Ses Sanatları Tasarımı

DEPARTMENT OF SOUND ARTS AND DESIGN

Departmental Elective Courses List

Faculty Elective Courses List

SES SANATLARI VE TASARIMI BÖLÜMÜ

DERSLERİN İÇERİĞİ VE YARARLANILACAK KİTAPLAR

FIRST YEAR

FIRST SEMESTER

SOAD 101 Piano and Solfege (2-2) 3

   This beginning course provides piano and solfege practice for students with little or no piano or note-reading knowledge. It aims to teach how to recognize keys and play major and minor finger patterns on piano as well as melodic and rhythmic notations. It also covers basic harmonization and transposition, scale, chord progression, sight-reading as well as improvisation. It intended to give students necessary skills which may obtains a basis for to play keyboard as a tool of composing music or designing sounds.

Reference Books

• Solfege, Ear Training, Rhythm, Dictation, and Music Theory: A Comprehensive Course, Marta Arkossy Ghezzo, University Alabama Press, 2005.
• Piano Lessons For Beginners: The Quick And Easy Guide To Learn And Play Piano Chords, Music Studio, Independently published, 2019.
• How to Play Piano in 14 Days: Daily Piano Lessons for Beginners, Austin Crosby(Author), Troy Nelson (Editor), Independently published, 2020.
• The Complete Piano Technique Book: The Complete Guide to Keyboard & Piano Technique with over 140 Exercises, Jennifer Castellano-Joseph Alexander, ed. Tim Pettingale, 2020.

SOAD 103 Ear Training – Fundamentals of Music (2-2) 3

   This course is an introductory to music theory to which provides a basis for students which is preliminary before composing music and designing sound. It examines the fundamental elements of music such as reading and writing notes and rhythms, major and minor scales and key signatures, intervals and triads. Students are introduced with language of music necessary for all their profession as musicians or technicians and learn about timbre, beat and tempo, meter, pitch and mode, tunings, tonality, melody, texture and harmony. The course also contains practices to develop aural skills such as identifying intervals and triads, rhythmic dictation in simple and compound meters and melodic dictation in major and minor keys.

Reference Books

• Essential Ear Training for Today’s Musician, Steve Prosser, Berklee Press Publications, 2000.
• The Real Easy Ear Training Book, Roberta Radley Sher Music Co., 2009.
• Berklee Music Theory Book 1, Paul Schmeling  Berklee Press, 2011.
• Strategies and Patterns for Ear Training, Rudy Marcozzi, Routledge, 2008.
• Ear Training: A Technique for Listening, Bruce Benward, J. Timothy Kolosick, McGraw-Hill Education, 2009.
• Hearing and Writing Music: Professional Training for Today’s Musician, Ron Gorow, September Publishing, 2002
• Music Notation (Berklee Guide), Mark McGrain, Berklee Press, 1990.
• Fundamentals of Music: Rudiments, Musicianship, and Composition, Books a la Carte, Earl Henry–Jennifer Snodgrass–Susan Piagentini, Pearson, 2018
• Fundamentals of Music Processing: Audio, Analysis, Algorithms, Applications, Meinard Müller, Springer, 2015.
• The Musician’s Guide to Fundamentals, Jane Piper Clendinning–Elizabeth West Marvin, W.W. Norton & The Company

SOAD 105 Nature of Sound (1-2) 2

   Sound is both physical and sensual phenomenon and this complex mixture is necessary to be familiar with for students whom deal with sound and melody.  The sensual aspects of sound are interrelated with physical parameters of it. Therefore, none of them irreducible when creating a sound effect, environment, song or narrative through music. However, the “nature of sound” is focuses more about the physical being or features of the sound. This course contents and examines the related concepts of waves, velocity, frequency, refraction, diffraction of sound, resonances, decibel measurements, sound filtering, synthesis.

Reference Books

• The Physics of Sound, Richard Berg–David Stork, Pearson, 2004.
•  Physics and Music: The Science of Musical Sound, Harvey E. White–Donald H. White, Dover Publications, 2014.
•  Fundamental Physics of Sound, Shyh-Yuan Lee, World Scientific Publishing Company, 2020.

FMPA 101 Improvisation: Movement, Drama and Sound (2-2) 3

  This, faculty coded shared course, aims to gather all the students of department of contemporary dance, department of acting and department of sound arts design, under the shelter of improvisation which is one of the very crucial tool of creative thinking and body-mind awareness. All the students will deal with all three subjects of; sound-voice, body-movement and speech-drama in the course, so they can emphaticise and be able to understand each other’s practice fields better and closer. Students practice thinking and examining necessary notions of creation and composition with the help of improvisation. Along with, they also apprehend abstract concepts like space, being, time, event etc. Besides, they are prepared for coming school years in means of to work and collaborate each other for creative music and performance projects.

Reference Books

• The Moment of Movement, Lynne Ann Blom- L. Tarin Chaplin, Dance Books Ltd., 2011.
• 101 Improv Games for Children and Adults, Bob Bedore, Hunter House, 2004.
• Creativity: Flow and Psychology of Discovery and Invention, Mihaly Csikszentmihalyi, 2013.
• The Inner Game of Music, Barry Green, Doubleday, 1986.

FMPA 103 History of Music (4-0) 4

   This course is also faculty coded shared course which aims to convey overall historical cornerstones of western and eastern music to the students.  Course is intended to help students to picturing development of the concept of music and differentiate certain eras and cultures from each other.  History of music underlines the cultural and sociological aspects of music creation through time and examine its impacts on contemporary art of music and sound. This course is also the part of understanding to related field of each student.

Reference Books

• Concise History Western of Music, Barbara Russano Hanning, 2020.
• The Oxford History of Western Music: Music in the Nineteenth Century, Richard Taruskin, Oxford University Press Inc., 2009.
• A History of Musical Style, Richard L. Crocker, Dover Books on Music, 2011.
• Music is History, Ahmir Questlove Thompson, Abrams Image, 2021.
• The History of Rock: A Definitive Guide to Rock, Punk, Metal and Beyond, Parragon Books, 2012.

 FMPA 105 Culture of Thinking (2-0) 2

    This philosophy related course is designed for especially young artists in order to inform them about important thinkers and their key ideas in the history of the world. Student meet with highly influential names and their point of views as well as learn the key concepts of history of philosophy by reading and discussing their quoted works. The purpose of this course is to make students more conscious of how thinking practices or certain philosophical issues related with artistic creation throughout the history.

Reference Books

• Philosophy the Basics 5^th Edition, Nigel Warburton, Routledge, 2012.
• The History of Western Philosophy, Bertrand Russell, Simon & Schuster/Touchstone, 1967.
• History of Philosophy: Overview of: Eastern Philosophy, Western Philosophy and the Most Important Thinkers Through the Ages, Michael J. Stewart, 2017.

 SOFL 101 Academic English I (3-0) 3

    Students who regularly attend this course will have the opportunity to practice a variety of study skills, including but not limited to setting goals, organizing, using time, concentrating, and taking notes. Students will be given important articles written in modern-day English and students will learn to discuss and write responses at an academic level. At the end of the lessons, each student will be able to derive the meaning of unknown words in a reading text, write paragraphs and articles, summarize, discuss and write reply letters.

Reference Books

• The Compass, Nüans Kitabevi, Ankara, 2015.
• IELTS Foundation: Students’ Book, Andrew Preshous, Rachael Roberts, Joanne Gakonga ve Joanna Preshous, MacMillan Education, Oxford, 2012.

FIRST YEAR

SECOND SEMESTER

SOAD 102 Keyboard for the Electronic Musician (2-2) 3

   The keyboard is an important instrument for writing, arranging and producing music which is capable of playing chords to find the harmony in various textures with virtual parts of drums, bass, guitar, strings, brass, and synthesizer. It has controllers of pitch bend, modulation wheel and expression pedals. A contemporary musician creates music and designs sound with digital audio workstation and virtual instruments. Keyboard for the Electronic Musician is targeted the beginners or early stage keyboard players to teach them write, produce and perform using keyboards advantages or facilities which range from acoustic piano to electronic controllers.

