Page 178 - 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. 178
SBENOPEDAGOŠKI ZBORNIK, 25. zvezek
independent theoretical science and foremost a practical didactic method is of a rather
young date and a typically European characteristic. In such form (as theoretical science
and didactic method), harmony has served as insight and introduction to the fields of
musical syntaxes and compositional happening within different style periods through
milleniaries of European cultural and musical history. It has evolved from insights that had
long coexisted with theoretical and practical insights in the fields of
harmony-complementary counterpoint and later – in Baroque – of general bass (regola
dell’ottava). In the recent period, this young science entered the European musical
conscience in theory and practice first as a co-former of compositional style axles (at
Conservatoire de musique de Paris, since 1795; entire 19th century). The starting
theoretical and research charge (G. Zarlino and J. Ph. Rameau, Ch.-S. Catel, A. Reicha,
F.J. Fétis, H. Riemann, W. Maler, P. Hindemith et al.) has since withered and only lives
within practical harmony treatises today. As such, harmony also entered Slovenian
musical-educational space (two) centuries ago, mainly through treatises and practical
textbooks for didactic purposes (A. Foerster, M. Kogoj, E. Komel, S. Osterc, L.M.
Škerjanc, V. Mirk), what it remained all along (J. Osredkar). An independent path was
primarily indicated by M. Kogoj (in drafts), partly also by S. Osterc (in manuscript).
Arising are questions on contents, didactic aims and goals, form and place that the
teaching of harmony holds today, in the 21st century. Many specific musical theory
questions remain open. Therefore, reflection is open here.
178
independent theoretical science and foremost a practical didactic method is of a rather
young date and a typically European characteristic. In such form (as theoretical science
and didactic method), harmony has served as insight and introduction to the fields of
musical syntaxes and compositional happening within different style periods through
milleniaries of European cultural and musical history. It has evolved from insights that had
long coexisted with theoretical and practical insights in the fields of
harmony-complementary counterpoint and later – in Baroque – of general bass (regola
dell’ottava). In the recent period, this young science entered the European musical
conscience in theory and practice first as a co-former of compositional style axles (at
Conservatoire de musique de Paris, since 1795; entire 19th century). The starting
theoretical and research charge (G. Zarlino and J. Ph. Rameau, Ch.-S. Catel, A. Reicha,
F.J. Fétis, H. Riemann, W. Maler, P. Hindemith et al.) has since withered and only lives
within practical harmony treatises today. As such, harmony also entered Slovenian
musical-educational space (two) centuries ago, mainly through treatises and practical
textbooks for didactic purposes (A. Foerster, M. Kogoj, E. Komel, S. Osterc, L.M.
Škerjanc, V. Mirk), what it remained all along (J. Osredkar). An independent path was
primarily indicated by M. Kogoj (in drafts), partly also by S. Osterc (in manuscript).
Arising are questions on contents, didactic aims and goals, form and place that the
teaching of harmony holds today, in the 21st century. Many specific musical theory
questions remain open. Therefore, reflection is open here.
178
