rochester Press, USA, pp: 1-8.
  • Mathews, H. (2007). A Composer‟s Experience in Negotiating Traditions: The Incorporation of Popular Music Influences in Contemporary Compositions. Paper presented at the Annual MPCA/ACA Conference, October 12-14, 2007, Kansas City, http://www.oicrm.org/doc/2007/colloque/Mathews/Mathews_OICM_2007.pdf, ET: 10/07/2011.
  • Mcglaughlin, B. (October 11, 1998). Arvo Pärt and the New Simplicity. Saint Paul Sunday, http://saintpaulsunday.publicradio.org/features/9810_part/index.htm, ET: 04/07/2011.
  • Mimaroğlu, İ. (1991). Elektronik Müzik. Pan Yayıncılık, İstanbul.
  • Mimaroğlu, İ. (1995). Müzik Tarihi. Varlık Yayınları, İstanbul.
  • Morgan, R. P. (1991). Twentieth-Century Music: A History of Musical Style in Modern Europe and America (The Norton Introduction to Music History). 1st edition. W.W. Norton & Co Inc., USA.
  • Pamir, L. (1998). Müzikte Geniş Soluklar. Boyut Yayınları, İstanbul.
  • Perle, G. (1991). Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. Sixth edition. University of California Press, USA.
  • Popper, K. (May, 1944). The Poverty of Historicism, I. Economica, New Series, 11(42): 86-103, http://www.jstor.org/stable/pdfplus/2549642.pdf, ET: 04/07/2011.
  • Quinn, S. F. (2007). Vom Gebrauch Der Gerbauchsmusik— Bertolt Brechts Kollaboration mit Paul Hındemıth und Kurt Weill im Lehrstück und im Jasager. Unpublished Master‟s Thesis. The University of Georgia, Athens, http://ugakr.libs.uga.edu/bitstream/handle/10724/11198/fischer_quinn_susanne_ 200905_ma.pdf?sequence=1, ET: 07/07/2011.
  • Sachs, C. (1965). Kısa Dünya Musikisi Tarihi. çev. İ. Usmanbaş. Milli Eğitim Basımevi, İstanbul.
  • Skinner, M. L. (2007). Toward a quarter-tone syntax: Analyses of selected works by Blackwood, Haba, Ives, and Wyschnegradsky. Unpublished Doctoral Dissertation. State University of New York, New York, http://proquest.umi.com/pqdweb?index=0&did=1251900691&SrchMode=1&sid =6&Fmt=6&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=131 0372597&clientId=41950, ET: 08/07/2011.
  • Smith, K. D. (2004). The Style of Meditation: A Conductor’s Analysis of Selected Latin Motets by Rihards Dubra. Unpublished Doctoral Dissertation. Louisiana State University, Eunice, http://etd.lsu.edu/docs/available/etd-06032004- 215359/unrestricted/Smith_dis.pdf, ET: 07/07/2011.
  • TDK. Güncel Türkçe Sözlük. http://tdk.org.tr/TR/Genel/SozBul.aspx?F6E10F8892433CFFAAF6AA849816B 2EF4376734BED947CDE&Kelime=, ET: 04/07/2011.
  • Tremblay, J.-B. (2007). Polystylism and Narrative Potential in the Music of Alfred Schnittke. Unpublished Doctoral Dissertation. The University of British Columbia, Canada, http://proquest.umi.com/pqdweb?index=0&did=1335360641&SrchMode=1&sid =7&Fmt=6&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=131 0372842&clientId=41950, ET: 08/07/2011.
  • Ulman, E. (Winter, 1994). Some Thoughts on the New Complexity. Perspectives of New Music, 32(1): 202-206, http://www.jstor.org/stable/pdfplus/833163.pdf?acceptTC=true, ET: 08/07/2011.

