The Journal of Music Education of the Academy of Music in Ljubljana
26. zvezek (2017)
Snježana Dobrota, Sara Barbarić
CROATIAN ELEMENTARY SCHOOL STUDENTS’ ATTITUDES TOWARDS MUSIC LESSONS
This paper has explored the Croatian elementary school students’ attitudes towards Music Culture course with regard to age, gender, family background and additional music lessons and the influence of gender and age on preferring different activities of music teaching practice. As a part of the research, a questionnaire of sociodemographic data and a questionnaire of students’ attitudes toward the subject were distributed to 225 students attending the second, the third, the seventh and the eighth grade. The results confirm that music is an important component of the students’ life in general, especially for girls. The authors observed a connection between certain aspects of attitudes towards the Music Culture course with family background, additional music lessons and the preference of classical music. Age and gender also proved to be significant predictors of students’ attitudes towards the Music Culture course. Thus, younger students and girls have more positive attitudes towards music lessons, compared to older students and boys. Additionally, younger students show greater preferences for singing, while older students tend to be more inclined to listening to music. The authors suggest the possibility of conducting similar research with the high school population with a view of comparing the obtained results.
Keywords: attitudes, elementary school, music lessons, musical preference
Stališča hrvaških osnovnošolcev do glasbenega pouka
V raziskavi so preučevana stališča hrvaških osnovnošolcev do predmeta Glasbena kultura glede na starost, spol, družinsko okolje in dodatni glasbeni pouk. Raziskan je tudi vpliv spola in starosti na preference do različnih dejavnosti glasbenega pouka. Za zbiranje podatkov sta bila uporabljena splošni vprašalnik in vprašalnik za preučevanje stališč učencev do predmeta. Izpolnilo ju je 225 učencev drugega, tretjega, sedmega in osmega razreda osnovne šole.
Rezultati potrjujejo, da ima glasba pomembno vlogo v življenju učencev, še posebej deklet. Opazna je povezava med nekaterimi vidiki stališč do glasbene vzgoje z družinskim okoljem, dodatnim glasbenim poukom in preferencami do klasične glasbe. Prav tako sta se starost in spol izkazala za pomembna napovedovalca stališč učencev do pouka Glasbene kulture. Mlajši učenci in dekleta imajo pozitivnejša stališča do glasbenega pouka v primerjavi s starejšimi učenci in fanti. Mlajši učenci izražajo večje preference do petja, medtem ko starejši učenci raje poslušajo glasbo. Avtorici predlagata izvedbo podobne raziskave na srednji šoli z namenom primerjave rezultatov.
Ključne besede: stališča, osnovna šola, glasbeni pouk, glasbene preference
Jernej Weiss, Tjaša Ribizel, Ines Kožuh, Matjaž Debevc
MySolfeggio: MOBILE AND TABLET APPLICATION FOR LEARNING OF SOLFEGGIO
The mobile and tablet application MySolfeggio is intended to be used for independent practicing of Solfeggio. The application is an upgrade of traditional printed literature for learning music theory, which is used during courses of music theory in Slovenian music schools. The app MySolfeggio allows practicing songs, which are included in the textbooks Mali glasbeniki 3 (2014), Mali glasbeniki 4 (2015), Priročnik za solfeggio 3 (2008) and Priročnik za solfeggio 4 (2008). The app works in such a way that a pupil directs the smartphone camera toward a certain notation in the textbook, makes a photo and the app recognises which song the pupil wants to practice. In this process, elements of augmented reality are used. Users of the app can listen to songs, practice rhythm and singing, as well as consolidate their knowledge about the songs by completing an integrated quiz about music theory. In order to examine the practical usefulness of the app MySolfeggio, we conducted an experiment on three Slovenian music schools. During the experiment, we precisely designed the methodology and the first results show that the pupils have developed a positive relation in regard to learning with the mobile application MySolfeggio. Moreover, there is also a tendency for using MySolfeggio as a learning tool at home.
Keywords: MySolfeggio, mobile application, information and communications technology, music theory
MySolfeggio: mobilna in tablična aplikacija za učenje solfeggia
Mobilna in tablična aplikacija MySolfeggio je namenjena samostojnemu učenju solfeggia. Aplikacija nadgrajuje tradicionalno tiskano literaturo, ki je sicer v uporabi pri predmetu Nauk o glasbi v slovenskih glasbenih šolah. Z aplikacijo MySolfeggio je tako mogoče vaditi glasbene primere, ki so zajete v učbenikih Mali glasbeniki 3 (2014), Mali glasbeniki 4 (2015), Priročnik za solfeggio 3 (2008) in Priročnik za solfeggio 4 (2008). Aplikacija deluje tako, da učenec usmeri kamero telefona na notni zapis v učbeniku, ga fotografira aplikacija pa razpozna, kateri glasbeni primer želi učenec vaditi. V tem postopku so uporabljeni elementi razširjenje resničnosti. Uporabniki aplikacije lahko nato glasbene primere poslušajo, vadijo ritmično in melodično izvajanje le teh, hkrati pa tudi utrjujejo svoje znanje o dotičnih glasbenih primerih z reševanjem kviza z glasbenoteoretičnimi vprašanji. Da bi preučili praktično uporabnost aplikacije MySolfeggio, je bil izveden eksperiment na treh slovenskih glasbenih šolah. Prvi izsledki so pokazali, da so učenci s pomočjo aplikacije MySolfeggio razvili pozitiven odnos do samostojnega učenja, kaže pa se tudi tendenca, da bi učenci uporabljali mobilno aplikacijo kot učni pripomoček doma.
