**4. Conclusion, recommendations and discussion**

#### **4.1 Conclusions and discussion**

In the preliminary interview with the students who participated in the study, they stated that their musical experiences were quite limited. The majority of the

**235**

**Figure 10.**

**Figure 11.**

*Is Experiential Learning Possible with Active Music Education?*

would sing along the song while sitting at their desks.

students stated that music courses in primary, secondary, and high schools were empty and meaningless, that they solved tests in music class in middle school and high school and those who studied music at the primary or secondary education stage stated that they memorized only the names of notes and rhythmic structures in the course. One student stated that their teacher would sing to them and they

In light of the data obtained from the study, to ensure active participation and observation of the students, the class of 76 people was divided into four groups consisting of approximately 20 people. To provide a "U" shaped seating arrangement, the desks arranged in rows were rearranged with the students. All students participating in the study found it positive that the course was taught by dividing the class into four groups. Also, they stated that with classes limited to 20–25 people the lessons were more comprehensible and everyone participated in class. However, some students stated that since there are crowded classes in the Turkish national education system, it would not be able to attain this ideal number and therefore

The students who participated in the study stated that everyone's opinion was taken during the 1–1.5-hour studies and creating ideas together had a positive effect on them. However, the lessons were long and exhausting since it was about interpreting and re-synthesizing instead of memorizing information. This is the negative aspect of the study according to them. They stated that at the beginning of the study, listening to sounds in nature or class during practice, speaking and imitating these sounds, imitating these sounds by hitting their bodies with hands, finding the corresponding sound of imitated sounds with *Orff instruments* and finally, transferring them on a graph (graphical notation) to A3-sized cardboard of using *EVA materials* increased their interest in the sounds of nature and the duration of these sounds. They stated that the same or a similar study could be used to improve the hand skills of students in the first and second grades of primary education. In the application of the study, problems were observed while making the sounds on cartons for the duration of the sound. Therefore, the studies were continued by transferring them to nursery rhymes and counting rhymes. In similar studies on nursery rhymes, sample works similar to the *aruz prosody* were developed with the participants. While working on the rhythm of syllables and words, they also made sure that the syllables and letters were uttered on time, with the correct emphasis and toning. Since the works resemble the *aruz prosody,* some information from Divan literature was transferred to the *Turkish language and* 

*Rhythmic expression of words with dots and lines: it is read by putting dots on short syllables, long lines on long* 

*Rhythmic expression of words with lines and wavy lines: For each word, it is read with short, long, straight,* 

*DOI: http://dx.doi.org/10.5772/intechopen.93754*

these practices could not be implemented.

*literature* (**Figures 10**–**12**).

*upward, and downward lines and wavy lines*

*syllables. (A counting rhyme similar to "Eeny, meeny, miny, moe")*

#### *Is Experiential Learning Possible with Active Music Education? DOI: http://dx.doi.org/10.5772/intechopen.93754*

*Education at the Intersection of Globalization and Technology*

country, many academics and teachers are working on this subject. However, there is no institutionalization in this regard. **P50:** This education style is unfamiliar to me. Because I did not receive this education from the moment I started school at a young age and I got used to another style. And one of the things that are hard for people is to give up their habits. However, if this education is given to new generations, it will be easier for them than it is for us. **P32:** Applications with too many people in a small class sometimes lead a few students to get disconnected from the course, fail to establish one-on-one communication and to generate enough productivity. Therefore, the course environment and the class number should be taken into consideration. For that purpose, splitting into four different groups and changing the lesson times at the beginning of the semester have been much more useful. Consequently, for music and movement education, a special classroom and a limited number of students are required. **P60:** Since I have not had a proper music lesson until now, my skills and interest in music had become rusty. Because, since elementary school, we generally had free time during music lessons. **P45:** The state in particular should provide the necessary instruments for the universities and primary schools. And finally, our practices could be more energetic. The reasons why it could not be more energetic were due to both the size of the class and the unwillingness of students. Maybe a little bit of technology could have been utilized to make it more energetic; for example, a projection device could have been used to reflect on the board, we could have watched videos about Orff education, and our teacher might have wanted us to recreate what we saw similarly. Our teacher could have made an observation and joined when necessary, more fun activities could have been done in the classroom altogether. Songs could have been faster and played on the computer; we could have accompanied the song with our bodies and

*Factors preventing experiential music and movement practices according to participants.*

**234**

voices (**Figure 9**).

