TURKIC SESSION
  

All abstracts presented in the "Turkish World Session" will be evaluated in a book by the Azerbaijan National Conservatory. It is also planned that this book will be given to attendees at the conference date.

Full Text Last Submitted: The articles should be sent to amk-azmilcon@rambler.ru by 10 June 2018.

The information required for the full text is presented below.

Türkçe - English - русский - Azərbaycan


 

Within the conference calendar a special day will be organized which will enable Turkic World countries to make presentation in their mother tongue and hold scientific, artistic and educational activities.

Within the scope of these activities, in line with the theme and content of Life’s Journey Through Music it is planned to reveal in an effective way the specific, rich, cultural, scientific, educational and artistic features of music in perception, application and education of music extending from past to today in the Turkish World. Decision for selection and programming of presentations and activities appropriate for the content would be made by a special scientific and art board.

Azerbaijan National Conservatory

 

In accordance with these objectives activities below shall be programmed;

  • Oral presentations in the format of 20 + 10 min. Presentation and Question /Answer
  • Poster presentations
  • Workshop Activities
  • Panels
  • Symposium
  • Special exhibitions consisted of various musical materials and equipment about music
  • 40 minutes conferences
  • 20 minutes performance by specially selected groups or solo concerts specific to Turkic World

Turkic Session Science and Art Committee

Chair :

Prof. Siyavush Karimi
The rector of the Azerbaijan National Conservatory, People’s artist of the Respublic of Azerbaijan. Baku, Azerbaijan

Co-Cahirs:

Prof. Dr. Lala Huseynova
Vice-Rector for Science work of the Azerbaijan National Conservatory. Baku, Azerbaijan

 

General Secretary: Azerbaijan National Conservatory Coordinator:
Assist. Prof. Dr. Başak Gorgoretti
Eastern Mediterranean University. Faculty of Education. Department of Music Education. Famagusta, TRNC
Master Fardin Mammadli
Laboratory of National Music Research of the Azerbaijan National Conservatory. Baku, Azerbaijan

Scientific Committee

Prof. Dr. Abbasgulu Najafzade
Head in Laboratory of National Music Research of the Azerbaijan National Conservatory. Baku, Azerbaijan
Prof. Dr. Ali Uçan
Gazi University. Faculty of Education. Department of Music Education. Ankara, Turkey (Retired). Honorary Chairman of Turkish World Music Education Association Turkey
Prof. Dr. Fattakh Khaligzade
Department of Music History and Theory of the Azerbaijan National Conservatory. Baku, Azerbaijan
Prof. Dr. Hanefi Özbek
Medipol University. Turkish Music Department. Istanbul,Turkey
Prof. Dr. Magali Kleber
Universidade Estadual de Londrina. Brazil
Prof. Dr. Masafumi Ogawa
Yokohama National University. Faculty of Education and Human Science. Japan
Prof. Suna Çevik
Gazi University. Faculty of Education. Department of Music Education. Ankara, Turkey (Retired)
Prof. Dr. Ülker Aliyeva
Laboratory of National Music Research of the Azerbaijan National Conservatory. Baku, Azerbaijan
Doç. Dr. Fakhraddin Bakhshaliyev
Laboratory of National Music Research of the Azerbaijan National Conservatory. Baku, Azerbaijan
Assoc. Prof. Patrick Schmidt
University of Western Ontario, Canada.
Yrd. Doç. Dr. Nuri Özcan
Medipol University. Fine Arts Design and Architecture Faculty. Istanbul,Turkey
Yrd. Doç. Dr. Yavuz Durak
Abant Izzet Baysal University. Faculty of Education. Department of Music Education. Bolu,Turkey
Arthur Gill
Music Teacher Special Education Centre VHC PHC Pakistan. Special Ed Teaching Assistant for Prospero Teaching Manchester.
Specialist Meral Mete
Hacettepe University Faculty of Education. Department of Elementary Education. Primary Education. Ankara, Turkey
Refik Saydam
MÜZED President of the Association of Music Educators . Ankara, Turkey
 
Richard Hallam
Hallam Creative Enterprises. United Kingdom.
Timur Davletov
TURKSOY International Turkish Culture Organization
 
     
     
     

Turkic Session Presentation and Programme Speciality

Please click for abstract submission system in Turkish for Turkic session. All the slides and visual documents should be prepared in English but the presentations can be done in Turkish, Azerbaijani, English or Rusian. There will be simultaneous translation.

