COURSE SYLLABUS

MAJOR INSTRUMENT TRAINING IV

1	Course Title:	MAJOR INSTRUMENT TRAINING IV
2	Course Code:	MUZ2214
3	Type of Course:	Compulsory
4	Level of Course:	First Cycle
5	Year of Study:	2
6	Semester:	4
7	ECTS Credits Allocated:	1
8	Theoretical (hour/week):	1
9	Practice (hour/week) :	0
10	Laboratory (hour/week) :	0
11	Prerequisites:
12	Recommended optional programme components:	None
13	Language:	Turkish
14	Mode of Delivery:	Face to face
15	Course Coordinator:	Öğr. Gör. ZEHRA EZGİ KARA
16	Course Lecturers:	Prof. Şirin Akbulut Demirci (piyano) Doç Dr. Hatice Onuray Eğilmez (piyano) Dr. Öğrt. Üyesi K. Mete Sungurtekin (piyano) Öğr. Gör. Nilüfer Özer (piyano) Öğr. Gör. Lale Necef (piyano) Öğr. Gör. Alpay Güldoğan (piyano) Öğr. Gör. Ardan Özarın (piyano) Öğr. Gör. Özgür Eğilmez (keman) Öğr. Gör. Yusuf Hasonov (viyola) Doç Dr. Erol Demirbatır (çello) Öğr. Gör. Elhan Necef (çello) Öğr. Gör. Nilüfer Özer (kontrabas) Öğr. Gör Murat Cemil (gitar) Öğr. Gör. Veysel Özgür Sağlam (gitar) Doç Sezn Alıcı (flüt) Doç. Dr. Ajda Şenol Sakin (flüt) Öğr. Gör. Dr. Zehra Ezgi Kara (flüt) Tuna Bozkaya (klarinet) Dr. Öğrt. Üyesi M. Aydın Atalay (bağlama) Doç Dr. Gülnihal Gül (şan) Öğr. Gör. Dr. Çiğdem Yiğit (şan) Öğr. Gör. Z. Göknur Yıldız (şan)
17	Contactinformation of the Course Coordinator:	Öğr. Gör. Dr. Zehra Ezgi Kara ezgikara@uludag.edu.tr
18	Website:
19	Objective of the Course:	Piano:To reinforce the basic skills and techniques learned on the piano by analysing the Baroque, Classical, Romantic and Contemporary period works according to the period characteristics. Sight reading the pieces especially on classical period works suitable for left pedal use and perceive and apply the mechanical differences of the left pedal between the console piano and grand piano. Understanding the concept of tonality along with appropriate etudes and pieces to improve sight reading in piano playing. Viola:Through technical studies and etudes in viola teaching, this course aims to provide students with skills to perform works by Turkish and international composers, learn how to play the viola in accordance with individual development, enable performance in viola literature, and promote activity in music education by use of this instrument. Cello: Reinforcing the skills learned in the location, permanent and transitive in the new location to be learned studies, martele and staccato bow techniques. Permanent and transitive playback in different locations, to apply the learned techniques in the new position, martele and staccato spring techniques, four The string works in different tones covering the wire are suitable for the level covering the technical and musical skills. vocalizing national and universal works. Double Bass:To consolidate the skills learned in positions 1 and 2; to make permanent and transitive work in the new location; To learn martele and staccato bow techniques, to study permanently and transiently in different positions; To be able to perform series studies by applying mixed spring uses that cover four strings; to apply the learned techniques in studies and works. Guitar:The purpose of the individual instrumental guitar training; progressive technical exercises and studies, to develop the individual in accordance with examples of Turkish and world composers and school music education, instrument-specific literature covers learning and teaching activities. Flute:The aim of this course is to learn the basic techniques and related studies, to perform related studies and pieces in accordance with the terms of music. Performing romantic and contemporary pieces by using the proper ornaments and Dynamics; obtaining general information about the above mentioned periods in music history. Clarinet: The aim of this course is to acquire the elements of the clarinet, the basic knowledge and skills related to playing the clarinet, to take the proper position and proper position for playing the clarinet. To be able to perform basic clarinet techniques. To give examples from the works of Turkish and world composers suitable for their level. To give students the ability to perform activities in the field of music education with a clarinet instrument. Bağlama: To make students comprehend the some informations about like introduction of zeibek form with studies by using basic,combined and complex tempos of baglama education. Voice:By using the tongue correctly, developing knowledge and skills in the vocalization of different works of art which are appropriate for the techniques in voice training.
20	Contribution of the Course to Professional Development

