Learning needs related to microtonal guitar: An analysis of video comments on YouTube platform

Öz

Since their introduction in 1826, microtonal guitars (MG) and adjustable fret guitars (AMG) have enabled the use of various microtonal approaches in many genres of music. In recent years, learning and teaching these guitars in informal and formal settings has become quite common. Video sharing platforms have also become important tools for the dissemination of MG performances and informal MG teaching and learning. This study presents a online learning perspective through MG videos on YouTube, perhaps the most effective of these informal environments today, and aims to identify individuals’ MG learning needs through these video comments. In this qualitative netnographic study, we obtained primary data through online-ethnographic techniques from 32430 comments on 268 MG videos on the Microtonal Guitar-Tolgahan Çoğulu channel on the YouTube platform, and secondary data through interviews with a group of 5 MG performer and teacher involved in pedagogical, academic and artistic productions on MG. The data was then subjected to content analysis. Collaborative coding was carried out using the qualitative data analysis programme MaxQda Analytics Pro 2020. Through content analysis, some categories common to both formal and informal learning of MG were accessed and learning needs were categorised into ‘general knowledge of MG and ‘learning-teaching processes of MG. The research findings indicate that learning needs are diverse and provide a landscape from which implications for MG trainers and curriculum developers can be drawn.

Anahtar Kelimeler

• Learning needs
• online learning
• netnography
• microtonal guitar
• YouTube

Mikrotonal gitar ile ilgili öğrenme ihtiyaçları: YouTube platformundaki video yorumlarının analizi

Öz

Mikrotonal gitarlar (MG) ve ayarlanabilir perdeli gitarlar (AMG), 1826’daki tanıtımlarından bu yana birçok müzik türünde çeşitli mikrotonal yaklaşımların kullanılmasına olanak sağlamıştır. Son yıllarda bu gitarların resmi ve gayriresmi ortamlarda öğrenilmesi ve öğretilmesi oldukça yaygınlaştı. Video paylaşım platformları da MG performanslarının yayılması ve informal MG öğretimi ve öğrenimi için önemli araçlar haline gelmiştir. Bu çalışma, günümüzde bu informal ortamların belki de en etkilisi olan YouTube’daki MG videoları üzerinden çevrimiçi bir öğrenme perspektifi sunmakta ve bu video yorumları üzerinden bireylerin MG öğrenme ihtiyaçlarını tespit etmeyi amaçlamaktadır. Bu nitel netnografik çalışmada, birincil veriler YouTube platformundaki Mikrotonal Gitar-Tolgahan Çoğulu kanalındaki 268 MG videosuna yapılan 32430 yorumdan online-etnografik tekniklerle, ikincil veriler ise MG üzerine pedagojik, akademik ve sanatsal üretimlerde bulunan 5 MG icracısı ve öğretmeni ile yapılan görüşmelerden elde edilmiştir. Veriler daha sonra içerik analizine tabi tutulmuştur. Ortak kodlama, nitel veri analizi programı MaxQda Analytics Pro 2020 kullanılarak gerçekleştirilmiştir. İçerik analizi yoluyla, MG’nin hem resmi hem de gayri resmi öğrenimi için ortak olan bazı kategorilere erişilmiş ve öğrenme ihtiyaçları ‘MG hakkında genel bilgi’ ve ‘MG’nin öğrenme-öğretme süreçleri’ olarak kategorize edilmiştir. Araştırma bulguları, öğrenme ihtiyaçlarının çok çeşitli olduğunu göstermekte ve MG eğitmenleri ve müfredat geliştiricileri için çıkarımlar yapılabilecek bir manzara sunmaktadır.

Anahtar Kelimeler

• öğrenme ihtiyaçları
• çevrimiçi öğrenme
• netnografi
• mikrotonal gitar
• YouTube

