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Müzisyenlerin Ses Sistemleri Açısından Entonasyon Eğilimleri Üzerine Bir İnceleme

Yıl 2023, Cilt: 13 Sayı: 1, 1393 - 1418, 23.03.2023
https://doi.org/10.48146/odusobiad.1173212

Öz

Bu araştırmanın amacı, müzisyenlerin ses sistemlerine yatkınlığı açısından entonasyon doğruluğu algıları ile ilgili literatürde yapılan çalışmaları incelemektir. Entonasyon doğruluğu özellikle perdesiz ve sabit akortlu olmayan çalgılarda değişken bir kavramdır. Tarihten günümüze pek çok akort ve ses sistemi oluşturulmuş ve kullanılmıştır. Bunların içerisinde en yaygın kullanılanları eşit tampereman, Just Intonation (doğal dizi) ve Pisagor sistemidir. Müzisyenlerin entonasyon doğruluğu ile ilgili yapılan çalışmalarda çalgı gruplarının sistemsel olarak farklı eğilimler gösterdiği sonucuna ulaşılmıştır. Yaylı çalgı çalan müzisyenlerin tek sesli pasajlarda Pisagor sistemine, çok sesli çalmada doğal diziye daha yatkın oldukları tespit edilirken, nefesli çalgıların doğal dizi veya eşit tamperemana eğilim gösterdikleri tespit edilmiştir. Tuşlu/klavyeli çalgı çalan müzisyenler ile dört sesli korolar ile yürütülen çalışmalarda karışık sonuçlara ulaşılmıştır. Araştırma kapsamında uluslararası endekslerde taranan dergiler ve tezlerde entonasyon eğilimleri ile yapılan yüzlerce çalışma taranmış, çalışmanın odağına uygun 24 çalışma belirlenmiş, bu araştırmaların sonuçları çalgı gruplarına göre paylaşılmış, çalgı pedagoglarının görüşleri ve araştırmalardan elde edilen sonuçlar ile tartışılarak çıkarımlarda bulunulmuştur. Entonasyon eğilimi ile ilgili müzik eğitimi kurumlarına ve konu ile ilgili literatüre katkı sunabilecek önerilere yer verilmiştir.

