Music Theory

Music Types in Turkey's Secondary Education Music Curriculum: A Teacher's Perspective


15 min read

Following the establishment of the Republic of Turkey, early efforts in music education involved adopting school music samples from foreign countries and writing Turkish lyrics beneath them. This approach later shifted, with Turkish composers attempting to create an imitation-based song repertoire. By the 1950s, a new perspective emerged: school music should center on folk music, with education delivered through musical examples drawn from the child's immediate environment. Various developments after the 1970s strengthened society's inclination toward popular music while also increasing interest in Turkish classical music. Consequently, from the 1970s onward, popular and classical music samples began appearing in music education, which had previously been built on a folk music foundation in 1968. The high school music teaching programs introduced in 1986 reflected this expanded approach.

Today, the prevailing view emphasizes bringing relevant examples of active music types into the classroom, ensuring students learn at least one example from each type, and introducing these genres thoroughly. This study examined music types in Turkey's middle school music teaching programs through the lens of music teachers' perspectives. Using the case study method—a qualitative research approach—the research employed purposive sampling. Five music teachers working in a middle school participated in the study group. Necessary coding and themes were developed for data analysis, from which findings, results, and recommendations emerged.

Historical context and developments

Significant advances in music education accompanied the education revolution initiated under Atatürk's leadership after the republic was proclaimed in 1923. Music lessons became compulsory in primary and middle schools during this period (Gül & Bozkaya, 2010).

Since 1924, music education has focused on tone-related concepts and theory, with the Music Teacher School training educators within a framework shaped by efforts to establish international art music. In subsequent years, the view arose that Turkey's music education system should draw its resources from school songs rooted in Turkish folk music. This idea was reinforced by Paul Hindemith (1895–1963), who prepared a report during the establishment of the Ankara State Conservatory in 1936. Hindemith stated: "The song repertoire of music lessons in schools should be taken from the magnificent, rich repertoire of the former and strong Turkish Folk Music" (Gedikli, 1999). Despite this endorsement, Turkish folk music took time to establish itself in the educational music repertoire, as it had not found broad acceptance at the national level within prevailing music types and continued to be regarded as music of the countryside.

From the 1950s and increasingly through the 1960s, the concept that school music samples should originate from the child and their immediate environment, remaining rooted in folk music, gained importance (Dinçer, 1988). Nursery rhymes and various folk songs began appearing extensively in music education (Dinçer, 1988). The 1968 program brought significant changes: school music education entered a configuration process based on folk music and secured its place in the curriculum (Bozkaya, 2001).

New developments emerged after the 1970s. Society's inclination toward popular music grew stronger, and the Ministry of National Education organized high school popular music competitions. Interest in Turkish classical music also intensified. Accordingly, the program in the new secondary education curriculum implemented in 1987 was prepared based on the statement: "Getting the student to sufficiently comprehend the technical features and values of our national music which is a whole with its classical and folkloric types so that he/she can be an active member of his/her society and introducing this art practically" (Çevik, 1989).

Alongside these developments, the idea of bringing suitable music type samples into classrooms gained traction. A symposium titled "The Place of Music Types in Education" was organized at Fatih Education Faculty, Karadeniz Technical University, on 26–28 April 1993 (KTÜ, 1993), aiming to study the subject and reach scientific conclusions.

A major shift occurred in 1994 when compulsory education in Turkey was extended to eight years and brought under primary education. With Board of Education and Discipline Decision No. 298 on 22.04.1994, the Primary School Music Lesson Curriculum was reorganized into three periods: grades 1–3, grades 4–5, and grades 6–8. This program was scheduled for trial and development starting the 1995–1996 academic year. The program can be considered exemplary in terms of its preparation technique.

Regarding school music education, the program's general explanations stated: "As well as with the obtainment of a shared music repertoire it requires, the common, primary music culture which gives place to the principal music types vital in our country and which preserves, reinforces and develops our national unity and solidarity has been essentially taken" (MEB, 1994). This reflected the long-sought idea that all music types active in the country should be included in the curriculum (MEB, 1994).

In 2006, the constructivist-approach-based music lesson curriculum was designed around preparing a repertoire that accommodates local, regional, national, and international music types while reinforcing national unity and facilitating global integration (MEB, 2006).

Previous studies in this field reveal several findings. Göner's 2006 research indicated that songs were age-appropriate and contemporary songs featured prominently, but the number of songs and folk songs in primary school music course books needed increase. Varış and Cesur (2012) found that students generally showed interest in popular music activities rather than classical music, and the lesson content did not motivate students to explore different music types. Gün Duru's 2013 study showed that teacher books predominantly included education music and Turkish folk music samples, and that covering folk songs from all regions helped showcase Turkey's musical diversity. Finally, Köroğlu (2014) concluded that songs students enjoyed singing and contemporary children's songs reflecting society's changing conditions could be added to the music curriculum.