Kaynakça

1. Acet, R. C., Başar, B., Çoğulu, T., Çoğulu, A., Italia, T., & Keser, S. (2022). New additions to the guitar family: Lego and automatic microtonal guitars. Musicologist, 6(1), 26-41. https://doi.org/ 10.33906/musicologist.1079674
2. Ader, L. (2009). Microtonal storm and stress: Georgy Rimsky-Korsakov and Quarter-Tone Music in 1920s Soviet Russia1. Tempo, 63(250), 27-44. https://doi.org/10.1017/S0040298209000345
3. Adıgüzel Sala, B. (2024). Türkiye’nin halk müziği makamlarındaki mikroton içeren dizilerin klasik gitara uygulanması ve armonizasyonu (Thesis No. 847477) [Proficiency in art thesis, Sivas Cumhuriyet University]. Council of Higher Education National Thesis Center.
4. Alakavuklar, A. O. (2020). A lecture recital with a comprehensive study on the contributions to contemporary classical guitar repertoire by foreign classical guitar arranger-composers who lived in Turkey and were influenced by Turkish music [Doctoral dissertation, Indiana University]. IUScholarWorks. https://scholarworks.iu.edu/dspace/items/5047b4f1-1435-474b-afc0-22ee11d153d2/full
5. Anderson, T. (2004). Teaching in an online learning context. In T. Anderson (Ed.), Theory and practice of online learning (pp. 273-294). Marquis Book Printing.
6. Atmaca, E., & Gerekten, S. E. (2023). Learning needs of amateur bağlama students: A netnographic analysis on the basis of YouTube experiences. Cumhuriyet Uluslararası Eğitim Dergisi, 12(3), 760-776. https://doi.org/ 10.30703/cije.1282927
7. Azionya, C. M., & Nhedzi, A. (2021). The digital divide and higher education challenge with emergency online learning: Analysis of tweets in the wake of the COVID-19 lockdown. Turkish Online Journal of Distance Education, 22(4), 164-182. https://doi.org/10.17718/tojde.1002822
8. Benetos, E., & Holzapfel, A. (2013). Automatic transcription of Turkish makam music. In International Society for Music Information Retrieval (pp. 355-360). ISMIR.

