53
An Investigation Of Flat Weaving Cicim
Technique In The Samples
Figure 19: “Cicim with weft-faced condensed motifs”, archive no. 1487, Prof. Dr. Turhan
Yazgan Ethnography Museum (2015).
Inventory No:
Archive no. 1487
Size:
50x50x50 cm (three pieces)
Usage:
Saddlebag
Weaving Technique:
Cicim with weft-faced
condensed motifs
Motif:
Burdock, running water or meander
Number of warps:
(1 cm) 4
Number of wefts:
(1 cm) 4
Number of design threads:
(1 cm) 4
Figure 20: “Cicim with weft-faced condensed motifs”, archive no. 1607, Prof. Dr. Turhan
Yazgan Ethnography Museum (2015).
Inventory No:
Archive no. 1607
Size:
150x255 cm
Usage:
Floor covering
Weaving Technique:
Cicim with weft-faced condensed motifs
Motif:
Hands-on-hips or Akimbo
Number of warps:
(1 cm) 4
Number of wefts:
(1 cm) 4
Number of design threads:
(1 cm) 4
2.2.5. Cicim with warp-faced
Motifs are woven where the warps are packed so closely that they completely cover the wefts.
54
Fatma Nilhan Özaltin, Zeynep Figen Yurteri
Figure 21: “Cicim with warp-faced”, archive no. 1890 Prof. Dr.
Turhan Yazgan Ethnography
Museum (2015).
Inventory No:
Archive no. 1890
Size:
150x255 cm (50+50+50+50x255 cm)
Usage:
Four-fragment covering
Weaving Technique:
Cicim with warp-faced
Motif:
Hook
Number of warps:
(1 cm) 4
Number of wefts:
(1 cm) 4
Number of design threads:
(1 cm) 4
3. Conclusion
The analyses are of great importance in correct documentation of cicim weavings exhibited in
museum collections. It was seen that this was often inattentively carried out in many written
sources, museum exhibitions, and inventory logs.
This study may raise awareness of cicim weavings, discriminating between the kilim
and cicim weavings. Hence, correct documentation may contribute to not only the
continuation of richness in flat weave culture but also to the next generations and researchers
in this field.
4.
References
Acar, B.B. (1982).
Kilim, Cicim, Zili, Sumak Türk Düz Dokuma Yaygıları, İstanbul: Eren.
Ateş, M. (1996).
Mitolojiler Semboller ve Halılar, İstanbul: Symbol.
Bar şta, H.Ö. (1998).
19-20. Yüzyıl Türk Kirkitli Dokumaları Üzerine, Türk Soylu Halkların
Halı, Kilim ve Cicim Sanatı, Uluslararas
Bilgi Şöleni Bildirileri, Ankara: AKM.
Erbek, M. (1982).
Çatal Höyük’ten Günümüze Anadolu Motifleri, Ankara: KB
K rz oğlu, N.G. (2001).
Altaylardan Tuna Boyuna Türk Dünyasında rtak Motifler, Ankara:
TTK
Prof.
Dr.
Turhan
Yazgan
Ethnography
Museum
Archive
Music and Non-Music Skills You Should Have for Being Successful Musician
Sirin Akbulut Demirci
1. Introduction
Being successful in a creative profession also requires successful management of business
aspects and creativity requires a multitude of skills and abilities, including personal styles
(Hennessey & Amabile, 2010; Shalley et al., 2004). Which skills you should have as a
musician for being successful? The study showed that self-regulation and design self-efficacy
are important in studying both the creative and business-related roles in creative jobs
(Hennessey & Amabile, 2010)
The aim of the study is to determine music skills and non-music skills which should
musician have according their point of view.
The study was the preliminary study of the European Project “Preparing for Success in
Music” (2013- Project Number: 65915). Preparing for Success in Music is a Leonardo da
Vinci project whose purpose is to design a Musicians Self- Coaching Toolbox (Toolbox) for
those involved in music teaching in the Vocational Educational and Training Sector and
for individual musicians who feel they would benefit from a structured approach to
progressing their career or their involvement with music. It represents an enhancement of
traditional methods, insofar as it incorporates coaching principles and techniques in order to
produce better outcomes for both teachers and students. It will enables music administrators
and teachers to offer their students a short course which will bring home to them the message
that in order to pursue a successful career in music it is necessary to have a broad range of
both music and non-music skills. The Toolbox will show them how to identify these and how
to work on them in a structured manner.
The Musicians Self-Coaching Toolbox enables
musicians and aspiring musicians to determine where they are in relation to their required
skills and provides them with a range of exercises which will enable them to enhance
their strengths and rectify their weaknesses. It is designed to be used as an integral part of a
course or on a standalone basis. (http://www.e-clef.net/)
The survey was prepared to obtain the data of 135 musicians who answered the
survey. According to the results music skills with high frequencies are
Correct and Regular
Practice, Good Instrument Education and
non- music skills are Life Management,
Know What
You Want. Also the participants’ recommendations were searched.
2. Method
To obtain the findings the survey was prepared after brain storming section of the EU project
meeting according the meeting participants’ recommendations. Bursa Uludag University
Music Education Department was chosen as an example. The survey was asked to 37 1
st
grade
university students, 25 2
nd
grade university students, 30 3
rd
grade university student, 18 4
rd
grade university students, 4 academic staff, 7 graduate students, 14 music teachers and
musicians, in total 135 musicians participate to the survey. All data were analyzed with
frequencies and percent.