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Electro-acoustic music that emerged in classical western music after 1950s is also preferred by young Turkish composers. This type of music uses pre-recorded sounds as well as acoustic instruments. These recorded sounds could be used originally in the way they are recorded or recorded sounds could be changed. Bülent Arel and İlhan Mimaroğlu can be seen as the pioneers of Turkish composers who have composed electro-acoustic pieces. And some examples of the other Turkish composers who composed electro-acoustic pieces are Aydın Esen, Mehmet Aktuğ, Meliha Doğuduyal, Tolga Tüzün, Mete Sakpınar, Mesruh Savaş and Berkant Gençkal. The aim of this study is to increase the recognition of Turkish composers and Turkish flute literature at international level by giving detailed information about Mesruh Savaş's Deformed Reflections from Turkish flute repertoire. In this research, literature review, interview with composers and work analysis methods were used. Deformed Reflections was composed for flutist Sibel Ayhan and pianist Aylin Çakıcı Uzar in 2009 for flute, piano and electronic sounds. The piece emerged with the composer's desire to use new flute sounds and extended flute techniques that were not used very often. Electronic sounds were added to the piece later on for aesthetic reasons and perhaps on the curiosity of the composer to new sounds and colours.

Turkish flute literature, electro-acoustic music, Mesruh Savaş, Deformed Reflections.

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    Dear Scientists,

    The ninth volume (Winter 2019) of Çukurova Studies journal has been published . We thank to all who assisted us.

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