Therefore, this course intends to teach students, necessary skills of using keyboard as a tool for musical writing and designing. It also strengthens theoretical knowledge of students and enable them to develop right hand independence for to do simple compositions and improvisations while comping with the left hand.

Reference Books

• Keyboard Technique (Essential Concepts), Steve Weingart, Musicians Institute Press, 2000.
• Learn to Play Keyboards: A Beginner’s Guide to Playing All Electronic Keyboard Instruments, Paul Lennon, Apple Press, 2008.

SOAD 104 Ear Training – Critical Listening (2-2) 3

   Critical Listening is an important skill for sound designer, music arranger and producer. Since our students are prepared for electronic or digital music creation, this course intends to enable them to listen any music piece critically which allows to deconstruct its mix and to examine the physical inputs in it, in order to translate emotional outcomes of it. Within this course students train their hearing to catch physical details of the musical performance or recording mix such as frequency response, dynamic range, tone and instrumental blend. The aim of the course is to enhance students’ perceptive skills of hearing and differentiating the key aspects of balanced, artistic and professional, crystal- clear sounding mix.

Reference Books

• Critical Listening Skills for Audio Professionals, F. Alton Everest, Cengage Learning, 1994.
• Audio Production and Critical Listening: Technical Ear Training, Jason Corey, Routledge, 2016.
• Audio Production and Critical Listening: Technical Ear Training, Jason Andrew Corey, Focal Press, 2010.
• Understanding and Crafting the Mix: The Art of Recording, William Moylan, Routledge, 2015

 SOAD 106 Introduction to Music Technology (1-2) 2

    This course is planned as a preparatory for further study and practice of hardware and software tools of music composition and sound design. It introduces essentials of music technology such as; analogue and digital audio, MIDI and system components: sequencers, digital audio work station, samplers, processors. Students learn to produce simple mix of musical materials, apply various editing techniques to enter and operate musical inputs on computer via software. During the course they have notions about history and development of Music Technology.

Reference Books

• Music Technology from Scratch, Mortimer Rhind-Tutt, Rhinegold Publishing Limited,
• Music Technology Reference Book, Peter Buick, Cpg Inc, 1994.  
• Beyond Sound: The College and Career Guide in Music Technology, Scott L. Phillips, Oxford University Press,
• Music Technology Reference Book, Peter Buick, Cpg Inc, 1994.

FMPA 102 Self Discover: Movement, Drama and Sound (2-2) 2

   In this continuation course all faculty students shares the same place and time for discovering their selves through improvisation. Improvisation is also one of the methods of self-development or character development. As young adults and future artists, one of our students’ urgent issue is to awaken their ambitions about art, curiosity about the meaning of life and to deal with their possible influences on their society. This course guides them to travel their self and to build up their existence by doing inner exploration in their mind.

Reference Books

• Creativity: Flow and Psychology of Discovery and Invention, Mihaly Csikszentmihalyi, 2013.
• Impro: Improvisation and the Theatre, Keith Johnstone, Routledge 1987.
• Improvising Improvisation: From Out of Philosophy, Music, Dance, and Literature, Gary Peters, University of Chicago Press, 2017.
• Sudden Music: Improvisation, Sound, Nature, David Rothenberg, University of Georgia Press, 2016.
• Negotiated Moments: Improvisation, Sound, and Subjectivity (ımprovisation, Community, and Social Practice), ed.Gillian Siddall- Ellen Waterman, Duke University Press, 2016.

 FMPA 104 History of Performing Arts (4-0) 4

   This course is another faculty coded shared course which aims to convey overall historical cornerstones of western and eastern performing arts (theatre and dance) to the students.  The course is intended to help students to picturing development of the concept of performing arts and differentiate certain eras and cultures from each other.  History of theatre and dance clarify cultural and sociological aspects of stage creations (based on performing) through time and examine its impacts on contemporary dance and theatre practices. This course is also the part of understanding to related field of each student.

Reference Books

• Dance History: An Introduction, Janet Adshead Lansdale – June Layson, Routledge 1994.
• Theatre and Dance, Kate Elswit, Red Globe Press.
• International Encyclopedia of Dance, ed. Selma-Jeanne Cohen, Oxford University Press, 2004.
• Europe Dancing, Perspectives on Theatre. Dance and Cultural Identity, Andre Grau – Stephanie Jordan, Routledge, 2000.
• Modern Theatres: 1950-2020, David Staples, Routledge, 2021.
• History of the Theatre (Performing Arts S), Glynne Wickham, Phaidon Press, 1994.
• Oxford Illustrated History of Theatre
• Radical Bodies: Anna Halprin, Simone Forti, and Yvonne Rainer in California and New York, 1955-1972,Ninotchka Bennahum (Editor), Wendy Perron (Editor), Bruce Robertson (Editor), University of California Press, 2016

 FMPA 106 Thinking Practices (2-0) 2

   This course is a follow-up of Culture of Thinking and designed for triggering students’ mind for thinking activity. During the course they ask questions and look for answers related with the main issues that they concern about life. As cultivation of their cultural perspectives, course also aims to lighten their minds and clarify their thoughts. They are encouraged to investigate the reason of their existence, purpose of living and what they want to express by their art practices. In addition to those, students collect certain notions of thinking and producing an idea for an artistic creation or activity.

Reference Books

• How to Think About Weird Things: Critical Thinking for a New Age, Theodora Schick – Lewis Vaughn, Mc Graw-Hill.
• Wait What? And Life’s Other Essential Questions, James, E. Ryan, Harper One, 2017.
• The Laws of human Nature, Robert Green, Viking, 2018.

SOFL 102 Academic English II

   It is a continuation of the Academic English I course. Students who regularly attend this course will have the opportunity to practice many study skills, including but not limited to setting goals, organizing, using time, concentrating, and taking notes. Students will be given important articles written in contemporary English, and students will learn to discuss and write responses at an academic level. At the end of the lessons, each student will be able to understand the meaning of unknown words in a reading passage and write paragraphs and articles.

Reference Books

• The Compass, Nüans Kitabevi, Ankara, 2015.
• IELTS Foundation: Students’ Book, Andrew Preshous, Rachael Roberts, Joanne Gakonga ve Joanna Preshous, MacMillan Education, Oxford, 2012.

SECOND YEAR

THIRD SEMESTER

SOAD 201 Harmony (2-2) 3

  Harmony is the course in which students understand and explore the notions of melody and harmony. They learn major key harmony and extended dominant relationship and study melodic construction and motif development. This course aims to convey principles of linear harmonic continuity and tone lines as well as melodic rhythm and form through melody/harmony relationship. During the course students analyse and apply major and minor key harmony along with subdominant minor and modal interchange(mixture) and chord scale theory.

Reference Books

• A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice, Dmitri Tymoczko, Oxford University Press, 2011. ‎ 
•  O5396PB – Harmony Book, Elliott Carter, Carl Fischer Music Publisher, 2002.
• The Elements of Music: Melody, Rhythm and Harmony, Jason Martineau, Wooden Books U.S., 2021.
• Harmonograph: A Visual Guide to the Mathematics of Music, Anthony Ashton, Wooden Books, 2005.
• The Chord Wheel: The Ultimate Tool for All Musicians, Jim Fleser, Hal Leonard, 2000.
• Tonal Harmony with Workbook, Stefan Kostka–Dorothy Payne–Byron Almén, McGraw-Hill Education, 2017.
•  Concise Introduction to Tonal Harmony, L. Poundie Burstein–Joseph N. Straus, W. W. Norton & Company, 2020.  