**Figure 9.**

**4.1 Conclusions and discussion**

**4. Conclusion, recommendations and discussion**

In the preliminary interview with the students who participated in the study, they stated that their musical experiences were quite limited. The majority of the students stated that music courses in primary, secondary, and high schools were empty and meaningless, that they solved tests in music class in middle school and high school and those who studied music at the primary or secondary education stage stated that they memorized only the names of notes and rhythmic structures in the course. One student stated that their teacher would sing to them and they would sing along the song while sitting at their desks.

In light of the data obtained from the study, to ensure active participation and observation of the students, the class of 76 people was divided into four groups consisting of approximately 20 people. To provide a "U" shaped seating arrangement, the desks arranged in rows were rearranged with the students. All students participating in the study found it positive that the course was taught by dividing the class into four groups. Also, they stated that with classes limited to 20–25 people the lessons were more comprehensible and everyone participated in class. However, some students stated that since there are crowded classes in the Turkish national education system, it would not be able to attain this ideal number and therefore these practices could not be implemented.

The students who participated in the study stated that everyone's opinion was taken during the 1–1.5-hour studies and creating ideas together had a positive effect on them. However, the lessons were long and exhausting since it was about interpreting and re-synthesizing instead of memorizing information. This is the negative aspect of the study according to them. They stated that at the beginning of the study, listening to sounds in nature or class during practice, speaking and imitating these sounds, imitating these sounds by hitting their bodies with hands, finding the corresponding sound of imitated sounds with *Orff instruments* and finally, transferring them on a graph (graphical notation) to A3-sized cardboard of using *EVA materials* increased their interest in the sounds of nature and the duration of these sounds. They stated that the same or a similar study could be used to improve the hand skills of students in the first and second grades of primary education. In the application of the study, problems were observed while making the sounds on cartons for the duration of the sound. Therefore, the studies were continued by transferring them to nursery rhymes and counting rhymes. In similar studies on nursery rhymes, sample works similar to the *aruz prosody* were developed with the participants. While working on the rhythm of syllables and words, they also made sure that the syllables and letters were uttered on time, with the correct emphasis and toning. Since the works resemble the *aruz prosody,* some information from Divan literature was transferred to the *Turkish language and literature* (**Figures 10**–**12**).

**Figure 10.**

*Rhythmic expression of words with dots and lines: it is read by putting dots on short syllables, long lines on long syllables. (A counting rhyme similar to "Eeny, meeny, miny, moe")*

**Figure 11.**

*Rhythmic expression of words with lines and wavy lines: For each word, it is read with short, long, straight, upward, and downward lines and wavy lines*

**Figure 12.**

*Rhythmic expression of words with geometric shapes: before you read the letter O, a half circle is drawn upward from the center of the circle and breath is taken. Then the letter "o" is pronounced; "pi-ti," "karamela," and "sepeti" syllables pronounced in such a way corresponding to each edge of the square, rectangle, and triangle for as long as the edge lengths.*

#### **4.2 Recommendations**

In similar studies on nursery rhymes, sample works similar to *aruz prosody* were developed together with the participants. While working on the rhythm of syllables and words, they also made sure that the syllables and letters were uttered on time, with the correct emphasis and toning. Since the works resemble the *aruz prosody,* some information from Divan literature was transferred to the *Turkish language and literature*. Therefore, it is recommended for future studies to be carried out in similar ways.

At the beginning of the studies, listening to sounds in nature or class during practice, speaking and imitating these sounds, imitating these sounds by hitting bodies with hands, finding the corresponding sound of imitated sounds with Orff instruments could be useful.

Participants stated that transferring them on a graph (graphical notation) to A3-sized cardboard using *EVA materials* increased their interest in the sounds of nature and the duration of these sounds. Similar practices to the same ones can be used to improve the hand skills of students in the first and second grades of primary education.

