Page 108 - Glasbenopedagoški zbornik Akademije za glasbo, letnik 16, zvezek 33 ◆ The Journal of Music Education of the Academy of Music in Ljubljana, year 16, issue 33
P. 108
sbenopedagoški zbornik ◆ letnik 16 ◆ številka 33 the second half of the 19th century, however, it became linguistically independent and
has since gradually and systematically developed. This development is closely linked to
music education. Music terminology is now extremely easily available on the Internet
and through many dictionaries; on the other hand, this can also be the reason for ter-
minological confusion. Etymological analysis of terms and their genesis play an impor-
tant role in clearing these problems. Together with new music, new terms and concepts
are created, which we also successfully assert in Slovene language, in different forms of
translations or in the original. Slovenian music terminology today is quite comparable to
foreign, but we face numerous translation and terminological challenges. Some of these
challenges in the teaching of composition, musical theory and counterpoint are also pre-
sented in the article. These include terms and concepts such as counterpoint mistakes;
conditional or unconditionally useful or useless tone combinations; texture; the terms
semitone and whole tone; ascending or descending melody; melodic contour or relief;
clausula and cadence; periodic and canonical imitations, imitatio periodica and imita-
tio canonica; anticipation and syncopation in harmony; amalgam in harmony, etc. The
problems of terminology are both general, semiotic and semantic ones, as well as specif-
ic to the Slovenian language. We are strained between international comparability and
linguistic autonomy and independence. One of the bigger challenges now is translat-
ing jazz terms from the American language. Professional bilingualism and multilingual-
ism are also a particular problem when we express ourselves in two or more languages.
The problem is also the “slovenianisation” of expressions, which is rarely done well or suc-
cessfully enough. For example, the word “musical” would be pronounced /mu-zi-kal/ in-
stead of /myü-zi-kəl/, and transcribed simply as “mjuzikl”. In any case, the proposals for
new terms need to be introduced democratically and gradually. Since all European na-
tions have the majority of musical terms and concepts based on Greek and Latin, (e.g.
the word “rhythm”), mutual communication is facilitated. Therefore, the best way is to
continue to rely on the use of Greek and Latin word roots in the formation of new terms.
After all, the success of musical theory and terminology is featured in musical practice.
108
has since gradually and systematically developed. This development is closely linked to
music education. Music terminology is now extremely easily available on the Internet
and through many dictionaries; on the other hand, this can also be the reason for ter-
minological confusion. Etymological analysis of terms and their genesis play an impor-
tant role in clearing these problems. Together with new music, new terms and concepts
are created, which we also successfully assert in Slovene language, in different forms of
translations or in the original. Slovenian music terminology today is quite comparable to
foreign, but we face numerous translation and terminological challenges. Some of these
challenges in the teaching of composition, musical theory and counterpoint are also pre-
sented in the article. These include terms and concepts such as counterpoint mistakes;
conditional or unconditionally useful or useless tone combinations; texture; the terms
semitone and whole tone; ascending or descending melody; melodic contour or relief;
clausula and cadence; periodic and canonical imitations, imitatio periodica and imita-
tio canonica; anticipation and syncopation in harmony; amalgam in harmony, etc. The
problems of terminology are both general, semiotic and semantic ones, as well as specif-
ic to the Slovenian language. We are strained between international comparability and
linguistic autonomy and independence. One of the bigger challenges now is translat-
ing jazz terms from the American language. Professional bilingualism and multilingual-
ism are also a particular problem when we express ourselves in two or more languages.
The problem is also the “slovenianisation” of expressions, which is rarely done well or suc-
cessfully enough. For example, the word “musical” would be pronounced /mu-zi-kal/ in-
stead of /myü-zi-kəl/, and transcribed simply as “mjuzikl”. In any case, the proposals for
new terms need to be introduced democratically and gradually. Since all European na-
tions have the majority of musical terms and concepts based on Greek and Latin, (e.g.
the word “rhythm”), mutual communication is facilitated. Therefore, the best way is to
continue to rely on the use of Greek and Latin word roots in the formation of new terms.
After all, the success of musical theory and terminology is featured in musical practice.
108