Kaynakça

  • Apel, W. (1974). Harvard dictionary of music. 8. Baskı. Cambridge, MA: The Belknap Press of Harvard University Press.
  • Arıkan, R. (2011). Araştırma yöntem ve teknikleri. Nobel Akademik Yayıncılık.
  • Ballard, D. L. (2011). Relationships between college-level wind instrumentalists' achievement in ıntonation perception and performance. Bulletin of the Council for Research in Music Education, 187, s. 19-32. http://www.jstor.org/stable/41162321
  • Benson, D. (2006). Music: a mathematical offering. Cambridge: Cambridge University Press. https://logosfoundation.org/kursus/music_math.pdf
  • Blum, D. (1980). Casals and the art of interpretation. University of California Press.
  • Boyden, D. D. (1951). Prelleur, Geminiani and just intonation. Journal of the American Musicological Society, 4(3),s. 202-219. https://doi.org/10.2307/829621
  • Brown, R. A. (1996). Dynamics of intonation in performances by artist violinists. Doktora tezi. ProQuest Dissertations and Theses veri tabanından erişildi. (UMI No. 9716413).
  • Carman, G. G. (1936). A study of intonation in violin playing. Yüksek Lisans Tezi. (Order No. TM18435). ProQuest Dissertations and Theses veri tabanından erişildi. (301778592). https://search.proquest.com/docview /301778592?accountid=1531
  • Flesch, C. (1939). The art of violin playing. Revised Edition. Carl Fischer, Inc.
  • Galamian, I. (1962). Principles of the violin playing & teaching. Prentice-Hall INC.
  • Geminiani, F. (1751). The art of playing on the violin. Opera IX: London. Erişim adresi: https://imslp.org/wiki/The_Art_of_Playing_on_the_Violin%2C_Op.9_(Geminiani%2C_Francesco)
  • Geringer, J. M. (1978). Intonational performance and perception of ascending scales. Journal of Research in Music Education, 26(1), s. 32-40. https://www.jstor.org/stable/3344787
  • Geringer, J. M. ve Witt, A. C. (1985). An investigation of tuning performance and perception of string instrumentalists. Bulletin of the Council for Research in Music Education, 85, s. 90-101. https://www.jstor.org/stable/40317945
  • Geringer, J. M., MacLeod, R. B., Ellis, J. C. (2013). A descriptive analysis of performance model’s intonation in a recorded excerpt from Suzuki Violin School Volume I. String Research Journal, 4, S. 71-88. https://doi.org/10.1177/194849921300400405
  • Geringer, J. M. (2018). Eight artist-level violinists performing unaccompanied Bach: Are there consistent tuning patterns? String Research Journal, 8(1), s. 51–61. DOI: 10.1177/1948499218769657
  • Gerle, R. (1983). The art of practising the violin. Stainer & Bell.
  • Greene, P. C. (1936). Intonation in violin performance. Proceedings of the Iowa Academy of Science, 43(1), s. 318-319. https://scholarworks.uni.edu/pias/vol43/iss1/114/
  • Hagerman, B. ve Sundberg, J. (1980). Fundamental frequency adjustment in barbershop singing. STL-QPSR, 21(1), s. 28-42. https://www.speech.kth.se/prod/publications/files /qpsr/1980/1980_21_1_028-042.pdf
  • Hall, D. E. ve Hess, J. T. (1984). Perception of musical interval tuning. Music Perception: An Interdisciplinary Journal, 2(2), s. 166-195. https://www.jstor.org/stable/40285290
  • Helmholtz, H. L. F. (1895). On the sensations of tone as a physiological basis for the theory of music. (çev. Alexander J. Ellis). 3. Baskı. London: Longmans, Green, And Co.
  • Hinton, D. E. (1982). The effect of different musical timbres on students’ identification of melodic intervals. Doktora Tezi. University of British Columbia, Vancouver. https://open.library.ubc.ca/cIRcle/collections/ubctheses /831/items/1.0095758
  • Howard, D. (2007). Equal or non-equal temperament in a capella SATB singing. Logopedics, Phoniatrics, Vocology. 32(2), s. 87-94. doi: 10.1080/14015430600865607
  • Joachim, J. ve Moser, A. (1905). Violin school in 3 volumes. Cilt 2. A. Moffad (Çev.). N. Simrock. https://ks.imslp.info/files/imglnks/usimg/2/21/IMSLP29617-PMLP66450-2.pdf
  • Kalender, C. (2021). Keman eğitiminde entonasyon becerisinin geliştirilmesine yönelik hazırlanan öğretim programının etkililiği. (Yayımlanmamış doktora tezi). Bolu Abant İzzet Baysal Üniversitesi Lisansüstü Eğitim Enstitüsü. Bolu.
  • Kantorski, V. J. (1986). String instrument intonation in upper and lower registers: the effects of accompaniment. Journal of Research in Music Education, 34(3), s. 200-210. https://doi.org/10.2307/3344749
  • Karaosmanoğlu, M. K. (2017). Müzik aritmetiği ve ses sistemleri. İTÜ Vakfı Yayınları.
  • Karrick, B. (1998). An examination of the intonation tendencies of wind instrumentalists based on their performance of selected harmonic musical intervals. Journal of Research in Music Education, 46(1), s. 112–127. doi:10.2307/3345764
  • Kopiez, R. (2003). Intonation of harmonic intervals: adaptability of expert musicians to equal temperament and just intonation. Music Perception, 20(4), s. 383–410. doi:10.1525/mp.2003.20.4.383
  • Leukel, W. ve Stoffer, T. (2004). The influence of harmonic context on the tuning of thirds played by professional flautists. Psychology of Music, 32(1), s. 75–88. doi:10.1177/0305735604039283
