Hacettepe Üniversitesi Açık Erişim Sistemi (HÜAES)
- HÜAES, Hacettepe Üniversitesi bünyesinde üretilen kitap, makale, tez, bildiri, rapor gibi tüm akademik kaynakları uluslararası standartlarda dijital ortamda depolar, etkisini artırmak için telif haklarına uygun olarak Açık Erişime sunar.
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Recent Submissions
DEVLET KONSERVATUVARLARINDA KLARNET PERFORMANS DEĞERLENDİRME PRATİKLERİNİN İNCELENMESİ
(Güzel Sanatlar Enstitüsü, 2026) Elif Simay Meteoğlu; Üfleme ve Vurmalı Çalgılar
The purpose of this study is to examine the practices used in the assessment of clarinet performance at state conservatories in Turkey from the perspective of faculty members. Designed as a qualitative case study, the research's data sources consist of semi-structured interviews conducted with ten clarinet faculty members working at state conservatories in Istanbul, Ankara, Izmir, Eskişehir, Kocaeli, and Antalya. The findings indicate that most participating institutions lack a descriptive, multi-level, commonly used scoring tool (rubric), and that assessment largely relies on individual judgment and jury consensus. Scoring forms used in some institutions were found to function as general guidelines based on category headings and point ranges, rather than as rubrics as defined in the literature. Inter-rater consistency was relatively easy to achieve on technical criteria, whereas disagreements became more pronounced on artistic dimensions such as musical interpretation. Transparency toward students remained limited, and views on standardized assessment tools were divided between concern over restricting artistic flexibility and the expectation of improved objectivity. The study offers recommendations for developing an assessment tool that defines technical dimensions through descriptive levels and differentiates by educational level.
YAPAY ZEKÂ TEKNOLOJİLERİ İLE GERÇEKLEŞTİRİLEN TİPOGRAFİK UYGULAMALARIN GÖRSEL GÖSTERGEBİLİM AÇISINDAN İNCELENMESİ
(Güzel Sanatlar Enstitüsü, 2026) Maşallah Sincar; Grafik
This thesis examines typographic applications created using artificial intelligence technologies through the lens of visual semiotics and presents practical applications in this context; it focuses primarily on the study's core concepts: artificial intelligence, typography, and semiotics. The analysis and investigation are conducted on typographic designs generated using artificial intelligence tools a contemporary technology.
The study’s primary methodology consists of semiotic analyses based on qualitative research principles, while quantitative methods provide supporting data. In this context, the research sample comprises nine typographic works created using artificial intelligence, and a purposive sampling approach is used to examine these examples.
In the first chapter, the research subject and problem are defined to establish the conceptual framework; subsequently, the study’s purpose, significance, methodology and techniques, basic assumptions, hypotheses, limitations, the historical development of the subject, and similar studies in the field are addressed.
The second chapter explores various aspects of artificial intelligence and typography, discussing their interrelationships and characteristics. While the section titled "Artificial Intelligence" covers types of AI, AI technologies, and application areas, typographic design is evaluated under three main headings. The historical background of typography is summarized under "Classical/Traditional Typography," while the 20th century and beyond are examined under the headings "Typography in the Modernist Era" and "Typography in the Postmodernist Era."
The third chapter provides fundamental definitions regarding signs and semiotics and outlines semiotic theories and analytical approaches. Subsequently, drawing upon the information presented regarding semiotic analysis approaches, typographic applications created using artificial intelligence technologies are examined through the lens of visual semiotics.
In the fourth chapter, practical applications carried out using various artificial intelligence tools are analyzed and presented; the conclusion addresses the research process and the findings obtained, while also offering recommendations.
Otoetnografik Bir İç Mekan Anlatısı: Nesnelerle Çocukluk Evini Yeniden İnşa Etmek
(Güzel Sanatlar Enstitüsü, 2026) Melike Şerbet; İç Mimarlık ve Çevre Tasarımı
This thesis is based on a narrative that reexamines the concepts of dwelling, interior space, home, room, and object through the childhood house in which I lived, a house that no longer exists. The house comprised two dwellings occupied by my family and relatives, a shared courtyard, and structures added over time on the same plot. This spatial layering represents a cultural legacy transmitted across generations. The people who lived in the house and witnessed its everyday life, including myself as both resident and researcher, form its collective memory.
