Pub Date : 2024-04-23DOI: 10.22190/fuvam240320002p
Stella Paschalidou
This study investigates the correlation between body movements and the voice in the context of North Indian Classical (or else Hindustani) vocal music, specifically focusing on its Dhrupad subgenre. In particular, it examines manual interactions with imaginary objects (MIIOs) commonly observed among vocalists, including actions such as stretching, pulling, pushing, and throwing, as well as the physical effort exerted on these occasions. The analysis employs video observations of originally recorded audio-visual material from a Dhrupad vocal improvisation performance. A previous association analysis conducted between MIIO gesture classes, perceived effort levels, and melodic aspects revealed a certain level of consistency among the two vocalists, albeit with individual variations revealing an idiosyncratic aspect in the way these gestures might be expressed. Given that the selected performers (brothers, Umakant and Ramakant Gundecha) share the same musical background and experience and that they are recorded singing in duet in a single performance of the same melodic mode (raga), instead of examining their common gesturing manners, the current paper focuses exclusively on the idiosyncratic deviations in gesturing habits observed between the two brothers and the associations of these gestures to their melodic counterparts. The analysis relies on quantitative statistical methods of pertinent movement and acoustic features, and the results yield valuable insights in ethnomusicology and embodied music cognition. They additionally offer crucial guidance on the use of music technologies and motion capture methods to develop quantitative approaches that complement existing qualitative methodologies.
{"title":"IDIOSYNCRATIC ELEMENTS IN MUSIC-RELATED GESTURE-SOUND RELATIONSHIPS: A HINDUSTANI DUET PERFORMANCE ANALYSIS","authors":"Stella Paschalidou","doi":"10.22190/fuvam240320002p","DOIUrl":"https://doi.org/10.22190/fuvam240320002p","url":null,"abstract":"This study investigates the correlation between body movements and the voice in the context of North Indian Classical (or else Hindustani) vocal music, specifically focusing on its Dhrupad subgenre. In particular, it examines manual interactions with imaginary objects (MIIOs) commonly observed among vocalists, including actions such as stretching, pulling, pushing, and throwing, as well as the physical effort exerted on these occasions. The analysis employs video observations of originally recorded audio-visual material from a Dhrupad vocal improvisation performance. A previous association analysis conducted between MIIO gesture classes, perceived effort levels, and melodic aspects revealed a certain level of consistency among the two vocalists, albeit with individual variations revealing an idiosyncratic aspect in the way these gestures might be expressed. Given that the selected performers (brothers, Umakant and Ramakant Gundecha) share the same musical background and experience and that they are recorded singing in duet in a single performance of the same melodic mode (raga), instead of examining their common gesturing manners, the current paper focuses exclusively on the idiosyncratic deviations in gesturing habits observed between the two brothers and the associations of these gestures to their melodic counterparts. The analysis relies on quantitative statistical methods of pertinent movement and acoustic features, and the results yield valuable insights in ethnomusicology and embodied music cognition. They additionally offer crucial guidance on the use of music technologies and motion capture methods to develop quantitative approaches that complement existing qualitative methodologies.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"46 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140667205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-15DOI: 10.22190/fuvam240211001m
Marko Milenkovic, Ivana Milošević
The inspiration of Svetislav Božić by the literary works of Miloš Crnjanski, which dates from 1989 to the present day, resulted in numerous works by which we can trace the connection between the two artists, as well as the style, aesthetics, artistic fantasy and creative credo of the composer. The subject of our research is a song for female voice and piano – Sumatra, the key poem of the cycle on which Crnjanski conceived an entire poetic-theoretical concept of the avant-garde literary program – Sumatraism. The work follows Božić's "librettistic" work on the poetic template whose continuity and integrity are retained by the composer using minimal interventions, additionally emphasizing the value of Sumatra, as well as other poems. Božić's creative path starts from a complete analysis of the poetic text, positioning the main points of emotional experience, the atmosphere of sensory images and the "space of happiness", and musicalisation of the literary source without transforming it. In the architecture of Sumatra, attention is drawn to the diversity of the harmonic palette: from consonant modal chords in triadand expressive seventh-chord forms to the particularly significant role of colouristic nuances of the minor ninth-chord in sporadic gradation to the eleventh chord and the sonority of the whole-scale feature on the stylistic basis of Debussy – Scriabin, but always in the strict function of musical dramaturgy with the preservation of tonality. In this context, the stylistic corridor of Sumatra follows a wide arc of intertwining of Romanticism and Impressionism origin with a national idiom of a wide range of means, radiating precious, complex meanings. Despite the accumulation of heritage of European music that belongs to him in terms of artistic freedom, Božić does not fall under its influence, since the dominant principle of his expression is created by national indigeneity in the use of modernized elements of national tradition, sometimes discreetly interwoven, thus confirming that "under other conditions, in another time, does the same thing as Mokranjac".
