Ivana Paula Gortan - Carlin, Lorena Lazariæ
Sveuèilište Jurja Dobrile u Puli, Fakultet za odgojne i obrazovne znanosti
REGIONAL CULTURAL AWARENESS OF EDUCATIONAL SCIENCES
STUDENTS WITH A SPECIAL REVIEW OF THE ISTRIAN REGIONAL
MUSIC
Izvirni znanstveni èlanek / Original Research Paper
Abstract
Globalization incited thoughts about the need of preserving the patrimony and heritage from
oblivion. Thus, the educators and classroom education teachers’ competency is extremely important
to raise awareness about the importance of creating personal identities through regional elements
with children at an early age, which would also improve their mastering the necessary knowledge
and skills linked to cultural heritage. This paper studies if students who use a dialect in their
communication pay attention to the knowledge of cultural heritage and if they consider the
introduction of the local idiom into the educational process as useful. Furthermore, the knowledge
of the musical heritage of students who have the same homeland and of those who do not, at the end
of their studies, was questioned. The results indicate the students’ cultural awareness, but with
insufficient knowledge and competencies.
Keywords: music culture, Istria, education, regional topics traditional music
Izvleèek
Regionalna kulturna ozavešèenost študentov edukacijskih ved s posebnim poudarkom na
regionalni glasbi Istre
Globalizacija je spodbudila razmišljanja o potrebi po ohranjanju kulturne dedišèine. Pri tem je zelo
pomembna kompetentnost vzgojiteljev in uèiteljev razrednega pouka, da otroke e v zgodnjih letih
osvešèajo o pomenu ustvarjanja osebne identitete s tradicijskimi elementi ljudske dedišèine. To
izboljša tudi njihovo obvladovanje znanj in vešèin, povezanih s kulturno dedišèino. Prispevek
preuèuje ali študenti, ki pri komunikaciji uporabljajo nareèje, namenjajo pozornost kulturni
dedišèini ter ali menijo, da je uvajanje tradicijskega idioma v izobraevalni proces koristno. Pri
študentih na koncu študija raziskuje tudi poznavanje glasbene dedišèine, pri èemer so rezultati
primerjani glede na kraj njihovega rojstva in študija. Rezultati dokazujejo kulturno ozavešèenost
študentov in hkrati izkazujejo pomanjkljivost njihovih znanj in kompetenc.
Kljuène besede: glasbena kultura, Istra, izobraevanje, regionalne teme, tradici jska glasba
Introduction
Knowledge about regional topics starts in the family and continues in kindergartens and
schools. Globalization incited thoughts about the need of preserving the patrimony and
heritage from oblivion. The issue of identity and all tangible and intangible values of a
certain area, including all entities living in that area, are linked to regional topics.
Seme Stojnoviæ and Vidoviæ (2012, 13) have stated that the historical analysis of the
institutionalized preschool education did not find a „wholesome preschool programme
with the identity of the land in which the child was born, based on heritage and human
values along with nurturing interculturality.“ Pursuant to this fact, in 2002 the project
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Children – Patrimony Guardians was initiated and its basic determinants were building
cultural identity and understanding all that influences it like, for instance: people, history,
language, music, architecture (Seme Stojnoviæ, Vidoviæ, 2012).
According to the analysis by Martinoviæ and Vidulin (2015), in the Primary School
Curriculum (2006) for the subject Music there is a domination of compositions of the
world’s opus over compositions of the national opus which results in the need to
demonstrate other composers’ opuses with the aim of enriching the cultural and artistic
experience of pupils. Palmiæ (2012) has questioned the traditional music, interculturality
and the compulsory primary education. The author claims that traditional music has a
significant role in the development of identity in the compulsory primary training, mainly
through the process of teaching music and through the school’s general activity as an
educational and social institution. Moreover, Sam Palmiæ (2015) has studied traditional
music in Music course books in the reality of multicultural primary schools and quoted the
need to strengthen the pupils’ sensibility for their own musical and cultural identity. She
suggests the introduction of music culture intercultural elements in the form of traditional
music as part of primary school education.