Building on the idea that art is a universal language—a vital component of both national and international culture—this study examined the current state of the secondary education music curriculum regarding music types and explored potential future developments, supported by data from music teachers' perspectives.

The research aimed to identify the opinions of music teachers working in junior high schools concerning the music types included in the curriculum. Five subproblems guided the investigation:

  1. Teachers' views on which music types should appear in secondary education music timetables
  2. Teachers' views on how effective current music types are in achieving educational aims and objectives
  3. Teachers' views on whether the music types in the curriculum repertoire are suitable for grade level in terms of melodic structure and lyric meaning
  4. Teachers' views on students' interest in the music types presented in lessons
  5. Teachers' views on directors' music type preferences and directors' requests regarding music education practices

Methodology

This section covers the research model, study group, and data collection and analysis procedures.

The study employed a qualitative case study design focused on evaluating music types in Turkey's secondary education music curriculum from music teachers' perspectives. The fundamental characteristic of a qualitative case study is thorough investigation of one or more cases (Yıldırım & Şimşek, 2006).

Study group

Typical case illustration, a form of purposive sampling, was used. These methods are valuable for discovering and explaining facts and cases in diverse situations. Typical case illustration aims to form opinions about a specific field by examining normal situations, then informing those unfamiliar with the field, topic, practice, or innovation (Yıldırım & Şimşek, 2006). This approach allowed insight into music teachers' opinions about music types in Turkey's secondary education music curriculum. The group consisted of five music teachers working in junior high schools who volunteered to participate in the research.

Data collection

A semi-structured interview form prepared by the researcher was used to gather data. In semi-structured interviews, questions are predetermined and data is collected accordingly (Karasar, 1999). Questions were developed through literature review, focusing on the impact of music types in junior high school music curricula during the lesson process and duration. The interview form was created by transforming fundamental topics into themes, followed by a trial interview. Through the prepared form, meetings were conducted with the participants.

Data analysis

Participant opinions were collected in writing on the semi-structured interview forms. Interview papers were numbered. The researcher organized the data into meaningful sections and encoded these sections. The codes formed were used in data analysis and organization.

Findings

Themes, codes, and sub-codes were determined by the researcher based on analysis of participant responses to interview questions. Findings related to the specified codes and sub-codes are examined below.

Teachers' opinions on music types needed in the junior high school curriculum

The participating music teachers found the current music types appropriate but also emphasized the need for a program featuring outstanding classical music samples that develop student appreciation, works by prominent jazz representatives, and selected examples from traditional Turkish music.

"I think the types in the program are appropriate. However, the most known samples of classical music should be given place and through this, polyphonic music should be tried to be made loveable." (P.1)
"I have observed that students are not aware of nearly all the music types except the ordinary samples of current popular music. At this point, I think outstanding samples of classical music works, works of specific representatives in jazz music and samples of our folk and classical music at the appropriate level of students' appreciation should be included in the program in order to broaden the horizon of our students in terms of music types." (P.2)
"I think all music types should be allowed for in general terms without details." (P.4)
"I think the types in the program are appropriate." (P.5)
Note: P denotes Participant

Teachers' opinions on the adequacy of music types in achieving educational aims

Teachers reported difficulty achieving educational aims for music types because they meet students only once per week. They also noted that students do not willingly engage with Turkish classical music samples, making it challenging to obtain related aims and achievements.

"We meet the students for an hour once a week. Therefore, I cannot completely accomplish the aims and achievements." (P.1)
"I could never get the children to love Turkish Classical Music. Therefore, I cannot accomplish the aims and achievements relating to this type. I can highly ensure the aims and achievements of samples in Turkish Folk Music and current popular music." (P.3)
"We have a lesson with the students for an hour once a week. Therefore, as a solution, I give an assignment to the students beforehand about the topic in order to accomplish the aims and achievements. Later on, I reach the aims and achievements when I reinforce with song samples relating to the music types, and through this, I think the achievements are more permanent." (P.5)

Teachers' opinions on suitability of music types for grade level

Teachers indicated that the range and melodic structure of songs in the repertoire are generally unsuitable for singing, and the songs' structures make them difficult or impossible to play on a recorder. They also noted that topics and related song samples are challenging for the grade level.

