GLASBENOPEDAGOŠKI ZBORNIK THE JOURNAL OF MUSIC EDUCATION ZVEZEK / VOLUME 26 LJUBLJANA 2017 Univerza v Ljubljani Akademija za glasbo Akademije za glasbo v Ljubljani of the Academy of Music in Ljubljana GLASBENOPEDAGOŠKI ZBORNIK Akademije za glasbo v Ljubljani THE JOURNAL OF MUSIC EDUCATION of the Academy of Music in Ljubljana Izdala in zaloila / Published by: Akademija za glasbo Univerze v Ljubljani, Oddelek za glasbeno pedagogiko Zanjo: Marko Vatovec Stari trg 34, SI – 1000 Ljubljana, Slovenija Telefon: 00386 1 242 73 05 Fax: 00386 1 242 73 20 E-pošta: dekanat@ag.uni-lj.si Uredniški odbor / Editorial Board: Bogdana Borota, Univerza na Primorskem, Pedagoška fakulteta (SI) Rûta Girdzijauskienh, Klaiphda University, Faculty of Arts (LT) Darja Koter, Univerza v Ljubljani, Akademija za glasbo (SI) Gabrijela Karin Konkol, The Stanis³aw Moniuszko Academy of Music in Gdansk (PL) Tatjana Markoviæ, Univerzitet umetnosti, Fakultet muzièke umetnosti Beograd (RS) Andrej Misson, Univerza v Ljubljani, Akademija za glasbo (SI) Nicole Molumby, Boise State University (USA) Branka Rotar Pance, Univerza v Ljubljani, Akademija za glasbo (SI) Sabina Vidulin, Muzièka akademija u Puli, Sveuèilište Jurja Dobrile u Puli (HR) Urednica / Editor: Branka Rotar Pance Asistentka uredništva / Assistant Editor: Tina Bohak Oblikovanje in tehnièna ureditev / Design and typesetting: Darko Simèiè Tisk / Printed by: Sonèica d.o.o. Naklada 100 izvodov / Printed in 100 copies Èlanke je recenziral uredniški odbor. Za znanstveno vsebino èlankov in lekturo odgovarjajo avtorji. GLASBENO-PEDAGOŠKI ZBORNIK Akademije za glasbo v Ljubljani je indeksiran v mednarodnih bibliografskih bazah Abstracts of Music Literature RILM, ProQuest, EBSCO ISSN 1318-6876 VSEBINA / CONTENTS Snjeana Dobrota, Sara Barbariæ: Stališèa hrvaških osnovnošolcev do glasbenega pouka Croatian Elementary School Students’ Attitudes Towards Music Lessons ..................... 5 Jernej Weiss, Tjaša Ribizel, Ines Kouh, Matja Debevc: MySolfeggio: mobilna in tablièna aplikacija za uèenje solfeggia MySolfeggio: Mobile and Tablet Application for Learning of Solfeggio ..................... 21 Katarina Habe, Vida Kriè: Doivljanje izvajalske anksioznosti uèencev glasbene šole v zgodnjem mladostništvu Experiencing Performance Anxiety in Music School Pupils in Early Adolescence ...... 33 Milena Petroviæ, Gordana Aèiæ, Vera Milankoviæ: Svobodne asociacije glasbenikov na dane glasbene koncepte Musicians’ Free Associations on the Given Music Concepts ....................................... 39 Tina Bohak: »Hoèem postati pevka« – ivljenjska in ustvarjalna pot koncertne pevke, altistke Marije Bitenc Samec »I want to become a singer« – The Life and Creative Path of the Concert Singer, Alto Marija Bitenc Samec ............................................................................................. 63 Marina Bizjak: Vokalna tehnika v adolescenci Disertacija / Dissertation .............................................................................................. 79 3 Snjeana Dobrota 1 , Sara Barbariæ 2 1 Faculty of Humanities and Social Sciences, University of Split 2 Elementary School Stobreè, Split CROATIAN ELEMENTARY SCHOOL STUDENTS’ ATTITUDES TOWARDS MUSIC LESSONS Izvirni znanstveni èlanek / Original Scientific Article Abstract This paper has explored the Croatian elementary school students’ attitudes towards Music Culture course with regard to age, gender, family background and additional music lessons and the influence of gender and age on preferring different activities of music teaching practice. As a part of the research, a questionnaire of sociodemographic data and a questionnaire of students’ attitudes toward the subject were distributed to 225 students attending the second, the third, the seventh and the eighth grade. The results confirm that music is an important component of the students’ life in general, especially for girls. The authors observed a connection between certain aspects of attitudes towards the Music Culture course with family background, additional music lessons and the preference of classical music. Age and gender also proved to be significant predictors of students’ attitudes towards the Music Culture course. Thus, younger students and girls have more positive attitudes towards music lessons, compared to older students and boys. Additionally, younger students show greater preferences for singing, while older students tend to be more inclined to listening to music. The authors suggest the possibility of conducting similar research with the high school population with a view of comparing the obtained results. Keywords: attitudes, elementary school, music lessons, musical preferences Povzetek Stališèa hrvaških osnovnošolcev do glasbenega pouka V raziskavi so preuèevana stališèa hrvaških osnovnošolcev do predmeta Glasbena kultura glede na