The conclusion about neglecting the heritage content in education was reached by Dobrota
and Kušæeviæ (2008) in their research about the knowledge of musical and art heritage
owned by eight graders from the Šibenik  Knin County. The authors indicate the
increasing awareness of the necessity of education based on cultural heritage contents
since they represent the bond between the past, present and future. It is also a necessary
medium for the understanding of other cultures, which is one of the preconditions for
common life in the 21st century.
According to Kostoviæ - Vranješ (2015), drawing attention to the richness, particularity
and distinctiveness of the cultural, historical and natural heritage in the earliest childhood
can be a starting point in the formation of life-long, sustainable attitudes, values and
patterns of behaviour. In Istria it was recognised by the County of Istria.1 To reach the goal
of increasing the public’s interest for and understanding of cultural heritage and modern
art production, the conduction of ten activities was thought of. One regards the conduction
of regional education programmes in kindergartens, primary and secondary schools.2
The project Institutionalization of Regional Education in the County of Istria is based on
the Strategy. The project’s aim is to form an institutionalized form of preserving the Istrian
regional identity and the introduction of regional education and traditional culture in
preschool institutions, primary and secondary schools in the County of Istria.
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1 On the County assembly held on 23 June 2014, the Istrian Cultural Strategy for the period 2014 to 2020
was chosen and its main aims were set forth: to improve the work of cultural institutions in the
non-institutionalized cultural sector; to improve publishing activities in Istria; to build a new cultural
infrastructure meant for art productions, educations, presentations and care of these materials; to manage
the cultural infrastructure, institutions, services and projects in a more effective way; to increase the
public’s interest for the cultural heritage and contemporary art production and deepen their
understanding.
2 Istrian cultural strategy for the period 2014-2020 http://www.istra-istria.hr/uploads/media/20140624_
x2_iksHR_02.pdf (accessed on 29 April 2017)
Furthermore, preserving its regional richness and particularity is also an aim, keeping in
mind the importance of cooperation with the environment, institutions, associations, cities
and municipalities supporting educational institutions.3
The programme of Regional Activities started to be implemented in kindergartens in 2014,
while in primary schools it started a year later, in the school year 2015/2016. The
programme proposal comprises first to eight grade pupils attending the compulsory
primary school education and it was prepared by the Working Group for the conduction
and implementation of the project. The project includes aims, tasks, learning outcomes
and suggests teaching units which will help both teachers and expert associates in schools
in the conduction of the Programme. In the 2016/2017 school year regional education was
also accepted by some secondary schools in Istria.
At the level of the Republic of Croatia, in the August of 2014, the Ministry of Science,
Education and Sport accepted the Programme of Intercurricular and Interdisciplinary
Contents of Citizenship Education in Primary and Secondary Schools (hereinafter:
Citizenship Education) which started to be conducted in the 2014/2015 school year. The
Programme states that it is possible to incorporate regional education in contents where
culture and creativity are linked to the freedom of participating in both cultural life and in
discussions about the contribution of different cultures to the world’s cultural heritage
(2014). Citizenship Education contents are part of compulsory implementation (15 hours a
year out of 35 hours)4 as part of intercurricular contents belonging to school subjects:
Croatian language, Music, Art, Foreign languages, Mathematics, Science, Physical
education, Religious education and expert associates’ programmes. It is, though, an issue
of integrating and correlating contents with the aim of developing the curricular and
citizenship competency at the same time.
The units and topics part of the subject Music are: Music as the symbol of cultural values
of the national, European and world culture, Croatian and Croatian national minorities’
traditional music, Folklore music, Meeting the native land – a visit to the museum
collection. In the fourth grade of primary school there is a mention of a research and design
of a report about innovators, discoverers and meritorious citizens in their region or wider,
as well as getting to know the dances of our region and a visit to cultural-artistic societies
of our town (Gortan - Carlin, Radiæ, 2016).
Methodology
Research aim and hypothesis
All the previously mentioned shows that the predispositions for the implementation of
regional education into preschool and school institutions of the Republic of Croatia exist,
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3 The institutionalization of regional education in the County of Istria, http://www.za-nas.hr/uvodnik
(accessed 29 April 2017)
4 The number of hours denotes the integration and correlation of contents, not an increment in the number of
hours.
and this is especially true for Istria since the projects are partly financed by the County of
Istria. Since some of the projects have already begun, the competency of educators and
classroom teachers is especially important for raising awareness of the importance of
creating personal identity through regional elements from an earliest age. Thus, their
mastering the necessary knowledge and skills from the area of cultural heritage would also
be enhanced.