Abstract Submission Deadline: 15 March 2018

 

Turkic session Book
Full text book will be prepared.


17 JULY 2018, TUESDAY

13:00-13:40

Opening Remarks
TC BAKU BÜYÜKELÇİSİ ERKAN ÖZORAL
PROF. DR. SİYAVUŞ KERİMİ (Rektör)
REFİK SAYDAM (MÜZED Başkanı)
PROF. DR. ALİ UÇAN (TÜRKMEB Onursal Başkanı)
PROF. DÜSEN KASEİNOV (TÜRKSOY Genel Sekreteri )
PROF. LEE HIGGINS (ISME Başkanı)
MRS. SEVDA MAMMADALİYEVA the Chairman of The Organizing Committee  (Azerbaycan Kültür Bakanlığı Bakan Yardımcısı)
MR. FİRUDİN GURBANOV the Member of The Organizing Committee(Azerbaycan Milli Eğitim Bakanlığı Bakan Yardımcısı)

13:40-14:20

INVITED SPEAKER
PROF. DR. ALİ UÇAN(TÜRKMEB Onursal Başkanı)
“İnsanlığın İlk Doğal-Temel-Ortak Müziksel Donanımı”

14:20-15:20

Azerbaycan Milli Konservatuvarı Halk Çalgıları Orkestrası Konseri

15:20-15:40

COFFEE BREAK

15:30-17:10

PARALLEL SESIONS

  HALL 1
ABSTRACTS
HALL 2
ABSTRACTS
HALL 3
PANEL
“POSITION OF UNIVERSITY EDUCATION IN MUSIC IN THE WORLD”
HALL 4
ABSTRACTS
WORKSHOPS
(Duration:60dk)

Fattah Khaligzade
Türk halkları müziğinde aksak ritmler

Fakhraddin Bakhshaliyev
 Ortadoğu makam musikisi ve divan edebiyyatı

Gulhanim Asadzada
Zikir müziği Şamahı bölgesinde

Ceren Doğan, Belir Tecimer
The effect of piano-assisted music activities on early mathematical reasoning skills of the 
preschoolers

Habiba Mammadova
Azerbaycan'da Muğam İfaçılığının Gelişimi

Zulfiyye Huseynova
Şirvan âşık havalarının ritim konularına dair

Aysel Bagirova
“Arşın mal alan” opereti Azerbaycan halk müzik aletleri orkestrası faaliyetinde geçtiği yol

MODERATORS
PROF. DR. ALİ UÇAN &
PROF. LEE HIGGINS

PANELISTS
Prof. Dr. Ali Uçan
Prof. Dr. Siyavush Karimi 
Prof. Dr. Farah Aliyeva
Prof. Dr. Hanefi Özbek 
Sylvia Schwarzenbach 
Alexandra Kertz-Welzel 

Zumrud Araz Akhundova Dadashzade
Dialectics of the national and the global in Azerbaijani music

Fardin Ilham Mammadli
 Azərbaycan muğamında "Bərdaşt" şöbəsinin yaranma şərtləri və mövqeyi

Aydan Babayeva Rashidova
Source Study Issuses In Middle Ages Eastern Treatises

15:30-16:30
Özgü Bulut
"Comprovisation" in Body Percussion

16:30-17:30
Hüseyin Yükrük
Regional Plectrum Conduts of Bağlama

17:10-17:30 COFFEE BREAK
17:30-19:00 PARALLEL SESIONS
 

HALL 1
ABSTRACTS

HALL 2
ABSTRACTS

HALL 3
KONFERANS

HALL 4
ABSTRACTS

WORKSHOPS
(Duration:60dk)

 

Hüseyin Cevahir Ünal, Yavuz Durak
Müziksel İşitme, Okuma, Yazma Dersinin Öğrencilerin Dikte ve Deşifre Başarısına Etkileri

Afsana Ağayar Babayeva
Musical-poetic genres of Islamic religion in the ethnocultural context in Azerbaijan

Dolunay Akgül Barış, Uğur Alpagut, İlknur Karageyik, Öznur Akkaya
Bolu Çocuk Sanat Atolyeleri Projesi