  • Lindley, M. (2001). Temperaments. https://doi.org/10.1093/gmo/9781561592630 .article.27643
  • Long, D. L. (2008). Coincidence theory: seeking a perceptual preference for just intonation, equal temperament, and pythagorean intonation in excerpts for wind instruments. (Doktora tezi, University of Southern Mississippi, Hattiesburg). Erişim adresi: https://aquila.usm.edu/dissertations/1148/
  • Loosen, F. (1993). Intonation of solo violin performance with reference to equally tempered, Pythagorean, and just intonations. The Journal of the Acoustical Society of America, 93(1), s. 525–539. doi:10.1121/1.405632
  • Loosen, F. (1994). Tuning of diatonic scales by violinists, pianists, and nonmusicians. Perception & Psychophysics, 56(2), s. 221–226. doi:10.3758/bf03213900
  • Loosen, F. (1995). The effect of musical experience on the conception of accurate tuning. Music Perception: An Interdisciplinary Journal, 12(3), s. 291-306. https://doi.org/10.2307/40286185
  • Mamaç, S. (2021). Pablo Casals: entonasyon ve ifadeli entonasyon kavramı. (Yayımlanmamış Sanatta Yeterlik Tezi). Yaşar Üniversitesi Lisansüstü Eğitim Enstitüsü. İzmir.
  • Mason, J. A. (1960). Comparison of solo and ensemble performances with reference to Pythagorean, just, and equi-tempered intonations. Journal of Research in Music Education, 8(1), s. 31–38. doi:10.2307/3344235
  • Mozart, L. (1756). Versuch einer gründlichen violinschule. E. Knocker (İng. Çev.), Treatise on the fundamental principles of violin playing. London (1948). Erişim adresi: http://archermusic.synthasite.com/resources/Leopold%20Mozart-Treatsie%20on%20the% 20Fundamentals%20of%20Violin%20Playing.pdf
  • Nickerson, J. F. (1949). Intonation of solo and ensemble performance of the same melody. Journal of the Acoustical Society of America, 21(6), s. 593–595. doi:10.1121/1.1906555
  • Papich, G. ve Rainbow, E. (1974). A pilot study of performance practices of twentieth-century musicians. Journal of Research in Music Education, 22(1), s. 24-34. https://www.jstor.org/stable/3344615
  • Partch, H. (1974). Genesis of a music: an account of a creative work, its roots and its fulfillments. 2. Baskı. Da Capo Press.
  • Platt, J. R. ve Racine, R. J. (1985). Effect of frequency, timbre, experience, and feedback on musical tuning skills. Perception and Psychophysics, 38(6), s. 543–553. doi: 10.3758/BF03207064
  • Prelleur, P. (1730). The art of playing on the violin. Bow Church Yard: London. https://s9.imslp.org/files/imglnks/usimg/0/08/IMSLP678193-PMLP140468-Modern_ musick_master_001-converted-compressed-215-266.pdf
  • Rakowski, A. (1976, Nisan). Tuning of isolated musical intervals [Öz]. International Symposium on Musical Acoustics’de sunulan bildiri. U.S. Naval Academy, Annapolis, Maryland. The Journal of the Acoustical Society of America, 59(S1), S50. doi:10.1121/1.2002737
  • Rakowski, A. (1985). The perception of musical intervals by music students. Bulletin of the Council for Research in Music Education, 85, s. 175-186. https://www.jstor.org/stable/40317954
  • Rakowski, A. (1990). Intonation variants of musical intervals in isolation and in musical contexts. Psychology of Music, 18(1), s. 60-72. doi:10.1177/0305735690181005
  • Rasch, R. (2006). Tuning and temperament. Christensen, T. (Ed.). The Cambridge history of western music theory içinde (s. 193-222). 3. Baskı. Cambridge University Press.
  • Salzberg, R. S. (1980). The effects of visual stimulus and instruction on intonation accuracy of string instrumentalists. Psychology of Music, 8(2), 42–49. doi:10.1177/030573568082005
  • Sanchez, M. (2006, Ağustos). The expressive intonation in violin performance. 9th International Conference on Music Perception and Cognition’ da sunulan bildiri. Alma Mater Studiorum University of Bologna. http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.626.9059&rep=rep1&type=pdf
  • Sogin, D. W. (1989). An analysis of string instrumentalists’ performed intonational adjustments within an ascending and descending pitch set. Journal of Research in Music Education, 37(2), s. 104-111. https://doi.org/10.2307/3344702
  • Spohr, L. (1843). Louis Spohr’s celebrated violin school (J. Bishop, Çev.). R. Cocks & Co.
  • Yang, L., An, D. ve Turner, J. A. (2005). Handbook of Chinese mythology. ABC-CLIO, Inc.
  • Yarbrough, C., Morrison, S. J., & Karrick, B. (1997). The effect of experience, private instruction, and knowledge of directional mistunings on the tuning performance and perception of high school wind players. Bulletin of the Council for Research in Music Education, 134, s. 31-42. http://www.jstor.org/stable/40318878
  • Ward, W. D. ve Martin, D. W. (1961). Psychophysical comparison of just tuning and equal temperament in sequences of individual tones. The Journal of the Acoustical Society of America 33(5), s. 586-588. https://doi.org/10.1121/1.1908732
  • Zeren, A. (1997). Müzik fiziği. 2. Baskı. Pan Yayıncılık.