In line with the research aim, the following hypotheses were assumed:
H1 It is assumed that students, regardless of the county they come from, consider
the introduction of the regional idiom into the educational process as useful.
H2 It is assumed that students who use a dialect in their communication pay
attention to the knowledge of regional heritage.
H3 It is assumed that students coming 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.
Participants and research methods
The research was conducted during 2017 on a sample of 272 students attending all study
years of the Undergraduate Specialist Study of Preschool Education and the Integrated
Undergraduate and Graduate University Teacher Study of the Juraj Dobrila University of
Pula. Of the total number, 125 students (46 %) were from Istria, while 147 (54 %) of them
were from other counties. The most represented students were those from the County of
Istria (N = 125; 46 %) and the Primorje – Gorski Kotar County (N = 56; 20.6 %), followed
by the Vukovar – Srijem County (N = 19; 7 %), Virovitica – Podravina County (N = 11;
4 %), Karlovac County (N = 10; 3.7 %) and the remaining counties. Regarding the
territory, the whole Republic of Croatia was included except the Dubrovnik – Neretva
County. The research was conducted taking into account the descriptive and the causal –
nonexperimental methods of pedagogical researches.
Research instrument
The keynote of the survey was the students’ regional cultural awareness and its aim was to
study their attitude about the importance of the regional cultural heritage, especially
music.
A measurement instrument (regional cultural awareness) consisting of five questions was
designed for the needs of the research: three open-ended questions regarding general
information on the students (sex, region of birth/county, the dialect they know) and two
subscales:
a) Subscale for the estimation of the frequency of using dialects in communication
– 3 items;
b) Subscale for the estimation of the regional cultural heritage importance – 4
items.
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The ordinal, five level measuring scale was used where, in the first subscale, 1 equals
never, 2 is almost never, 3 is sometimes, 4 often and 5 equals very often, while in the
second subscale 1 is unnecessary, 2 is less important, 3 is important, 4 is very important
and 5 is necessary. The collected data were processed by the SPSS software package,
while the data analysis used the descriptive statistical analysis methods, the variance
analysis (ANOVA) and the Pearson’s correlation.
That was followed by four open-ended questions where students answered about their
knowledge of the Istrian music regional heritage (knowledge of musicians, customs,
songs and traditional instruments).
The reliability of measurement scales was measured by calculating the Cronbach’s alfa
coefficient. The coefficient for the internal consistency for the subscale estimating the
frequency of using the dialect in communication was  = 0.882, while for the subscale
estimating the importance of regional cultural heritage it was  = 0.822. According to the
usual criteria of the Cronbach’s alpha reliability coefficient (DeVellis, 2012) it can be
concluded that the acceptability to study the aforementioned population is very good. The
examinees were best in confirming the statement Do you use a dialect inside your family?
(M = 4.06; SD = 1.321), while the least estimated was the statement How important is the
knowledge of regional musicians? (M = 2.91; SD = 0.898)
Research results and discussion
The following tables show the results of the students’ estimations about the frequency of
using dialects in their communication with family members, friends or in general, as well
as about the importance of introducing cultural heritage elements into the educational
process, the knowledge of regional musicians and writers and the use of dialects.
Regarding dialects, the most commonly and almost equally represented is the Chakavian
dialect (N = 111; 40.8 %) and the Shtokavian dialect (N = 99; 36.4 %), while the
Kajkavian dialect is somewhat less represented (N = 41; 15.1 %).The least represented is
the Istro-Venetian dialect (N = 4; 1.4 %). Only 17 examinees (6.3 %) do not speak any
dialects.
Table 1: The frequency of using dialects in communication
In the family In communicationwith friends
In the general
communication
f % f % f %
Never 27 9.9 26 9.6 42 15.4
Almost never 9 3.3 29 10.7 61 22.4
Sometimes 40 14.7 46 16.9 63 23.2
Often 41 15.1 58 21.3 38 14.0
Very often 155 57.0 113 41.5 68 25.0
Legend: the highest value; the lowest value
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Table 1 shows that dialects are very frequently represented in the examinees’ everyday
communication. They most commonly use it in the family (N = 155; 57 %), somewhat less
in talking to friends (N = 113; 41.5 %), and the least in their general communication
(N = 68; 25 %) which is understandable since during the day they find themselves in
situations of formal conversations when the use of the standard language is necessary and
mandatory. It is admirable that today’s young people, despite globalization and challenges
encountered through the media, show a tendency toward preserving their personal identity
through their regional speech idiom.