All students participating in the study found it positive that the course was taught by dividing the class into four groups. Therefore, it is recommended to perform elementary, music, and movement practices in this way. It is recommended that the courses are taught in classes limited to 20–25 people for the studies to be more comprehensible.

For the training of music teachers who are experts in universities, high school and fine arts high schools, and primary and secondary education, a music department must be established in the first place and under this department, preschool, basic education, special education, vocational education departments must be established. In the current structure, under the fine arts department, there are only music and drawing sections.

Instead of training music teachers with general knowledge of music education who are partially specialized in their fields (experts who partly play instruments such as piano, recorder, baglama, guitar, and sing), the departments dedicated to expertise, such as those in conservatories training specialized teachers in various fields, must be established. For example, theory and sound education departments for instruments (piano, string instruments, etc.) should be created. Applications conducted between 1994 and 1998 should be examined as examples [4, 16].

The limited experience of teachers, who are trained as a single type in general music education, should be enhanced with *special teaching methods* and *games, dance, and music lessons* (among the courses established under restructuring by CoHE in 1996). To enhance these experiences, students firstly need organization of the classroom environment, accurate determination of instrument needs, and workshop classes with Orff instruments.

Students need to receive specialized training, which will enable them to experience the active music education approach as Orff-Schulwerk, elementary music and movement education and its methods as Kodály, Suzuki, Dalkroze et al., from expert educators.

**237**

**Author details**

**Additional information**

Music Department, Fine Arts Faculty, Erciyes University, Kayseri, Turkey

© 2021 The Author(s). Licensee IntechOpen. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/ by/3.0), which permits unrestricted use, distribution, and reproduction in any medium,

achieved with these studies conducted in both Europe and America.

\*Address all correspondence to: kivancaycan@yahoo.com

provided the original work is properly cited.

Kivanc Aycan

Congress.

*Is Experiential Learning Possible with Active Music Education?*

Therefore, participation in practical training should be provided.

The Ministry of National Education (MoNE) and universities are required to ensure that active music education is provided in a standardized way. Nowadays, online training is carried out by private firms using the names of MoNE and universities. However, there are two types of training, namely, [17] training not based on active experience and group work, and practical training [18, 19] based on active experience and group work. As the name suggests, these types of training, which must be based on an active experience, cannot be delivered online. Because, in these training sessions, body memory is in the foreground, and these training sessions are incomplete when verbal and mathematical responses are not encoded in the body.

In solving the problems experienced in music education programs, the opinions of experts in education and music education programs should be consulted; several types of music teachers should be trained instead of a single type [20–22]. Music education programs resembling each other, having common points are positive for the credit system. However, it is important to train music teachers considering the needs of regions and cities in Turkey. For example, according to this need, while training music teachers who will give basic music education in Central Anatolia, specialized music teachers who will work in universities and fine arts high schools in cities such as Ankara, İstanbul, and İzmir may be trained. In identifying these needs, academic studies and comprehensive surveys conducted by professional

National and international workshops and conferences, which will allow music department students to experience an active approach and method of music education in Turkey, should be organized. *These studies continue with the first International Istanbul Kodály training days, Orff-Schulwerk consultancy center and the national training and projects of Turkey* [23–26]. It is important to ensure that individuals who work or will work in both academic, private and public institutions participate in these training sessions with the encouragement of corporate managers. *The creation of joint programs in Turkey may be enabled with the studies to be carried out with the* Kodály Institute *and Orff-Schulwerk* forum. Significant improvements have been

This manuscript has been partly presented as an oral presentation in EJER, 2018

*DOI: http://dx.doi.org/10.5772/intechopen.93754*

firms for educational institutions are required.