Beste Esen Biçer
Türk Müziğinde Geçmişten Günümüze Taksim Formu ve Özelikleri

 Tolga Oter
Türk Müziğinde Âhenk ve Makâm Meselesi

Kibele Kıvılcım Çiftçi
Zekâi Dede’nin Hüzzâm Bestelerinin 18.yy. Nazariyat Anlayışı İçerisinde Değerlendirilmesi

Emrah Tuncel
Abdülbâki Nâsır Dede'nin Makâm Tarifleri Doğrultusunda Klasik Kemençe İle Taksim Kabiliyetini Geliştirmeye Yönelik Bir Çalışma

Serda Türkel Oter
Klasik Türk Müziğinde Uslûp ve Tavır




Masafumi Ogawa
Issues of Movable-Do System at the Grade Schools in Asian Countries; Comparing with Japan, Vietnam and Indonesia

Jian Yu
To create a brand of arts and culture to help the school art development

Gunel Bakirova
Role of ornamental exercises in pedagogical experience and development fortepiano technical skills

Akif Guliyev
Azerbaycan professional musiqi tehsilinde saz aletininin tedrisine dair

Aygül Şahmirzə Səfixanova
Azerbaycan'in Karabağ bölgesinin hayvancılık türkülərinin semantik özellikleri

Firuza Asadzada
Urmiye âşıkları (halk ozanları) karşılaştırmalı tahlilde

Sevan Nart
A Recommended Rubric for Individual Voice Education Course



Özgü Bulut
Circle Songs with Usûls and Body Percussion

18 JULY 2018, WEDNESDAY

13:00-13:20

CONCERT
“KLASİK TÜRK MUSIKİSİ KONSERİ’’
Solist: Serda TÜRKEL OTER
Kanun: Kibele ÇİFTCİ
Klasik Kemençe: Beste ESEN BİÇER
Ud: Tolga OTER

13:20-14:00 INVITED SPEAKER
LALA HÜSEYİNOVA
“TÜRK DÜNYASINDA AŞIKLIK SANATI”

14:00-14:20

COFFEE BREAK

14:30-16:00

PARALLEL SESIONS

 

HALL 1
ABSTRACTS

HALL 2
ABSTRACTS

HALL 3
KONFERANS
(Duration:40dk)

HALL 4
ABSTRACTS

HALL 5
WORSHOPS

  TÜRKMEB PANELİ

Moderatörler
PROF. DR. ALİ UÇAN
Türkmeb Onursal Başkanı
PROF. DR. UĞUR ALPAGUT
Türkmeb Genel Sekreteri

Konuşmacılar
PROF. DR. DÜSEN KASEİNOV
TürkMeb Başkanı
PROF. DR. FARAH ALİYEVA
PROF. DR. SİYAVUSH KARİMİ
PROF. DR. FERHAD BADALBEYLİ
PROF. DR. ALİ UÇAN
PROF. DR. UĞUR ALPAGUT

Aytach Rahimova, Aynur Elhan Nayir
Color Effect in Music Education

Vafa Nizami Khanbayova
Mugham- maqam thinking as a source of the European cyclic form

Aytach Rahimova, Aynur Elhan Nayir
Mod Tetrachords İn The Theory of Western Music and Their Place in Azerbaijan and Turkish Music Makam (Mod) Scales.

CONFERENCE

PROF. SUNA ÇEVİK

An innovative and unique approach to music and art education in the scope of the quality education goal of the United Nations’ "Sustainable Development Goals and 2030 Agenda".

Gülnarə Manafova
Eski Türk destanlarının yeni bale düzenlemesi: "Oğuzname" balesi

Fazilə Ramiz Qızı Nəbiyeva
Circular dancing as the common values of turkish people

Jala Elman Gulamova
Thesis: ARIF BABAYEV’S MUGHAM PERFORMANCE TRADITIONS

14:30-15:30
Sezen Ozeke
ONE-Two / ONE-Two-Three, CAN You COUNT With Me?: An Approach to Teach Irregular Meters

15:30-16:30
Özgü Bulut
Soundpainting

16:00-16:20 CONCERT
KANUN-TAMBUR KONSERİ
PROF. DR. HANEFİ ÖZBEK-YRD. DOÇ. DR. VOLKAN GİDİŞ

16:30-18:00

PARALLEL SESIONS

 

