＂Turkish Five＂：Their Contributions to Contemporary Piano Music and Piano Education in Turkey

First musicians using polyphony and homophony in their compositions can be seen during the 19th century in Turkey. These talented amateur composers, who worked in simple forms, such as marches or educational music, were not actually professional composers but either orchestral or choral directors. Later, during the Republic period （after 1923）, ＂Turkish Five＂ emerged. ＂Turkish Five＂ consisted of professional composers who were educated in Europe and learned western musical forms. These musicians, according to their birth years, are Cemal Resit Rey （1904-1985）, Hasan Ferit Alnar （1906-1978）, Ulvi Cemal Erkin （1906-1972）, Ahmet Adnan Saygun （1907-1991） and Necil Kazan Akses （1908-1999）. ＂Turkish Five＂ achieved important accomplishments and did significant contributions to Turkish contemporary music in 30-40 years with their efforts. While doing this, they used over 500-year old musical legacy of the West. At the beginning, these musicians used Turkish folk tunes and their rhythmic and modal system, however, later, they began to use ＂impressionism＂, ＂neo-classicism＂ and finally ＂atonalism＂ in their music. In the current study, the contributions of ＂Turkish Five＂ to contemporary Turkish piano music and their approaches to piano education were examined via literature review. After an extensive research with the literature on the topic, the researcher has interviewed with six piano teachers from different music institutions in Turkey （including two schools of time arts, two conservatories and two music teacher training schools）. During these interviews, the contributions of the ＂Turkish Five＂ were examined based on ＂relativity＂ and ＂local to global＂ principles in education, and the researcher has searched for the ways to use more of their music in piano education through the interviews. Therefore, the main purpose of the study was to discover ways to implement more of the music by ＂Turkish Five＂ in piano education in Turkey and to ffmd solutions fo     

改革音乐课堂培养创新能力

伴随着人类文明的脚步进入崭新的世纪,音乐教育也被赋予了前所未有的重要使命,正以她日益崭新的面貌,确立了在学校素质教育中的重要位置。然而100%的学生喜欢音乐,而80%的学生不喜欢上音乐课,《音体美报》这一沉重的调查数据不能不令我们每一位教育工作者感到震惊与     

构建和谐的音乐课堂

为了提高课堂教学效率,向课堂教学要质量,充分减轻学生学业负担,构建愉快和谐的课堂教学,我校针对课堂减负增效教学进行了行动研究,我也根据学校的具体研究方案对音乐学科的教学特点进行了积极的探索和实践,下面就简单介绍一下我在音乐教学中是如何构建和谐的音     

浅论音乐教学中音乐情感表达的艺术形态

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让音乐在课堂中回响——《二泉映月》教学案例

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锻造音乐课堂学生自主学习链——音乐欣赏教学中学生自主学习能力培养的策略

自主学习是与传统的接受学习相对应的一种现代化学习方式。以学生作为学习的主体,通过学生独立的分析、探索、实践、创造等方法来实现学习目标。学生是教育的对象,更是教育的资源。新课程倡导自主学习,旨在改变学生被动的学习局面,挖掘他们自我发现、自主探索的潜能。自     

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