SOAD 203 Audio and MIDI Systems (2-2) 3

   This course is planned to transfer knowledge about the specification of MIDI (Musical Instrument Digital Interface). Students understand to ways of MIDI sequencing at computer based workstations in the laboratories and practice at their laptops by using music production and engineering bundle hardware and software components. They learn and use Pro Tools and Logic programs as well. This course aims to raise students’ operational abilities through digital music production by practicing recent technologies.

Reference Books

• An Introduction to Music Technology, Dan Hosken, Routledge, 2015.  
• The Midi Book Using Midi and related interfaces, Steve De Furia- Joe Scacciaferro,Third Earth Production Inc. 1985.
• The MIDI Book, Steve De Furia, Hal Leonard Corporation, 1986.
• MIDI Power! Robert Guerin, Cengage Learning PTR, 2002.
• The MIDI Manual, Third Edition: A Practical Guide to MIDI in the Project, David Miles Huber, Focal Press, 2007.  

 SOAD 205 Exploring Masters’ of Music (2-4) 4

    This course is about practicing critical and analytical listening the works of music master’ throughout the history. It aims to develop students’ comprehensive skills of music. During the course they listen and try to translate the audio stories or narratives into verbal expressions. They practice to find essence of each work as well as discover the possible recollections or meanings from its depth. The purpose of the course to feed students culturally and to encourage them imagining through music.

Reference Books

• Interpreting Music, Lawrence Kramer, University of California Press, 2010. ‎ 
•  The Essence of Music and Other Papers, Ferruccio Benvenuto Busoni–Rosamond Ley, Dover Pubns, 1987.
• Emotion and Meaning in Music, Leonard B. Meyer, University of Chicago Press, 1961.

FMPA 201 Interpreting Texts: Literature (3-0) 3

   This faculty coded shared course is continuation of philosophy related courses. However, this course focuses on interpreting or reaching out meaning from particular texts in the form of writing, dancing, filming or music. In this first part of ongoing course students reads and discuss extracts from particular examples of western and eastern literature. Reading works as whole is preferred but critical reading and examining the meaning of it will be on the extracts. The purpose of the course is to improve sensibility and interpreting capacity of the students on a written text.

Reference Books

• Man’s Search for Meaning, Viktor E. Frankl, Beacon Press, 2006.
• How to Read Literature Like a Professor: A Lively and Entertaining Guide to Reading Between the Lines, Thomas J. Foster, Harper Perennial, 2014.
• Critical Thinking: A Guide to Interpreting Literary Texts, Colin Ann Manlove, 2020.

AITT/HIST 201 Atatürk’s Principles and History of Turkish Revolution I

    Atatürk’s Principles and History of Turkish Revolution course; telling students how to establish the circumstances under which the Republic of Turkey, forming the government intends to adopt the basic principles of Ataturk. The reason why his principles were transferred to the field of application is explained with case studies that not only the Turkish Nation but also the whole humanity need more than ever.

Reference Books

• Atatürk ve Türk İnkılap Tarihi, Fatma Acun, Siyasal Kitabevi, Ankara, 2016.

TUDI/TURK 201 Turkish Language I (2-0)2

   The aim of the course is to comprehend the structure and functioning characteristics of the mother tongue to every young person studying in higher education, and to gain the ability to use Turkish correctly and beautifully as a means of written and oral expression in terms of language-thought connection. Another goal is to make a unifying and integrative language prevailing in teaching and to raise young people who have native language awareness.

Reference Books

• Türk Dili, Hasan Kolcu, Umuttepe Yayınları, Kocaeli, 2013.

 SECOND YEAR

FOURTH SEMESTER

SOAD 202 Composition (Structure and Form) (2-2) 3

    In this course students examine the concepts of structure and form in music and experience how   to compose music piece and/or design a sound environment or piece. This course guides the students towards to construct their own melodic, harmonic and rhythmic language. It aims to encourage them to write music for visual media, performing arts or commercials with their own unique way. Students have opportunity to expand their musical knowledge and technical skills by practicing to create actual songs or music pieces through improvisations and short projects of sound design.

Reference Books

• Musical Composition: Craft and Art, Alan Belkin, Yale University Press, 2018.
• Fundamentals of Musical Composition, Arnold Schoenberg–Gerald Strang–Leonard Stein, Faber & Faber, 1999.
• Analyzing Classical Form: An Approach for the Classroom, William E. Caplin, Oxford University Press, 2013.
• Composing Music, William Russo, University of Chicago Press  1988.

SOAD 204 Music Production (2-2) 3

  This continuation course is for developing necessary skills of using wide range of tools in order to produce music on computer. Regardless of style students experience the process of producing a piece of music with their computer from the initial musical idea to the final mix by hands-on exercises and projects. Students learn how to set up audio interfaces, microphones, MIDI sequencers, synthesizers, drum machines. They also practice to create and produce their own music ideas.

Reference Books

• MIDI Power! Robert Guerin, Cengage Learning PTR, 2002.
• The MIDI Manual, Third Edition: A Practical Guide to MIDI in the Project, David Miles Huber, Focal Press, 2007.  
• Modern Recording Techniques, David Miles Huber–Robert E. Runstein, Routledge, 2017.
• Using Technology to Unlock Musical Creativity, Scott Watson, Oxford University Press, 2011.

SOAD 206 Applied Electronic Composition (2-4) 4

   The purpose of this course is to give students an opportunity to apply skills of using electronic devices to create contemporary sounds and music pieces. The course surveys the history of electronic music and the developments of digital tools with listening examples of specific styles. Students analyse the components of these musical structure then apply or recreate them by their own. This course also contains creative studies on to translates compositions within various musical scenarios into a MIDI sequences and to introduce instrumentation and orchestration.

Reference Books

• Composing Electronic Music: A New Aesthetic, Curtis Roads, Oxford University Press, 2015.
• Live Electronic Music: Composition, Performance, Study, Ed. Friedemann Sallis–Valentina Bertolani–Jan Burle–Laura Zattra, Routledge, 2019.

FMPA 202 Interpreting Texts- Music (3-0) 3

  In this continuation course related with interpreting the main area is music this time. Students listen important music creations from western classics to contemporary digital compositions then try to figure out their context and meaning. There will be ongoing discussions which guides them to apprehend or read narrative codes of music pieces. Dealing with meaning of a text leads the student towards concerning “meaning” while creating an artistic work.

Reference Books

• How Music Works, David Byrne, Canongate Books Ltd., 2013.
• Interpreting Music, Lawrence Kramer, University of California Press, 2010.
• Gateways to Understand Music, Tim Rice-Dave Wilson, Routledge, 2020.
• The Oxford Handbook of Philosophy in Music Education, Ed. Wayne Bowman-Ana Lucia Frega, Oxford University Press, 2012.
• Understanding Music, Roger Scruton, Bloomsbury, 2009.

AITT/ HIST 202 Atatürk’s Principles and History of Turkish Revolution II (2-0)2

   Atatürk’s Principles and History of Turkish Revolution course; telling students how to establish the circumstances under which the Republic of Turkey, forming the government intends to adopt the basic principles of Ataturk. The reason why his principles were transferred to the field of application is explained with case studies that not only the Turkish Nation but also the whole humanity needs more than ever.

Reference Books

• Atatürk ve Türk İnkılap Tarihi, Fatma Acun, Siyasal Kitabevi, Ankara, 2016.

TUDI/ TURK 202 Turkish Language II (2-0)2

  The aim of the course is to comprehend the structure and functioning characteristics of the mother tongue to every young person studying in higher education, and to gain the ability to use Turkish correctly and beautifully as a means of written and oral expression in terms of language-thought connection. Another goal is to make a unifying and integrative language prevailing in teaching and to raise young people who have native language awareness.

Reference Books

• Türk Dili, Hasan Kolcu, Umuttepe Yayınları, Kocaeli, 2013.