Ključne besede: MySolfeggio, mobilna aplikacija, informacijsko–komunikacijska tehnologija, Nauk o glasbi
Katarina Habe, Vida Kržič
DOŽIVLJANJE IZVAJALSKE ANKSIOZNOSTI UČENCEV GLASBENE ŠOLE V ZGODNJEM MLADOSTNIŠTVU
Namen naše raziskave je bil preučiti doživljanje izvajalske anksioznosti pri učencih v glasbenih šolah na prehodu iz otroštva v mladostništvo. V raziskavi je sodelovalo 261 od 10 do 15 let starih učencev sedmih različnih slovenskih glasbenih šol: 103 dečkov in 158 deklic. Za namen raziskave smo oblikovali anketni vprašalnik, ki je vseboval tudi Lestvico izvajalske anksioznosti (Habe, 2002). Rezultati so pokazali, da med mlajšimi (10-12 let) in starejšimi učenci (13-15 let) ne obstajajo pomembne razlike v doživljanju izvajalske anksioznosti. Ugotovili smo, da so miselni simptomi izvajalske anksioznosti v zgodnjem mladostništvu bolj izraženi kot telesni, da deklice doživljajo izvajalsko anksioznost intenzivneje kot dečki in da imajo manj izvajalske anksioznosti tisti učenci, ki so začeli nastopati v zgodnjem otroštvu, ki imajo pozitivne prve izkušnje z nastopanjem in ki radi nastopajo. Razlike v doživljanju izvajalske anksioznosti niso bile potrjene glede na posamezne inštrumentalne skupine, so jo pa pevci v primerjavi z različnimi skupinami inštrumentalistov doživljali opazno več. Pokazalo se je tudi, da je doživljanje izvajalske anksioznosti negativno nizko povezano z zaključnima ocenama pri inštrumentu in pri glasbenoteoretičnih predmetih.
Ključne besede: izvajalska anksioznost, trema, glasbeni nastop, glasbena šola, zgodnje mladostništvo
Experiencing performance anxiety in music school pupils in early adolescence
The aim of our study was to explore music performance anxiety (MPA) in music school students in early adolescence. 261 young students from seven different Slovenian music schools aged 10 to 15 years (103 boys, 158 girls) participated in the study. Music performance anxiety scale (Habe, 2002) was used for measuring the intensity of cognitive and somatic symptoms. The results reveal that there are no differences in MPA between younger (aged 10 -12) and older (aged 13-15) music students in early adolescence. It was found that MPA is more prevalent in girls than in boys. Less MPA is experienced by students who started performing early in childhood, in those with positive first performing experiences and those who enjoy being on stage. There were no differences in MPA regarding instrumental groups, although singers evidently reported the highest rates of MPA compared to other groups. There was a low negative correlation between MPA and final grades in instrumental/theoretical practice.
Keywords: stage fright, performance anxiety, music performance, basic music school, early adolescence
Milena Petrović, Gordana Ačić, Vera Milanković
МUSICIANS’ FREE ASSOCIATIONS ON THE GIVEN MUSIC CONCEPTS
Free association is a mental connection or relation between thoughts, feelings, ideas or sensations. Association is an important and effective principle that is active in all instances of learning through accumulated experience. There is a considerable number of studies that deal with music stimuli provoking different associations. Therefore, association is the mechanism that connects music motif with extra musical description. Our aim was to induce associations in musicians, provoked by the given verbal music stimuli within group of musicians. We tested 184 musicians and used 30 verbal stimuli of music theory and history. The results show three categories: cognitive, emotional and sociological (CES). In cognitive associations we included frequently obtained metaphorical associations. In this paper we are interested in presenting the richness of metaphorical associations triggered by different music stimuli: harp, cello, adagio, dolce, staccato, crescendo and ritenuto. Metaphorical association stereotype is notable for Mozart and piano, while the identical or similar associations have been found for rhythmic and metric stimuli. There’s a frequency in associating 3/4 as waltz, 7/8 as folk and siciliana as geographical origin. The domination of social associations for rococo and jazz was expected.