ÇAĞDAŞ MÜZİK: BESTECİLİK ANA AKIMLARI, TEKNİKLERİ, VE BAŞLICA BESTECİLER

Yıl 2011, Cilt: 20 Sayı: 3, 1 - 19, 01.09.2011

Öz

Avrupa (uluslararası) sanat müziği, Ortaçağdan başlayarak çeşitli çağ ve dönemler
içinde doğrusal olarak gelişmiş, Romantik dönem sonlarındaki toplumsal değişimlerle
birlikte, müzikte yeni arayışlar ortaya çıkmış ve böylece çağdaş sanat müziği olarak
adlandırılan yeni bestecilik akım ve teknikleri oluşmuştur. Ancak çağdaş müziğin
bestecilik akım ve teknikleri hakkında müzikoloji, bestecilik, yorumculuk ve müzik
eğitimi alanında kullanılabilecek tanımlayıcı güncel Türkçe bilgiler ve kaynaklar
olmadığı görülmüştür. Ortaya çıkan bu eksiklik tespit edilerek, bu çalışmada çağdaş
sanat müziğini oluşturan başlıca bestecilik akım ve teknikleri ile besteciler
müzikolojinin tarihsel, kavramsal ve sistematik yaklaşımları içinde araştırılmış, çağdaş
müziğin temel olarak on üç akım ve sekiz teknikle temsil edildiği belirlenmiş, ortaya
çıkan bu bulgular makalenin ilgili bölümlerinde tanımlanmış ve yorumlanmıştır. Ayrıca
ortaya çıkan akım ve tekniklerle ilgili başlıca besteciler Tablo 1‟de verilmiştir.

