Akademik Dersler - İçerik

Weeks	Topics
Week - 1	Examination of Music in the Huns, Kok Turk and Uyghur States: Shaman/kam tradition, Healing function of music.
Week - 2	The Turks' conversion to Islam, music in the Umayyad and Abbasid periods, and the examination of the relationship between music and medicine in the Umayyad and Abbasid periods
Week - 3	The translation of Greek music manuscripts and the beginning of writing the theory of maqam, examination of the treatises of El Kindi, Farabi, İbn Sina, Zeyle and İhvan-ı Safa.
Week - 4	Examination of the period of the Great Seljuk Empire (1040-1157), the conquest of Anatolia by the Turks (1071), the Anatolian Seljuk Period (1077-1308), music and medicine in Anatolian lands and Hospitals in Seljuks.
Week - 5	Examining the relationship between music, medicine and psychology in the manuscripts of Safiyüddin Urmevi (d.1294), the creator of the theory used in folk music today.
Week - 6	The political situation of the Mongol Empire (1206-1368) and the Timurid Empire (1236-1502) and the composers and theorists of makam music in these palaces; Examining the relationship between music, medicine and psychology in the manuscripts of Abdülkadir Meragi (1353-1435).
Week - 7	The beginning of music history in the Ottoman Empire (1299-1921), Examination of music, medicine and psychology in the works of XV. century music scholars Kırşehirli Yusuf, Bedri Dilşad, Hızır Bin Abdullah, Ahmedoğlu Şükrullah, Şirvani, Hasan Kaşani.
Week - 8	Music in the Ottoman Empire in the 16th Century; Folk music representatives such as Pir Sultan Abdal, institutionalization of Bektashism as a result of Ottoman-Safavid conflict. Gazi Giray Bora Han and his maqam music compositions and also examination of music education in Enderun.
Week - 9	Music in Ottoman Empire in the 17th century, Gaining the originality of Turkish makam music, the examination of the composers Ali Ufki, Hafız Post, Buhurizade Mustafa Itri, Seyyid Nuh and Karacaoğlan's works.
Week - 10	Examines the Mehter Organization in the Ottoman Empire, Music in Ottoman in the 18th Century, Tulip and Decline Era and the Composers of the Period Nâyi Osman Dede, Kemâni Hızır Ağa, Dimitri Kantemir, Sultan I. Mahmud, Enfi Hasan Ağa, Ebubekir Ağa, Dilhayat Kalfa, Abdülhalim Ağa, Zaharya, Vardakosta Ahmed Ağa, Tanbûri Mustafa Çavuş, Hacı Sadullah Ağa, Hafız Şeyda, Künhî Abdürrahim Dede.
Week - 11	Religious Turkish Music with its genres and forms, the Mevleviyye Sect from the 13th to the 20th Century, the Kadızadeliler movement and its negative effects on music and Mevlevi sect are examined. Religious Turkish Music: Therapeutic Aspects of the Mevleviyye Sect and Its Rites.
Week - 12	Turkish Music in the Ottoman Empire in the 19th Century, III. Selim and his School, Tanbûrî İshak (İzak) (1745-1814), Hamamcıoğlu İsmail Dede Efendi (1767-1846), Dellalzade İsmail Efendi (1797-1869), Zeki Mehmed Ağa, Şakir Ağa, Kazasker Mustafa İzzet Efendi (1801-1876) , Hacı Arif Bey (1831-1885), Enderuni Ali Bey (1831-1899), Nikoğos Ağa, Şevki Bey, Rıfat Bey and their works are examined.
Week - 13	1826 Abolition of Mehterhane in Mahmut II Era, establishment of the Palace Orchestra within the body of Musicay-ı Hümâyun under the influence of the westernization movement, the spread of the printing house, the establishment of newspapers, the spread of schooling, Ottoman urbanization under the influence of westernization, makam music venues in the urbanization phase, music becoming widespread with the inventions of the phonograph and gramophone , Hampartsum notation and the spread of Western notation and the increase in the number of learners of Makam music instruments are discussed.
Week - 14	With the establishment of the Republic of Turkey, the culture and art policies of Atatürk and İnönü era, the adoption of Ziya Gökalp's approach in the music revolution, the abolition of makam performance training from Dar'ül Elhan in 1926 and -the fact that the makam music performers could not find an educational institution until 1976- and also the removal of makam music from radio broadcasts between 1934-1936; Rauf Yekta Bey, Sadettin Arel and Subhi Ezgi and their effects and contributions to the theory of maqam music and also culture and art policies and the appearance of maqam music in the Menderes period are examined in the context of music.