THIRD YEAR

FIFTH SEMESTER

SOAD 301 Arranging from Groove to Melody (2-2) 3

   The goal of Arranging from Groove to Melody is to give students necessary skills to compose their own music pieces within the instruments. In this course students practice to combine components of music (rhythm section, lead-line in a solo instrument, two horns or voice) satisfactorily by using the techniques of writing and arranging. They study various contemporary styles in order to explore writing from “the bottom-up” (grove-driven) and “top down” (melody led instrument or voice). At the end of the course students be able to choose and gather appropriate instruments for any given or created music part and write score for those instruments, compose good melodies, harmonize these melodies, and write supporting bass lines and counterpoint, and make ready their creations as score for playback and printing.

Reference Books

• The Ultimate Melody Guide: How to Make Awesome Melodies without Knowing Music Theory (Notes, Scales, Chords, Melodies), Screech House, CreateSpace Independent Publishing Platform, 2018.
• How to Harmonize Chords to Melody, Lawrence A Buckler, Xlibris, Corp.
• Melody in Songwriting, Jack Perricone, Hal Leonard Corporation, 2000.

SOAD 303 Mix Techniques and Multi-Track Recording Lab (2-2) 3

   This course introduces students to recording music with both analogue and digital formats. It focuses on the concepts of recording live instruments and vocals in a state of the digital recording studio. Students learn, setting up instruments, microphone placement, recording, editing and mixing by the help of MIDI applications. They will aware of studio signal flow, usage of outboard and software based effects, overdubbing as well. During the semester they will work on several recording projects to raise their recording capabilities.

Reference Books

• Step by Step Mixing: How to Create Great Mixes Using Only 5 Plug-ins, Bjorgvin Benediktsson–James Wasem, Bowker, 2019.
• Multi-Track Recording: A Technical & Creative Guide for the Musician & Home Recorder, Hal Leonard,  Hal Leonard Corp., 1988.
• Modern Recording Techniques, David Miles Huber – Robert E. Runstein, Routledge; 9th edition, 2017.
• Mixing Secrets for the Small Studio, Mike Senior, Routledge; 2nd edition, 2018.  
• Recording Unhinged: Creative and Unconventional Music Recording, Sylvia Massy, Hal Leonard; Har/Psc edition, 2016.
•  Mix Smart: Pro Audio Tips for Your Multitrack Mix, Alex Case, Focal Press; 1st edition, 2011.

SOAD 305 Music for Visual Media (2-4) 4

  Music for Visual Media is both practical and theoretical course which aims to convey specific concerns of creating music or sound for films, TV serials, commercials, music videos, games etc. to the students as future composers, designers, editors or music makers. The course overviews the considerations such as balancing music and dialogue, influencing audience’s emotional response, creating music or sound design, inscribing location and time period. It also addresses issues specific to screen practices, such as title theme songs, bumpers and music libraries. Students practice to create various themes: drama, action, romance, fantasy, horror also they examine each genre through the concepts of harmony, counterpoint, tempo, rhythm and orchestration by listening and analysing biggest composers in film industry and history. They also collect their own works of composition for their portfolios as audio-demos.

Reference Books

• Scoring the Screen: The Secret Language of Film Music, Andy Hill, Hal Leonard, 2017.
• The Soundtrack Album: Listening to Media, Ed.Paul N. Reinsch–Laurel Westrup, Routledge; 1st edition, 2020.
• Sound and Vision: The Music Video Reader, ed. Simon Frith–Andrew Goodwin–Lawrence Grossberg, Routledge; 1st edition, 1993.
• An Eye for Music: Popular Music and the Audiovisual Surreal, John Richardson, Oxford University Press; 1st edition, 2011.
• Guerrilla Film Scoring: Practical Advice from Hollywood Composers, Jeremy Borum, Rowman & Littlefield Publishers, 2015.
• From Score to Screen: Sequencers, Scores And Second Thoughts—The New Film Scoring Process, Sonny Kompanek, Schirmer Trade Books; 1st Edition, 2004.

SOAD 307 Exchanged Experiences- Music Creation (2-2) 3

  This course is intended to meet students with music professionals; composers and producers closer and collect knowledge from their personal experiences in the field. The guest artists and experts whom are producing contemporary music are invited for workshops, lectures and seminars to our faculty. Students will have opportunity to communicate with, learn from and comprehend their unique approach to art of movement. The guests will chance to share their knowledge and expertise with the next generation. This encounter nourishes mutually and makes remarkable impacts on each other’s artistic life.

 FMPA 301 Interpreting Texts- Film & Drama (3-0) 3

   As following philosophy related courses, this one is focusing on Film and Drama examples as studied texts. During the term student will watch videos of cinematic works and recorded theatre pieces with the film versions of dramatic texts of auteur directors with a critical eye. They try to investigate the ways in which these ‘texts’ conveys the concerning issues and discuss the related opinions of auteurs. Students also comprehends to being an ‘auteur’ and appreciate of having an individual, unique look to the world as artist within this course. Lastly they argue to be meaningful or what it supposed to be in case of narration or dramatic expression.

Reference Books

• Reading Theatre, Anne Ubersfeld, University of Toronto Press,1999.
• How to Read a Film: Movies, Media, and Beyond, James MonacoOxford University Press, 
• Film As Film: Understanding And Judging Movies, F. Perkins, Da Capo Press, 1993.
• Understanding Film Texts: Meaning and Experience (Understanding the Moving Image), Patrick Phillips, British Film Institute, 2001.

THIRD YEAR

SIXTH SEMESTER

SOAD 302 Arranging Instruments and Orchestra (2-2) 3

 This continuation course aims to raise students’ skills of writing of arrangements for different styles of bands, orchestras, and vocal groups. It focuses to enable students to create a simple arrangement in the manner of contemporary music, for a rhythm section, employing the appropriate roles, idiosyncrasies, transpositions and notation of various instruments. Students be aware of the ranges and transpositions for all related instruments and voices. And they learn to notate a score and prepare the individual parts for live performance of an original arrangement that they created.

Reference Books

• Music Arranging and Orchestration, John Cacavas, Alfred Music,
• The Art of Arranging and Orchestration, Johnathan Bruce Elder, Independently published, 2018.
• Principles of Orchestration, Nikolai Rimsky-Korsakov, Dover Publication, 1964.
• Arranging: A Beginner’s Guide, Blake R. Henson–Gerald Custer, G I A Pubns, 2016.
• The Study of Orchestration, Samuel Adler, W. W. Norton & Company, 2016.

SOAD 304 Creative Recording and Editing (2-2) 3

  This course is planned to improve students’ skills for to create technically advanced as well as emotionally and artistically moving recordings. At this level it is aimed students to explore recording and audio editing as creative tools for making sound art. This course naturally includes ear training by teaching to enhance in every aspects of music production (both sonically and musically) by employing deeper listening skills. Students also discover core and creative editing techniques in order to heighten emotional or expressive notion of any recordings. The course also purposes to envision aural abilities for determining and considering frequency, dynamic, spatial, ensemble and arrangement prefers in the process of recording.

Reference Books

• Understanding and Crafting the Mix: The Art of Recording, William Moylan, Routledge; 3rd edition 2014.
• The Art and Science of Surround and Stereo Recording: Including 3D Audio Techniques, Edwin Pfanzagl-Cardone, Springer; 1st ed. 2020 edition 2021.
• The Art of Mixing: A Visual Guide to Recording, Engineering, and Production, David Gibson, Routledge; 1st edition 2018.
• The Art of Digital Audio Recording: A Practical Guide for Home and Studio, Steve Savage, Oxford University Press; Illustrated edition, 2011.

 SOAD 306 Sound Design (2-4) 4

   Sound design course focuses “sound” as a rough material which students collects, synthesize and process it in order to design necessary compositions and productions for films, animations and video games rather than music. Students understands the role of different types of music in storytelling or in emotional expressions by using synthesizer, sampler, sound effect libraries and original field recording. They will practice editing and processing methods to adapt these sources into their design projects, ıncluding video clips, animated logos, video games etc.