Learning Outcomes:

1	Piano:Able to play parallel scales, arpeggios, broken chords, chord inversions, cadences, of the keys with 3 and 4 sharps. Viola:3’rd position. Able to play in 3’rd position. Cello:At the end of this course students will: Identify 5th position for violoncello Be able to play in the 5th position Double Bass:Identifying the notes and sounds in 3. position Guitar:Develop the technique of guitar, learn guitar music to express line. Flute:Plays two octave E major, Ab Major and f minor, c# minor scales, arpeggios and technical exercises. Clarinet:At the end of the course, the student; develops the techniques he learned and recognizes new clarinet works. Bağlama: To be able to play baglama by using correct techniques. Voice:Applying the right breathing technique in short and long exercises.;
2	Piano:Able to understand the concept of tonality by performing appropriate etudes and pieces to develop sight reading in piano. Viola:Able to play exercises in 1’st and 3’rd positon Cello:Be able to perform 1st, 4th, 3rd , 2nd and 5th position transitive studies Double Bass:1 octave D major and playing scale and arpeggio in D minor tones. Guitar:To be able to recognize and listen to different playing styles (Flamenco, Latin, etc.) Flute:To be able to apply double-tonguing and triple tonguing in pieces and studies. Clarinet: He improves and personalizes his tone,sound. Bağlama: To comprehend the necessary basic information about baglama. Voice:Using the right breathing technique and voice technique.;
3	Piano:Able to perform polyphonic works according to the period features. Viola:Able to play exercises that develops the technique and improves the coordination of left and right hand. Cello: Develop bow techniques such as Detache, legato, staccato and martele Double Bass:To understand the technique of martele and staccato. Guitar:Strokes up and down and rasguado. To be able to apply the technique learned with speed terms and nuances. Flute:To be able to perform a piece in the theme and variation form which is in accord with his/her level. Clarinet:Performs scales, arpeggio and interval works in new tones in different techniques. Bağlama: To comprehend the necessary technical information about baglama Voice:Singing the studied work with the correct articulation. ;
4	Piano:Able to apply the forms of the classical period by comprehending. Viola:Able to play 2 octaves G Major scale in 1’st and 3’rd position by different bow types. Cello: Be able to do exercises to develop right and left hand techniques and improve coordination Double Bass:Identifying the notes and sounds in 4. position Guitar:Multiplication and use apogiatür techniques. Flute:Enhances his/her accelerando by doing exercises thorough the selected etudes and speeding up the finger technique. Clarinet: Knows and performs clarinet sonatas. Bağlama: To comprehend the different rhythm forms. Voice:Using the learned skills about forming sounds in national and universal tunes.;
5	Piano:Able to perform the romantic period work by considering the elements of musical expression. Viola:Able to play 2 octaves E Flat Major scale in 1’st and 3’rd position by different bow types. Cello: Be able to get flageolet sound with violoncello Double Bass:1 octave E flat major,A flat major and playing scale and arpeggio in B flat major tones. Guitar:Transfers between the finger and three-octave range, playability Positions. Flute:Develops his/her stage performance by participating in class concerts. Clarinet:Improves his technique with musical studies and exercises. Bağlama: To gain the right sitting and clutching ability for baglama. Voice:Developing musical repertoire which is in accord with the level.;
6	Piano:Able to comprehend polyphonic Turkish music features. Viola:Able to play by Martele technique. Cello: Be able to define B flat major Be able to play B flat major Double Bass:2 octave E major and playing scale and arpeggio in M minor tones. Guitar:Being able to apply arpeggio and different playing styles to the campanella Flute:Attains the skill of pianissimo playing in the third octave notes. Clarinet:Improves sight-reading skills. Bağlama: To comprehend total and half sounds Voice:Singing the studied work with piano accompaniment.;
7	Piano:Able to comprehend the use of the pedal. Viola:Able to play and reinforce Detache, Legato, Martele Staccato techniques by playing scales Cello: Be able to define G minor Be able to play G minor Double Bass:In 4. position, playability the etudes and pieces. Guitar:Ability to play natural and artificial harmonics Flute:Being able to play vibrato in the high register. Clarinet:Performs and interprets clarinet works in small form. Bağlama: To comprehend different positions. Voice:Singing the studied work according to the features of the period and style.;
8	Piano:Able to gain accompaniment skill in piano. Viola:Able to reinforce Detache, Legato, Martele Staccato techniques by playing etudes. Cello: Be able to define A major Be able to play A major Double Bass:Applying different movement and dynamics Guitar:Ability to play double and two octave scales. Flute:To be able to make activities by playing the flute in the field of music education Clarinet: Performs etudes and musical studies suitable for his level Bağlama: To comprehend the properties of baglama and other instruments which belongs to baglama family. Voice:Singing songs in events and concerts.;
9	Viola:Able to play the piece of Baroque period Cello: Be able to define F sharp minor Be able to play F sharp minor Guitar:To be able to recognize and play notes in various positions. Clarinet:He does sight-readings in different forms. Bağlama: To be able to practice right positions and presses between La-re and la-mi sounds ;
10	Viola:To be able to perform the etudes and pieces in a musical manner according to the technique. Cello: Be able to play pieces and etudes studied before musically and appropriate to the technique. Guitar:Bare and pivot to apply the technique of Clarinet:Can perform activities in the field of music education with clarinet instrument. ;

