Rhythm knowledge and percussion instruments courses in Turkish folk dances undergraduate programs: Contents, differences and suggestions

Turkish folk dances is a cultural element that contains various elements in and emerges by blending them. The most important of these elements is the concept of music, which is considered indispensable. The common basis of music and dance is rhythm. It is necessary to think of rhythm as a sub-element in both music and dance. Rhythm, music and dance are three intertwined phenomena. Just as there are points where music shapes the dance, there are points where the dance shapes the music. Here, rhythmic structures are among the primary elements that will ensure emphasis, character and distinction. It is possible to find many different examples of rhythmic structures in Turkey. Rhythmic structures in music are emphasized or highlighted by using various percussion instruments. Percussion instruments are used in all types of Turkish folk dances. For this reason, Turkish folk dances, percussion instruments, music and rhythm are intertwined concepts that are in constant communication with each other. It is essential to have these elements in Turkish folk dance education. In the first part of the study, the concept of rhythm, general musical terms, Turkish folk music procedures, as well as the relationship between Turkish folk dances and percussion instruments are discussed. In the second part, general knowledge about Turkish folk dances, the process of Turkish folk dances being included in the academy and the first educational plans made in Turkish folk dance undergraduate programs are discussed. In the third chapter, information is given about the contents of Rhythm Knowledge and Percussion Instruments courses conducted in Turkish folk dance undergraduate programs of universities, and the asma davul notation models used in these courses are also identified. Information was given about the notes included in the models. Almost all academicians conducting relevant courses in these departments were interviewed. Information and various documents regarding the operation of the courses were obtained from these academicians. In the last section, the results obtained throughout the study are stated. Additionally, different suggestions were made considering these results. It is the greatest wish that this study will be a resource for Turkish folk dances, Turkish folk dance researchers, the development of academic education of Turkish folk dances, and researchers who want to work on Rhythm Knowledge and Percussion Instruments.