Reference Books

• Studying Sound: A Theory and Practice of Sound Design, Karen Collins, The MIT Press, 2020.
• Creating Sounds from Scratch: A Practical Guide to Music Synthesis for Producers and Composers, Andrea Pejrolo–Scott B. Metcalfe, Oxford University Press; Illustrated edition, 2017.
• Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema, David Sonnenschein, Michael Wiese Productions; 1st edition, 200
• Principles of Game Audio and Sound Design, Jean-Luc Sinclair, Focal Press; 1st edition, 2020.
• Welsh’s Synthesizer Cookbook: Synthesizer Programming, Sound Analysis, and Universal Patch Book, Fred Welsh, Fred Welsh; 3d edition 2006.
• Sound Design Theory and Practice: Working with Sound, Leo Murray, Routledge; 1st edition, 2019.
• Designing Sound, Andy Farnell, The MIT Press, 2010.
• Sound Design for Moving Image: From Concept to Realization, Kahra Scott-James, Bloomsbury Academic, 2018.

 SOAD 308 Exchanged Experiences- Sound Design (2-2) 3

    This following course is intended to meet students with music creators or composers whom designing sound environments for many different needs, get closer to them and collect knowledge from their personal experiences in the field. The guest artists, sound designers are invited for workshops, lectures and seminars to our faculty. Students will have opportunity to communicate with, learn from and comprehend their unique approach to create music piece and sound design. The guests will chance to share their knowledge and expertise with the next generation. This encounter, nourishes mutually and expected to make remarkable impacts on each other’s artistic life.

FMPA 302 Interpreting Texts-Dance and Performance Arts (3-0) 3

   As following philosophy related courses, this one is focusing on Dance and Drama examples as studied texts. During the term student will watch videos of contemporary dance and and recorded performance art (live-art) works of well-known companies and artists. They try to investigate the ways in which a performance as a ‘texts’ conveys the concerning issues and discuss the related opinions of creative participants. Students also comprehends to be part of creative process as leading or performing person as well as the nature of artistic collaboration and interdisciplinary environment of contemporary practices. Lastly they may argue the impacts of such creations on society with the political and ethical responsibilities of art.

Reference Books

• Performance Now: Live Art for the Twenty-First Century, RoseLee Goldberg, Thames & Hudson, 2018.  
•  Performance Art: From Futurism to the Present, Rose Lee Goldberg, Thames & Hudson, 2011.
• The Oxford Handbook of Dance and Theatre, Nadine George-Graves, Oxford University Press, 2015.
•  Dance Dramaturgy: Modes of Agency, Awareness and Engagement, Ed. Pil Hansen, Darcey Callison, Palgrave Maxmillan, 2016.
• Choreographic Dwellings: Practising Place, G.Schiller – S. Rubidge,Palgrave Maxmillan, 2014.
• Choreographing Intersubjectivity in Performance Art, Wynne-Jones, Victoria, Palgrave Maxmillan, 2021.
• Gestural Imaginaries : Dance and Cultural Theory in the Early Twentieth Century, Lucia Ruprecht, Oxford University Press, 2019.
•  A Widening Field: Journeys in Body and Imagination, Miranda Tufnell- Chris Crickmay, Dance Books Ltd., 2015.
• Dance: Documents of Contemporary Art, Ed. by  Andre Lepecki, MIT Press Ltd, 2012.
• Poetics of Contemporary Dance, Laurence Louppe ,Dance Books Ltd., 2010.
•  Move. Choreographing You: Art and Dance Since the 1960s, Ed. Stephanie Rosenthal, 2011.
•  Imaginative Bodies: Dialogues in Performance Practices, Guy Cools, Valiz, 2017.

FOURTH YEAR

SEVENTH SEMESTER

SOAD 401 Collaborative Project (2-2) 3

   In this course, student raise their skills of to collaborate with students of other creative disciplines in the process of creating music or sound design. They will be paired with a student of other departments of the faculty or university and design their project as collaborated artist. They should study on context of their subject matters and how to project it into an art work together. Students will work together through the final presentation and evaluated as partners. The benefits of this course is to experience performing art practices in recent methods and forms especially in collaboration which is the most common approaches to creativity.

Reference Books

• How to Collaborate? Questioning Togetherness in the Performing Arts, Ed. Silke Bake, Peter Stamer and Christel Weiler, Passagen Verlag Ges.M.B.H, 2016.
• Artistic Research in Performance through Collaboration, Martin Blain, Helen Julia Minors, Palgrave Macmillan, 2020.
• Collaboration in Performance Practice: Premises, Workings and Failures, Ed. Colin Noyale, Stefanie Sachsenmaier, Palgrave MacMillen, 2016.
• Teaching Collaboration for the Performing Arts: A Collaborative Drama Program Designed for the Community College Level, VDM Verlag Dr. Müller, 2010. 

 SOAD 403 Exchanged Experiences-Composition and Writing (2-2) 3

     As continuing course it is intended to meet students with experts of Music Composition and Writing field, closer and collect knowledge from their personal experiences in the field. The guest artists, creators, leaders and academics are invited for workshops, lectures and seminars to our faculty. Students will have opportunity to communicate with, learn from and comprehend their unique approach to compose music and design sound. The guests will chance to share their knowledge and expertise with the next generation. This encounter, nourishes mutually and expected to make remarkable impacts on each other’s artistic life.

SOAD 405 Ensemble Stage Production- Music&Sound I (2-4) 4

    This course is organized as department coded shared course with all students of the faculty. As our education approach we concern our student’s performance quality and creative participatory as well as stage experiences very much. So at the graduation year a full length interdisciplinary stage production will be designed and produced by our faculty and the students. Students work as groups or as ensemble led by three lecturers from each departments and the whole is artistically directed by chosen faculty member for that year. During the semester students, guided by lecturers in order to framing their creative work and processing it towards a completed production. This course is the first phase of creating an ensemble stage production which every fourth year students and faculty members be involved with in organizational co-operation and artistic collaboration. Therefore, the target of the course is to complete draft version of the production by the end of semester. Students will be evaluated by the group of lecturers through the term by their contribution and reliability as both creative performers for ongoing performance processes and production.

Reference Books

• Encountering Ensemble, John Britton, Methuen Drama, 2013
• Ensemble Works: An Anthology, Ferdinand Lewis, Theatre Communications Group, 2005
• Ensemble Theatre Making: A Practical Guide, Rose Burnett Bonczek, David Storck, Routledge, 2013
• The Contemporary Ensemble: Interviews with Theatre-Makers, Ed. Duška Radosavljević, Routledge, 2013.
• Illustrated Theatre Production Guide, John Ramsey Holloway–Zachary Stribling, Routledge, 2020.

FOURTH YEAR

EIGHTH SEMESTER

SOAD 402 Graduation Project and Portfolio (2-2) 3

    The purpose of this course is to give students the opportunity of creating their own art piece from idea to performance including promotion and public presentation. Student are guided by their lecturers through the whole progress of creation till its performance on stage. They are expected to keep a journal through process. They learn how to promote themselves as artists and how to apply and behave in auditions within digital media and as printed materials. In addition to those, they perform their piece at least 4 times live and they may release the digital version of it in social media.

Reference Books

• The Complete Audition Book for Young Actors: A Comprehensive Guide to Winning Enhancing Acting Skills, Roger Ellis Meriwether Pub, 2003
• The Monologue Audition: A Practical Guide for Actors, Karen Kohlhaas, Nick Hern Books, 2009.
• Dance Auditions: Preparation, Presentation, Career Planning, Eric Brandt Nielsen, Princeton Book Co Pub, 1983.
• Musical Theatre Auditions and Casting: A performer’s guide viewed from both sides of the audition table, Neil Rutherford, Methuen Drama, 2012.
• See all The Audition Book: Winning Strategies for Breaking into Theatre, Film and Television, Ed Hooks, Back Stage Books
• 50 Tips: Audition Success, Graeme Pickering, 2019.