 

HALL 1
ABSTRACTS
HALL 2
ABSTRACTS
HALL 3
KONFERANS
(Duration:40dk)
HALL 4
ABSTRACTS
HALL 5
WORKSHOP/
POSTERS

Pike Axundova-Talibli
On the application of nonlinear development principles in Mugham teaching

Gulnar Axundova
About polysemy principles of unity concept in Chahargah mugham mode

Pınar Beşevli Solmaz
12 Mart (1971) Muhtırası’ndan, 12 Eylül (1980) Darbesi’ne Kadar Türkiye’de Hükümet Politikalarında Müzik

Nuride Ismayilzade
Mодель первоисточника азербайджанской народной музыки в творчестве русского композитора "Р. Глиэра"-как один из компонентов изучения национальных образцов

Yegana Taptiqova
Musical development of the student in the process of early harp education

M. Nevra Küpana
Müzik Öğretmeni Adaylarının Bilinçli Farkındalık Düzeylerinin İncelenmesi

Gulnaz Abutalıb Abdullazade
Uluslararası iletişimde mugam sanatının evrensel mahiyeti

PROF. DR. ENVER TUFAN
“Yaşam Bir Akorun İçinde Gizli”

WORKSHOP
Enver Tufan-Selmin Tufan

Piyanoda Temel Davranışların Kazandırılmasında Dört El Çalışmalarının Önemi

Yalcin Abdulla
Bektaşi Cemevlerinde düzenlenen törenlerin dini, sosyal ve kültürel değerleri

Seyhan Bulut
Flüt Müziğinin Dönemsel Stil Özellikleri ve Yoruma Etkisi “Müzik Notada Değil Altında Yatan Bilgide Gizlidir”

Ayten Kaplan
Karacaoğlan’ın Bestelenmiş Şiirlerinde Söz ve Müzik Uyumu

Ebru Bozdemir Kargı
Türk Bestecilerinin Viyola Eserleri ve Nejat Başeğmezler’in Bestecilik Özellikleri

16:30-17:30
Hanefi Özbek-Volkan Gidiş
Kanun-Tambur Çalıştayı

Nurana Shixali Zeynalova
National frets of azerbaijan and problem of performance of folks music in pianoforte works

19 JULY 2018, THURSDAY

13:30-15:30 PARALLEL SESIONS

 

HALL 1
ABSTRACTS

HALL 2
ABSTRACTS

HALL 3
ABSTRACTS

HALL 4
ABSTRACTS

HALL 5
ABSTRACTS

Farhat Kadir Pala, Pınar Mıhcı Türker, Özlem Kılınçer
Pasif Haptik Öğrenmenin Piyano Çalmaya Etkisi

Naira Kamal Qulamova
XX. Yüzyıl Azerbaycan Müziğinde Doğu ve Batı Ananelerinin Sentezi

Jamila Amirova
Evolution of interpretation in Azerbaijani jazz history

Jeyran Mahmudova Emin
Educational Issues of Eruz Poetic Style in Azerbaijan Mugam

Rana Azer Mammadova
Methodology of teaching mugham in terms of functionality theory

Nargiz Huseynova
Methodological problems in teaching modern vocal art

Selmin Tufan
Müzik Öğretmenliği Lisansüstü Programlarında Piyano Pedagojisi Dersinin Önemi

Gullu Ismayilova
Modern Cultural policy and the role of national ideology in composer’s work

Çağrı Başbuğ, Şeydagül Kapçak, Samir Gülahmedov
Türkiye ve Azerbaycan’daki İlköğretim ve Ortaöğretim Düzeyindeki Müzik Okullarının Çeşitli Değişkenler Yönünden İncelenmesi

Dolunay Akgül Barış, Uğur Alpagut, İlknur Karageyik, Öznur Akkaya
Bolu Çocuk Sanat Atolyeleri Projesi

Mammadali Mammadov
Yeni ulusal müzik aletlerinin yaratılmasının gerekliliği

Nihan Yağışan
Profesyonel Müzisyenlerde Kas İskelet Sistemi Ağrılarının Postürle İlişkisinin İncelenmes

Sevinç Yaşar Azizova
Azerbaycan muğamlarının geniş çaplı invariantlığının işlevsel önemine dair