{"title":"TREATMENT OF THE POETIC TEXT OF CRNJANSKI AND CHARACTERISTICS OF THE HARMONIC LANGUAGE IN THE SUMATRA SONG BY SVETISLAV BOŽIĆ","authors":"Marko Milenkovic, Ivana Milošević","doi":"10.22190/fuvam240211001m","DOIUrl":"https://doi.org/10.22190/fuvam240211001m","url":null,"abstract":"The inspiration of Svetislav Božić by the literary works of Miloš Crnjanski, which dates from 1989 to the present day, resulted in numerous works by which we can trace the connection between the two artists, as well as the style, aesthetics, artistic fantasy and creative credo of the composer. The subject of our research is a song for female voice and piano – Sumatra, the key poem of the cycle on which Crnjanski conceived an entire poetic-theoretical concept of the avant-garde literary program – Sumatraism. The work follows Božić's \"librettistic\" work on the poetic template whose continuity and integrity are retained by the composer using minimal interventions, additionally emphasizing the value of Sumatra, as well as other poems. Božić's creative path starts from a complete analysis of the poetic text, positioning the main points of emotional experience, the atmosphere of sensory images and the \"space of happiness\", and musicalisation of the literary source without transforming it. In the architecture of Sumatra, attention is drawn to the diversity of the harmonic palette: from consonant modal chords in triadand expressive seventh-chord forms to the particularly significant role of colouristic nuances of the minor ninth-chord in sporadic gradation to the eleventh chord and the sonority of the whole-scale feature on the stylistic basis of Debussy – Scriabin, but always in the strict function of musical dramaturgy with the preservation of tonality. In this context, the stylistic corridor of Sumatra follows a wide arc of intertwining of Romanticism and Impressionism origin with a national idiom of a wide range of means, radiating precious, complex meanings. Despite the accumulation of heritage of European music that belongs to him in terms of artistic freedom, Božić does not fall under its influence, since the dominant principle of his expression is created by national indigeneity in the use of modernized elements of national tradition, sometimes discreetly interwoven, thus confirming that \"under other conditions, in another time, does the same thing as Mokranjac\".","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"83 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140702621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-19DOI: 10.22190/fuvam221120006z
Danijela Zdravić Mihailović, Marko Milenković
The paper elucidates on the musical language of Svetislav Božić, using the example of his concertino for piano Chants of Metohija, in order to point to certain solutions that give a seal of authenticity to Božić's work. The concertino form is typically an oriental variation of a single lyrical breath, at times singable and danceable at other times, but basically one and the same thought without any prominent dramaturgical contrast; it is a single movement with several lyrical variations. The musical language reveals a distinctive predominant modal harmonization of the tertian principle in building harmony of neo-romantic and early impressionist provenance, which emerges as a result of building on tradition with a controlled touch of modernity and originality.