 SOAD 404 Exchanged Experiences-Music Industry (2-2) 3

    As continuing course it aims to acknowledge students about the nature of ‘music industry’ in terms of international curatorship, arts management, marketing methods, health practices, film and video commercials, music videos, concert performances etc. The guest artists, creators, producers, promoters, artistic directors, market planners, strategists and so on, are invited for workshops, lectures and seminars to our faculty. Students will have opportunity to communicate with, learn from and comprehend their unique approach to music composition and sound art and design. The guests will chance to share their knowledge and expertise with the next generation. This encounter, nourishes mutually and expected to make remarkable impacts on each other’s professional life.

 SOAD 406 Ensemble Stage Production- Music&Sound II (2-4) 4 (Prerequisite SOAD 405)

   This course is the second phase of the full-length ensemble stage production which is designed to present to public. As it is organized as department coded shared course with all students of the faculty it is led by three lecturers and artistically directed by the chosen faculty member. This course aims to gather and operate all of our faculty members’ efforts and artistic contribution into one big stage production. At this phase the target is to add necessary quality and precision to the draft which has been created in the last semester. Along with, all the visual components of stage production such as music and sound, costume, scenography, lighting, etc. will be designed and applied to the work. It is expected to present our faculty and university with a fully equipped and qualified stage work or performance and to share with the society and media. With this course student experience to be part of a full-length production and gain professional knowledge as creative performers of the future. Also during the spring term this production is performed and participates local and global organization on behalf of our university and country.

Reference Books

• Unbuttoned: The Art and Artists of Theatrical Costume Design, Shura Pollatsek, Routledge, 2016.
• Costume in Performance: Materiality, Culture, and the Body, Donatella Barbieri, Bloomsbury Publishing, 2019.
• The Costume Supervisor’s Toolkit: Supervising Theatre Costume Production from First Meeting to Final Performance, Rebecca PrideRoutledge, 2018.
• Digital Costume Design and Collaboration: Applications in Academia, Theatre, and Film, Rafael Jaen, Routledge, 2017.
•  Performance Costume: New Perspectives and Methods, Ed. Sofia Pantouvaki , Peter McNeil, Bloomsbury Publishing 2021.
•  Costume and Design for Devised and Physical Theatre, Tina Bicat, Crowood Press, 2012.
• Staging Ideas: Set & Costume Design for Theatre: Set and costume design for theatre, Stephen Curtis, Currency Press Pty.Ltd., 2014.
• Light Fantastic: The Art and Design of Stage Lighting Max Keller Prestel 2010.
• The Art of Light on Stage: Lighting in Contemporary Theatre, Yaron Abulafia, Routledge, 2015.
•  Performance Lighting Design: How to Light for the Stage, Concerts and Live Events, Nick Moran  Bloomsbury Publishing 2018.
• Stage Lighting Design: The Art, the Craft, the Life, Richard Pilbrow, Design Pr, 2000.
• Stagecraft Fundamentals: A Guide and Reference for Theatrical Production, Rita Kogler Carver, Routledge, 2018.
• Digital Scenography: 30 Years of Experimentation and Innovation in Performance and Interactive Media, Néill O’Dwyer , Scott Palmer , Joslin McKinney, Bloomsbury Publishing 2021.
• Scenography and Art History: Performance Design and Visual Culture, Ed. Astrid Von Rosen- Viveka Kjellmer, Bloomsbury Publishing, 2021.
• Fundamentals of Theatrical Design: A Guide to the Basics of Scenic, Costume, and Lighting, Karen Brewster–Melissa Shafer  2011.

DEPARTMENTAL ELECTIVE COURSES:

SOAD 220  Singing (2-2) 4

   Singing is an elective course for to give students an opportunity to learn techniques of using voice for singing. Students whom interesting in music performer with their voice can practice singing in various styles under the guidance of a lecturer. This course aims to convey notions related with singing satisfactorily as well as performing with microphone both on stage and recording studio.

Reference Books

• The Contemporary Singer: Elements of Vocal Technique, Anne Peckham, 2010.
• Beginning Singing: Expand Your Range, Improve Your Tone, and Create a Voice You’ll Love, John Henny, Independently published, 2020.
• This is a Voice: 99 exercises to train, project and harness the power of your voice, Jeremy Fisher–Gillyanne Kayes, Wellcome Collection; Main edition 2018.

SOAD 221   Anatolian Folk Music (3-0) 3

   This elective course surveys the instruments and songs of Anatolian folk music by listening. Students can have a cultural background and historical knowledge about the nature and specialties of Anatolian music. They discover the relations in between different nations whom lives in Anatolia for centuries.

Reference Books

• Turkish Folk Music from Asia Minor (Princeton Legacy Library, 1853), Bela Bartok, ed.Benjamin Suchoff, Princeton University Press; Reprint edition 2015.
• Turkish Folk Music Between Ghent and Turkey: Context, Performance, Function, Liselotte Sels, Equinox Publishing, 2021

SOAD 222   Ensemble (2-2) 3

   This course aims to gather students whom likes to play instruments as ensemble of repertory of western and Anatolian music to develop their abilities by working and performing together. The course also includes improvisation sessions for students which they can enhance their ability to collaborate and create together.

SOAD 320   Lyrics (3-0) 3

   Lyrics is an elective course which aim to convey methods of writing appropriate words for a song by analysing good examples of any languages. Students discover the exchange in between music and words in terms of emotional expressions or impacts on listeners. They practice to write lyrics for songs both existed ones and newly composed melodies. Then they also try to transpose poems in to the composed songs.

Reference Books

• Writing Better Lyrics, Pat Pattison, Writer’s Digest Books; Second edition 2010.
• Songwriting: Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing Better Lyrics, Pat Pattison  Berklee Press; 59858th edition, 1995
• Lyrics: Complete Lyrics for Over 1001 Songs from Yesterday’s Favorites, Hal Leonard, Hal Leonard Corp., 2006.

SOAD 321   Ottoman Classical Music (3-0) 3

   This course is another elective one to support student’s cultural background about Ottoman Classical Music. It introduces specific concept of Ottoman era music such as Makam, Usul, Fasıl and specific acoustic instruments like Kemençe, Tanbur, Ud, Ney, Bendir. Students understand developments through history as well as met with masters of it; Dede Efendi, Itrî etc.

SOAD 322   Music Industry (3-0) 3

   This course intends to give knowledge about industrial aspects of music in terms of mass-production, marketing and managing in western manner. It discusses the relation in between capital and art of music as well as sociological power of music. Students learns the historical journey of music industry to collect clues for their professional future. This course also contains aspects of music trade and promotional acts of our time.

Reference Books

•  Artist Management for the Music Business, Paul Allen, Routledge; 4th edition, 2018.
•  What They’ll Never Tell You About the Music Business, Third Edition: The Complete Guide for Musicians, Songwriters, Producers, Managers, Industry Executives, Attorneys, Investors, and Accountants, Peter M. Thall, Watson-Guptill; Revised edition, 2016.
•  Social Media Promotion for Musicians – Third Edition: The Manual For Marketing Yourself, Your Band, And Your Music Online, Bobby Owsinski,  BOMG Publishing, 2020.

 SOAD 323   Societal Sharing I (2-2) 3

   One of our faculty’s goal is to contact with local community with our neighbourhood in means of sharing our interest and experiences about music, dance and theatre. This course operates as an umbrella of various facilities and workshops related with music which are scheduled for kids and adults. These activities (courses, workshops) are arranged by the lecturer of this course and leading or teaching responsibilities are taken by the third year sound arts and design students. So students will experience to share their knowledge of moving with health and joy, to teach or guide into practices and to create dance together with different age and backgrounded people. The purpose is to give students and community members of all ages a mutual chance to grow in exchange within the neighbourhood whom will be our future audiences or students or music creators. 