An Investigation on Intonation Tendencies of Musicians in Terms of Tuning Systems

Yıl 2023, Cilt: 13 Sayı: 1, 1393 - 1418, 23.03.2023
https://doi.org/10.48146/odusobiad.1173212

Öz

The aim of this research is to examine the studies in the literature on the perception of intonation accuracy in musicians. Intonation accuracy is a variable concept, especially in fretless and non-fixed pitch instruments. Many tuning systems have been created and used from history to the present. The most common ones among them are equal temperament, Just Intonation and Pythagorean system. In studies on the intonation accuracy of musicians, it has been concluded that instrument groups show systematically different tendencies. It has been determined that musicians playing string instruments are more inclined to Pythagorean system in melodic passages while Just Intonation in double-stops or harmonic context and wind instruments tend to Just Intonation or equal temperament. Mixed results were obtained in studies conducted with musicians playing keyboard instruments and four-voice choirs. Within the scope of the research, hundreds of studies with intonation tendencies in journals and theses examined in international indexes were scanned, and 24 studies were determined for the focus of the study. The results of these researches were shared according to the instrument groups, the opinions of the instrument pedagogues and the results obtained from the researches were discussed and inferences were made. Suggestions that can contribute to the music education institutions and the literature related to intonation tendency are given.

Kaynakça

  • Apel, W. (1974). Harvard dictionary of music. 8. Baskı. Cambridge, MA: The Belknap Press of Harvard University Press.
  • Arıkan, R. (2011). Araştırma yöntem ve teknikleri. Nobel Akademik Yayıncılık.
  • Ballard, D. L. (2011). Relationships between college-level wind instrumentalists' achievement in ıntonation perception and performance. Bulletin of the Council for Research in Music Education, 187, s. 19-32. http://www.jstor.org/stable/41162321
  • Benson, D. (2006). Music: a mathematical offering. Cambridge: Cambridge University Press. https://logosfoundation.org/kursus/music_math.pdf
  • Blum, D. (1980). Casals and the art of interpretation. University of California Press.
  • Boyden, D. D. (1951). Prelleur, Geminiani and just intonation. Journal of the American Musicological Society, 4(3),s. 202-219. https://doi.org/10.2307/829621
  • Brown, R. A. (1996). Dynamics of intonation in performances by artist violinists. Doktora tezi. ProQuest Dissertations and Theses veri tabanından erişildi. (UMI No. 9716413).
  • Carman, G. G. (1936). A study of intonation in violin playing. Yüksek Lisans Tezi. (Order No. TM18435). ProQuest Dissertations and Theses veri tabanından erişildi. (301778592). https://search.proquest.com/docview /301778592?accountid=1531
  • Flesch, C. (1939). The art of violin playing. Revised Edition. Carl Fischer, Inc.
  • Galamian, I. (1962). Principles of the violin playing & teaching. Prentice-Hall INC.
  • Geminiani, F. (1751). The art of playing on the violin. Opera IX: London. Erişim adresi: https://imslp.org/wiki/The_Art_of_Playing_on_the_Violin%2C_Op.9_(Geminiani%2C_Francesco)
  • Geringer, J. M. (1978). Intonational performance and perception of ascending scales. Journal of Research in Music Education, 26(1), s. 32-40. https://www.jstor.org/stable/3344787
  • Geringer, J. M. ve Witt, A. C. (1985). An investigation of tuning performance and perception of string instrumentalists. Bulletin of the Council for Research in Music Education, 85, s. 90-101. https://www.jstor.org/stable/40317945
  • Geringer, J. M., MacLeod, R. B., Ellis, J. C. (2013). A descriptive analysis of performance model’s intonation in a recorded excerpt from Suzuki Violin School Volume I. String Research Journal, 4, S. 71-88. https://doi.org/10.1177/194849921300400405
  • Geringer, J. M. (2018). Eight artist-level violinists performing unaccompanied Bach: Are there consistent tuning patterns? String Research Journal, 8(1), s. 51–61. DOI: 10.1177/1948499218769657