22	Course Content:

Week	Theoretical	Practical
1	Piano:Reviewing the technical studies learned in the previous semester and planning the semester’s repertoire. Viola:General review of topics learned in the previous semester. Cello: General Revision of the subjects covered in the previous semester Double Bass: The 3. position information Guitar:Review of studies in the last term, and you will be informed about the work of the new term. Flute:Sonority exercises M. Moyse La Sonarite. Clarinet:Clarinet Care: Curtain and chamois care of clarinet. Bağlama: Octave si-bemol’s place on baglama Voice:Quintet, sextet arpeggio and sequential staccato-legato exercises.
2	Piano:A Major parallel scales, arpeggios, broken chords, cadences and chord inversions. Sight reading the technical etude and reinforcing the concept of tonality. Viola:3’rd position and its applications. Cello: 5th position Playing in the 5th position Double Bass:Change in the position Guitar:Wean the work, legato, staccato, and until the bonds Portato Flute:Sonority exercises. (Trewor Wye – Volume 1- (Tone). One octave scale exercises. Determining the repertoire during the semester. Clarinet:Tone and sound exercises. Bağlama: Kırşehir Style Voice:Quintet, sextet arpeggio and sequential staccato-legato exercises.
3	Piano:A Major parallel scale, arpeggios, broken chords, cadence and chord inversions. Performing the technical etude paying attention on its technical features. Viola:Exercises (1- 3 position) Cello: Exercises with transitional position Double Bass:1 octave D major scale and arpeggio information in D minor tones. Guitar:Finger on the left hand and right hand coordination activities. Flute:Scale study. Study the selected melodic etude with different flute techniques. Romantic period flute music. Clarinet:Respiratory development, Improving intonation in high octave sounds. Bağlama: Octave re sound’s place on baglama Voice:Quinary, senary arpeggio and musical octave staccato- legato exercises and model works.
4	Piano:F # Minor parallel scale, arpeggios, broken chords, cadence and chord inversions. Sight reading and analysing polyphonic piece. Viola:G Major scale (1-3 position) Cello: B flat major tonality Exercises in B flat major Double Bass:Information about transitive etude between the 1.and 3. positions Guitar:The right hand trills (trill Harpsichord). Flute:Performing the selected piece in line with the romantic period stylistic features. Clarinet:Studying scales in Si Major, La Major and Fa sharp Major tones. Bağlama: Kayseri Style Voice:Octave, made up of 9, made up of 12 arpeggio and sequential staccato -legato exercises and model works of art.
5	Piano:F # Minor parallel scale, arpeggios, broken chords, cadence and chord inversions. Practicing the polyphonic piece according to the characteristics of the period. Viola:Exercises of Bow technique in G Major (1-3 position) Cello: B flat major tonality Exercises in B flat major Double Bass:Martele bow technique information; The 3. position information Guitar:Flamenco techniques Flute:Scale exercises. Study the selected etude with legato, arpeggio and triplet techniques and rhythmic patterns. practicing the selected romantic piece. Clarinet:Arpeggio and interval exercises in Si Major, La minor and Fa sharp Major tones. Bağlama: To teach Do note Voice:Staccato and legato exercises that assist register transitions and model works of art.
6	Piano:E Major parallel scale, arpeggios, broken chords, cadence and chord inversions. E Major contrary motion. Form features of the classical period and sight reading the piece. Viola:E Flat Major scale (1-3 position).Exercises in Legato Technique. Cello: Legato Technique II Legato Exercises Double Bass:Changing conditions among positions from the 1. to the 4. Guitar:Flageolet technique. Flute:Practicing basic flute techniques through selected etude and pieces. Studies in 3/8 and 6/8 measures. Practicing the periodic and stylistc features of the selected piece. Clarinet:Si Major, La Major and Re Major scales, arpeggios and intervals, sight-reading a piece. Bağlama: Connected one-eight being and two-sixteen being rhythm form. Voice:The form analysis of the works of art.
7	Piano:E Major parallel scale, arpeggios, broken chords, cadence and chord inversions. E Major contrary motion. Using left pedal on classical period piece Viola:G minor scale. Exercises about passing 1’st position to 3’rd position. Cello: G minor tonality G minor exercises Double Bass:Changing conditions among positions from the 1. to the 4. Guitar:Double sound two octaves, single sound sequences Flute:2 octave scale exercises, practising the flute techniques in the selected etudes, practicing the selected/compulsory pieces. Clarinet:Si Major, La Major and Re Major sequences, accelerating arpeggios and intervals, exercises with metronome. Bağlama: Connected two-sixteen being one-eight being rhythm form Voice:The form analysis of the works of art.