9. Berelson, B. (1952). Content analysis in communication research. Free Press.
10. Boyd, D. (2008). Response to christine hine. How can qualitative internet researchers define the boundaries of their projects. SAGE.
11. Burnard, P. (2006). Telling half the story: Making explicit the significance of methods and methodologies in music education research. Music Education Research, 8(2), 143-152. https://doi.org/10.1080/14613800600827730
12. Carter, E. (1965). Expressionism and American music. Perspectives of New Music, 4(1), 1-13. https://doi.org/10.2307/832522
13. Castilla-Ávila, A. (2021). Microtonal scordatura in the guitar works of A. Castilla-Ávila (1996-2021). Revista Vórtex, 9(3), 1-16. http://dx.doi.org/10.33871/23179937.2021.9.3.1
14. Castilla-Ávila, A. (2023). New sounds on the guitar. The 21st Century Guitar, 1(1), 6.
15. Cebeci, G., & Esen, S. K. (2016). Netnografi yöntemi kullanılarak arabesk ve Türk sanat müziği sanal topluluklarının incelenmesi. Anadolu Üniversitesi Sosyal Bilimler Dergisi, 18(1), 129-142. https://doi.org/10.18037/ausbd.550780
16. Chadwin, D. J. (2019). Applying microtonality to pop songwriting: A study of microtones in pop music [Master’s thesis, University of Huddersfield]. https://eprints.hud.ac.uk/id/eprint/34977/1/CHADWIN%20FINAL%20THESIS.pdf
17. Cotter, A., & Oldham, M. (2018). An evaluation of active learning through teamwork activities in tertiary education. In ICERI2018 Proceedings (pp. 5379-5382). IATED. https://doi.org/110.21125/iceri.2018.0224
18. Crabtree, B. F., & Miller, W. L. (1999). Doing qualitative research. Sage Publications.
19. Crawford, R. (2013). Evolving technologies require educational policy change: Music education for the 21st century. Australasian Journal of Educational Technology, 29(5). https://doi.org/10.14742/ajet.268
20. Creswell, J. W. (2015). A concise introduction to mixed methods research. SAGE.
21. Çil, İ. (2018). Geleneksel Türk müziğinin flüt ile icrasında ileri flüt tekniklerinden ‘mikroton sesler ve perde bükme’ kullanımı (Thesis No. 532858) [Master’s thesis, Ordu University]. Council of Higher Education National Thesis Center.
22. Çomu, T. (2014). Web içeriklerinin metin temelli çözümlemesi. In Yeni medya çalışmalarında araştırma yöntem ve teknikleri (pp. 31-92). Ayrıntı Yayınları.
23. Çoğulu, T. (2018). El-Kindî’nin ud perde değerlerinin gitara uygulanması ve Enis Gümüş’ün ‘El-Kindî’ eserinin analizi. Ahenk Müzikoloji Dergisi, (3), 32-43.
24. Çoğulu, T. (2023). Mikrotonal Gitar Metodu 1. Ankara: Kitapol.
25. Çoğulu, T., & Beşiroğlu, Ş. Ş. (2013). Klasik gitarda çağdaş teknikler. Porte Akademik: Journal of Music & Dance Studies, (8), 250.
26. Dabbagh, N., & Kitsantas, A. (2012). Personal learning environments, social media, and self-regulated learning: A natural formula for connecting formal and informal learning. The Internet and Higher Education, 15(1), 3-8. https://doi.org/10.1016/j.iheduc.2011.06.002
27. Diep, A. N., Zhu, C., Cocquyt, C., De Greef, M., Vo, M. H., & Vanwing, T. (2019). Adult learners’ needs in online and blended learning. Australian Journal of Adult Learning, 59(2), 223-253.
28. Eren, O., & Güven, U. Z. (2022). Microtonal guitar culture in Turkey. Musicologist, 6(1), 1-25. https://doi.org/10.33906/musicologist.956706
29. Eysenbach, G., & Köhler, C. (2002). How do consumers search for and appraise health information on the world wide web? Qualitative study using focus groups, usability tests, and in-depth interviews. BMJ, 324(7337), 573-577. https://doi.org/10.1136/bmj.324.7337.573
30. Perez, F. & Çoğulu, T. (2019). Microtonal guitar for standard guitar with added frets Vol. I. Turkish & Persian traditional music (e-book). Mojo Roots Music.
31. Fiore, G. (2012). Reminiscence, reflections, and resonance: The just intonation resophonic guitar and Lou Harrison’s Scenes from Nek Chand. Journal of the Society for American Music, 6(2), 211-237. https://doi.org/10.1017/S1752196312000041
32. Forkert, A. (2020). Microtonal restraint. Journal of the Royal Musical Association, 145(1), 75-118. https://doi.org/10.1017/rma.2020.6
33. Garcia, A. C., Standlee, A. I., Bechkoff, J., & Cui, Y. (2009). Ethnographic approaches to the internet and computer-mediated communication. Journal of Contemporary Ethnography, 38(1), 52-84. https://doi.org/10.1177/08912416073108
34. Grant, J. (2002). Learning needs assessment: Assessing the need. BMJ, 324(7330), 156-159. https://doi.org/10.1136/bmj.324.7330.156
35. Gülüm, O. (2023). YouTube comments on violin instruction videos: An analysis of comments in Turkish. Music Education Research, 25(4), 367-380. https://doi.org/10.1080/14613808.2023.2244535
36. Güray, C. (2012). Bin yılın mirası makamı var eden döngü edvar geleneği. Pan Yayıncılık.
