The usability of women composers' solo piano works with the Flipped Learning Model in piano education

Cognitive and psychomotor preparation, which includes the skills of recognizing the piece and sight reading the piece in the first weeks of the piano education process and throughout the education process, are mostly processes performed by the student. It is seen that there are various teaching methods or models for the preparation process in the point in question to function in a quality and healthy manner. The Flipped Learning Model, which is one of the models that enables the student pre-preparation before the lesson to take place in a healthy way; It is a blended learning model in which the place and time of lectures and assignments are changed, in-class lessons are moved out of the classroom by making use of technology, and in-class time is organized in a way that allows more practice by using different learning activities. As a result of the literature review, it is seen that the Flipped Learning Model is researched at every step in music education, and implementation related to this model are included in music history, general music education and various instrument trainings in higher education institutions. In aforementioned studies it was determined that the data were obtained through literature reviews, interviews, questionnaires and scales. However, it is seen that the qualitative studies that deal with the undergraduate education process in detail are limited, and it is important to determine which targets the Flipped Learning Model is beneficial in piano education and which learning outcomes it helps to achieve. Besides the teaching models used in the teaching process, the course materials are considered to be an important element that the piano educator take into consider. It is stated that the diversity of the work and the student's work in different styles are important in the selection of course materials. In terms of curriculum, there is very limited information that works by women composers are included in concert programs and education curricula in Turkey and around the world, and it is emphasized that there is a lack of literature based on the experiences of women composers in Turkey, especially focusing on European Academic Music. It is thought that the aforementioned lack of literature is also reflected in piano education, and it is anticipated that the recognition and study of solo piano works of women composers by undergraduate students will contribute to the piano education literature. For all these reasons, the aim of this study is to determine in what way and at what level the solo piano works of Turkish women composers contribute to the development of undergraduate students who receive piano education with the Flipped Learning Model. Qualitative research method was adopted in line with the purpose, and the pattern of the study was determined as Case Study Design. The sub-problems identified in the study were carried out through literature review, personal communication and semi-structured interviews; in the main application, the data were obtained with observation notes and diaries. Content analysis of the data obtained from semi-structured interviews, observation notes and diaries was carried out with Maxqda 2022 Professional Data Analysis Software for Qualitative and Mixed Methods. Considering that the results of the literature review and semi-structured interviews for the sub-problems; the names of 133 solo piano works by 30 Turkish women composers have been reached. Ayşe Tütüncü, Banu Kanıbelli, Çiğdem Borucu Erdoğan, Ece Merve Yüceer, Ebru Güner Canbey, Gökçe Ağ Karcebaş, İlkim Tongur, Perihan Önder-Ridder, who agreed to take part in the implementation of the thesis, and Avniye Nazife Aral Güran, whose works were obtained from the musicologist Nejla Melike Atalay, since she is not alive. 59 solo piano works by nine composers are listed. In addition, according to the opinions of the piano instructors, it was seen that the use of solo piano works by Turkish women composers in education was limited, and suggestions were obtained regarding the dissemination of composers and their inclusion in education curricula. Four undergraduate students studying occupational music participated in the eight-week implementation phase, which was based on the Flipped Learning Model and the works were selected from the list of solo piano works by Turkish women composers and their suitability for student levels was determined with expert opinions. Within the framework of the Case Study Design of the study, each of the participating students was approached as a case and evaluated one by one. Observation notes and diaries obtained in the application were analyzed by content analysis; It was observed that the same themes as "Course Video Viewing", "The Effect of Course Materials on Student Preparation", "In-class Skill Achievement Situations" and "Teaching Methods" were formed in all four students, but within different code density was obtained for each student. Considering that the learning outcomes of the piano lessons students are taking, it was concluded that they obtained the point in question learning outcomes with the codes and categories named "Contribution to Technical Skills", "Contribution to Musical Skills" and "Interest in Research for The Work and Its Composer" that they obtained during and at the end of the process. In addition, variables such as family support for music, being a musician in the family and the age of starting piano education do not have a positive or negative effect on the effective use of the course materials prepared with the Flipped Learning Model; It has been concluded that this model is most effective in preparation, and it is more efficient in undergraduate processes where the responsibility of individual learning is taken into account, considering the undergraduate level of the student. It is thought that this study, in which four students are handled, is limited, but will contribute to piano educators and students who take piano education, as it provides a healthy preliminary preparation and a piano education perspective in which the student can take responsibility for learning.