8	Piano:C # Minor parallel scale, arpeggios, broken chords, cadence and chord inversions. Sight reading and analysing the romantic period piece. Viola:Pizzicato Technique. Cello: General Evaluation Double Bass:1 octave E flat major,A flat major scale and arpeggio information in B flat major tones. Guitar:Performing the appropriate etudes and musical pieces including individual techniques and musical techniques Flute:Scale exercises with various articulations, practicing the techniques in the selected etude. features of the contemporary flute music. Clarinet:Examining Clarinet Sonatas, determining the level appropriate for the level. Bağlama: Silifke Style Voice:Articulation in voice training.
9	Piano:C # Minor parallel scale, arpeggios, broken chords, cadence and chord inversions. Practicing the piece romantic period according to the musical expression. Viola:Bow Technique Exercises about passing 1’st position to 3’rd position. Cello: Martele Technique, Double Bass:Information about transitive etude between the 1.and 4. positions Guitar:Dual audio range studies. Flute:Scale exercises. practicing the selected etude with legato, arpeggio and triplet techniques and rhythmic patterns. Practicing selected contemporary flute piece. Clarinet:Interpreting clarinet sonata. Bağlama: Comprehending Re note and first position. Voice:Sound production with the right intonation, the strengthening of the sound in the resonance areas.
10	Piano:Sight reading and analysing the polyphonic Turkish music piece. Viola:Martele Technique. Cello: A Major tonality A major Exercises Double Bass:Gaining knowledge of the composer of the work and its period. Selection of the work. Guitar:Double sound three octaves, single sound sequences Flute:Practicing scales with various articulations, practicing the selected etude involving various rhythmic patterns and flute techniques. Performing the selected pieces belonging to the periods style. Clarinet:Examining, working, interpreting solo clarinet works in small forms. Bağlama: Connected four-sixteen rhythm form. Voice:Period and style features in vocalized works of art.
11	Piano:Practicing the polyphonic Turkish piece according to the characteristics of the period. Viola:Staccato Technique. Cello: F sharp minor tonality F sharp exercises Double Bass:Piece of his work Guitar:Multiplication, and glisando apogiatür techniques. Flute:Finger technique studies (Taffanel &Gaubett Methode Complete EJ. 8-9). Clarinet:Interpreting clarinet sonata.. Bağlama: Quarter note Voice:Period and style features in vocalized works of art.
12	Piano:Accompaniment exercises. Viola:Detache, Legato, Martele, Staccato Techniques Scales and etudes. Cello: Flageolet technique a nd flageolet technique exercises Double Bass:Piece of his work Guitar:Study of the compulsory work of the period. Analysis of the work in terms of technique and expression Flute:Practicing E major, Ab Major and f minor, c# minor scales (with various articulations, scales, arpeggios, chromatical scales, triads etc.) within the compass of the instrument. Clarinet:Accelerating the chromatic scale with metronome. Bağlama: 2/4 measure number Voice:Technical and musical analysis in works of art.
13	Piano:Performing accompaniment examples. Viola: Baroque period piece. Cello: Mixed bow technique exercises Double Bass:Vocalising the studied etude and work in a musical way in accord with the technique. Guitar:Performing the appropriate etudes and musical pieces including individual techniques and musical techniques Flute:Stylistic and periodic features of the etude and piece to be performed in the exam Clarinet:Examining, working, interpreting solo clarinet works in small forms. Bağlama: Mi note and third position Voice:Technical and musical analysis in works of art.
14	Piano:To reinforce the studies and works studied in the period with their technical and musical features. Viola:Playing with accompaniment Cello: Technical and musical problems and solutions Double Bass:Preparation for the end of mid-year exam. Guitar:Musical and solution of technical problems and the general again. Flute:Performing the scales, studies and works to be played in the exam at an appropriate speed Clarinet:Performing exam scales, etudes and works at the speed. Bağlama: Connected sixteen-eight being rhythm form Voice:Correpetition.

