A suggested model as to the use of "hicaz saz semâi" in violoncello training in music education departments

This study aims to offering a model as to the use of "hicaz saz semâi" in violoncello training in music education departments and to identify the extent to which the suggested model helps to overcome the difficulties violoncello students have encounter in playing "hicaz saz semâi". The study utilizes two research methods; namely, descriptive survey model and experimental model. In the descriptive phase of the study, literature review and interviews with violoncello lecturers have been conducted. In addition, a questionnaire has been applied to the experimental and control groups before the experimental process, and the experimental group has been interviewed after the experimental treatment. In the experimental part of the study, the "control group pretest-posttest" pattern has been employed. In the descriptive phase of the study, the study group consists of 20 violoncello lecturers working in 20 music education departments of the universities, faculties of education, fine arts education departments throughout 2018-2019 academic year. In the experimental phase of the study, the study group consists of 8 violoncello students studying at Bursa Uludağ University Fine Arts Education Division, Music Education Department in the third and fourth grades throughout 2018-2019 academic year. The data obtained through semi-structured interviews with violoncello lecturers and students in the experimental group have been analyzed through the technique of content analysis. In the analysis of the data obtained in the experimental stage of the research, t test, one of the parametric tests, has been used. The hicaz hümâyûn saz semâi of Yusuf Pasha has been adapted to the violoncello to be used in the experimental phase of the study. The saz semâi adapted to the violoncello has been played by the students in the study group during the pretest stage, and after the pretest, the difficulties they faced in performing the hicaz hümâyûn saz semâi have been identified by applying a questionnaire to the study group students. The suggested model consisting of six sections has been developed to overcome the difficulties the students have encountered. The exercises that make up the model have been conducted by the students in the experimental group for six weeks, one hour a week. At the end of this period, the students in the study group performed the hicaz hümâyûn saz semâi again for the posttest phase. During the pretest and posttest stages, the performances of the students hicaz hümâyûn saz semâi have been recorded with a camera. Four expert lecturers in the violoncello field have assessed the video recordings using a graded scoring key. The data collected have been analyzed using the SPSS program. As a result of the research, it has been concluded that the suggested model is effective in eliminating the difficulties that violoncello students encounter in performing the hicaz hümâyûn saz semâi.