Abdullah Uz
Yükseköğretim Kuurumlarındaki Azerbaycanlı Müzik Eğitimcilerinin Türkiye Müzik Eğitimi Sürecine Etkileri

Maryam Yusifova
Concerning interaction of composer, performing and pedagogical activity on the example of Elmira Nazirova’s creativity  

Canan Özgür
The Relation Between Text and Music in the Work “Hayalimdeki Bahçe” of Nazife Güran


13:30-14:30

Yavuz Durak-Cevahir Ünal Worshop
Uygulamalı Müzik Teknolojileri Atölyesi

15:30-15:45 COFFEE BREAK
15:45-17:45

PARALLEL SESIONS

 

HALL 1
ABSTRACTS

HALL 2
ABSTRACTS

HALL 3
ABSTRACTS

HALL 4
ABSTRACTS

HALL 5
ABSTRACTS

 

Duygu Küçük, Giray Koçaslan
Türk Operalarında Tarih Öncesi Anadolu Medeniyetlerinin İzleri: Gılgamış ve Inanna Operaları

Yaver Neymatli
Azerbaycan bestecilerinin eserlerinde keman koncerto türünün gelisimi ve icracilik problemleri

Birsen Jelen
The Relationship Between Music Performance Anxieties and Mindfulness Levels of Turkish Music Teacher Candidates

 

Sabina Muradova
Pedagogical Principles of Z. Adigozalzade

Abbasgulu Ismayıl Najafzade
Zurna Türk Dili Halkların Ortak Müzik Aletidir

Kamile Hüseyn Dadaşzade
On some cognitive models of the epos “Book of Dada Gorgud”



Hatice Selen Teki̇n
Âzerbaycan ve Türk Müziği Makamlarının Karşılaştırmalı İncelenmesi

Volkan Gidiş, Hanefi Özbek
Composition Education in Turkish Maqam Music

Pınar Şahin, Zeynep Yadigaroğlu
Güzel Sanatlar Liseleri Piyano Öğretim Programında Kullanılan Makamların Uygulanabilirliğine Dair Öğretmen ve Öğrenci Görüşleri


İsmail Sözen, Yavuz Durak
İşbirlikli Öğrenme Yaklaşımı ile Yapılan Toplu Bağlama Öğretiminin Performans ve Tutuma Etkisi

Rıdvan Ak, Gamze Elif Tanınmış
Claude Debussy’nin Tanburi Cemil Bey’in Müzikal Üslubuna Etkisinin İzlenimcilik Akımı Çerçevesinde Değerlendirilmesi

Ariz Ariz Abduleliyev
Azerbaycanda modern muzik egitiminin olusturulmasi.

İsmail Sözen, İsmail Hakkı Çatlak
Türkiye ve Azerbaycan Müzik Öğretimi Programlarının Karşılaştırılması


Ayşegül Göklen, Sezer Dinçer, Yavuz Durak
Carmina Burana Sahne Kantatının O Fortuna Bölümü Orkestra Partisyonları ile Piyano Eşliğinin Karşılaştırılması

Uğur Alpagut, Çağlayan Kurtoğlu
Küresel akışların etkisi altındaki eğitim sanat anlayışı ve Türkiye Bolu’da İlköğretim seviyesindeki mülteci çocukların (Iraklı / Suriyeli) eğitim yaşantılarında müzik eğitiminin rolü

Arzu Guliyeva
About teachıng Azerbaıjanı natıonal musıcal ınstruments (tar and kamancha) in Turkey




20 JULY 2018, FRIDAY

13:00-13:20 CONCERT
13:30-15:00 PARALLEL SESIONS

 

HALL 1
ABSTRACTS

HALL 2
ABSTRACTS

HALL 3
PANEL

HALL 4
ABSTRACTS

HALL 5
ABSTRACTS

Serap Yükrük
Okul Öncesi Öğrencilerde Müziksel Algının Görsel Algı Üzerine Etkisi

Hüseyin Yükrük
Bağlamada Yapısal Olarak Deneysel Biçimler

Emine Pınar Tatar Arık
Antakya ve Çevresinde Yaşayan Kültürel Toplulukların Düğün Ezgilerinin İncelenmesi