  • Gerle, R. (1983). The art of practising the violin. Stainer & Bell.
  • Greene, P. C. (1936). Intonation in violin performance. Proceedings of the Iowa Academy of Science, 43(1), s. 318-319. https://scholarworks.uni.edu/pias/vol43/iss1/114/
  • Hagerman, B. ve Sundberg, J. (1980). Fundamental frequency adjustment in barbershop singing. STL-QPSR, 21(1), s. 28-42. https://www.speech.kth.se/prod/publications/files /qpsr/1980/1980_21_1_028-042.pdf
  • Hall, D. E. ve Hess, J. T. (1984). Perception of musical interval tuning. Music Perception: An Interdisciplinary Journal, 2(2), s. 166-195. https://www.jstor.org/stable/40285290
  • Helmholtz, H. L. F. (1895). On the sensations of tone as a physiological basis for the theory of music. (çev. Alexander J. Ellis). 3. Baskı. London: Longmans, Green, And Co.
  • Hinton, D. E. (1982). The effect of different musical timbres on students’ identification of melodic intervals. Doktora Tezi. University of British Columbia, Vancouver. https://open.library.ubc.ca/cIRcle/collections/ubctheses /831/items/1.0095758
  • Howard, D. (2007). Equal or non-equal temperament in a capella SATB singing. Logopedics, Phoniatrics, Vocology. 32(2), s. 87-94. doi: 10.1080/14015430600865607
  • Joachim, J. ve Moser, A. (1905). Violin school in 3 volumes. Cilt 2. A. Moffad (Çev.). N. Simrock. https://ks.imslp.info/files/imglnks/usimg/2/21/IMSLP29617-PMLP66450-2.pdf
  • Kalender, C. (2021). Keman eğitiminde entonasyon becerisinin geliştirilmesine yönelik hazırlanan öğretim programının etkililiği. (Yayımlanmamış doktora tezi). Bolu Abant İzzet Baysal Üniversitesi Lisansüstü Eğitim Enstitüsü. Bolu.
  • Kantorski, V. J. (1986). String instrument intonation in upper and lower registers: the effects of accompaniment. Journal of Research in Music Education, 34(3), s. 200-210. https://doi.org/10.2307/3344749
  • Karaosmanoğlu, M. K. (2017). Müzik aritmetiği ve ses sistemleri. İTÜ Vakfı Yayınları.
  • Karrick, B. (1998). An examination of the intonation tendencies of wind instrumentalists based on their performance of selected harmonic musical intervals. Journal of Research in Music Education, 46(1), s. 112–127. doi:10.2307/3345764
  • Kopiez, R. (2003). Intonation of harmonic intervals: adaptability of expert musicians to equal temperament and just intonation. Music Perception, 20(4), s. 383–410. doi:10.1525/mp.2003.20.4.383
  • Leukel, W. ve Stoffer, T. (2004). The influence of harmonic context on the tuning of thirds played by professional flautists. Psychology of Music, 32(1), s. 75–88. doi:10.1177/0305735604039283
  • Lindley, M. (2001). Temperaments. https://doi.org/10.1093/gmo/9781561592630 .article.27643
  • Long, D. L. (2008). Coincidence theory: seeking a perceptual preference for just intonation, equal temperament, and pythagorean intonation in excerpts for wind instruments. (Doktora tezi, University of Southern Mississippi, Hattiesburg). Erişim adresi: https://aquila.usm.edu/dissertations/1148/
  • Loosen, F. (1993). Intonation of solo violin performance with reference to equally tempered, Pythagorean, and just intonations. The Journal of the Acoustical Society of America, 93(1), s. 525–539. doi:10.1121/1.405632
  • Loosen, F. (1994). Tuning of diatonic scales by violinists, pianists, and nonmusicians. Perception & Psychophysics, 56(2), s. 221–226. doi:10.3758/bf03213900
  • Loosen, F. (1995). The effect of musical experience on the conception of accurate tuning. Music Perception: An Interdisciplinary Journal, 12(3), s. 291-306. https://doi.org/10.2307/40286185
  • Mamaç, S. (2021). Pablo Casals: entonasyon ve ifadeli entonasyon kavramı. (Yayımlanmamış Sanatta Yeterlik Tezi). Yaşar Üniversitesi Lisansüstü Eğitim Enstitüsü. İzmir.
  • Mason, J. A. (1960). Comparison of solo and ensemble performances with reference to Pythagorean, just, and equi-tempered intonations. Journal of Research in Music Education, 8(1), s. 31–38. doi:10.2307/3344235
