Page 126 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana, leto 13, zvezek 27 / Year 13, Issue 27, 2017
P. 126
SBENOPEDAGOŠKI ZBORNIK, 27. zvezek
understand the importance of using dialects consider the introduction of music regional
elements into the educational process and the knowledge of local traditional customs as
important.
Based on the aforementioned results, hypothesis 2, which assumes that students who use a
dialect in communication consider important the knowledge of regional heritage, can be
accepted since students estimate as very important the knowledge of local traditional
customs (M = 3.78) and the introduction of elements in the educational process
(M = 3.54), as somewhat less important the use of dialects (M = 3.38) and as the least, but
still important, the knowledge of regional musicians (M = 2.86). However, it should be
mentioned that examinees who do not use any dialects in communications have almost the
same opinion (Table 4).
The procedure of processing open-ended questions was done by classifying the presented
data and by their content analysis. In the first question students were asked to name
regional musicians belonging to their region of birth and to the county where they studied
(the County of Istria). Their answers were classified according to genre: art music –
entertainment music, while regional music musicians were analysed.
Table 6: Knowledge of Istrian composers by students from different counties
Matko Brajša Rašan Istria Primorje –Gorski Other
Ivan Matetiæ Ronjgov Kotar
Slavko Zlatiæ 2.4 % 0% 1.1 %
Nello Milotti 5.6 % 6.6 %
1.6 % 12.5 % 0%
11.2 % 1.8 % 16.5 %
0%
Legend: highest value; lowest value
In the comparison done between students from the County of Istria and students from
other counties about their knowledge of the Istrian music regional heritage it can be
noticed that, regarding the answer to the question Which regional musicians from your
county do you know (name them), examinees from the County of Istria named less Istrian
composers than students who came to Istria to study (Table 6). In their answers students
mostly named entertainment music performers or more precisely, those who they
regularly met through the mass media like: Alen Vitasoviæ, Gustafi, Tamara Obrovac.
Bruno Krajcar, etc. A descriptive answer is very interesting: “Sergio Valiæ, Alen
Vitasoviæ and Anelidi. I have named them because they use the Chakavian dialect in their
songs.” Students from the Primorje – Gorski Kotar county gave answers in which Ivan
Matetiæ Ronjgov was described as a composer from Istria or Gorski – Kotar. Their
uncertainty is not surprising since Matetiæ Ronjgov was born in Ronjgi near Rijeka,
namely in the Primorje – Gorski Kotar county, but made a great contribution to the Istrian
and littoral music by collecting the folklore and then by setting the Istrian-littoral tone
scale, the so called Istrian scale.
126
understand the importance of using dialects consider the introduction of music regional
elements into the educational process and the knowledge of local traditional customs as
important.
Based on the aforementioned results, hypothesis 2, which assumes that students who use a
dialect in communication consider important the knowledge of regional heritage, can be
accepted since students estimate as very important the knowledge of local traditional
customs (M = 3.78) and the introduction of elements in the educational process
(M = 3.54), as somewhat less important the use of dialects (M = 3.38) and as the least, but
still important, the knowledge of regional musicians (M = 2.86). However, it should be
mentioned that examinees who do not use any dialects in communications have almost the
same opinion (Table 4).
The procedure of processing open-ended questions was done by classifying the presented
data and by their content analysis. In the first question students were asked to name
regional musicians belonging to their region of birth and to the county where they studied
(the County of Istria). Their answers were classified according to genre: art music –
entertainment music, while regional music musicians were analysed.
Table 6: Knowledge of Istrian composers by students from different counties
Matko Brajša Rašan Istria Primorje –Gorski Other
Ivan Matetiæ Ronjgov Kotar
Slavko Zlatiæ 2.4 % 0% 1.1 %
Nello Milotti 5.6 % 6.6 %
1.6 % 12.5 % 0%
11.2 % 1.8 % 16.5 %
0%
Legend: highest value; lowest value
In the comparison done between students from the County of Istria and students from
other counties about their knowledge of the Istrian music regional heritage it can be
noticed that, regarding the answer to the question Which regional musicians from your
county do you know (name them), examinees from the County of Istria named less Istrian
composers than students who came to Istria to study (Table 6). In their answers students
mostly named entertainment music performers or more precisely, those who they
regularly met through the mass media like: Alen Vitasoviæ, Gustafi, Tamara Obrovac.
Bruno Krajcar, etc. A descriptive answer is very interesting: “Sergio Valiæ, Alen
Vitasoviæ and Anelidi. I have named them because they use the Chakavian dialect in their
songs.” Students from the Primorje – Gorski Kotar county gave answers in which Ivan
Matetiæ Ronjgov was described as a composer from Istria or Gorski – Kotar. Their
uncertainty is not surprising since Matetiæ Ronjgov was born in Ronjgi near Rijeka,
namely in the Primorje – Gorski Kotar county, but made a great contribution to the Istrian
and littoral music by collecting the folklore and then by setting the Istrian-littoral tone
scale, the so called Istrian scale.
126