Itır Eskioğlu, Birsen Jelen
Piyano Eğitiminin Öğretmen ve Öğrenci Merkezli Eğitim Yaklaşımlarıyla İncelenmesi

Emine Pınar Tatar Arık
Antakya ve Çevresinde Yaşayan Kültürel Toplulukların Düğün Ezgilerinin İncelenmesi

  Yavuz Durak-Cevahir Üna
15:00-15:20 COFFEE BREAK
15:20-15:40  
15:45-17:45

PARALLEL SESIONS

 

HALL 1
ABSTRACTS

HALL 2
ABSTRACTS

HALL 3
ABSTRACTS

HALL 4
ABSTRACTS

HALL 5
ABSTRACTS

 

         
           

 

Azerbaijan National Conservatory

About the Conservatory  

Azerbaijan National Conservatory, established under the Decree signed in 2000 by the national leader Heydar Aliyev, is one of the first higher education institutions to start operating in the years of independence.
The main objective of Azerbaijan National Conservatory is to train skilled professionals for the advancement of the national music, as well as studying, and promoting it. Organizing higher music education on a scientific basis, linking education to science and practice are our most important and urgent tasks. Our ultimate goal is to shape students’ professional image and present them to the public as expert musicians. 
Composer Prof. Siyavush Ashraf oghlu Karimi, who is the recipient of the title of ‘People’s Artist' as well as the ‘Order of Glory', is the rector of Azerbaijan National Conservatory.

Academic staff
Professional teaching staff at Azerbaijan National Conservatory consists of prominent performers of folk instruments, singers, professional conductors, well-known musicologists, composers and many scholars who specialize in various fields of social science. More than one hundred fifty (150) professors work at the Conservatory that boast of holding various scientific and honorary titles including 20 People’s Artists, 13 Honored Art Workers, 27 Honored Artists and 13 Honored Teachers of Azerbaijan.

Teaching and disciplines
The Conservatory provides three levels of degrees: Bachelor's, Master's and Doctoral degrees. As with all higher institutions, the ANC implements the Bologna process. Educational issues and questions relating to teaching and sciencific research are discussed at the meetings of the Scientific Council, and a collegial decision is made. Prof. Malik Guliyev, vice-rector on Educational Affairs is the head of Education at the conservatory. Following disciplines are taught at the Conservatory: folk instruments; solo singing (khananda); solo singing (national vocal); Conducting (on folk instruments); composing music; music studies; Art of Estrada; Teaching Music.

Faculty of Performing Arts
The Faculty of Performing Arts is composed of departments such as "Solo singing” (khananda), "Instrumental mugham", "Folk instruments", "General fortepiano", "Music history and theory", "Orchestration and conducting of folk instruments", "National vocal" and "Social sciences". Faculty of Performing Arts students who study folk, national wind and percussion instruments and solo singing (khananda) learn how to play tar, kamancheh, canun, balaban and piano as well mastering the secrets of the art of khananda. 
Associate Professor Leyla Guliyeva  serves as the dean of the faculty.

Scientific research
Scientific and scientific-methodical works conducted by the departments, activities of two scientific laboratories, publication of the scientific journal "Conservatory", Bachelor's degree students’ theses and dissertations of Masters, Candidate and PhD students, organization of international conferences and symposiums, seminars and roundtables held within the conservatiory make up the bulk of the scientific activity at Azerbaijan National Conservatory.
Vice-rector for Scientific Research, musicologist Prof. Lala Huseynova heads this department.

 

Laboratories
Two laboratories operate  within the ANC: "Exploration of National Music" and "Improvement  of  National musical instruments" laboratories. Laboratories seek to address urgent problems relating to the national music, national instruments, music history and theory, develop new ideas and proposals; update scientific-methodical practice; attend various conferences and symposiums and write scientific papers.
“Exploration of national music” scientific research laboratory was launched in 2003. A great deal of work has been undertaken by the laboratory since then. The laboratory has made considerable contributions to studying and researching the national music, and published several scientific papers in the local press. Libraries across the country have been very effective in providing the  employees of the laboratory with valuable knowledge, and the school administration has established very favorable conditions for the employees and supplied the laboratory with necessary technical equipment. Abbasgulu Najafzadeh, who has a doctoral degree in fine arts, is in charge of the  laboratory. 
"Improvement of  National musical instruments” scientific research laboratory was established in 2003. Laboratory focuses on improving the national musical instruments as well as inventing new ones. However, the most important goal is the restoration of our ancient folk instruments, creation of new genres and their application to performing and teaching. Improvement of tar, kamancheh, canun,  restoration of chang , creation of bass and tenor types of balaban, invention of bass tar and others are among the accomplishments of the laboratory. The laboratory is headed by Mammadali Mireli oghlu Mammadov.