starost, spol, druinsko okolje in dodatni glasbeni pouk. Raziskan je tudi vpliv spola in starosti na preference do razliènih dejavnosti glasbenega pouka. Za zbiranje podatkov sta bila uporabljena splošni vprašalnik in vprašalnik za preuèevanje stališè uèencev do predmeta. Izpolnilo ju je 225 uèencev drugega, tretjega, sedmega in osmega razreda osnovne šole. Rezultati potrjujejo, da ima glasba pomembno vlogo v ivljenju uèencev, še posebej deklet. Opazna je povezava med nekaterimi vidiki stališè do glasbene vzgoje z druinskim okoljem, dodatnim glasbenim poukom in preferencami do klasiène glasbe. Prav tako sta se starost in spol izkazala za pomembna napovedovalca stališè uèencev do pouka Glasbene kulture. Mlajši uèenci in dekleta imajo pozitivnejša stališèa do glasbenega pouka v primerjavi s starejšimi uèenci in fanti. Mlajši uèenci izraajo veèje preference do petja, medtem ko starejši uèenci raje poslušajo glasbo. Avtorici predlagata izvedbo podobne raziskave na srednji šoli z namenom primerjave rezultatov. Kljuène besede: stališèa, osnovna šola, glasbeni pouk, glasbene preference 5 Snjeana Dobrota, Sara Barbariæ: CROATIAN ELEMENTARY SCHOOL STUDENTS’ ATTITUDES ... Introduction The aim of music education in elementary school is “introducing students to music culture, learning the basic elements of music language, developing music creativity, establishing and adopting criteria for (critical and aesthetic) evaluation of music” (The Curriculum for Elementary Schools, 2006, p. 66). Music teaching, in the first three grades of elementary school, includes the activities of singing, playing, listening to music and music creativity. In the fourth, fifth and sixth grades, music teaching includes singing, listening to music and introducing to music, performing music and music notation, music games and freely, improvised rhythmisation, moving to music, dance and playing. Music education activities in the seventh and eighth grade of primary school are reduced to singing, listening to music and introducing to music, playing, creativity and computer (optional). The music education program is open, which means that the teacher is free to choose the mode of active music making, while listening to music and introducing to music presents its obligatory part. Song lists should also be understood as a recommendation and the teacher is free to choose listening examples. In addition to regular classes, elementary school music teaching includes elective teaching, extracurricular activities and extracurricular education. The term of attitude, which most contemporary researchers define as the overall evaluation of an object, is one of the central problems in social psychology, but also in psychology in general. The reason for the great interest of the researchers according to the mentioned problem can be explained by the fact that attitudes govern our behaviour and are important to our social life on an individual, interpersonal and intergroup level (Hewstone, Stroebe, 2001). The three-component approach model stems from the idea that “the attitude is a combination of three types of conceptually different reactions to an object: affective, cognitive and conative/behavioural reactions” (Hewstone, Stroebe, 2001, p.197). Shavitt (1989) distinguishes four functions of attitude, namely: the cognitive function, the utilitarian function, the function of social identity, and the function of maintaining self-esteem. Issue of attitudes is also closely related to education, since “... the development of attitudes, opinions, motivation and will is an integral part of teaching and learning in elementary school” The Curriculum for Elementary Schools, 2006, p. 10). There is a large number of researches that deal with the examination of the students’ attitudes towards the school and to the different school subjects (Haladyna, Thomas, 2015). Holfve-Sabel (2007) conducted research on the population of Swedish elementary school students in order to compare their attitudes towards school, teachers and classmates in the 1960s with their attitudes today. The results indicate that attitudes of modern students are far more positive in relation to attitudes of students in the 1960s, and progress is most evident in different aspects of peer relationships. She explains improving the attitudes towards the school by change in the way of the school organization that has previously been focused on theoretical knowledge, while the current curriculum is more oriented towards interactional aspects of learning. 