23	Textbooks, References and/or Other Materials:	Piano: AMİROV, F., Fortepiano Eserleri, Işık, Bakü 1979 BACH, J.S., Küçük Prelüdler ve Fügler, Muzıka, Moskova 1965 BACH, J.S., İki Sesli Envansiyonlar, Işık Yayınevi, Bakü 1981 BARAN, İ., Çoçuk Parçaları, Belgi Yayıncılık, Ankara 1984 BARAN, İ., Siyah ve Beyaz, Devlet Konservatuvarı Yayınları, Ankara 1975 BEETHOVEN, L., 6 Sonatin, Muzıka, Moskova 1970 BERTINI, H., 24 Etüden op.32, Peters, Leıpzıg BURGMÜLLER, F., Etüden für Pianoforte op. 105, Peters, Leıpzıg CLEMENTİ, M., 12 Sonatin, Muzıka, Moskova 1970 CZERNY, K., 70 Esercizi Progressivi, Rıcordı, Milano 1980 CZERNY, K., 30 Etüd op.849, Ricordi, E.R. 363 GULİYEV, T., Cemile’nin Albümü, Çik- Çik, Bakü 1996 HAENDEL, G. F., Utwory Wybrane, Polskıe Wıdawnıctwo Muzyczne, Polonya. HAYDN, J., Seçilmiş Sonatlar, EMB, Budapeşt Z.7839 HELLER, S., 25 Melodische Etüden op. 45, Peters, Leıpzıg KARKIN, K., Piyano Albümü, Sim Matbaası, Ankara 2002 KURNAVİNA, A., Seçilmiş Parçalar, Muzıka, Moskova 1975 LEMOİNE, A., 50 Kinder- Etüden op. 37, Lira, Sofya LEVENT, N., Piyano için 10 parça, Levent Müzikevi, İzmir 1979 MİLİÇ, B., Piano Parçaları, Muzıçna Ukraina, Kiev 1979 MOZART, W. A.,Variasyonlar, EMB, Budapeşt Z.4302 SCHUBERT, F., 7 Parça, Muzıka,Moskova 1985 SCHUBERT, F., Piyano İçin Danslar, Lira, Sofya 1989 ŞOSTAKOVİÇ, D., Kolay Parçalar, Sovyetler Bestecileri, Moskova 1975 TCHAİKOVSKY, P., Album Per La Gioventu op. 39, Rıcordı, Mılano 1973 TUĞCULAR, E., Türkünün Rengi, Evrensel Müzikevi, Ankara 1995 WEBER, C., Parçalar, Muzıka, Moskova 1985 Viola: Ö.Can- Viyola Eğitimi-II 2. A.Seybold Viola Schule, 3. A.Tanrıverdi- Viyola Eğitimi-II, 4. B.Volmer-Viola Study 5. Suzuki-Viola Book-II Cello: J.Werner Praktische Violoncell Schule, S.Lee Etudes, J.Dotzauer Band I. Double Bass: E.Nanny Band I, F.Simandl- 30 Etudes fort he Double Bass, J.Hrabe- 86 Studies for Contrabass, literary works of the double bass. Guitar: 1- CEMİL,Murat. Klasik Gitar Metodu Alfa Akademi 2005 2–AYDINTAN,Ziya.Gitar Metodu I II Evrensel Müzikevi, 1999 3-GÖTZE,WalterLeıchtes Gıtarrenspıel 4- KÜÇÜKAY,Bekir. Gitar Eğitimi I, KESİKLİ,Melih SÖKMEN,Erdem İ.