International cooperation
The Department of International Relations has been operating ever since the conservatory was founded.  Department established closed ties with the similar institutions at all higher education centers across the country. It also cooperates with all the embassies accredited in the country.

Creative Collectives
Folk instruments Orchestras
Two folk instruments orchestras made up of the students of the conservatory – “Buta” and “Hemaheng” orchestras – were established upon the initiatives of rector Siyavush Karimi. Orchestras’ play a wide range of repertoire including the works by Azerbaijani, as well as Russian and European composers.

Student choir
Student choir is one of the collectives within the Azerbaijan National Conservatory. There are also two other choirs operating at the Conservatory. Choirs, led by Honored Art Worker Dilara Aliyeva and Tarana Yusifova, perform regularly at the concerts with a very diverse music program.
“Music College” and “Art Gymnasium”  within the conservatory
In accordance with the decree of the national leader Heydar Aliyev dated 10 August 2001 entitled, “On the establishment of the material and technical infrastructure of the Azerbaijan National Conservatory”, Baku Music College and Republican Art Gymnasium merged into the conservatory. Professional  teaching staff in these education centers work tirelessly to train the new generations of musicians.

Department for preparation of international students
Preparatory Department for International students was established in 2005. In this short period of time, students all over the world including Iran, Turkey, South Korea, Kazakhstan, Uzbekistan, Canada and the United States of America have applied to study in the conservatory.

Our laureates
Azerbaijan National Conservatory has achieved popularity in a short period of time. Our teachers and students have made news in Turkey, Iran, Russia, France, the USA, Canada, Arabic states, Japan, Middle Eastern republics and other places with their successful scientific works and performances. Presidential scholarship receivers, laureates of various international and domestic awards study at the ANC.

Student life
Student-Youth Organization within our University was founded in 2005. The Student-Youth Organization brings students together based on common interests and principle of volunteerism and ensures their active participation in public life.

Additional information
The conservatory has large and small concert halls, a conference hall, a mugham club decorated with national ornaments and ancient carpet patterns, a modern recording studio, a library, a reading hall, a sports and education complex, a student dorm with all necessary amenities available and more than 100 classrooms. Moreover, educational, scientific secretariat, departments for organizing concerts, trade unions and youth organizations are all integral part of the ANC.

PANEL - “Müzikte Üniversiter Eğitimin Dünyadaki Durumu”

Moderators:

Panelists:

  • Farah Aliyeva
  • Silja Fisher

Keynote Speakers

Conferences

Workshop - Piyanoda Temel Davranışların Kazandırılmasında Dört El Çalışmalarının Önemi

Piyano eğitimi içerisinde dört el piyano çalışmaları ayrı bir öneme sahiptir ve birçok besteci bu amaca yönelik eserler ortaya koymuştur. Piyanoda dört el çalma, literatürde düet olarak da ifade edilmektedir. Dört el çalmanın özellikle başlangıç düzeyindeki öğrencilerde; ritmik beraberlik, çok sesli duyumun gelişmesi, eserin sabit tempoda kalınarak çalınabilmesi, deşifre becerisi ve müzikalitesinin gelişmesi ile çocuğun kendine güven duygusunun artması gibi konularda katkı sağladığı bilinmektedir. “Piyanoda Temel Davranışların Kazandırılmasında Dört El Çalışmalarının Önemi” başlığı adı altında; yukarıda sözü edilen kazanımların yanında, söz konusu temel davranışların kazandırılarak pekiştirilmesi amacıyla yazılmış 10 tane dört el piyano parçası seslendirilecek ve nitelikli bir piyano eğitim sürecinin hem örgün hem de amatör müzik eğitimi bağlamında değerlendirmesine çalışılacaktır.