6 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek The results of the researches about students’ attitudes towards the Music Culture course generally confirm that students have positive attitudes towards music teaching but as the age increases, interest in subject is in decline (Dobrota, Reiæ Ercegovac, 2011). Dobrota and Reiæ Ercegovac (2011) examined the attitudes of the third graders to music education and to music in general. Two variables were selected, gender and type of school (the school where the students get on-the-job experience and the school where the learning process if performed by a teacher) and their impact on students’ attitudes was investigated. The results confirm that students have a positive attitude toward the music education and music in general. Furthermore, female students compared to male students have a more positive attitude toward the music education. The influence of the type of school on attitudes towards music education and music in general is not confirmed, although we have noted a better understanding of the teaching content among the students from the school where the students get on-the-job experience. Dobrota and Obradoviæ (2012) examined the attitudes of the fourth and eight graders of elementary school from Splitsko-dalmatinska and Hercegovaèko-neretvanska county to music in general and to music teaching. The results confirm the significant influence of gender,age and place of residence on the students’ attitudes towards music. Further, the results indicate that students like to listen to the classical music, and that singing is their preferred activity. The authors concluded that students like the music and that it plays an important role in their lives. Methodology Aim of Research and Research Problems The aim of this research was to explore the elementary school students’ attitudes towards Music Culture course with regard to age, gender, family background, additional music lessons and the influence of gender and age on preferring different activities of music teaching practice. In order to achieve this aim of the research we attempted to address the following issues: 1. To examine the role of music in a students’ leisure time. 2. To examine the impact of family background and additional music lessons on students’ attitudes towards Music Culture course. 3. To examine whether there is an influence of age and gender on students’ attitudes towards the Music Culture course. 4. To examine whether there is an influence of age and gender on the preferences of different activities of music teaching practice. Hypotheses Based on the defined aim and problems of the research, the following hypotheses have been set: 7 Snjeana Dobrota, Sara Barbariæ: CROATIAN ELEMENTARY SCHOOL STUDENTS’ ATTITUDES ... H1: Music is an important component of the students’ leisure time, regardless of gender and age. H2: Students whose parents listen to classical music have more positive attitudes towards the Music Culture course. H3: Students who have attended or attending additional music lessons have more positive attitudes towards Music Culture course. H4: Students who prefer classical music have more positive attitudes towards Music Culture course. H5: Younger students, compared to older ones, have more positive attitudes towards Music Culture course. H6: Girls, compared to boys, have more positive attitudes towards Music Culture course. H7: Younger students, compared to older students, prefer singing as music teaching activity, and older students, compared to younger students, prefer listening as music teaching activity. H8: Girls, compared to boys, prefer singing as a music teaching activity. Participants The research was conducted in Split and Stobreè on a sample (N=225) of second-grade students (N=59), third-grade students (N=60), seventh-grade students (N=53) and eighth-grade students (N=52) students (Table 1). Table 1. Structure of the sample (N=225) GENDER N GRADE N M 119 26 0 36 0 F 141 75 3 85 2 Total 225 Instruments For the purpose of this research, a questionnaire that contains two parts, was prepared. The first part contained questions related to the sociodemographic characteristics of students (gender and age), average daily listening to music, family background, attendance of additional music lessons and classical music preferences. The second part of the questionnaire contained questions that examine students’ attitudes towards Music Culture course (the importance of the subject, the estimate of how many subject is burden or relaxing to the student, the weight of the subject, the usefulness of the subject, the subject class and the ranking of the subject in relation to other subjects from the Curriculum), and the question from which we can found out which activity of music teaching they prefer the most. 8 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Procedure Testing was conducted in the period from April to May 2017, in the school classrooms according to pre-arranged schedule. Investigation was collectively. The purpose of conducting research was briefly explained, the anonymity was guaranteed and the participants were asked to honestly and accurately answer the questions. Results