Kaynakça

  • Baran, İ. (1997). Çağdaş Müzik Üzerine. Ve Müzik Araştırma ve Yorum Dergisi, (1): 6- 14.
  • Baran, İ. (2000). Frédéric Chopin‟den Bill Evans‟a. Ve Müzik Araştırma ve Yorum Dergisi, (6): 1-7.
  • Bietoletti, S. (2005). Neoclassicism&Romanticism. trans. Angela Arnone. Sterling Publishing Co., Inc., New York,
  • Bonardi, A. (2000). IR for Contemporary Music: What the Musicologist Needs. Paper at International Symposium on Music Information Retrieval (MUSIC IR 2000), October 23-25, 2000, Plymouth, Massachusetts, http, s.//ismir2000.ismir.net/papers/invites/bonardi_invite.pdf, ET: 04/07/2011.
  • Broder, N. (July, 1948). The Music of Samuel Barber. The Musical Quarterly, Vol. 34, No. 3, pp. 325-335, http://www.jstor.org/stable/pdfplus/739546.pdf, ET: 04/07/2011.
  • Byrnside, R. L. (1980). Musical Impressionism: The Early History of the Term. The Musical Quarterly, 66(4): 522-537, http://web.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=6&hid=12&sid=4ed9 3f08-ca83-415f-9c92-389284b8f84c%40sessionmgr14 ET: 05/07/2011.
  • Chase, G. (1986). America’s Music: From the Pilgrims to the Present. Univesity of Illinois Press, USA.
  • Cangal, N. (2008). Armoni. Arkadaş Yayınevi. Ankara.
  • Chatham, R. (1990). Composer's Notebook 1990: Toward a Musical Agenda for the Nineties. http://www.rhyschatham.net/nintiesRCwebsite/Essay_1970-90.html, ET: 08/07/2011.
  • Chevassus, B. R. (2004). Müzikte Postmodernlik. çev. İlhan Usmanbaş. Pan Yayıncılık, İstanbul.
  • Crittenden, C. (2000). Johann Strauss and Vienna: Operetta and the Politics of Popular Culture. Cambridge University Press, New York.
  • Çetişki, İ. (2003). Batı Edebiyatında Edebî Akımlar. Akçağ Yayınları, Ankara.
  • Dallin, L. (1974). Techniques of Twentieth Century Composition: A Guide to the Materials of Modern Music. California State University, Sacramento.
  • Delaere M., Beirens, M., and Staples, H. (2004). Minimal Music in the Low Countries. Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 54(1): 31-78.
  • Doss, E. (2002). Twentieth-Century American Art. Oxford University Press, New York.
  • Emmerson, S. (2007). Where next? New music, new musicology. EMS: Electroacoustic Music Studies Network, http://www.ems- network.org/IMG/pdf_EmmersonEMS07.pdf, ET: 07/07/2011.
  • Frisch, W. (2001-02). Reger's Bach and Historicist Modernism. 19th-Century Music, 25(2-3): 296-312, http://www.jstor.org/stable/pdfplus/10.1525/ncm.2001.25.2- 3.296.pdf, ET: 05/07/2011.
  • Foucault, M., Boulez, P., and Rahn, J. (1985). Contemporary Music and the Public. Perspectives of New Music, 24(1): 6-12, http://www.jstor.org/stable/pdfplus/832749.pdf?acceptTC=true, ET: 04/07/2011.
  • Furness, R. S. (1973). Expressionism. Methuen, London.
  • Galanter, P. (2002). Against Reductionism: Complexity Science, Complexity Art, and Complexity Studies. Paper presented at 1st International Workshop on Complexity and Philosophy, 29-30 July 2002, Norwood, http://isce.edu/ISCE_Group_Site/web- content/ISCE_Events/Norwood_2002/Norwood_2002_Papers/Galanter.pdf, ET: 08/07/2011.
  • Garcia, F. (2006). Liszt’s Bagatelle Without Tonality: Analytical Perspectives. Unpublished Doctoral Dissertation. University of Pittsburgh, Pittsburgh, http://etd.library.pitt.edu/ETD/available/etd-08022006- 114731/unrestricted/Garcia-ETD-2006.pdf, ET: 10/07/2011.
  • Griffiths, P. (2011). Modern Music and After. 3rd edition. Oxford University Press, USA.
  • Goldwater, R. (1986). Primitivism in Modern Art. Random Haouse, Inc., USA.
  • Haskins, R. (September 12, 2005). Another Look at Philip Glass: Aspects of Harmony and Formal Design in Early Works and Einstein on the Beach. Jems: Journal of Experimental Music Studies, http://www.users.waitrose.com/~chobbs/haskinsglass.html , ET: 10/07/2011.
  • Hillman, D. J. (July, 1962). The Measurement of Simplicity. Philosophy of Science, 29(3): 225-252, http://www.jstor.org/stable/pdfplus/186043.pdf, ET: 08/07/2011.
  • Hoffer, C. (2010). Western Music Listening Today. Schirmer Cengage Learning, USA.
  • Holmes, T. (2002). Electronic and Experimental Music: Pioneers in Technology and Composition. Routledge, London.
  • Holmes, T. (2008). Electronic and Experimental Music: Technology, Music, and Culture. Routledge, New York.
  • Kahramankaptan, Ş. (2010). Müzikte Derin Zirve: İlhan Baran. Sevda Cenap And Müzik Vakfı Yayınları, Ankara.
  • Kelly, M. (Dec., 1998). Essentialism and Historicism in Danto's Philosophy of Art. History and Theory, 37(4): 30-43, Theme Issue 37, http://www.jstor.org/stable/pdfplus/2505394.pdf, ET: 08/07/2011.