  • Mozart, L. (1756). Versuch einer gründlichen violinschule. E. Knocker (İng. Çev.), Treatise on the fundamental principles of violin playing. London (1948). Erişim adresi: http://archermusic.synthasite.com/resources/Leopold%20Mozart-Treatsie%20on%20the% 20Fundamentals%20of%20Violin%20Playing.pdf
  • Nickerson, J. F. (1949). Intonation of solo and ensemble performance of the same melody. Journal of the Acoustical Society of America, 21(6), s. 593–595. doi:10.1121/1.1906555
  • Papich, G. ve Rainbow, E. (1974). A pilot study of performance practices of twentieth-century musicians. Journal of Research in Music Education, 22(1), s. 24-34. https://www.jstor.org/stable/3344615
  • Partch, H. (1974). Genesis of a music: an account of a creative work, its roots and its fulfillments. 2. Baskı. Da Capo Press.
  • Platt, J. R. ve Racine, R. J. (1985). Effect of frequency, timbre, experience, and feedback on musical tuning skills. Perception and Psychophysics, 38(6), s. 543–553. doi: 10.3758/BF03207064
  • Prelleur, P. (1730). The art of playing on the violin. Bow Church Yard: London. https://s9.imslp.org/files/imglnks/usimg/0/08/IMSLP678193-PMLP140468-Modern_ musick_master_001-converted-compressed-215-266.pdf
  • Rakowski, A. (1976, Nisan). Tuning of isolated musical intervals [Öz]. International Symposium on Musical Acoustics’de sunulan bildiri. U.S. Naval Academy, Annapolis, Maryland. The Journal of the Acoustical Society of America, 59(S1), S50. doi:10.1121/1.2002737
  • Rakowski, A. (1985). The perception of musical intervals by music students. Bulletin of the Council for Research in Music Education, 85, s. 175-186. https://www.jstor.org/stable/40317954
  • Rakowski, A. (1990). Intonation variants of musical intervals in isolation and in musical contexts. Psychology of Music, 18(1), s. 60-72. doi:10.1177/0305735690181005
  • Rasch, R. (2006). Tuning and temperament. Christensen, T. (Ed.). The Cambridge history of western music theory içinde (s. 193-222). 3. Baskı. Cambridge University Press.
  • Salzberg, R. S. (1980). The effects of visual stimulus and instruction on intonation accuracy of string instrumentalists. Psychology of Music, 8(2), 42–49. doi:10.1177/030573568082005
  • Sanchez, M. (2006, Ağustos). The expressive intonation in violin performance. 9th International Conference on Music Perception and Cognition’ da sunulan bildiri. Alma Mater Studiorum University of Bologna. http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.626.9059&rep=rep1&type=pdf
  • Sogin, D. W. (1989). An analysis of string instrumentalists’ performed intonational adjustments within an ascending and descending pitch set. Journal of Research in Music Education, 37(2), s. 104-111. https://doi.org/10.2307/3344702
  • Spohr, L. (1843). Louis Spohr’s celebrated violin school (J. Bishop, Çev.). R. Cocks & Co.
  • Yang, L., An, D. ve Turner, J. A. (2005). Handbook of Chinese mythology. ABC-CLIO, Inc.
  • Yarbrough, C., Morrison, S. J., & Karrick, B. (1997). The effect of experience, private instruction, and knowledge of directional mistunings on the tuning performance and perception of high school wind players. Bulletin of the Council for Research in Music Education, 134, s. 31-42. http://www.jstor.org/stable/40318878
  • Ward, W. D. ve Martin, D. W. (1961). Psychophysical comparison of just tuning and equal temperament in sequences of individual tones. The Journal of the Acoustical Society of America 33(5), s. 586-588. https://doi.org/10.1121/1.1908732
  • Zeren, A. (1997). Müzik fiziği. 2. Baskı. Pan Yayıncılık.
Toplam 54 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Müzik
Bölüm DERLEME
Yazarlar

Caner Kalender 0000-0003-0100-9771

Yayımlanma Tarihi 23 Mart 2023
Gönderilme Tarihi 12 Eylül 2022
Yayımlandığı Sayı Yıl 2023 Cilt: 13 Sayı: 1

Kaynak Göster

APA Kalender, C. (2023). Müzisyenlerin Ses Sistemleri Açısından Entonasyon Eğilimleri Üzerine Bir İnceleme. Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi, 13(1), 1393-1418. https://doi.org/10.48146/odusobiad.1173212

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