Page 146 - 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. 146
SBENOPEDAGOŠKI ZBORNIK, 25. zvezek
education in monasteries somewhere in the Kranjska region. The best musical education
was probably offered by the Jesuits in Ljubljana. Over the years, several fundamental
European musical-theoretical (and contrapuntal) compositional works have been found in
the Slovenian territory by many Slovenian musicologists. The teaching of counterpoint,
composition and other compositional subjects in Slovenia is a well researched subject.
An important change in the teaching of counterpoint and composition occurred with the
creation and development of music conservatoires in the late 18th and the 19th century.
In the 19th century a Slovenian national consciousness was formed. With it came a
musical awareness and the beginning of music education in the Slovenian language. Two
important musical and pedagogical institutions were established, both of which were
responsible for the systematic teaching of music in the Slovenian language: The Music
Society (Glasbena matica) and the organ school of Cecily Society (Cecilijino društvo).
Alongside the musical-theoretical works that had previously been available to Slovenians
only in Latin, German and Italian, the first Slovenian texts were produced at this time as
well. Probably the first published work on counterpoint and composition in Slovenian was
written by composer and pedagogue Anton Foerster entitled On Teaching Harmony and
Figured Bass, Modulation, Counterpoint, Imitation, Canon and Fugue. It was published in
1881 for the pupils of the organ school mentioned above. Several important Slovenian
musician/educators of the 19th and 20th century were professionally educated abroad,
mainly in Vienna. The knowledge gained there was brought back to Slovenia by Anton
Lajovic, Matej Hubad, Stanko Premrl and Karel Jeraj, among others. In the 20th century
even more textbooks and works on counterpoint, composition and harmony were written
in Slovenia. The most important authors were Lucijan Marija Škerjanc and Janez
Osredkar. And more composers than ever before were successfully engaged in the
teaching of counterpoint and composition throughout Slovenia. At the end of this paper
the author touches on the current state of teaching counterpoint at the Academy of Music
in Ljubljana, Slovenia. Included is a brief presentation of all of the various methods of
teaching and their content, along with some examples of student contrapuntal exercises,
tasks and compositions. For today’s lessons, various modern material and literature are
available online, including in digital form. Teaching counterpoint has new challenges
now, and contemporary educators recognize, design and develop new teaching methods,
embracing special software tools for composition and special programs for algorithmic
composing as well. Modern graphical notations and diagramming software are also very
helpful. Teaching counterpoint is particularly important for the creation of compositional
thinking and a deeper understanding of polyphonic works from the past. Furthermore, the
pedagogy of composition and counterpoint can be divided into two approaches: the actual
teaching of compositional techniques, and the nourishing and encouragement of creativity
in and of itself. In this we can recognize the already ancient concept of creating art as a
craft ( Techne), a mental process ( Episteme, Logos) and as art itself
( ), as an activity. The author concludes that in the 19th century - during
times of political, educational, scientific and social upheaval in Slovenia - an important
foundation was laid for contrapuntal and compositional education in the Slovenian
language. With this enrichment, the Slovenian people benefit from yet another source and
expression of their own artistic and cultural sovereignty. Polyphony is the exclusive
146
education in monasteries somewhere in the Kranjska region. The best musical education
was probably offered by the Jesuits in Ljubljana. Over the years, several fundamental
European musical-theoretical (and contrapuntal) compositional works have been found in
the Slovenian territory by many Slovenian musicologists. The teaching of counterpoint,
composition and other compositional subjects in Slovenia is a well researched subject.
An important change in the teaching of counterpoint and composition occurred with the
creation and development of music conservatoires in the late 18th and the 19th century.
In the 19th century a Slovenian national consciousness was formed. With it came a
musical awareness and the beginning of music education in the Slovenian language. Two
important musical and pedagogical institutions were established, both of which were
responsible for the systematic teaching of music in the Slovenian language: The Music
Society (Glasbena matica) and the organ school of Cecily Society (Cecilijino društvo).
Alongside the musical-theoretical works that had previously been available to Slovenians
only in Latin, German and Italian, the first Slovenian texts were produced at this time as
well. Probably the first published work on counterpoint and composition in Slovenian was
written by composer and pedagogue Anton Foerster entitled On Teaching Harmony and
Figured Bass, Modulation, Counterpoint, Imitation, Canon and Fugue. It was published in
1881 for the pupils of the organ school mentioned above. Several important Slovenian
musician/educators of the 19th and 20th century were professionally educated abroad,
mainly in Vienna. The knowledge gained there was brought back to Slovenia by Anton
Lajovic, Matej Hubad, Stanko Premrl and Karel Jeraj, among others. In the 20th century
even more textbooks and works on counterpoint, composition and harmony were written
in Slovenia. The most important authors were Lucijan Marija Škerjanc and Janez
Osredkar. And more composers than ever before were successfully engaged in the
teaching of counterpoint and composition throughout Slovenia. At the end of this paper
the author touches on the current state of teaching counterpoint at the Academy of Music
in Ljubljana, Slovenia. Included is a brief presentation of all of the various methods of
teaching and their content, along with some examples of student contrapuntal exercises,
tasks and compositions. For today’s lessons, various modern material and literature are
available online, including in digital form. Teaching counterpoint has new challenges
now, and contemporary educators recognize, design and develop new teaching methods,
embracing special software tools for composition and special programs for algorithmic
composing as well. Modern graphical notations and diagramming software are also very
helpful. Teaching counterpoint is particularly important for the creation of compositional
thinking and a deeper understanding of polyphonic works from the past. Furthermore, the
pedagogy of composition and counterpoint can be divided into two approaches: the actual
teaching of compositional techniques, and the nourishing and encouragement of creativity
in and of itself. In this we can recognize the already ancient concept of creating art as a
craft ( Techne), a mental process ( Episteme, Logos) and as art itself
( ), as an activity. The author concludes that in the 19th century - during
times of political, educational, scientific and social upheaval in Slovenia - an important
foundation was laid for contrapuntal and compositional education in the Slovenian
language. With this enrichment, the Slovenian people benefit from yet another source and
expression of their own artistic and cultural sovereignty. Polyphony is the exclusive
146