"Kanun ve Tanbûr" Çalıştayı

1/Hüseynî Peşrev (Lavtacı Andon Efendi), 2/Hüseynî Şarkı-Senden bilirim yok bana bir faide-Tanbûrî Ali Efendi, 3/Hüseynî Şarkı-Hicran oku sînem deler-Şevkî Bey, 4/Kanun ve Tanbûr Taksimi 5/Hüseynî Şarkı-Kıvrım kıvrım n’olur dökme beline-Hanefi Özbek 6/Hüseynî Oyun Havası-Çeçen Kızı-Tanbûrî Cemil Bey

Yukarıdaki eserler icra edilecek,
Eserlerin makamı, usûlü ve formu hakkında bilgi verilecek. Kanun ve Tanbûr hakkında bilgi verilecek.

Regional Plectrum Conduts of Bağlama

Abstract
Bağlama is the most important instrument of Turkish Folk Music. Regional playing styles of bağlama engendered out of some necessities during presentation. The conduct of plectrum determines the style of playing. It is possible to learn the region of a song by listening to the conduct of the plectrum. The features such as, the direction of using plectrum, the strings used, and rhythm create the regional conduct of plectrum. This study illustrates and exemplifies regional plectrum conduts of bağlama.

Workshop  - Circle Songs with Usûls and Body Percussion

The aim of this workshop is to demonstrate the contemporary use of Usûls (Classical Ottoman-Turkish Music Rhythm patterns) in making polyrhythmic circle songs with body percussion. The literature about those patterns date back to the 7th century. There are many composed patterns that have been travelling through ages and their composers are unknown. However, the existence and survival of a pattern is just like natural selection. If some composers use the pattern, it is not forgotten, it lives. On the contrary, if it is not used, it may be forgotten and erased from memory. At the workshop, after some warming up, we will work on the traditional way of usûl practice that is called “usûl meşki”. Usûl meşki is a form of body percussion that is practiced on the thighs. Usûls are learnt with some spoken syllables, which is a sort of vocal percussion. Some vocabulary to be mentioned is mertebe, darb, ika  and  velvele. Next step at the workshop will be the transition from traditional to contemporary use of the patterns. In the end we will be singing two or three circle songs while playing polyrhythms of short (<15 beats) and long (>15 beats) Usûlswith soft touches on our bodies while dancing. Deep concentration and fun!! 

Workshop – “Comprovisation” in Body Percussion

The aim of this workshop is to share some group-improvisation and comprovisation models to form polyrhythms and compositions through body percussion and singing. Comprovisation is a term that is generated by French Composer Etienne Rolin: a mixture of two words which are composition and improvisation. If one is composing and improvising at the same time, (s)he is “comprovising”. The workshop is a combination of body percussion workshop activities such as circle shout, which is a game, played in groups with leaders swapping in turns, and Soundpainting, a sign language for performers that is developed by Walter Thompson. The workshop begins with a body percussion warm-up that is followed by a "Spiral Improvisation" and short Soundpainting demonstration. As a result, a "Circle Shout Comprovisation Collective" is to be formed.   

Workshop - "Soundpainting"   

Soundpainting is a sign language for performers that has been developed by the composer Walter Thompson. The performance group includes actors, dancers, instrumentalists, technicians and singers. The main idea is to compose here and now, with using the creative ideas that are introduced by the performers. Performers respond to the signs of the "soundpainter (technically the conductor)" who illustrates his wishes with Soundpainting gestures that are over 1500 by number. These gestures are answers to 4 questions of who, what, when and how. This language has been started to be used in music education at some schools mainly in France recently. In my opinion, the most valuable aspect of Soundpainting in the context of music education is that it gives the performer (learner) a flexibility to create freely, without any fear to be disliked, and that is very important in supporting self-confidence and self-esteem. Secondly, Soundpainting helps to unbuild the learnt incapacity rooted borders around the definition of music that have caused humans' alienation to their musician identity through decades. The aim of the workshop is to get the participants acquainted with reading (decoding) Soundpainting. The workshop begins with short body percussion warm-up. Then some first level gestures of Soundpainting are introduced in practice, slowly. Participants are expected to join with instruments, the level of playing is not important. And otherwise everybody can join as singers. 

 

 

 

 
 
ISME 2018 - 33rd World Conference of International Society for Music Education / 15-20 July 2018 / Baku / Azerbaijan