Ü.Konservatuarı 5- NOAD,Frederic.SoloGuitar PlayingI I Omnibus Press 1976, 6- La Guitara Enchantee , Doberman Yppan 1982 7- MİLLS,John . Gitar Metodu , Alkım Yayınevi 8- The guıtar Musıc of Spaın Volume Flute: The Complete Flute Scale Book, Boosey & Hawkes. M. Moyse – La Sonarite Trewor Wye – Volume 1- (Tone) Taffanel &Gaubett Methode Complete EJ. 8-9 J. Andersen Op. 15 No-3 Köhler Op. 33 Vol.2 – No.6- 8 Chopin Variation on a theme by Rossini Muramatsu - Earth Clarinet: David Pino “The Clarinet and Clarinet Playing” Aurello Magnanı “Methode Complete de Clarinette” C. Baerman “Complete Method for Clarinet” H. Klose “Klarnet Metodu Vol. II” Bağlama: ALİM Yaşar Kemal- Aydın Atalay “Bağlama Metodu 1” , Aktüel Editions, 2004, İstanbul ALTUĞ, Nevzat,Teknik Bağlama Eğitimi ve Usuller, Anadolu Matbaacılık, İzmir,1999 TURHAN, Salih,Türk Halk Musikisinde Çeşitli Görüşler, Kültür Bakanlığı Editions, Ankara, 1992 ÖZGÜL, Mustafa, TURHAN, Salih, DÖKMETAŞ, Kubilay, Notalarıyla Uzun Havalarımız, Kültür Bakanlığı Editions, Ankara, 1996 TAPTIK, Güray, Notaları ve Tavırları ile Türküler, Çaba Edition, Ankara, 1972 SARISÖZEN, Muzaffer, Türk Halk Müziğinde Usuller, Mifad Editions, Ankara, 1970 YENER, Sabri, Bağlama Öğretim Metodu, Erhan Ofset Matbaacılık, Trabzon, 1991 PARLAK, Erol, Şelpe Tekniği Metodu, Ekin Editions, İstanbul, 2001 BİRDOĞAN, Nejat, Notalarıyla Türkülerimiz, Özgür Edition, İstanbul, 1988 TURAN, Bahattin, Notalarıyla Samahlarımız, Ekol Editions, İzmir, 2000 Voice: Davran, K., Öztürk,F.G. (2009).Şan İçin Piyano Eşlikli Şarkılar I(1.b),[ Songs Accompanied by the Piano for Singing I], Müzik Eğitimi Yayınları, Ankara. Egüz, S. (b.y.y) Piyano Eşlikli Halk Türküleri [Folk Songs Accompanied by the Piano], Gazi Eğitim Enstitüsü Müzik Bölümü Yayınları No.1, Ankara. Egüz, S. (b.y.y) Piyano Eşlikli Okul Şarkıları[School Songs Accompanied by the Piano], Gazi Eğitim Enstitüsü Müzik Bölümü Yayınları No.1, Ankara. Larsen, L.R.(ed.). (1991). Arias for Baritones, G. Schırmer: New York. Larsen, L.R.(ed.). (1991). Arias for Bass, G. Schırmer: New York. Larsen, L.R.(ed.). (1991). Arias for Mezzo- Soprano, G. Schırmer: New York. Larsen, L.R.(ed.). (1991). Arias for Soprano, G. Schırmer: New York. Larsen, L.R.(ed.). (1991). Arias for Tenor, G. Schırmer: New York. Şimşek, G. (1997). Şan İçin Piyano Eşlikli Albüm[Album Accompanied by the Piano for Singing], Ankara. Tuğcular, E. (2011). Şan İçin Piyano Eşlikli Türküler[Folk Songs Accompanied by the Piano for Singing], Müzik Eğitimi Yayınları, Ankara.
24	Assesment