and Discussion H1: Music is an important component of the students’ leisure time, regardless of gender and age. To test the differences in listening to music considering gender and age (one teacher education/subject teaching) two Mann-Whitney tests were performed. Table 2: Differences in time spent on listening to music according to age and gender UzpC o.t.e. C s.t. Age 6190.0 0.239 0.81 2 2 C boys C girls Gender 4502.5 3.95 0.00 23 It is evident that music is an important component of students’ leisure time. Furthermore, there were no differences in the time spent on listening to music considering age, but there was a difference in the time spent on listening to music considering gender, whereby girls spend more time listening to music than boys. According to that, the first hypothesis is only partially confirmed. The results of numerous researches confirm the significant role of music in young people’s lives (Miranda, 2013). In addition, Crowther and Durkin (2006) have conducted a research on a sample of students between the ages of twelve to eighteen and noticed that girls have more positive attitudes toward music than boys, especially in younger age groups, and that they more frequently participate in various musical activities. H2: Students whose parents listen to classical music have more positive attitudes towards the Music Culture course. To test the differences between students whose parents listen to classical music (N = 45) and students whose parents do not listen to classical music (N = 180) with regard to attitudes towards Music Culture course, seven Mann-Whitney U tests were performed. 9 Snjeana Dobrota, Sara Barbariæ: CROATIAN ELEMENTARY SCHOOL STUDENTS’ ATTITUDES ... Table 3: Differences in attitudes towards the Music Culture course according to the family background Dependent Variable Uzp Listening to the music on a daily basis 3591.5 1.25 0.21 Classical music preferences 1889.0 5.92 0.00 Importance of Music Culture course 3622.5 1.48 0.14 Effect (relaxing/burdening) of Music Culture course 3555.0 -2.25 0.02 Weight of Music Culture course 3982.5 -0.44 0.66 Usefulness of Music Culture course 3397.5 2.55 0.01 Classes per week of Music Culture course 3510.0 1.60 0.11 Students whose parents listen to classical music have higher preference for classical music. Furthermore, students whose parents listen to classical music estimate subject of Music Culture course as a subject that relaxes them and does not burdens them, more than students whose parents do not listen to classical music. And, finally, there are also differences in estimation of the usefulness of the Music Culture course. Students whose parents listen to classical music estimate Music Culture course as more useful than other students. There were no differences between the two groups of students in the other variables according to that we can conclude that the second hypothesis is also partially confirmed. These results are in accordance with the results of numerous researches that are confirming the important role of socioeconomic status, on the one hand, and musical preferences and attitudes towards music lessons, on the other (Pegg, 1984). H3: Students who have attended or attending additional music school (lessons) have more positive attitudes towards Music Culture course. To test the differences between students who attended or attending a music school (N = 35) and those who did not attend (N = 190) considering the attitudes towards the Music Culture course, seven Mann-Whitney U tests were performed. Table 4. Differences between attitudes towards the Music Culture course according to additional music lessons Dependent Variable Uzp Listening to the music on a daily basis 2976.5 1.05 0.29 Classical music preferences 3005.0 0.97 0.33 Importance of Music Culture course 2717.5 2.32 0.02 Effect (relaxing/burdening) of Music Culture course 3077.5 -1.24 0.21 Weight of Music Culture course 3310.0 -0.11 0.92 Usefulness of Music Culture course 2876.5 1.97 0.05 Classes per week of Music Culture course 3067.5 0.47 0.40 10 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Significant differences between the two groups of students in the importance of Music Culture course have been identified, since students who attended or still attending a music school evaluate the Music Culture course as a more important subject. Further, differences in the usefulness of the subject have also been identified, where students who attended or still attending a music school estimate the subject as more useful. There are no differences in other variables, therefore we can conclude that the third hypothesis is partially confirmed. H4: Students who prefer classical music have more positive attitudes towards Music Culture course. In order to test this hypothesis, five Kruskal-Wallis variance analysis were performed. Table 