Table 2: The importance of regional cultural heritage
Introducing
regional
elements into
the educational
process
Knowledge of
regional
musicians
Knowledge of
traditional
customs
Use of dialects
f % f % f % f %
Unnecessary 3 1.1 10 3.7 3 1.1 5 1.8
Less important 18 6.6 80 29.4 18 6.6 51 18.8
Important 114 41.9 120 44.1 82 30.1 85 31.3
Very important 99 36.4 49 18.0 115 42.3 89 32.7
Necessary 38 14.0 13 4.8 54 19.9 42 15.4
Legend: the highest value; the lowest value
Examinees have a positive attitude toward the importance of regional values (Table 2).
Almost the majority of examinees (92.3 %) consider important (important, very important
or necessary) the knowledge of traditional customs and the introduction of regional
elements into the educational process. The use of dialects is considered somewhat less
important (79.4 %), while the least, but still fairly important is the knowledge of regional
musicians (66.9 %). Only a few examinees (from 1.1 % to 3.7 %) consider the knowledge
of regional elements unnecessary.
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Table 3: The importance of regional cultural heritage in different counties
Introducing
regional
elements into
the
educational
process
Knowledge
of regional
musicians
Knowledge
of traditional
customs
Use of
dialects
M SD M SD M SD M SD
Istria 3.58 0.873 2.83 0.868 3.73 0.883 3.30 1.070
Primorje – Gorski Kotar 3.43 0.759 2.96 0.894 3.82 0.897 3.59 0.890
City of Zagreb 4.25 0.500 3.50 0.577 3.75 0.500 3.50 0.577
Karlovac 3.30 0.823 2.90 0.876 3.60 0.843 3.70 0.949
Vukovar – Srijem 3.47 1.020 3.05 1.026 3.32 1.250 3.16 1.167
Zagreb County 3.60 0.548 2.40 0.548 3.80 0.447 3.60 0.548
Sisak – Moslavina 3.50 0.707 2.50 0.707 3.50 0.707 3.00 0.000
Koprivnica – Krievci 2.67 0.516 2.33 0.516 3.00 0.632 2.17 0.753
Bjelovar – Bilogora 4.33 0.577 3.00 1.732 4.33 0.577 3.00 0.000
Virovitica – Podravina 3.18 0.874 2.45 0.688 3.55 0.934 3.82 0.982
Osijek – Baranja 3.89 0.782 3.44 1.014 4.11 0.782 3.78 0.667
Krapina – Zagorje 4.00 1.000 3.00 1.000 4.00 1.000 4.67 0.577
Meðimurje 4.00 1.000 3.00 1.000 4.00 1.000 3.00 1.000
Poega – Slavonija 4.00 0.000 3.00 0.000 3.67 0.577 3.00 1.732
Zadar 3.50 0.707 3.00 1.414 4.50 0.707 4.00 0.000
Šibenik – Knin 4.00 0.000 3.00 0.000 4.00 0.000 4.00 0.000
Lika – Senj 3.00 0.000 3.00 0.000 4.00 0.000 4.00 0.000
Varadin 3.80 0.837 3.40 1.517 4.00 1.000 3.60 1.517
Brod – Posavina 4.67 0.577 4.00 0.000 4.00 0.000 4.00 0.000
Split – Dalmatia 5.00 0.000 4.00 0.000 4.00 0.000 4.00 0.000
Legend: the highest value; the lowest value
If the interest for the cultural heritage coming from particular counties is considered
(Table 3), the results show that the greatest importance to the introduction of regional
elements into the educational process and knowledge about regional musicians is given by
student from the City of Zagreb (M = 4.25; SD = 0.500 // M = 3.50; SD = 0.577), while the
least importance is given by students from the Koprivnica  Krievci county (M = 2.67;
SD = 0.516 // M = 2.33; SD = 0.516); knowledge of traditional customs is almost
necessary for students from the Bjelovar-Bilogora county (M = 2.60; SD = 0.548), while
students from the Krapina – Zagorje county say the same for using the dialect (M = 2.60;
SD = 0.548). Students from the Koprivnica – Krievci county consider traditional customs
and dialects as less important.