#### *Is Experiential Learning Possible with Active Music Education? DOI: http://dx.doi.org/10.5772/intechopen.93754*

*Education at the Intersection of Globalization and Technology*

In similar studies on nursery rhymes, sample works similar to *aruz prosody* were developed together with the participants. While working on the rhythm of syllables and words, they also made sure that the syllables and letters were uttered on time, with the correct emphasis and toning. Since the works resemble the *aruz prosody,* some information from Divan literature was transferred to the *Turkish language and literature*. Therefore, it is recommended for future studies to be carried out in similar ways. At the beginning of the studies, listening to sounds in nature or class during practice, speaking and imitating these sounds, imitating these sounds by hitting bodies with hands, finding the corresponding sound of imitated sounds with Orff

*Rhythmic expression of words with geometric shapes: before you read the letter O, a half circle is drawn upward from the center of the circle and breath is taken. Then the letter "o" is pronounced; "pi-ti," "karamela," and "sepeti" syllables pronounced in such a way corresponding to each edge of the square, rectangle, and* 

Participants stated that transferring them on a graph (graphical notation) to A3-sized cardboard using *EVA materials* increased their interest in the sounds of nature and the duration of these sounds. Similar practices to the same ones can be used to improve the hand skills of students in the first and second grades of primary education. All students participating in the study found it positive that the course was taught by dividing the class into four groups. Therefore, it is recommended to perform elementary, music, and movement practices in this way. It is recommended that the courses are taught in classes limited to 20–25 people for the studies to be

For the training of music teachers who are experts in universities, high school and fine arts high schools, and primary and secondary education, a music department must be established in the first place and under this department, preschool, basic education, special education, vocational education departments must be established. In the current structure, under the fine arts department, there are only

Instead of training music teachers with general knowledge of music education who are partially specialized in their fields (experts who partly play instruments such as piano, recorder, baglama, guitar, and sing), the departments dedicated to expertise, such as those in conservatories training specialized teachers in various fields, must be established. For example, theory and sound education departments for instruments (piano, string instruments, etc.) should be created. Applications conducted between 1994 and 1998 should be examined as examples [4, 16].

The limited experience of teachers, who are trained as a single type in general music education, should be enhanced with *special teaching methods* and *games, dance, and music lessons* (among the courses established under restructuring by CoHE in 1996). To enhance these experiences, students firstly need organization of the classroom environment, accurate determination of instrument needs, and work-

Students need to receive specialized training, which will enable them to experience the active music education approach as Orff-Schulwerk, elementary music and movement education and its methods as Kodály, Suzuki, Dalkroze et al., from

**4.2 Recommendations**

*triangle for as long as the edge lengths.*

**Figure 12.**

instruments could be useful.

more comprehensible.

music and drawing sections.

shop classes with Orff instruments.

**236**

expert educators.

The Ministry of National Education (MoNE) and universities are required to ensure that active music education is provided in a standardized way. Nowadays, online training is carried out by private firms using the names of MoNE and universities. However, there are two types of training, namely, [17] training not based on active experience and group work, and practical training [18, 19] based on active experience and group work. As the name suggests, these types of training, which must be based on an active experience, cannot be delivered online. Because, in these training sessions, body memory is in the foreground, and these training sessions are incomplete when verbal and mathematical responses are not encoded in the body. Therefore, participation in practical training should be provided.

In solving the problems experienced in music education programs, the opinions of experts in education and music education programs should be consulted; several types of music teachers should be trained instead of a single type [20–22]. Music education programs resembling each other, having common points are positive for the credit system. However, it is important to train music teachers considering the needs of regions and cities in Turkey. For example, according to this need, while training music teachers who will give basic music education in Central Anatolia, specialized music teachers who will work in universities and fine arts high schools in cities such as Ankara, İstanbul, and İzmir may be trained. In identifying these needs, academic studies and comprehensive surveys conducted by professional firms for educational institutions are required.

National and international workshops and conferences, which will allow music department students to experience an active approach and method of music education in Turkey, should be organized. *These studies continue with the first International Istanbul Kodály training days, Orff-Schulwerk consultancy center and the national training and projects of Turkey* [23–26]. It is important to ensure that individuals who work or will work in both academic, private and public institutions participate in these training sessions with the encouragement of corporate managers. *The creation of joint programs in Turkey may be enabled with the studies to be carried out with the* Kodály Institute *and Orff-Schulwerk* forum. Significant improvements have been achieved with these studies conducted in both Europe and America.