{"title":"CHARACTERISTICS OF MUSICAL LANGUAGE IN THE COMPOSITION CHANTS OF METOHIJA BY SVETISLAV BOŽIĆ","authors":"Danijela Zdravić Mihailović, Marko Milenković","doi":"10.22190/fuvam221120006z","DOIUrl":"https://doi.org/10.22190/fuvam221120006z","url":null,"abstract":"The paper elucidates on the musical language of Svetislav Božić, using the example of his concertino for piano Chants of Metohija, in order to point to certain solutions that give a seal of authenticity to Božić's work. The concertino form is typically an oriental variation of a single lyrical breath, at times singable and danceable at other times, but basically one and the same thought without any prominent dramaturgical contrast; it is a single movement with several lyrical variations. The musical language reveals a distinctive predominant modal harmonization of the tertian principle in building harmony of neo-romantic and early impressionist provenance, which emerges as a result of building on tradition with a controlled touch of modernity and originality.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123726091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-19DOI: 10.22190/fuvam230418005n
I. Nikolić, S. Kodela, Bogdan Pindović
Musical abilities are among the primary conditions for success in the field of music. It has been proven that musical abilities already begin to develop in the prenatal period and that different types of abilities have a specific developmental path. Therefore, it is necessary to remember the critical periods for learning music, i.e., time frames within which musical experiences have particular importance. In addition to the informal musical experiences gained in the preschool period, formal music education is undoubtedly one of the best ways to develop musical abilities. The paper discusses the specifics of the music education system in Serbia, more precisely, the age of students that can enroll in programs for various instruments or solo singing. The data presented in the paper points to the conclusion that students that enroll in primary music education at the age of 7 or 8 (which coincides with the most crucial period for learning music) will have better prospects for the timely development of musical abilities when compared to children who begin musical training later. However, it should be held in mind that musical abilities develop even before the start of formal musical training, so efforts should be made to provide children with diverse and valuable musical experiences in the preschool period.
{"title":"MUSICAL ABILITIES DEVELOPMENT: WHEN TO START MUSIC EDUCATION?","authors":"I. Nikolić, S. Kodela, Bogdan Pindović","doi":"10.22190/fuvam230418005n","DOIUrl":"https://doi.org/10.22190/fuvam230418005n","url":null,"abstract":"Musical abilities are among the primary conditions for success in the field of music. It has been proven that musical abilities already begin to develop in the prenatal period and that different types of abilities have a specific developmental path. Therefore, it is necessary to remember the critical periods for learning music, i.e., time frames within which musical experiences have particular importance. In addition to the informal musical experiences gained in the preschool period, formal music education is undoubtedly one of the best ways to develop musical abilities. The paper discusses the specifics of the music education system in Serbia, more precisely, the age of students that can enroll in programs for various instruments or solo singing. The data presented in the paper points to the conclusion that students that enroll in primary music education at the age of 7 or 8 (which coincides with the most crucial period for learning music) will have better prospects for the timely development of musical abilities when compared to children who begin musical training later. However, it should be held in mind that musical abilities develop even before the start of formal musical training, so efforts should be made to provide children with diverse and valuable musical experiences in the preschool period.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130041937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-19DOI: 10.22190/fuvam230313002r
Aleksandar Ristić
Film music in postmodernism can be seen as applied music that together with text and images creates a film narrative[1]. In relation to the theory at the very beginning of film art and the period of classical film theory, the postmodern era perceives all the disciplines that make a film as equally important. When we look at music in this context, we notice that directors have often used it as a narrative tool, but to decipher the semantic aspect of music, the recipient needs prior knowledge or an adopted musical cultural code. However, with music as an abstract art, it is very difficult to symbolize the idea of a film director in the right way, so for that reason, music as a symbol of the director's imagination can be interpreted differently.[1] This applies to film music in general, but in the critical theory of film music and film in classical and "silent" films, music is seen as otherness and had a role in filling the frames.
{"title":"SEMIOTICS OF FILM / SEMIOTICS OF FILM MUSIC","authors":"Aleksandar Ristić","doi":"10.22190/fuvam230313002r","DOIUrl":"https://doi.org/10.22190/fuvam230313002r","url":null,"abstract":"Film music in postmodernism can be seen as applied music that together with text and images creates a film narrative[1]. In relation to the theory at the very beginning of film art and the period of classical film theory, the postmodern era perceives all the disciplines that make a film as equally important. When we look at music in this context, we notice that directors have often used it as a narrative tool, but to decipher the semantic aspect of music, the recipient needs prior knowledge or an adopted musical cultural code. However, with music as an abstract art, it is very difficult to symbolize the idea of a film director in the right way, so for that reason, music as a symbol of the director's imagination can be interpreted differently.[1] This applies to film music in general, but in the critical theory of film music and film in classical and \"silent\" films, music is seen as otherness and had a role in filling the frames.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115313155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-19DOI: 10.22190/fuvam230410003n
Angelina Nikolić
The composition Chant de Linos by André Jolivet was an important response to the shift in ideals and aesthetics from the time of the Second World War and continues to occupy the great attention of flutists to this day. Today's abundance of literature has enabled this approach to Jolivet's music in several different ways, but since the author of this text is a flautist himself, a significant part of the work will be devoted to the interpretive aspect through the explication of the practical application of the already elaborated facts. The presentation of the multi-layered aspects of the piece will be made with the help of various critical aspects that will shed light on the cultural and social aspects of Jolivet’s background, while also illustrating important poetical characteristics of his. Methods of artistic research such as historical, analytical, comparative and practical-performance method will be used in this work. Although the composer himself did not provide more extensive program content, we can consider that Chant de Linos belongs to program music, since it clearly evokes certain ideas and concepts. Mapping and defining specific non-musical content contains the first part of the text, while the second part will deal with its practical application. Therefore, the goal of the overall exegesis is to bring the performers to a deeper understanding of the composer's intentions in order to perform the most expressive and meaningful interpretation.