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The presented results confirm hypothesis 1 by which it was assumed that students,
regardless of the county they come from, consider the introduction of the regional idiom
into the educational process as useful, since students estimate as very important the
knowledge of local traditional customs (M = 3.83) and the introduction of elements into
the educational process (M = 3.76). The use of dialects (M = 3.54) and the knowledge of
regional musicians (M = 3.04) are considered important (Table 3).
It has been mentioned earlier in the paper that almost all examinees (93.7%) speak a
dialect. The knowledge and use of dialects in their speech can be connected with the use of
dialects in songs.
Table 4: The importance of regional cultural heritage according to the examinee’s dialect
Introducing
regional
elements into
the educational
process
Knowledge of
regional
musicians
Knowledge of
traditional
customs
Use of dialects
M SD M SD M SD M SD
Chakavian 3.62 0.853 2.84 0.837 3.77 0.828 3.63 0.972
Kajkavian 3.56 0.838 2.93 0.877 3.73 0.742 3.34 1.039
Shtokavian 3.49 0.838 2.91 0.949 3.61 0.977 3.28 1.040
Istro-Venetian 3.50 1.732 2.75 1.500 4.00 0.816 3.25 0.957
Does not speak
any dialects
3.47 0.800 3.35 0.862 4.12 1.054 2.94 0.966
Legend: the highest value; the lowest value
Table 4 shows the extent to which the knowledge of a certain dialect influences regional
awareness through giving attention to certain elements of cultural heritage. The results
indicate that all examinees, even those who do not know any dialect, consider cherishing
regional values and education in the spirit of tradition as important or very important.
Comparing the results obtained by the ANOVA method, significant differences in
attitudes about the importance of introducing elements into the educational process for
students who use a dialect in the communication inside the family (F = 2.446; p = 0.047)
and for students who use the dialect in communication with their friends (F = 2.507;
p = 0.042). There are also significant differences in attitudes about the importance of using
the dialect for students who use a dialect in the communication inside the family
(Fi= 9.180; p = 0.000), for students who use a dialect in communication with their friends
(F = 6.989; p = 0.000) and for students who use a dialect in their general communication
(Fi= 5.165; p = 0.001) who also show a significant difference in the attitude about the
importance of knowing local traditional customs (F = 3.013; p = 0.019).
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Table 5: Illustration of Pearson’s correlations (r) of students’ attitudes about the importance of
regional cultural heritage and the use of dialects in communication
Use
the
dialect
in the
family
Use the
dialect in
communica-
tion with
friends
Use the
dialect in
general
communica-
tion
Introduc-
tion of
regional
elements
into the
education-
al process
Knowled-
ge of
regional
musicians
Know-
ledge of
local
traditi-
onal
customs
Use of
dialect
Use the dialect
in the family 1
0.794
(**)
0.598
(**) 0.118 -0.051 0.051
0.324
(**)
Use the dialect
in
communication
with friends
1 0.755(**)
0.181
(**) -0.001 0.054
0.294
(**)
Use the dialect
in general
communication
1 0.067 -0.010 -0.021 0.152(*)
Introduction of
regional
elements into
the educational
process
1 0.524(**)
0.541
(**)
0.449
(**)
Knowledge of
regional
musicians
1 0.508(**)
0.319
(**)
Knowledge of
local
traditional
customs
1 0.487(**)
Use of dialect 1
Legend: (**) p = 0.01; (*) p = 0.05
Correlations (Table 5) show a significant positive connection of the use of dialects in the
family and communication with friends (p = 0.01) and in the general communication
(p = 0.01) with the importance of using dialects in general (p = 0.01); of the use of dialects
in communication with friends and the general communication (p = 0.01) and the
introduction of regional elements in the educational process (p = 0.01) with the
importance of using dialects in general (p = 0.01); of the use of dialects in the general
communication (p = 0.01) with the importance of using dialects in general (p = 0.05); of
the introduction of regional elements in the educational process and the importance of
knowing regional musicians (p = 0.01), local traditional customs (p = 0.01) with using
dialects in general (p = 0.01); of the importance of knowing local traditional customs with
the use of dialects in general (p = 0.01). In short, all students who use a dialect inside their
families or in communication with their friends consider the use of dialects as important,
while those of them who use it in communication with friends see as important the
introduction of regional elements in the educational process. Besides that, all of them who
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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
Istria Primorje –GorskiKotar Other
Matko Brajša Rašan 2.4 % 0 % 1.1 %
Ivan Matetiæ Ronjgov 5.6 % 12.5 % 6.6 %
Slavko Zlatiæ 1.6 % 1.8 % 0 %
Nello Milotti 11.2 % 0 % 16.5 %
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.