The study argues that a home is not defined solely by its physical structure or ownership. Rather, objects constitute its essential elements and produce meanings that exceed architectural form. Accumulating over time, these objects organize domestic life, generate narratives, and eventually embody the meaning of home. The relationship between home and objects is therefore examined from an ethnographic perspective, and autobiographical experience is transformed into a research tool through autoethnography.
Primary data include memories of the home environment, official documents, photographs, interviews with family members and relatives, and relevant literature. Three spaces forming the mental image of the house, selected locations within them, and inventories of objects were transformed into a field of inquiry. Concepts of primordiality, ritual, nostalgia, and familiarity function as analytical lenses for interpreting the home–object relationship and revealing home ethnography. As the autoethnographic outcome, the “home panorama” presents the interior space as a linear narrative.
TÜRK MÜZİĞİ SAZ İCRACILIĞINDA KLASİK KEMENÇE VE KEMAN ETKİLEŞİMİNİN ÖRNEK İCRACILAR ÜZERİNDEN İNCELENMESİ
(Güzel Sanatlar Enstitüsü, 2026-07-22) Hande KARAKOÇ; Geleneksel Türk Müzikleri
Turkish instrumental music has evolved into diverse performance styles and approaches
influenced by cultural structures. These diverse performance styles and approaches have
further broadened due to the influence of other cultural groups. This richness in performance
styles has resulted in the further development of performance techniques over time.
Instruments often played together in musical ensembles have absorbed each other's
performance techniques and styles, thus interacting with each other. The experience of such
interactions, particularly with the violin and kemençe (a type of Turkish stringed
instrument), and their subsequent reflection in performance, forms the central focus of this
study. The aim of this study is to analyze violin and kemençe taksims (improvisations)
technically and melodically, to highlight the characteristic structures of these taksims, to
reveal common performance elements in instrumental pieces played by both violin and
kemençe, and to identify points of similarity between the two instruments. In this study,
eight violin taksims and four kemençe taksims were dictated, and analyses were carried out
in terms of technical-melodic aspects, bowing techniques, core melodic structures, and the
formal structures of the taksims. In addition, common and similar performance elements
were analyzed in instrumental pieces performed jointly by both instruments.
This research utilized data collection and analysis techniques found in qualitative research
methods. Musical analysis and content analysis methods constitute the data analysis methods
of this research.
The study revealed the existence of interaction between the violin and the kemençe (a type
of Turkish string instrument), and identified common and similar performance elements.
Demir Tozu Katkılı Kil Bünyelerin Mıknatıslarla Şekillendirilerek Seramik Eserlerin Oluşturulması
(Güzel Sanatlar Enstitüsü, 2026) Simge Okudur; Seramik ve Cam
With advancing technology, magnets have integrated into artistic practices as physical materials, transforming into an innovative forming tool within contemporary ceramic art. This study focuses on the technique of ceramic forming via magnets, which is an area where practical, systematic data in ceramic literature has not yet sufficiently accumulated. Within the framework of studio practice, the variables determined within the scope of the research and their effects were investigated, and the resulting visual and structural findings were evaluated.
Within the scope of the research, composite mixtures responsive to magnetic fields were attempted to be obtained by incorporating iron powder into ceramic clay at varying ratios. Throughout the application process, the consistency of the composite mixture was identified as the most critical element determining the balance between the forming behavior of the body and its mechanical strength. In addition to this, different structures of commercial iron powders, clay bodies, polymeric binders, and magnetic pole configurations were also tested. It was observed that all these variables yielded diverse outcomes regarding the morphological structure, mechanical strength, and aesthetic character of both the mixture and the shaped forms. For instance, no magnetic forming response could be obtained from the mixtures containing 25% iron powder.
On the other hand, it was experienced that the bisque and glaze firing stages are of critical importance in terms of the final structural stability and surface aesthetics of the composite body. Post-firing structural fragility and powdering issues induced by the iron powder were encountered in certain composite bodies; a solution proposal was developed through a newly designed firing program utilizing metal-ceramic interface bonding principles. Driven by the findings obtained following the application processes, original ceramic artworks were created within the possibilities and limitations of magnetic field dynamics, adding richness to the visibility of the technique's aesthetic potential. Unlike the approaches of the pioneersof the technique, these artworks, in which traditional and magnetic forming methods are used together, are aimed to contribute to future studies.