安德烈·乔利维特的作品《利诺之歌》是对第二次世界大战以来理想和美学转变的重要回应，至今仍吸引着长笛演奏家的极大关注。今天丰富的文献使这种方法能够以几种不同的方式来研究Jolivet的音乐，但由于本文的作者本身就是一个长笛演奏家，因此，通过对已经阐述的事实的实际应用的解释，工作的一个重要部分将致力于解释方面。该作品的多层次呈现将借助各种关键方面的帮助，这些方面将阐明Jolivet背景的文化和社会方面，同时也说明了他的重要诗歌特征。本作品将运用历史、分析、比较、实干等艺术研究方法。虽然作曲家本人并没有提供更广泛的节目内容，但我们可以认为Chant de Linos属于节目音乐，因为它明显唤起了一定的思想和概念。映射和定义具体的非音乐内容包含文本的第一部分，而第二部分将处理其实际应用。因此，整体释经的目标是使演奏者更深入地理解作曲家的意图，以便进行最有表现力和最有意义的诠释。
{"title":"ANALYTICAL AND INTERPRETATIVE PRESENTATION OF CHANT DE LINOS BY ANDRE JOLIVET","authors":"Angelina Nikolić","doi":"10.22190/fuvam230410003n","DOIUrl":"https://doi.org/10.22190/fuvam230410003n","url":null,"abstract":"The composition Chant de Linos by André Jolivet was an important response to the shift in ideals and aesthetics from the time of the Second World War and continues to occupy the great attention of flutists to this day. Today's abundance of literature has enabled this approach to Jolivet's music in several different ways, but since the author of this text is a flautist himself, a significant part of the work will be devoted to the interpretive aspect through the explication of the practical application of the already elaborated facts. The presentation of the multi-layered aspects of the piece will be made with the help of various critical aspects that will shed light on the cultural and social aspects of Jolivet’s background, while also illustrating important poetical characteristics of his. Methods of artistic research such as historical, analytical, comparative and practical-performance method will be used in this work. Although the composer himself did not provide more extensive program content, we can consider that Chant de Linos belongs to program music, since it clearly evokes certain ideas and concepts. Mapping and defining specific non-musical content contains the first part of the text, while the second part will deal with its practical application. Therefore, the goal of the overall exegesis is to bring the performers to a deeper understanding of the composer's intentions in order to perform the most expressive and meaningful interpretation.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131954153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-19DOI: 10.22190/fuvam230413001t
M. Tasić, Dusan Stamenkovic
Employing the theoretical framework that represents a unique amalgam of the domains of multimodality, intermediality, transmedia storytelling and adaptation, the paper analyses the process of medial transposition of the folk fairy tale Baš-Čelik, primarily into Đorđe Lobačev’s comic book of the same name (1939/1989), and then into Petar Meseldžija’s 2008 illustrated book The Legend of Baš-Čelik (orig. Legenda o Baš-Čeliku). The paper presents verbal and graphic tools used by these authors in adapting the original text from a monomodal into multimodal media, with a special focus on three research directions. The first is the manner in which the compositional structure of the fairy tale is transferred into the comic and the illustrated book, with the aim of assessing the level of fidelity in these adaptations. The second direction is related to the most important narrative and stylistic differences (e.g., language and tone of narration). The third direction deals with the use of certain comics-specific techniques and resources, such as page layout, use of colour for emphasis, representation of speed and motion, and the presence or absence of particular graphic devices (upfixes and pictorial runes). Finally, the adaptations themselves are compared to each other, highlighting the major similarities and differences between them.