 SOAD 420   Spiritual Music (3-0) 3

    Music is the phenomenon which accompanies human being from ancient times. Music also plays very important role in religious activities during this so long journey. Therefore, this course aims to take students attentions about the mystique features of music as both connector and healer. By listening and comparing mystic music examples from various cultures, student may perceive music from another perspective.

 SOAD 421   Jazz Culture (3-0) 3

   This course is another elective one to support student’s cultural background about Jazz Music. Jazz is very specific manner of producing and performing music which is strongly effected on 20^th century popular music and also very inspirational on creative aspects of music. In this course students are introduced related instruments and specialties of jazz practices. Also they learn the history of jazz all around the world and by listening different performers they understand the nature of making jazz.

Reference Books

• The History of Jazz, Ted Gioia, Oxford University Press; 3rd edition 2021.
• The Jazz Theory Book, Mark Levine, Sher Music, 1995. ‎ 

 SOAD 422   Thinking on Music (3-0) 3

   This course contents analysing the texts written on music from philosophical and aesthetic point of views. Students practice to read, understand and interpret the thoughts on music and its impacts. They search and present related texts and lead group discussion in order to experience verbal expression of musical perceptions. The aim of the course to motivate students toward thinking practices or scholarly approaches on their interested area; music.

Reference Books

• Music as an Art, Roger Scruton, Bloomsbury Continuum, 2018.
• The Aesthetics of Music, Roger Scruton, Clarendon Press; 1st edition, 1999.
• Philosophy of New Music, Theodor W. Adorno (Author), Robert Hullot-Kentor (Translator), Univ Of Minnesota Press; 2019.
• Music, Time, and Its Other: Aesthetic Reflections on Finitude, Temporality, and Alterity, Roger W. H. Savage, Routledge; 1st edition, 2019.
• Modernism, Music and the Politics of Aesthetics, Gemma Moss, Edinburgh University Press; 1st edition, 2021.

SOAD 423   Societal Sharing II (2-2) 3

   This is designed as the following course of Societal Sharing I, to obtain second occasion. One of our faculty’s goal is to contact with local community with our neighbourhood in means of sharing our interest and experiences about music, dance and theatre. This course operates as an umbrella of various facilities and workshops related with music which are scheduled for kids and adults. These activities (courses, workshops) are arranged by the lecturer of this course and leading or teaching responsibilities are taken by the fourth year sound arts and design students. So students will experience to share their knowledge of moving with health and joy, to teach or guide into practices and to create dance together with different age and backgrounded people. The purpose is to give students and community members of all ages a mutual chance to grow in exchange within the neighbourhood whom will be our future audiences or students or music creators. 

FACULTY ELECTIVE COURSES:

FMPA 220   Design for Performing Arts (2-2) 3 (University Elective)

   This course is about scenography, discipline related to any design issue for performing arts productions. Also known as “design for stage” it involves with costume lighting and set or space design all together. The aim of this course is to give design notions to the performing art students while they are creating dance, theatre and music as well as to the art and design students as an option of designing for performing arts. It is intended to amalgamate design perspectives with performing practices through a certain aesthetic value which completes art production. In this course students from all departments have opportunity to think creatively and find design solutions together for the sake of art.

 Reference Books

• Perform: Designing for the Performing Arts, Pelli Clarke(Author), Ted Whitten (Editor), Images Publishing, 2018.
• What is Scenography?, Pamela Howard, Routledge, 2009.
• From Page to Stage: How Theatre Designers Make Connections Between Scripts and Images Heinemann Drama,Rosemary Ingham, 1998.
• The Dramatic Imagination: Reflections and Speculations on the Art of the Theatre, Robert Edmond Jones, Routledge, 2004.
• A Practical Guide to Stage Lighting, Steven Louis Shelly, Routledge, 2016
• An Introduction to Theatre Design, Stephen Di Benedetto, Routledge, 2012
• Collaborators, ed. Kate Burnett, Society of British Theatre Designers, 2007.
• Exploring Scenography, Malcolm Griffiths, Society of British Theatre Designers, 2002.
• Scenography/Szenografie, Atelier Brückner, Avedition.

FMPA 221   Icons and Styles of 20^th Century Decades (3-0) 3 (University Elective)

The culture of western industrial or capitalized society gave birth to the concepts of “icon” and “style” along with “fashion” and “trends”. These terms are very influential onto social events, artistic approaches, behavioural manners, organization of living spaces and so on. Therefore, as today’s and future artists and designers it is vital to understand dynamics of time and change through decades. History of humankind and civilization includes many cornerstones but especially from the contemporary point of view, 20^th century decades have affected our time very deeply. This course aims to convey the time flow of 20^th century icons and styles which still effects our artistic and creative practices along with the differences between each decade. Student apprehend the historical aspects of artistic practices and appreciates the value of “inspiration” and “retrospective” approaches.

Reference Books

• 1900s: Decades of the 20th Century by Milan Bobek (Author, Editor),  Eldorado Ink 2005.  
•   Dressing the Decades: Twentieth-Century Vintage Style, 2016, Emmanuelle Dirix, Yale University Press.
• High Styles: Twentieth-Century American Design, by Whitney Museum of American Art, Summit Books, 1985. 
• Architecture in the 20th Century, Peter Gössel–Gabriele Leuthäuser, Taschen, 2020.
•  Lipstick Traces: A Secret History of the Twentieth Century, Greil Marcus, Twentieth Anniversary Edition, 2009, Belknap Press: An Imprint of Harvard University Press.
• Passing Parade, A history of Popular Culture in the Twentieth Century, Richard Maltby, Southside, 1990.
• Icons of the 20th Century: 200 Men and Women Who Have Made a Difference, barbara Cady – Jean Jacques Naudet, Over look Books, 1998.

FMPA 222   Culture of Performance Art (3-0) 3 (University Elective)

Performance Art is an art form or art exhibition of actions enacted by the artist and his/her collaborators. It may be documented or live, includes spontaneously happened events in front of the audience or public. It is traditionally interdisciplinary in the context of both fine arts and performing arts. Generated in 20^th century Avant garde art, it is very powerful in terms of politics and social impacts currently. Its goal to take public attention to the urgent issues of life and trigger the massive reaction to the wrongness or in sufficiency of the governor or authorities from an aesthetic point of view. Culture of Performance Art course focuses to convey historical overview and guide students to grab notions, criteria and nuances of this art form. The aim of the course is to feed students culturally about Performance Art and enable them to comprehend and discuss the texts about the meanings and influences of this very special art practice.

Reference Books

• Performance Art: From Futurism to the Present (World of Art), Roselee Goldberg, Thames & Hudson, 2001.
• The Analysis of Performance Art: A Guide to its Theory and Practice, Anthony Howell, Routledge 1999.
• Performance / Media / Art / Culture: selected Essays 1983-2018, Jackie Apple- ed. Marina LaPalma, Intellect Books.
• Staging Spectators in Immersive Performances: Commit Yourself!, ed. Doris Kolesch – Theresa Schütz – Sophie Nikoleit, Routledge, 2019.
• The Twenty-First Century Performance Reader, ed. Teresa Brayshaw – Anna Fenemore – Noel Witts, Routledge, 2020.
•  Performance: Live Art Since the ’60s, Roselee Goldberg, Thames&Hudson, 2004.