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When asked Which songs in the dialect of the County of Istria do you know (if you do not
know the title of the song name a verse or a chorus line), the examinees named songs
familiar to them which they, as in the previous question, classified to entertainment or art
songs. The survey results show a disproportion in the knowledge of Istrian composers and
Istrian songs. Thus, for instance, a lower number of students knew the composer Slavko
Zlatiæ (1.6 %), but more were familiar with his song Bii, bii maglina (4 %). Students
from Istria (21.6 %) named some of the songs from the book of songs Èakavsko-
primorska pjevanka: 128 dvoglasnih èakavskih melodija za omladinu za sviju vrsti škola
(2005)5 by Ivan Matetiæ Ronjgov, but a smaller number of examinees (5.6 %) were
familiar with the composer. Students from other counties (35.7 %) showed a better
knowledge of songs from the mentioned book of songs, while half of them mentioned the
composer (19.1 %). Their statements about the knowledge of the mentioned songs are not
surprising since they are studied at the course Music Methodology. Only 4 % of
questioned examinees from Istria mentioned songs of the Italian national minority
repertoire like, for example, La mula de Parenzo and Da Trieste fino a Zara, which belong
both to the Italian tradition and to the Istrian regional heritage.
In their answers to the third question Which traditional customs in your county do you
know (for students from Istria) and Which traditional customs of the county you study in do
you know (for students from other counties), students from Istria named balun (33.6 %),
carnivals (16.8 %), folklore festivals (10.4 %), characteristic folk costumes (7.2 %),
traditional crafts in general (6.4 %), instruments (4 %), the festival Melodies from Istria
and Kvarner (3.2 %), while folk songs and playing traditional instruments were named by
only a few students (1.6 %). Regarding Istrian traditions, students from other counties
mostly named balun (13.9 %), Istrian folk dances in general (12 %) and carnivals (8.7 %),
while folk songs were named by 2.2 % of students or 0.6 % more than students from the
County of Istria. Except for the music customs, examinees also mentioned holiday
traditions, life customs, various folk festivities and the enogastronomic tradition.
In the last open-ended question, examinees had to name Istrian instruments they were
familiar with.
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Ivana Paula Gortan - Carlin, Lorena Lazariæ, REGIONAL CULTURAL AWARENESS OF ...
5 Chakavian-littoral book of songs: 128 two-part Chakavian melodies for the young in all types of schools.
Table 7: Knowledge of Istrian musical instruments
Istrian traditional musical instruments Students from the
county of Istria
Students from
other counties
Organiæ (mouth organ) 0.8 % 0.68 %
Bajs (cello) 4.8 % 0.68 %
Duplice, dvojnice, diple (wooden double flute) 4 % 2.72 %
Harmonica (accordion) 13.6 % 1.36 %
Mih, meh, mjeh, mišnice (bagpipe) 44.8 % 6.12 %
Roenice, sopele (sopila) 79.2 % 25.85 %
Sopelica (little sopila) 0.8 % 0 %
Šurle, šurlice (wooden double reed instrument) 1.6 % 0.68 %
Trieština (button accordion) 4 % 0 %
Vijulin (violin) 0.8 % 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 roenica or sopela, while the least known was the
sopelica. Furthermore, it is noticed that students often mentioned roenice 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 roenica 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.