本文运用多模态、中间性、跨媒体叙事和改编等领域的独特融合理论框架，分析了民间童话《巴什什-Čelik》的媒介转位过程，首先是在Đorđe洛巴耶夫的同名漫画(1939/1989)中转位，然后是在Petar Meseldžija 2008年的绘本《巴什什传说-Čelik》(原)中转位。Legenda o basi -Čeliku)。本文介绍了这些作者在将原始文本从单模态改编为多模态媒体时使用的口头和图形工具，并特别关注三个研究方向。首先是将童话故事的结构转移到漫画和插图书中的方式，目的是评估这些改编的忠实程度。第二个方向与最重要的叙事和风格差异(例如，语言和叙事语气)有关。第三个方向涉及使用某些特定于漫画的技术和资源，例如页面布局，使用颜色来强调，表示速度和运动，以及存在或不存在特定的图形设备(后缀和图形符文)。最后，对这些适应性进行比较，突出它们之间的主要相似点和不同点。
{"title":"MULTIMODAL ADAPTATIONS OF BAŠ-ČELIK: FROM A FAIRY TALE TO A COMIC AND ILLUSTRATED BOOK","authors":"M. Tasić, Dusan Stamenkovic","doi":"10.22190/fuvam230413001t","DOIUrl":"https://doi.org/10.22190/fuvam230413001t","url":null,"abstract":"Employing the theoretical framework that represents a unique amalgam of the domains of multimodality, intermediality, transmedia storytelling and adaptation, the paper analyses the process of medial transposition of the folk fairy tale Baš-Čelik, primarily into Đorđe Lobačev’s comic book of the same name (1939/1989), and then into Petar Meseldžija’s 2008 illustrated book The Legend of Baš-Čelik (orig. Legenda o Baš-Čeliku). The paper presents verbal and graphic tools used by these authors in adapting the original text from a monomodal into multimodal media, with a special focus on three research directions. The first is the manner in which the compositional structure of the fairy tale is transferred into the comic and the illustrated book, with the aim of assessing the level of fidelity in these adaptations. The second direction is related to the most important narrative and stylistic differences (e.g., language and tone of narration). The third direction deals with the use of certain comics-specific techniques and resources, such as page layout, use of colour for emphasis, representation of speed and motion, and the presence or absence of particular graphic devices (upfixes and pictorial runes). Finally, the adaptations themselves are compared to each other, highlighting the major similarities and differences between them.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127765931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-19DOI: 10.22190/fuvam230415007n
Nataša Nagorni Petrov, D. Stojanović
The school subjects Harmony and Counterpoint are part of the secondary music school curricula in the Republic of Serbia. The issue of adequate teaching methods to be applied in teaching these school subjects has sprung from the following factors: continuous education, prescribed teaching materials and an insufficient number of classes allocated to each of the aforementioned subjects. Regarding the fact that teaching methods define the manner in which students learn, acquire skills, habits and knowledge thus forming their own personalities, and realizing that these methods are the manner, tools and forms of teaching, this paper analyzes the present state of affairs in the secondary music school education as well as the application of relevant methods for teaching Harmony and Counterpoint. The paper proposes some potential alterations of the applied teaching methods with the purpose of achieving more efficient and creative approaches to teaching Harmony and Counterpoint in secondary music schools.
{"title":"METHODS FOR TEACHING HARMONY AND COUNTERPOINT IN SECONDARY MUSIC SCHOOLS IN THE REPUBLIC OF SERBIA","authors":"Nataša Nagorni Petrov, D. Stojanović","doi":"10.22190/fuvam230415007n","DOIUrl":"https://doi.org/10.22190/fuvam230415007n","url":null,"abstract":"The school subjects Harmony and Counterpoint are part of the secondary music school curricula in the Republic of Serbia. The issue of adequate teaching methods to be applied in teaching these school subjects has sprung from the following factors: continuous education, prescribed teaching materials and an insufficient number of classes allocated to each of the aforementioned subjects. Regarding the fact that teaching methods define the manner in which students learn, acquire skills, habits and knowledge thus forming their own personalities, and realizing that these methods are the manner, tools and forms of teaching, this paper analyzes the present state of affairs in the secondary music school education as well as the application of relevant methods for teaching Harmony and Counterpoint. The paper proposes some potential alterations of the applied teaching methods with the purpose of achieving more efficient and creative approaches to teaching Harmony and Counterpoint in secondary music schools.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114792672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-19DOI: 10.22190/fuvam230323004d
Marija Dinov
The focus of this article is the role of fingering in performing art of pianists. Fingering is a thoughtful determination of the exact order in which fingers are used in a given musical phrase. The main purpose of this paper is to explain how fingering, as an element of the composition created by the performer, affects the expressiveness of the performed musical phrase. The central analysis is aimed at illustrating how various expressive effects can be achieved by using different fingerings to perform the same written musical phrase. As a specific example we showed that the use of different fingers in a certain musical context can produce different cognitive and emotional responses in the mind of the performer, and thus affects the understanding of the music being performed.