"Most of the sound limits of the songs in the repertoire are not appropriate for children. They need to be transposed in ear-training. Most of the songs are suitable to be played with a melodica." (P.1)
"Most of them are inappropriate for the class level. According to the class level, a very easy and a very difficult song can come one after the other." (P.2)
"In terms of their tune structure and the meaning of words, the songs in the books are inappropriate for the class level. I am constantly searching for sources." (P.3)
"I think most of the samples of education music in the repertoire are inappropriate. Most of the songs are suitable to be played with only the melodica." (P.4)
"Books are inappropriate in terms of topic explanation, examples and visuals. I don't think they are prepared conscientiously. For example, the topics and songs in the 5th grade program are difficult for children who have not had a branch teacher until that time." (P.5)

One teacher also specified that current auxiliary sources and books contain inadequate school song samples.

"The school songs in the auxiliary sources and books are always the same. It is boring for both the teacher and the child." (P.4)

Teachers' opinions on student interest in music types

Teachers reported that students show strongest interest in popular music samples and enjoy activities with examples from this genre. Students also engaged readily with Turkish folk music samples and simple songs in duple meter. However, examples from Turkish classical music failed to appeal to students.

"Children are interested in all music types. However, samples of popular music and Turkish Folk Music which are prone to their ears are played and sung by them with a greater interest. Also, they highly enjoy playing easy songs with dual beats." (P.1)
"The environment they are in has a great effect. In one district I worked in, children were interested in samples relating to Turkish Folk Music while in another district, students highly enjoyed studying examples concerning rock and popular music. I have difficulty in getting the students to be interested while studying samples from Turkish Classical Music." (P.3)
"They are generally interested in current popular songs and samples relating to Turkish Folk Music." (P.4)

Directors' preferences and related teacher opinions

Four of the participating teachers stated that they face constraints from directors regarding music type preferences, leaving them feeling insufficiently independent. Directors particularly favor traditional music in educational practices, request practices involving music types they themselves listen to and know, and do not support studies involving diverse genres. Conversely, one participant whose work was supported by the school principal reported conducting successful work and attributed much of that success to the director's support.

"Directors want mostly samples relating to Turkish Folk Music and Turkish Classical Music to be in the practices of music education. They do not encourage music types they don't listen to or don't know about. In concerts especially in which there are samples from polyphonic music type, directors become disappointed by thinking there is a disorder and something is not going right. Therefore, selections directed towards types which the directors can understand have to be made when there is a school night or a concert." (P.1)
"I face the oppressive attitude of the school administration..."

“Since most of the directors are aged 45 and over, their preferences are mostly Turkish Folk Music and Turkish Classical Music. When I prepare programs with different types, I cannot make them happy.” (P.3)

“My principal prefers to see works which feature traditional music.” (P.4)

“In my school, the directors do not intervene in preferences about music types. On the contrary, I must say they support me. I believe that they have a great help in the successful programs I perform.” (P.5)

Results and Suggestions

Based on the findings obtained from this research, the following results have been reached:

  • The music types in the curriculum for music are appropriate, but samples that will develop a student’s appreciation are insufficient.
  • There is difficulty in fulfilling the aims and achievements related to music types due to tight time constraints.
  • Teachers experience difficulty in achieving the goals and achievements directed toward samples, particularly those concerning Turkish Classical Music.
  • Most songs in the repertoire are inappropriate for the grade level in terms of vocal range and melodic structure.
  • Most songs can only be played with the melodica; they are difficult or impossible to play on the recorder.
  • Current supplementary resources and samples related to school songs are insufficient.
  • Students are generally more interested in samples related to popular music and Turkish Folk Music than examples from other genres. Nevertheless, more outstanding samples that will enhance children’s appreciation should be allowed in these genres.
  • Samples of Turkish Classical Music do not appeal to students and cause difficulties during study.
  • Teachers frequently face interference from directors in the selection of music types and therefore cannot feel independent in their work.

As part of the obtained results, the following suggestions are offered:

  • Increase the number of music periods in the weekly timetable.
  • Review and reorganize the samples related to genres in the music curriculum in a way that will enhance students’ appreciation.
  • Based on the opinions and suggestions of music teachers working in junior high schools, re-examine all music-type samples with regard to melodic structure, vocal range, and lyrical meaning.
  • Select songs taking into account the characteristics of the recorder and the melodica, both of which are taught alongside vocal training in secondary education.
  • Provide music teachers with more resources containing samples of educational music to support their genre selection.
  • Produce more educational materials for secondary education music lessons that are appropriate for children’s developmental level. Organize competitions and reward composers for this purpose.
  • Create an anthology by reevaluating Turkish Classical Music samples so that they fit children’s developmental level, and include it in secondary school music education.
  • Enable music teachers to more effectively use explanatory samples of international classical music that will develop children’s appreciation.
  • Ensure that directors assist music teachers in achieving the curriculum’s intended goals and achievements, and avoid imposing personal preferences.