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Traditional music has its sources in tradition. In comprises the music heritage from the
social, cultural and artistic environment’s history. It is a result of found entities, the history
living inside us and the totality of human ideas, convictions and attitudes, tastes and
customs which are handed over and transmitted. Folklore, traditional or folk music
include singing, playing instruments and dancing. Singing, playing instruments and
dancing are constituent parts of a human life; persons express their feelings and way of life
through them, they describe nature and special events. People who accept songs, music
and dances, cherish and transmit them by word of mouth, are participators in the creation
of regional heritage (Gortan - Carlin, Pace, Denac, 2014). Except for traditional music,
regional heritage also includes art music written in the spirit of a certain geographical area
using the elements of this region’s folk music.
Results of the conducted research indicate the County of Istria students’ poor knowledge
of Istrian composers and songs belonging to the regional heritage in comparison to
students studying in the Istrian region, but coming from other parts. The reasons can be
found in a better awareness of students from other counties in regard to regional topics and
in a greater interest for learning regional elements which are unfamiliar or less familiar.
On the other hand, students from the County of Istria have a better knowledge of
traditional interests and customs, which is understandable since these customs have
accompanied them from the earliest age and through their growth.
Notwithstanding their interest, this research indicates the need for a better awareness and
work on students of educational sciences’ knowledge of regional topics, especially due to
the fact that regional education is already conducted in kindergartens and primary schools.
Hereby the results of Sam Palmiæ (2013) are also confirmed when the author talks about
the insufficient sensitisation of music programmes offered in educational processes. Thus,
regarding the university level, the introduction of the already known course Croatian folk
music, which would encompass regional music of all counties, is suggested for early and
preschool as well as teacher study students. However, since regional education is
complex, the possibility of introducing a new multicultural and intercultural course which
would present more cultural contents from different parts of Croatia (and the world) could
be realized.
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Povzetek
Otroci pridobivajo znanja o kulturni dedišèini najprej v druini, kasneje pa v vrtcu in šoli.
S tradicijo sta povezani posameznikova identiteta in njegov odnos do materialne in
nematerialne zapušèine doloèene regije. Program medpredmetnih in interdisciplinarnih
vsebin dravljanske vzgoje in izobraevanja za osnovne šole in srednje šole (Program
meðupredmetnih i interdisciplinarnih sadraja graðanskog odgoja i obrazovanja za
osnovne i srednje škole – MZOS, 2014) in Istrska kulturna strategija za obdobje
2014-2020 (Istarska kulturna strategija za razdoblje 2014.-2020. - IKS2, 2014) dajeta
vrtcem in šolam osnovo za izobraevanje o temah, povezanih s tradicijo in z regionalno
dedišèino. V Istri nekatere projekte financira Istrska upanija. Za doseganje projektnih
ciljev je zelo pomembna kompetentnost vgojiteljev in razrednih uèiteljev za obravnavo
tem s podroèja kulturne dedišèine.
V raziskavi smo preuèevali, kakšen odnos imajo študenti vseh letnikov dodiplomskega
študija predšolske vzgoje in študenti razrednega pouka Univerze Jurja Dobrile v Puli
(N = 272) do regionalne kulturne dedišèine, zlasti glasbe. V vzorcu so bili teritorialno
zastopani študenti s skoraj vseh hrvaških regij (izjema je bila Dubrovniško – neretvanska
upanija). Predpostavljali smo, da študenti ne glede na upanijo, iz katere prihajajo,
menijo, da je vnos tradicijskega idioma v vzgojno-izobraevalni proces koristen (H1).
Predpostavljali smo tudi, da študenti, ki v vsakdanji komunikaciji uporabljajo nareèje,
namenjajo pozornost skrbi za ohranjanje regionalne dedišèine (H2). Raziskovalni
rezultati so potrdili obe hipotezi. V tretji hipotezi smo predpostavljali, da istrsko kulturno
dedišèino (pesmi, inštrumente, obièaje, glasbenike) boljše poznajo študenti, rojeni in
iveèi v Istri v primerjavi s študenti z drugih upanij. Rezultati so le deloma potrdili to
hipotezo (H3). Celotna raziskava je pokazala raven kulturne zavesti študentov, v kateri se
odraajo tudi pomanjkljiva znanja in kompetence na obravnavanem podroèju. Za
izboljšanje stanja bi bilo potrebno v študijske programe vkljuèiti vsebine s podroèja
regionalne kulturne dedišèine.
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