{"title":"THE ROLE OF FINGERING IN CREATING MUSIC ON THE PIANO","authors":"Marija Dinov","doi":"10.22190/fuvam230323004d","DOIUrl":"https://doi.org/10.22190/fuvam230323004d","url":null,"abstract":"The focus of this article is the role of fingering in performing art of pianists. Fingering is a thoughtful determination of the exact order in which fingers are used in a given musical phrase. The main purpose of this paper is to explain how fingering, as an element of the composition created by the performer, affects the expressiveness of the performed musical phrase. The central analysis is aimed at illustrating how various expressive effects can be achieved by using different fingerings to perform the same written musical phrase. As a specific example we showed that the use of different fingers in a certain musical context can produce different cognitive and emotional responses in the mind of the performer, and thus affects the understanding of the music being performed.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122214826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study investigates promiscuity impacts, pregnancy impacts and abortion impacts of female undergraduates on management of the University of Benin educational theatre program, with implications on general theatre practice including Muson and Nollywood, in Nigeria. There are widespread speculations that female undergraduate theatre students are promiscuous and therefore highly prone to pregnancies and abortions for reasons or factors not confirmed by research. At least no such specific extensive study has been carried out in the University of Benin Theatre on this topic. Yet many female students are branded and treated merely as ‘debased females and prospective prostitutes’, and do not enjoy the goodwill, support, respect and honor their counterparts in the social, basic and environmental sciences as well as other fields of academic studies enjoy. This would be tantamount to a great disservice and injustice that need to be urgently addressed if a rigorous academic inquiry proves otherwise. Not to mention the undiscovered negative impacts the problem may have had, or currently be having on the training and practice of theatre arts in Nigeria: hence this investigation. The methodology, the subjects of study and study sample were carefully and systematically determined. The findings are mostly positive regarding the negative behavior investigated. Hence the recommendations point to measures aimed at checking and restricting these vices as well as their impact to a minimum as well as towards improving the moral, academic and managerial framework of educational theatre programs in Nigeria.
{"title":"THEATRE MANAGEMENT INVESTIGATION OF FEMALE PROMISCUITY: PREGNANCY AND ABORTION IMPACT ON UNIVERSITY EDUCATIONAL THEATRES IN NIGERIA","authors":"V. Diakpomrere","doi":"10.22190/FUVAM2101023D","DOIUrl":"https://doi.org/10.22190/FUVAM2101023D","url":null,"abstract":"This study investigates promiscuity impacts, pregnancy impacts and abortion impacts of female undergraduates on management of the University of Benin educational theatre program, with implications on general theatre practice including Muson and Nollywood, in Nigeria. There are widespread speculations that female undergraduate theatre students are promiscuous and therefore highly prone to pregnancies and abortions for reasons or factors not confirmed by research. At least no such specific extensive study has been carried out in the University of Benin Theatre on this topic. Yet many female students are branded and treated merely as ‘debased females and prospective prostitutes’, and do not enjoy the goodwill, support, respect and honor their counterparts in the social, basic and environmental sciences as well as other fields of academic studies enjoy. This would be tantamount to a great disservice and injustice that need to be urgently addressed if a rigorous academic inquiry proves otherwise. Not to mention the undiscovered negative impacts the problem may have had, or currently be having on the training and practice of theatre arts in Nigeria: hence this investigation. The methodology, the subjects of study and study sample were carefully and systematically determined. The findings are mostly positive regarding the negative behavior investigated. Hence the recommendations point to measures aimed at checking and restricting these vices as well as their impact to a minimum as well as towards improving the moral, academic and managerial framework of educational theatre programs in Nigeria.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121106139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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