Keywords: associations, music terms, metaphors, verbal music stimuli, meaning in music
Svobodne asociacije glasbenikov na dane glasbene koncepte
Svobodne asociacije so mentalne povezave ali odnosi med mislimi, idejami ali občutji. Asociacije so pomemben in učinkovit princip, temelječ na zbranih izkušnjah, ki je dejaven pri vsakem učenju. Številne študije se ukvarjajo z glasbenimi spodbudami ki izzovejo različne asociacije. Asociacije so torej mehanizmi, ki povezujejo glasbeni motiv z dodatnim verbalnim glasbenim opisom. Cilj raziskave je bil z danimi verbalnimi spodbudami sprožiti ascociacije pri različnih skupinah glasbenikov. Pri testiranju 184 glasbenikov smo uporabili 30 verbalnih spodbud s področij glasbene teorije in zgodovine. Rezultati so kazali tri kategorije asociacij: kognitivno, emocionalno in sociološko (CES). Med kognitivne asociacije smo vključili pogostokrat izražene metaforične zveze. V prispevku predstavljamo bogastvo metaforičnih asociacij, sproženih z različnimi glasbenimi pojmi, kot so harfa, čelo, adagio, dolce, staccato, crescendo in ritenuto. Razviden je metaforični asociativni stereotip med besedama Mozart in klavir. Identične in zelo podobne asiciacije so bile izkazane pri ritmičnih in metričnih verbalnih spodbudah. 3/4 takt je bil pogostokrat asociiran z valčkom, 7/8 takt z ljudsko glasbo, siciliana pa z geografskim izvorom. Sociološke asociacije za rococo in jazz so bile pričakovane.
Ključne besede: asociacije, glasbeni pojmi, metafore, verbalne glasbene spodbude, pomen v glasbi
Tina Bohak
»HOČEM POSTATI PEVKA« – ŽIVLJENJSKA IN USTVARJALNA POT KONCERTNE PEVKE, ALTISTKE MARIJE BITENC SAMEC
Altistko Marijo Bitenc Samec uvrščamo med najizrazitejše koncertne poustvarjalke 2. pol. 20. stoletja. Poleg solistične kariere je bila zelo dejavna kot komorna glasbenica, v 80. letih je aktivno delovala tudi kot družbenokulturna delavka. Koncertni repertoar Marije Bitenc Samec je obsegal baročne in operne arije, kantate, partizanske pesmi ter samospeve slovenskih in tujih skladateljev. Kot cenjena umetnica je med drugim praizvedla samospeve dr. Danila Švare, Lucijana Marije Škerjanca, Alojza Srebotnjaka, Zvonimirja Cigliča in drugih. Koncertirala je po nekdanji Jugoslaviji, Avstriji, Italiji in Belgiji, na radiu in televiziji pa je razen v navedenih deželah nastopala še v Zahodni Nemčiji, Franciji in Veliki Britaniji. Leta 1990 je kot pobudnica in organizatorka izpeljala postavitev spomenika njenemu profesorju Juliju Betettu pred ljubljansko Opero. V prispevku želimo dosedanja vèdenja dopolniti, nadgraditi in strniti ter celovito predstaviti in ovrednotiti življenje in delo Marije Bitenc Samec ter njen pomen za zgodovino slovenske glasbene poustvarjalnosti, predvsem na področju koncertne poustvarjalnosti.
Ključne besede: Marija Bitenc Samec, altistka, koncertna poustvarjalka, življenjska pot, ustvarjalna pot
“I want to become a singer” – The Life and Creative Path of the Concert Singer, Alto Marija Bitenc Samec
Alto Marija Bitenc Samec is one of the most prominent concert performers in the second half of the 20th century. Besides her solo career she was also very active as a chamber musician. In 80s, Marija Bitenc Samec had been also actively working as a sociocultural worker. The concert repertoire of Marija Bitenc Samec covered baroque and operatic arias, cantatas, partisan songs and songs of Slovenian and foreign composers. As a respected artist she performed lieds of dr. Danilo Švara, Lucijan Marija Škerjanc, Alojz Srebotnjak, Zvonimir Ciglič and others for the very first time. She often recreated lieder of Slovenian composers outside of our borders and so she helped carried the mother language in various European countries. Her concerts took place from former Yugoslavia through Austria, Italy to Belgium. She performed, besides previously mentioned countries, also on radio and television in West Germany, France and in Great Britain. In 1990, she was the initiator and organizer of setting a monument of her professor Julij Betetto in front of Ljubljana Opera House. In this article we wish to complete, upgrade, consolidate and evaluate the life and work of Marija Bitenc Samec, as well as her contribution to the history of Slovenian musical performances, especially in the field of concert performances.
Keywords: Marija Bitenc Samec, alto, concert singer, life path, creative path
Marina Bizjak
VOKALNA TEHNIKA V ADOLESCENCI
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