37. Hallam, S. (2002). Musical motivation: Towards a model synthesising the research. Music Education Research, 4(2), 225-244. https://doi.org/10.1080/1461380022000011939
38. Hornbostel, E. M., & Curt S. (1992). Classification of musical instruments. In H. Myers (Ed.), Ethnomusicology: An introduction (pp. 444-461). Macmillan.
39. Howard, P. N. (2002). Network ethnography and the hypermedia organization: New media, new organizations, new methods. New Media & Society, 4(4), 550-574. https://doi.org/10.1177/14614440232146681
40. Kahn, R. L. (1983). The dynamics of interviewing. Robert E. Krieger Publishing Company.
41. Kararoğlu, C. F. (2009). Profesyonel keman eğitiminde başlangıç seviyesindeki metotlar ile yöntem ve tekniklerin incelenmesi (Thesis No. 231819) [Master’s thesis, Marmara University]. Council of Higher Education National Thesis Center.
42. Kartomi, M. J. (1990). On concepts and classifications of musical instruments. University of Chicago Press.
43. Kasap, E. (2021). Mikrotonal gitarda makamsal müziğin çokseslendirilmesine ilişkin yaklaşımlar (Thesis No. 702446) [Master’s thesis, Ordu University]. Council of Higher Education National Thesis Center.
44. Kaya, M., Steffens, P., Hearn, G., & Graham, P. (2010). How can entrepreneurial musicians use electronic social networks to diffuse their music. In Proceedings of the 7th AGSE International Entrepreneurship Research exchange (pp. 679-691). University of the Sunshine Coast.
45. Keislar, D. (1987). History and principles of microtonal keyboards. Computer Music Journal, 11(1), 18-28. https://doi.org/10.2307/3680175
46. Koçer, Ö. (2013). Program geliştirmenin ilk basamağı: Yabancı dil olarak Türkçe öğretiminde ihtiyaç ve durum analizi. Eğitim ve Bilim, 38(169), 159-174.
47. Koh, J. H. L., Daniel, B. K., & Greenman, A. C. (2023). Adaptiveness for online learning: Conceptualising ‘online learning dexterity’from higher education students’ experiences. New Zealand Journal of Educational Studies, 58(2), 379-397. https://doi.org/10.1007/s40841-023-00287-2
48. Koutsoupidou, T. (2014). Online distance learning and music training: Benefits, drawbacks and challenges. Open Learning: The Journal of Open, Distance and e-Learning, 29(3), 243-255. https://doi.org/10.1080/02680513.2015.1011112
49. Kozinets, R. V. (2019). Netnography the essential guide to qualitative social media research. SAGE.
50. Kozinets, R. V. (2010). Netnography doing ethnographic research online. SAGE.
51. Kozinets, R. V., Dolbec, P. Y., & Earley, A. (2014). Netnographic analysis: Understanding culture through social media data. In U. Flick (Ed.), Sage handbook of qualitative data analysis (pp. 262-275). Sage.
52. Kulavuz, O. D., & Vásquez, C. (2013). Reconceptualising fieldwork in a netnography of anonline community of English language teachers. Ethnography and Education, 8(2), 224-238.
53. Kumar, V., & Nanda, P. (2024). Social media as a learning tool: A perspective on formal and informal learning. International Journal of Educational Reform, 33(2), 157-182. https://doi.org/10.1177/1056787922109430
54. Kvale, S. (Ed.). (1996). Inter views: An introduction to qualitative research interviewing. Sage Publications.
55. Lindley, M. (1984). Lutes, viols, and temperaments. Cambridge University Press.
56. Lysdahl, A. J. K. (2004). Eivind groven’s pure-tuned organ: Past and future. Fontes Artis Musicae, 51(2), 199-216.
57. Marshall, C., & Rossman, G. B. (2014). Designing qualitative research. Sage.
58. McClay, A. M. (2014). Geometry and tonal music: A mathematical and musical analogy in microtonal systems [Honors thesis, Appalachian State University]. https://mathsci.appstate.edu/sites/mathsci.appstate.edu/files/spring_2014_alison_mcclay_honors_thesis.pdf
59. Meffen, J. (1973). The temperament of keyboard instruments in England during the late sixteenth and early seventeenth centuries [Master’s thesis, Durham University]. https://etheses.dur.ac.uk/10096/
60. Merriam, S. B., & Grenier, R. S. (2019). Qualitative research in practice: Examples for discussion and analysis. Jossey-Bass Press.
61. Miles, M. B., & Huberman, A. M. (1994). Qualitative data analysis: An expanded sourcebook. Sage Publications Press.
62. Narushima, T. (2017). Microtonality and the tuning systems of Erv Wilson. Routledge.
63. Nex, J. S. (2013). The business of musical-instrument making in early industrial London [Doctoral dissertation, University of London]. https://research.gold.ac.uk/id/eprint/9606/
64. Nielsen, M. (2003). Microtonal systems and guitar composition [Master’s thesis, Dublin Institute of Technology School of Physics]. https://arrow.tudublin.ie/scienmas/27/
65. Noy, C. (2008). Sampling knowledge: The hermeneutics of snowball sampling in qualitative research. International Journal of Social Research Methodology, 11(4), 327-344.
