VİYOLONSELDE PUS PARMAĞININ ORTAYA ÇIKIŞI, İŞLEVİ VE KULLANIMİ, 189-223
THUMB POSITION FUNCTION AND USE ON CELLO
http://dx.doi.org/10.29228/ASOS.72931
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LUIGI BOCCHERİNİ, VİYOLONSEL ESERLERİ, VİYOLONSEL REPERTUVARINA VE TEKNİĞİNE GETİRDİĞİ YENİLİKLEṘ, 104-137
LUIGI BOCCHERINI'S CELLO WORKS, INVOLVEMENTS OF THE CELLO REPERTOIRE AND TECHNIQUE
http://dx.doi.org/10.29228/ASOS.70261
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VİYOLONSELİN BATI ALANINDA VE TÜRK MÜZİĞİ’NDE ÜLKEMİZE GİRİŞİ VE GELİŞİM SÜRECİ̇, 101-118
INTRODUCTION OF VIOLONCEL TO OUR COUNTRY IN THE WEST AREA AND TURKISH MUSIC AND THE DEVELOPMENT PROCESS
http://dx.doi.org/10.29228/ASOS.49464
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İLKOKUL ÇAĞINDAKİ ÇOCUKLARDA SAHNE KORKUSU İLE MÜCADELE VE PERFORMANS ÜZERİNDEKİ ETKİLERİNİN İNCELEMESİ̇, 124-140
STRUGLE WITH STAGE FEAR, EFFECTS ON STAGE PERFORMING ANXIETY AND THE PRIMARY SCHOOL AN ANALYSIS OF SCENE LOST IN CHILDREN
http://dx.doi.org/10.29228/ASOS.44401
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FRANSIZ VİYOLONSEL EKOLÜNÜN VİYOLONSEL TARİHİNDEKİ YERİ ÖNEMİ VE GELİŞİMİ̇, 66-85
THE IMPORTANCE AND DEVELOPMENT OF THE FRENCH VIOLONCELLO SCHOOL IN THE HISTORY OF VIOLONCELLO
http://dx.doi.org/10.29228/ASOS.40553
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