Müzik teknolojileri lisans eğitim programlarının karşılaştırmalı betimsel analizi

This study aims to analyze and describe the status of four-year undergraduate 'Music Technology' curricula in Turkey in order to find out if they fit with the hypothesis that they do not include as many music technology category courses as their Western counterparts. The hypothesis first originated in the form of a curious idea which had its roots in personal correspondences of the author and his foreign collegues who were graduates from foreign music technology departments. With the curiosity developed furthermore, after having a look at the music technology curriculums of Turkish universities, even without making any calculations then, it was noticed that the curriculums spared a great amount to subject areas like music theory and performance. This resulted in structuring a research around the subject to prove or disprove the hypothesis which led to this thesis study. Undergraduate education in "Music Technology" and relevant curricula is internationally one of the most overlooked subjects in terms of research, except for a few publications."Music Technology" is an interdisciplinary field of study rather than being "one" discipline and relates to and spans across a continuously expanding list of areas because of the swift developments in technology resulting in newly formed demand for music technology professionals who are able to work in these new areas. Moreover, each new occupation develops its own techniques and methods both in theory and practice which are to be learnt, studied and practically experienced. Music technology curricula has to correspond to these developments and adapt itself to the fast changing conditions in order to be able to successfully keep up with the requirements of close tracking the overall progress. This is even a harder task to perform for countries like Turkey because of the history of education is relatively newer than in the countries music technology education first originated. Additionally, the new and driving technologies generally neither are developed nor arrive here, thus become known and gotten familiar with soon enough to adopt into our curriculums. In addition to these challenges, there was too little written and researched over the issue. These altogether formed the main drive and necessity to define the status of Turkish undergraduate music technology curricula which is the main goal of this study. In order to achieve the goal of describing where undergraduate music technology curricula currently stands, the music technology curriculums offered by seven Turkish universities were examined thoroughly and then compared to the foreign undergraduate music technology curriculums. The curriculums have been explored in terms of credit allocations to develop an understanding about how much of the curriculums are in closed contact with the recent developments in the area and the equivalent education in selected universities in United States and United Kingdom. In examination, an inductive calculation method was used. Firstly, the courses that were included within the curriculums have been found out through internet survey and each course description was read. Secondly, credit allocation of each course in the curriculum was calculated in terms of credit weights in percentages. It become apparent that each course was found to belong either one of the eleven areas of study that were met during the curriculum exploration. Each of these eleven areas are called as a "course category" through out this study. All the courses were then listed and classified according to which course category they reside in. Then credit allocation per course category per semester was calculated in terms of credit weights in percentages. Finally, the results were summed up to find out the overall credit allocation per category within the four-year undergraduate music technology education of each university. The foreign curricula of the selected six universities have been explored by using the same methods of internet survey research and inductive calculation. The calculated overall results of the foreign music technology curriculums were then compared to their Turkish equivalents. The findings from the comparisons among thirteen selected universities were presented and explained. Each program had their statements of education declared on their websites. Besides their curriculum calculated in terms of credit allocations per course and course category, each program was criticized whether their ingridients was sufficient to meet the statements of education about their aims, mission and vision or not. The time of the research was extended more from what it was originally thought it would be. As a result of this, the presented curriculums had to be examined in the beginning of each academic year and were checked continuously for the changes in them that might have occured. Consequently, it is found convenient to explain the results of the research into two time periods as being 'before' and 'after' 2012 with 2012 being the year most of the change in Turkish music technology curriculums have been concluded with. Eventually, the findings from both time periods the research has expanded into were compared, analyzed and described. The hypothesis proved to be true for the Turkish music technology curriculums offered before 2012. However, for the period after 2012, the said curriculums have increased the courses in music technology by significant amounts by which their undergraduate education proved to get closer to those of their Western counterparts. Yet there were much to be done either by Turkish or foreign music technology programs when the recent developments in technology was taken into account in terms of how it affects today's educational climate where learning now started to happen as an emergent process out of curiosity. Education is now moving toward a direction that it does not require a place, time or a "lecturer" as it does in traditional education, eventhough it seems it still needs curiosty, an access to internet and guidance to learn how to learn. The new ways of learning might soon replace the traditional education as having been discussed and set forth by the growing umber of educational scientists. The traditional undergraduate education has to rethink, change and transform itself all over to cope up with the competitive educational developments and fast changing circumstances driven by the rapid progress in technology and a "reform" will soon not be adequate. A chapter criticizing the general traditional education as it now and discussing where the education will be like in the future is added to present the possiblities that might arise in music technology education. The ideas of "organic and living curriculum" are explained to support the idea of requirement to transform the traditional education. An alternative modular undergraduate music technology curriculum model is proposed that could be of help in transitioning to the future of education and might act as a bridge between now and the future, easing the ways of transformation especially in a country like ours where traditions and conservations require way more time to be left and the resistance to change is greater than the Western world.