Page 216 - 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. 216
SBENOPEDAGOŠKI ZBORNIK, 25. zvezek
Blaukopf, Kurt. 1993. Glasba v dru benih spremembah : temeljne poteze sociologije
glasbe. Prevedel Štefan Vevar, strokovni pregled in spremna beseda Marija Bergamo.
Ljubljana: ŠKUC in Znanstveni inštitut Filozofske fakultete.
Grazio, Jelena. 2017. Terminologija v slovenskih glasbenih uèbenikih od leta 1867 do
danes. Doktorska disertacija. Ljubljana: Univerza v Ljubljani, Filozofska fakulteta,
Oddelek za muzikologijo.
Nietzsche, Friedrich. 1874. Unzeitgemässe Betrachtungen. Zweites Stück: Vom Nutzen
und Nachtheil der Historie für das Leben. Leipzig: Verlag von E. W. Fritzsch.
Riepl, Joseph. 2006. Osnove glasbenega stavka, in sicer ne na stari matematièni
domis¡ljijski naèin kroga harmonikov, temveè vseskozi z vidnimi primeri. Prvo
poglavje: O RITMOTVORJU ali redu takta. Regensburg in Dunaj, 1752. Prevedel in
uredil Leon Stefanija. Ljubljana: Slovensko muzikološko društvo.
Winkler, Kuret, Luèka. 2006. Zdaj je nauka zlasti èas. Nova Gorica: Zalo ba EDUCA
Melior d.o.o.
Summary
Music theory is practically the core of music studies throughout the Middle Ages and the
Renaissance. Until the Renaissance, the history of music unfolds through a series of
music-theory issues and philosophical-aesthetic episodes. Individual music theory
disciplines gathered up in the Formenlehre of A. B. Marx. Music theory has become not
earlier than in the Formenlehre of A. B. Marx in the 19th century s comprehensive system
in which individual branches complemented each other: counterpoint, melody, harmony,
rhythm and metrics. Music theory became a comprehensive musical poetics: the doctrine
of composing music, of the musical practice of composing. Today, the notion of theory
seems to function as a tool for understanding and performing the basics of the classical and
romantic musical style, not so much of composing.
Music theory in Slovenia is to be found either within the musicological activities,
especially in the historical (musicological) analyses of musical treatises, musical poetics
and analytical views, or it is considered a part of the “technology” of the music education
on the academic level. In the public schools – the primary school as well as music school –,
music theory appears to be a kind of fairly unpopular activity of teaching the basics of the
classical musical styles. The paper starts with a glimpse into the history of music theory in
Slovenia through the last century and a half (since there are music theory textbooks in
Slovenian), and concentrates on the analysis of the poll regarding music theory. Two
profiles of music pedagogues – the music theory teacher in the music schools and music
teachers in the primary school – have been invited to respond to some basic questions
regarding the role of music theory within the music education in Slovenia. They both
pointed to an uneasy relation between the “musicking” and the knowledge of music
theory, suggesting a necessity for establishing interdisciplinary cooperation in teaching
music theory (also) in Slovenia.
216
Blaukopf, Kurt. 1993. Glasba v dru benih spremembah : temeljne poteze sociologije
glasbe. Prevedel Štefan Vevar, strokovni pregled in spremna beseda Marija Bergamo.
Ljubljana: ŠKUC in Znanstveni inštitut Filozofske fakultete.
Grazio, Jelena. 2017. Terminologija v slovenskih glasbenih uèbenikih od leta 1867 do
danes. Doktorska disertacija. Ljubljana: Univerza v Ljubljani, Filozofska fakulteta,
Oddelek za muzikologijo.
Nietzsche, Friedrich. 1874. Unzeitgemässe Betrachtungen. Zweites Stück: Vom Nutzen
und Nachtheil der Historie für das Leben. Leipzig: Verlag von E. W. Fritzsch.
Riepl, Joseph. 2006. Osnove glasbenega stavka, in sicer ne na stari matematièni
domis¡ljijski naèin kroga harmonikov, temveè vseskozi z vidnimi primeri. Prvo
poglavje: O RITMOTVORJU ali redu takta. Regensburg in Dunaj, 1752. Prevedel in
uredil Leon Stefanija. Ljubljana: Slovensko muzikološko društvo.
Winkler, Kuret, Luèka. 2006. Zdaj je nauka zlasti èas. Nova Gorica: Zalo ba EDUCA
Melior d.o.o.
Summary
Music theory is practically the core of music studies throughout the Middle Ages and the
Renaissance. Until the Renaissance, the history of music unfolds through a series of
music-theory issues and philosophical-aesthetic episodes. Individual music theory
disciplines gathered up in the Formenlehre of A. B. Marx. Music theory has become not
earlier than in the Formenlehre of A. B. Marx in the 19th century s comprehensive system
in which individual branches complemented each other: counterpoint, melody, harmony,
rhythm and metrics. Music theory became a comprehensive musical poetics: the doctrine
of composing music, of the musical practice of composing. Today, the notion of theory
seems to function as a tool for understanding and performing the basics of the classical and
romantic musical style, not so much of composing.
Music theory in Slovenia is to be found either within the musicological activities,
especially in the historical (musicological) analyses of musical treatises, musical poetics
and analytical views, or it is considered a part of the “technology” of the music education
on the academic level. In the public schools – the primary school as well as music school –,
music theory appears to be a kind of fairly unpopular activity of teaching the basics of the
classical musical styles. The paper starts with a glimpse into the history of music theory in
Slovenia through the last century and a half (since there are music theory textbooks in
Slovenian), and concentrates on the analysis of the poll regarding music theory. Two
profiles of music pedagogues – the music theory teacher in the music schools and music
teachers in the primary school – have been invited to respond to some basic questions
regarding the role of music theory within the music education in Slovenia. They both
pointed to an uneasy relation between the “musicking” and the knowledge of music
theory, suggesting a necessity for establishing interdisciplinary cooperation in teaching
music theory (also) in Slovenia.
216