 FMPA 223   Poem (3-0) 3 (University Elective)

   Poetry is the art form deals with the words and their meanings and sound or music mutually. It deals with to find appropriate and less amount of words to express thoughts and feelings which generates a kind of play in everybody’s mind. Poem is a practice of thinking before of writing. It is both related with music (sound and rhythm) therefore with mathematics and language and meaning therefore philosophy. Poem reveals a subject’s look or view to something by translating them into words as well as combination of these word. Poem is abstraction, design activity along with philosophical effort. Therefore, this course supports the student’s ability of abstract thinking and designing along with imagining and indirect phrasing. It aims to emphasize alternative ways of thinking and creating also encourage students to deal with designing and creating within words which is more intangible then movement, action and sound. There are poem reading and analysis also writing practices during the course.

Reference Books

• A Poetry Handbook First Edition, Mary Oliver, Mariner Books, 1994
• Truth Be Told: A Poetry Prompt, Amanda Hawkins, Blurb, 2021.
• The Practicing Poet: Writing Beyond the Basics, ed. Diane Lockward, Terrapin Books, 2018.
• Writing Poetry: Creative and Critical Approaches (Approaches to Writing), Chad Davidson- Gregory Fraser, Red Globe Press, 2008.

FMPA 320   Promoting a Performance (2-2) 3 (University Elective)

This course is for all students of the Faculty of Performing Arts and Faculty of Design, Faculty of Art, Faculty of Communication. During the course students experience to plan, think and design visual components (poster, leaflet, flyer, logo, photo, digital media materials) which are necessary to promote or advertise their own theatre, dance and music creations in collaboration with the other faculty students. In the course there will be promotion projects which needs to developed and realized as group. The aim is to share abilities and exchange knowledge about both performing and visualizing in between students of different disciplines. Beyond that they may understand nature of their own practices mutually and how they may increase creativity if they work as a team.

Reference Books

• Standing Room Only: Strategies for Marketing the Performing Arts, Philip Kotler- Joanne Scheff Bernstein, Harward Business Review Press, 1997.
• Communication Design: Insights from the Creative Industries, Derek Yates-Jessie Price, Fairchild Books, 2015.

FMPA 321   Popular Culture (3-0) 3 (University Elective)

   Popular culture also called mass culture or pop culture indicates a set of practices, beliefs, objects that are dominant or in the foreground in a society at a certain time period. These entities influences, attracts, motivates, manipulates people in masses. Related with recognition and fame also those values form culture of a society by encompassing the activities and feelings produced as a result of popular or dominant objects. In our contemporary life; dance, acting and music are strong tools like weapons of influencing and directing masses toward certain products, opinions or choices. Therefore, it is crucial that a creator or practitioner of performing arts should concern the phenomenon of popularity and its results. There is an issue of responsibility of any artist whom closely interacts with the society. So this theoretical course intends to give students understanding and ethical awareness about popularity and popular culture in order to find their own approaches and take responsibilities over the masses as influencers or creators of popular entities.

Reference Books

• Pop Culture Freaks: Identity, Mass Media, and Society, Dustin Kidd, routledge, 2018.
• Reading Pop Culture: A Portable Anthology, Jeff Ousborne, Bedford/St. Martin’s, 2015.
•  The Pop Culture Zone: Writing Critically about Popular Culture Allison D. Smith- Trixie G. Smith, Cengage Learning, 2014.
• Introducing Philosophy Through Pop Culture, ed. Richard Irwin, wley-Blackwell, 2010.

FMPA 322   Performance Arts Practices (3-0) 3 (University Elective)

   This course is the practical component of Culture of Performance Art course. Students whom have taken this prior course are welcome to experience creating live performances concerning contemporary issues. They deal with current problems of our world or society and emerge art actions or live events to raise public awareness about them. There will be projects that student can perform individually and within a group and have opportunity for public sharing due to collect feedbacks and evaluate their reactions.

 Reference Books

• Performance Art: From Futurism to the Present (World of Art), Roselee Goldberg, Thames & Hudson, 2001.
• The Analysis of Performance Art: A Guide to its Theory and Practice, Anthony Howell, Routledge 1999.
• Performance / Media / Art / Culture: selected Essays 1983-2018, Jackie Apple- ed. Marina LaPalma, Intellect Books.
• Staging Spectators in Immersive Performances: Commit Yourself!, ed. Doris Kolesch – Theresa Schütz – Sophie Nikoleit, Routledge, 2019.
• The Twenty-First Century Performance Reader, ed. Teresa Brayshaw – Anna Fenemore – Noel Witts, Routledge, 2020.
• Performance: Live Art Since the ’60s, Roselee Goldberg, Thames&Hudson, 2004.

FMPA 323   Traditional Street Events I (2-2) 3

  This practical elective course is planned for students of Faculty of Performing Arts in order to raise their interest about traditional performing art forms. During the course they learn about local dance, acting and music culture and forms then work for reshaping or commenting with contemporary manner. Later they perform their individual or group pieces in the street of our city periodically. As a result of these live and in open air performances they get used to perform within close interaction with the audience and enforces their self-confidence as well as quality of performing. Besides this course also give way to relate local community with the members of our faculty as well as to sense cultural heritage of our geography.

FMPA 420   Site Specific Dance/Theatre/Art (3-0) 3 (University Elective)

   One of the performing and fine art forms is site-specific ones which are created specifically for a place/space/architecture. In the form of dance, theatre or fine arts the productions are deeply related with the topography and nature of the chosen space (e.g. historical building, junkyard, forest, mountain, carpark, train station, abandoned building, warehouse, docks, bus stop, butcher shop, shopping mall) in order to appreciate its forgotten value or unknown beauty. Artists rehearse in there to investigate specific aspects and value if chosen area and perform in it alive ideally. In this course student examine the examples of site specific projects and develop their own ideas for the spaces in their local environment. As individual or group they will experience how to think alternatively and interacted with physical environment and appreciate the “space” as a creative collaborator for their projects.

Reference Books

• Site Dance: choreographers and the Lure of Alternative Spaces, Melanie Kloetzel – Carolyn Pavlik, Oxford University Press, 2011.
• Moving Sites: Investigating Site-Specific Dance Performance, ed. Victoria Hunter, Routledge, 2015.
• Off Sites: Contemporary Performance beyond Site-Specific, Bertie Ferdman, Southern Illinois University Press, 2018.
• Performance, Place and Documentation, Nick Kaye, Routledge, 2000.
• Choreographic Dwellings: Practicing Place, ed. G. Schiller-S. Rubidge, Palgrave, 2014.

FMPA 421   Creating Video Performance/Art (2-2) 3 (University Elective)

    In our time especially within the pandemic situation, opportunity of live performances and encountering with audience are limited and restricted. So digital platforms became very popular in solution to continue producing art events. Therefore, our students must be familiar with the technology (digital tools of recording and editing) and its advantages for sharing their works with the public. Recently these forms called as digital theatre, digital dance or digital art. They can be performed as alive or shared as video production. So this course gives students opportunity of practicing video making and post-production which will be appropriate for to share in social media platforms.

Reference Books

• Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation, Steve Dixon, MIT Press.
• Digital Theatre: The Making and Meaning of Live Mediated Performance, US & UK 1990-2020, Nadja Masura, Palgrave Studies in Performance and Technology, 2020.
• Theatre and Performance in Digital Culture: From Simulation to Embeddedness, Matthew Causey, Routledge 2009.
• Theatre and the Digital, Bill blake, Macmillan International Higher Education, 2014.
• Digital Dance: The Effects of Interaction between New Technologies and Dance, Verena Anker, VDM Verlag, 2008.

FMPA 422   Traditional Street Events II (2-2) 3

  This course is continuation of Traditional Street Events I. It aims to give students a second chance of practicing to reform and revised local cultural dance, theatre and music samples along with to perform and share with neighbourhood alive. This course is also planned for to increase touristic attraction in local environment with modernized traditional art events. Along with it aims to develop cultural awareness in the society about the artistic and historical heritage of our land. As a result of live and in open air performances of their own creations, students get used to perform within close interaction with the audience and enforces their self-confidence as well as quality of performing. Besides this course also give way to relate local community with the members of our faculty as well as to sense cultural heritage of our geography.