  • Kutluk, F. (1997). Müziğin Tarihsel Evrimi. Çiviyazıları, İstanbul.
  • Koyuncu, S. (2002). Empresyonizm. Ondokuz Mayıs Üniversitesi Eğitim Fakültesi Dergisi, (14): 1-5.
  • Kütahyalı, Ö.(1981). Çağdaş Müzik Tarihi. N.İ. Leblebicioğlu, Ankara.
  • Larson, S. (Autumn, 1998). Schenkerian Analysis of Modern Jazz: Questions about Method. Music Theory Spectrum, 20(2): 209-241, http://www.jstor.org/stable/pdfplus/746048.pdf?acceptTC=true, ET: 11/07/2011.
  • Machlis, J. (1979). Introduction to Contemporary Music. 2nd editions. W.W. Norton & Co Inc., USA.
  • Martindale, C., and Uemura, A. (Summer, 1983). Stylistic Evolution in European Music. Leonardo (Special Issue: Psychology and the Arts), 16(3): 225-228, http://www.jstor.org/stable/pdfplus/1574920.pdf?acceptTC=true, ET: 04/07/2011.
  • Marvin, R. M. (2004). Scholarly Inquiry in Historical Musicology: Sources, Methods, Interpretations. In Historical Musicology: Sources, Methods, Interpretations. eds. Stephen A. Crist and Roberta M. Marvin. The University of Rochester Press, USA, pp: 1-8.
  • Mathews, H. (2007). A Composer‟s Experience in Negotiating Traditions: The Incorporation of Popular Music Influences in Contemporary Compositions. Paper presented at the Annual MPCA/ACA Conference, October 12-14, 2007, Kansas City, http://www.oicrm.org/doc/2007/colloque/Mathews/Mathews_OICM_2007.pdf, ET: 10/07/2011.
  • Mcglaughlin, B. (October 11, 1998). Arvo Pärt and the New Simplicity. Saint Paul Sunday, http://saintpaulsunday.publicradio.org/features/9810_part/index.htm, ET: 04/07/2011.
  • Mimaroğlu, İ. (1991). Elektronik Müzik. Pan Yayıncılık, İstanbul.
  • Mimaroğlu, İ. (1995). Müzik Tarihi. Varlık Yayınları, İstanbul.
  • Morgan, R. P. (1991). Twentieth-Century Music: A History of Musical Style in Modern Europe and America (The Norton Introduction to Music History). 1st edition. W.W. Norton & Co Inc., USA.
  • Pamir, L. (1998). Müzikte Geniş Soluklar. Boyut Yayınları, İstanbul.
  • Perle, G. (1991). Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. Sixth edition. University of California Press, USA.
  • Popper, K. (May, 1944). The Poverty of Historicism, I. Economica, New Series, 11(42): 86-103, http://www.jstor.org/stable/pdfplus/2549642.pdf, ET: 04/07/2011.
  • Quinn, S. F. (2007). Vom Gebrauch Der Gerbauchsmusik— Bertolt Brechts Kollaboration mit Paul Hındemıth und Kurt Weill im Lehrstück und im Jasager. Unpublished Master‟s Thesis. The University of Georgia, Athens, http://ugakr.libs.uga.edu/bitstream/handle/10724/11198/fischer_quinn_susanne_ 200905_ma.pdf?sequence=1, ET: 07/07/2011.
  • Sachs, C. (1965). Kısa Dünya Musikisi Tarihi. çev. İ. Usmanbaş. Milli Eğitim Basımevi, İstanbul.
  • Skinner, M. L. (2007). Toward a quarter-tone syntax: Analyses of selected works by Blackwood, Haba, Ives, and Wyschnegradsky. Unpublished Doctoral Dissertation. State University of New York, New York, http://proquest.umi.com/pqdweb?index=0&did=1251900691&SrchMode=1&sid =6&Fmt=6&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=131 0372597&clientId=41950, ET: 08/07/2011.
  • Smith, K. D. (2004). The Style of Meditation: A Conductor’s Analysis of Selected Latin Motets by Rihards Dubra. Unpublished Doctoral Dissertation. Louisiana State University, Eunice, http://etd.lsu.edu/docs/available/etd-06032004- 215359/unrestricted/Smith_dis.pdf, ET: 07/07/2011.
  • TDK. Güncel Türkçe Sözlük. http://tdk.org.tr/TR/Genel/SozBul.aspx?F6E10F8892433CFFAAF6AA849816B 2EF4376734BED947CDE&Kelime=, ET: 04/07/2011.
  • Tremblay, J.-B. (2007). Polystylism and Narrative Potential in the Music of Alfred Schnittke. Unpublished Doctoral Dissertation. The University of British Columbia, Canada, http://proquest.umi.com/pqdweb?index=0&did=1335360641&SrchMode=1&sid =7&Fmt=6&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=131 0372842&clientId=41950, ET: 08/07/2011.
  • Ulman, E. (Winter, 1994). Some Thoughts on the New Complexity. Perspectives of New Music, 32(1): 202-206, http://www.jstor.org/stable/pdfplus/833163.pdf?acceptTC=true, ET: 08/07/2011.
Toplam 52 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makaleler
Yazarlar

Yrd. Doç. Dr. Seyit Yöre Bu kişi benim

Yayımlanma Tarihi 1 Eylül 2011
Gönderilme Tarihi 29 Aralık 2013
Yayımlandığı Sayı Yıl 2011 Cilt: 20 Sayı: 3

Kaynak Göster

APA Yöre, Y. D. D. S. (2011). ÇAĞDAŞ MÜZİK: BESTECİLİK ANA AKIMLARI, TEKNİKLERİ, VE BAŞLICA BESTECİLER. Çukurova Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 20(3), 1-19.