66. Nurlybaeva, E. S. (2022). Music industry: The role of media channels in the promotion of young music groups. In Стратегии развития социальных общностей, институтов и территорий [Strategies of development of social communities, institutions and territories]. (Vol. 2, pp. 104-108).
67. Özbaş-Anbarlı, Z. (2020). Dijital etnografi: Dijital uzamı anlamak için bir yöntem. Global Media Journal: Turkish Edition, 10(20), 87-113.
68. Özkan, S. B., & Dönmez, B. M. (2014). Türkiye’de gitar pratiklerinde anadolu müziksel öğelerinin kullanılması süreci üzerine sosyo-kültürel bir araştırma. Sosyal Bilimler Dergisi, 5(17), 128-162.
69. Öztürk, O. M. (2022). Anadolu müziği: Yeni bir disiplin için müzikolojik bir çerçeve. Anadolu Müzik Kültürleri Dergisi, (1), 30-32.
70. Patton, M. Q. (1987). How to use qualitative methods in evaluation. SAGE.
71. Perković, I., Ranković, S., & Jović, M. (2019). Possibilities of netnographic research of YouTube users interested in Serbian musicial heritage. Papers in Ethnology and Anthropology, 30(19), 55-72.
72. Perks, R. (2022). Slap 19 (for Solo Microtonal Classical Guitar). https://kar.kent.ac.uk/95416/
73. Perlado Lamo de Espinosa, I., Muñoz Martínez, Y., & Torrego Seijo, J. C. (2021). Students with special educational needs and cooperative learning in the ordinary classroom: Some learnings from teaching practice. Journal of Research in Special Educational Needs, 21(3), 211-221. https://doi.org/10.1111/1471-3802.12511
74. Prior, D. D., & Miller, L. M. (2012). Webethnography: Towards a typology for quality in research design. International Journal of Market Research, 54(4), 505-520. https://doi.org/10.2501/IJMR-54-4-503-520
75. Punch, K. F. (2005). Sosyal araştırmalara giriş (D. Bayrak, H. B. Arslan, & Z. Akyüz, Trans.; 3th ed.). Siyasal Kitabevi.
76. Sachs, C. (1914). Die Hornbostel-Sachs’sche klassifikation der musikinstrumente. Die Naturwissenschaften, 2(51), 1056-1059.
77. Salavuo, M. (2008). Social media as an opportunity for pedagogical change in music education. Journal of Music, Technology & Education, 1(2-3), 121-136. https://doi.org/10.1386/jmte.1.2and3.121_1
78. Saldaña, J. (2014). Coding and analysis strategies. In P. Leavy (Ed.), Oxford handbook of qualitative research (pp. 581-605). Oxford University Press.
79. Sanabria-Acero, J., & Casals, A. (2024). Enseñanza virtual del tiple colombiano: Un análisis a través de videos tutoriales de la plataforma YouTube. Revista Internacional de Educación Musical, 12(1), 46-54. https://doi.org/10.1177/23074841241270318
80. Schneider, J. (1985). The contemporary guitar. University of California Press.
81. Schneider, J. (2015). The microtonal guitars of Harry Partch. Soundboard Scholar, 1(1), 5. https://doi.org/10.56902/SBS.2015.1.6
82. Schneider, J. (2023). 21st century guitar: Evolutions and augmentations. https://www.torrossa.com/en/resources/an/5397608#page=22
83. Shaopeng, H., Lee, O., & Ahn, J. (2021). A study on the influencing factors of consumers willingness to buy large musical instruments online. Journal of Theoretical and Applied Information Technology, 99(23), 5748-5761.
84. Siedenburg, K., Jacobsen, S., & Reuter, C. (2021). Spectral envelope position and shape in sustained musical instrument sounds. The Journal of the Acoustical Society of America, 149(6), 3715-3726. https://doi.org/10.1121/10.0005088
85. Similarweb. (2024). Top websites ranking for all categories in the world. January 1. https://www.similarweb.com/top-websites/
86. Stefanija, L., & Stanevičiūtė, R. (2020). Microtonal music in central and eastern Europe. Ljubljana University Press.
87. Stoess, H. (1987). History of tuning and temperament. http://terryblackburn.us/music/temperament/Tuning_Handout.pdf
88. Şahin, Ş., Ökmen, B., Boyacı, Z., Kılıç, A., & Adıgüzel, A. (2018). Eğitim programları ve öğretim yüksek lisans programı ihtiyaç analizi. Yükseköğretim ve Bilim Dergisi, (3), 502-511. https://doi.org/10.5961/jhes.2018.291
89. Tejada, J., & Spain, V. (2009). Hearing music notation through music score software: Effects on students music reading and writing. International Journal of Learning, 16(6), 17-32. https://doi.org/10.18848/1447-9494/CGP/v16i06/46351
90. Tüzel, B. (2022). Ebru sanatı geleneğine ilişkin netnografik bir analiz: YouTube’da koruma ve aktarım. Milli Folklor, 17(133), 207-221.
91. Uslu, F. & Demir, E. (2023). Nitel bir veri toplama tekniği: Derinlemesine görüşme. Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, 40(1), 289-299. https://doi.org/10.32600/huefd.1184085
92. Ünlenen, E. (2023). The microtonal guitar: Türkiye’s Segovia Moment. Rast Müzikoloji Dergisi, 11(4), 589-602. https://doi.org/10.12975/rastmd.20231146
93. Varis, P. (2015). Digital ethnography. In A. Georgakopoulou & T. Spilioti (Eds.), The Routledge handbook of language and digital communication (pp. 55-68). Routledge. https://doi.org/10.4324/9781315694344