Page 128 - 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. 128
SBENOPEDAGOŠKI ZBORNIK, 27. zvezek
Table 7: Knowledge of Istrian musical instruments
Istrian traditional musical instruments Students from the Students from
county of Istria other counties
Organiæ (mouth organ) 0.8 %
Bajs (cello) 4.8 % 0.68 %
Duplice, dvojnice, diple (wooden double flute) 4% 0.68 %
Harmonica (accordion) 13.6 % 2.72 %
Mih, meh, mjeh, mišnice (bagpipe) 44.8 % 1.36 %
Ro enice, sopele (sopila) 79.2 % 6.12 %
Sopelica (little sopila) 0.8 % 25.85 %
Šurle, šurlice (wooden double reed instrument) 1.6 %
Trieština (button accordion) 4% 0%
Vijulin (violin) 0.8 % 0.68 %
0%
0.68 %
Legend: highest value; lowest value
In Table 7 a difference in the knowledge of Istrian musical instruments between students
of the County of Istria and other counties can be noticed. In this segment the examinees
obtained the best results. It can be noticed that there is a difference between students in
naming the same instruments, which means that they were taught about them in different
parts of Istria. The most known was the ro enica or sopela, while the least known was the
sopelica. Furthermore, it is noticed that students often mentioned ro enice and sopele as
two different instruments. Can they recognise the instrument? Do they name it correctly?
Do they only know the instrument’s name? Do they think that sopela and ro enica are two
different instruments or do they know that these are names for the same instrument? These
questions remain open for further research.
By the analysis of open-ended questions, it can be concluded that hypothesis 3, by which it
is assumed that students from Istria have a better knowledge of the Istrian music regional
heritage than students who come to Istria from other parts of the Republic of Croatia to
study, is partly confirmed. Namely, students from the County of Istria have a better
knowledge of Istrian instruments and traditional customs, but not of Istrian traditional
songs and regional composers.
Conclusion
According to the Croatian Encyclopedic Dictionary (2002: 1482), a region is the part of a
country where a person was born, while heritage is the totality of historical cultural goods
which are preserved and cherished (2002: 95). Each area has a heritage which should
represent the base of a community and the connection to the past by preserving and
cherishing all that has been left to us by our ancestors, like culture (language, music, art),
tradition (customs) and regional wisdom.
128
Table 7: Knowledge of Istrian musical instruments
Istrian traditional musical instruments Students from the Students from
county of Istria other counties
Organiæ (mouth organ) 0.8 %
Bajs (cello) 4.8 % 0.68 %
Duplice, dvojnice, diple (wooden double flute) 4% 0.68 %
Harmonica (accordion) 13.6 % 2.72 %
Mih, meh, mjeh, mišnice (bagpipe) 44.8 % 1.36 %
Ro enice, sopele (sopila) 79.2 % 6.12 %
Sopelica (little sopila) 0.8 % 25.85 %
Šurle, šurlice (wooden double reed instrument) 1.6 %
Trieština (button accordion) 4% 0%
Vijulin (violin) 0.8 % 0.68 %
0%
0.68 %
Legend: highest value; lowest value
In Table 7 a difference in the knowledge of Istrian musical instruments between students
of the County of Istria and other counties can be noticed. In this segment the examinees
obtained the best results. It can be noticed that there is a difference between students in
naming the same instruments, which means that they were taught about them in different
parts of Istria. The most known was the ro enica or sopela, while the least known was the
sopelica. Furthermore, it is noticed that students often mentioned ro enice and sopele as
two different instruments. Can they recognise the instrument? Do they name it correctly?
Do they only know the instrument’s name? Do they think that sopela and ro enica are two
different instruments or do they know that these are names for the same instrument? These
questions remain open for further research.
By the analysis of open-ended questions, it can be concluded that hypothesis 3, by which it
is assumed that students from Istria have a better knowledge of the Istrian music regional
heritage than students who come to Istria from other parts of the Republic of Croatia to
study, is partly confirmed. Namely, students from the County of Istria have a better
knowledge of Istrian instruments and traditional customs, but not of Istrian traditional
songs and regional composers.
Conclusion
According to the Croatian Encyclopedic Dictionary (2002: 1482), a region is the part of a
country where a person was born, while heritage is the totality of historical cultural goods
which are preserved and cherished (2002: 95). Each area has a heritage which should
represent the base of a community and the connection to the past by preserving and
cherishing all that has been left to us by our ancestors, like culture (language, music, art),
tradition (customs) and regional wisdom.
128