TERM LEARNING ACTIVITIES	NUMBER	PERCENT
Midterm Exam	2	40
Quiz	0	0
Homeworks, Performances	0	0
Final Exam	1	60
Total	3	100
Contribution of Term (Year) Learning Activities to Success Grade		40
Contribution of Final Exam to Success Grade		60
Total		100
Measurement and Evaluation Techniques Used in the Course
Information

ECTS / WORK LOAD TABLE

Activites	NUMBER	TIME [Hour]	Total WorkLoad [Hour]
Theoretical	14	1	14
Practicals/Labs	0	0	0
Self Study and Preparation	14	1	14
Homeworks, Performances	0	0	0
Projects	0	0	0
Field Studies	0	0	0
Midtermexams	2	1	2
Others	0	0	0
Final Exams	1	1	1
Total WorkLoad			31
Total workload/ 30 hr			1,03
ECTS Credit of the Course			1

CONTRIBUTION OF LEARNING OUTCOMES TO PROGRAMME QUALIFICATIONS

	PQ1	PQ2	PQ3	PQ4	PQ5	PQ6	PQ7	PQ8	PQ9	PQ10	PQ11	PQ12	PQ13	PQ14	PQ15	PQ16
LO1	5	5	1	1	1	1	1	3	3	1	1	1	1	1	1	1
LO2	5	5	2	4	1	1	1	2	4	4	1	3	1	1	1	1
LO3	5	5	4	4	1	1	2	4	4	1	3	1	1	1	1	1
LO4	5	5	5	5	1	1	5	4	4	1	1	1	1	1	1	1
LO5	5	5	4	4	1	1	5	4	5	1	2	1	1	1	1	1
LO6	5	5	5	5	1	1	2	2	3	3	1	1	1	1	1	1
LO7	5	5	2	3	1	1	5	3	5	2	1	1	1	1	1	1
LO8	5	5	2	3	1	1	3	4	4	1	3	1	1	1	1	1
LO9	5	5	5	5	1	1	1	5	5	2	3	2	1	1	1	1
LO10	5	5	5	5	1	1	1	5	5	2	3	2	1	1	1	1

LO: Learning Objectives

PQ: Program Qualifications

Contribution Level:

1 Very Low

2 Low

3 Medium

4 High

5 Very High