Page 129 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana, leto 12, zvezek 25 / Year 12, Issue 25, 2016
P. 129
Andrej Misson, POUÈEVANJE KONTRAPUNKTA IN KOMPOZICIJE NA SLOVENSKEM
Andrej Misson
Univerza v Ljubljani, Akademija za glasbo
POUÈEVANJE KONTRAPUNKTA IN KOMPOZICIJE NA
SLOVENSKEM
Izvleèek
Zapisi iz zgodovine nam prièajo o tem, da so na Slovenskem glasbo pouèevali v razliènih jezikih:
slovenšèini, nemšèini, latinšèini in italijanšèini. In sicer v oblikah in z vrstami gradiva,
primerljivimi s tistimi, ki so jih poznala sosednja ljudstva. V 19. stoletju se je zaèela moèno
prebujati narodna zavest in tudi glasbeniki na Slovenskem so zaèeli pouèevati v domaèem jeziku.
Tudi kompozicijo, ki jo po tradiciji tvorijo najprej kontrapunkt, potem harmonija in nazadnje še
kompozicija ter drugi glasbeno-teoretski predmeti, npr. glasbena analiza, oblikoslovje, generalbas
ipd. Slovenski skladatelji in glasbeni teoretiki so pri pouèevanju kompozicije sledili evropskim
tokovom in ga zaèeli graditi tudi v slovenšèini. Dela o kontrapunktu je prispevalo kar nekaj avtorjev,
med njimi Anton Foerster, Lucijan Marija Škerjanc, Janez Osredkar idr. Prav pouèevanju
kontrapunkta je namenjen glavni prispevek avtorja. Poseben pomen za razvoj pouèevanja
kompozicijskih predmetov sta imela izum tiska ter v 20. stoletju oblikovanje digitalnih oblik
gradiva in medmre ja.
Kljuène besede: glasbena kompozicija, kontrapunkt, glasbena teorija, slovenska glasbena
pedagogika, muzikologija
Abstract
The Teaching of Counterpoint and Composition in the Slovenian Territory
Before the 19th century, historical fragments bear witness to the fact that music was taught in
different languages in Slovenia’s varied regions: Slovenian, German, Latin and Italian. The form
and assorted material of this early music education can be traced back to teaching methods from
neighbouring countries. In the 19th century the Slovenian national consciousness was awakened,
and Slovenian musicians began to teach in their native language, including the subject of
composition. Classical composition is traditionally based firstly on counterpoint, then harmony, and
finally composition in a narrower sense (and other musical-theoretical subjects as well, for example
music analysis, musical form, figured bass, etc.). As the 19th century progressed, Slovenian
composers and music theorists followed the different waves of various European methods in
teaching composition, and began to build on them in the Slovenian language. The main works on the
teaching of counterpoint in the Slovenian language were written by several authors. Among them
were Anton Foerster, Lucijan Marija Škerjanc, Janez Osredkar and others. The teaching of
counterpoint in general is the main focus of the author in this article. Of particular importance to the
development of the teaching of composition (from an international, historical perspective) were the
invention of the printing press in the 16th century, and the creation of digital forms of teaching
materials and the internet in the 20th.
Keywords: music composition, counterpoint, music theory, Slovenian music education,
musicology
129
Andrej Misson
Univerza v Ljubljani, Akademija za glasbo
POUÈEVANJE KONTRAPUNKTA IN KOMPOZICIJE NA
SLOVENSKEM
Izvleèek
Zapisi iz zgodovine nam prièajo o tem, da so na Slovenskem glasbo pouèevali v razliènih jezikih:
slovenšèini, nemšèini, latinšèini in italijanšèini. In sicer v oblikah in z vrstami gradiva,
primerljivimi s tistimi, ki so jih poznala sosednja ljudstva. V 19. stoletju se je zaèela moèno
prebujati narodna zavest in tudi glasbeniki na Slovenskem so zaèeli pouèevati v domaèem jeziku.
Tudi kompozicijo, ki jo po tradiciji tvorijo najprej kontrapunkt, potem harmonija in nazadnje še
kompozicija ter drugi glasbeno-teoretski predmeti, npr. glasbena analiza, oblikoslovje, generalbas
ipd. Slovenski skladatelji in glasbeni teoretiki so pri pouèevanju kompozicije sledili evropskim
tokovom in ga zaèeli graditi tudi v slovenšèini. Dela o kontrapunktu je prispevalo kar nekaj avtorjev,
med njimi Anton Foerster, Lucijan Marija Škerjanc, Janez Osredkar idr. Prav pouèevanju
kontrapunkta je namenjen glavni prispevek avtorja. Poseben pomen za razvoj pouèevanja
kompozicijskih predmetov sta imela izum tiska ter v 20. stoletju oblikovanje digitalnih oblik
gradiva in medmre ja.
Kljuène besede: glasbena kompozicija, kontrapunkt, glasbena teorija, slovenska glasbena
pedagogika, muzikologija
Abstract
The Teaching of Counterpoint and Composition in the Slovenian Territory
Before the 19th century, historical fragments bear witness to the fact that music was taught in
different languages in Slovenia’s varied regions: Slovenian, German, Latin and Italian. The form
and assorted material of this early music education can be traced back to teaching methods from
neighbouring countries. In the 19th century the Slovenian national consciousness was awakened,
and Slovenian musicians began to teach in their native language, including the subject of
composition. Classical composition is traditionally based firstly on counterpoint, then harmony, and
finally composition in a narrower sense (and other musical-theoretical subjects as well, for example
music analysis, musical form, figured bass, etc.). As the 19th century progressed, Slovenian
composers and music theorists followed the different waves of various European methods in
teaching composition, and began to build on them in the Slovenian language. The main works on the
teaching of counterpoint in the Slovenian language were written by several authors. Among them
were Anton Foerster, Lucijan Marija Škerjanc, Janez Osredkar and others. The teaching of
counterpoint in general is the main focus of the author in this article. Of particular importance to the
development of the teaching of composition (from an international, historical perspective) were the
invention of the printing press in the 16th century, and the creation of digital forms of teaching
materials and the internet in the 20th.
Keywords: music composition, counterpoint, music theory, Slovenian music education,
musicology
129