5. Differences between attitudes towards the Music Culture course according to classical music preferences Dependent Variable H (2,N=225) p Importance of Music Culture course 22.24 .00 Effect (relaxing/burdening) of Music Culture course 7.77 .02 Weight of Music Culture course 1.43 .49 Usefulness of Music Culture course 10.86 .00 Classes per week of Music Culture course 4.93 .08 Students who have different classical music preferences (I don’t like it at all N = 61; I prefer only some classical music N = 97; I like it N = 67) differ in estimating the importance and usefulness of the subject Music Culture course. Students who prefer classical music and those who prefer only some classical music estimate Music Culture course more as important and usefulness than students who do not like classical music. According to this, the fourth hypothesis is partly confirmed. The obtained results are in accordance with Dobrota’s results, whose research has confirmed the positive impact of exposure to classical music on attitudes towards classical music and music teaching (Dobrota, 2016). H5: Younger students, compared to older students, have more positive attitudes towards Music Culture course. In order to test the differences between classroom teaching students (N = 120) and subject teaching students (N = 105) in attitudes towards the Music Culture course, seven Mann-Whitney U tests were performed. 11 Snjeana Dobrota, Sara Barbariæ: CROATIAN ELEMENTARY SCHOOL STUDENTS’ ATTITUDES ... Table 6. Influence of age on attitudes towards the Music Culture course Dependent Variable Uzp Listening to the music on a daily basis 6190.0 0.24 0.81 Classical music preferences 4298.0 4.39 0.00 Importance of Music Culture course 4297.5 5.56 0.00 Effect (relaxing/burdening) of Music Culture course 5692.5 -2.21 0.02 Weight of Music Culture course 6142.0 0.80 0.41 Usefulness of Music Culture course 4747.5 4.86 0.00 Classes per week of Music Culture course 6060.0 0.60 0.56 There were significant differences between the two groups of students in the preference of classical music, where younger students more prefer classical music than older ones. Furthermore, younger students estimate the subject of Music Culture course as more important than older students. There were also differences in the effect of Music Culture course on the students and the estimation of the usefulness of the subject, whereby the younger students estimate more that the subject relaxes them and consider it more useful. There are no differences in other variables, therefore we can conclude that the fifth hypothesis is partially confirmed. Examining attitudes towards music teaching among students attending the fourth and eighth grades of elementary school, Dobrota and Obradoviæ (2012) also notice more positive attitudes among younger students. Such results can be explained by the fact that younger students are more open to different musical styles, and also to classical music that makes the majority of music teaching content. Haladyna and Thomas (2015) explored the attitudes of elementary school students towards the school in general and towards teaching subjects. The results indicate a significant drop in the attitudes towards the school with students age, especially in the sixth-grade, seventh-grade and eighth-grade students, also on the extremely negative attitudes of students towards subjects in the field of social sciences and on the significant influence of gender on the attitudes of the students, with a drastic decrease in attitudes towards school, especially among boys. Regarding the ranking of Music Culture course, both in the one teacher education (Figure 1) and the subject teaching (Figure 2), classroom students prefer Physical training, followed by Fine Arts and third is the Music Culture course. In the subject teaching Music Culture course is again in the third place, behind Physical training and Biology. 12 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Figure 1. One teacher education subjects ranks according to affinity Figure 2. Subject teaching subjects ranks The obtained results are similar to the findings of Mirkov (2002), which investigated the attitudes of eighth grade pupils towards teaching subjects and noticed that the best ranked subjects were Biology and Physical training, followed by foreign language and Mathematics. Gender differences have also been noticed with regard to attitudes towards teaching subjects, so boys have more positive attitudes towards Technical Culture, Physical training and History, and girls towards mother tongue, foreign languages and Biology. H6: Girls, compared to boys, have more positive attitudes towards Music Culture course In order to test the difference between boys (N = 106) and girls (N = 119) in attitudes towards the Music Culture course, seven Mann-Whitney U tests were performed. 13 Snjeana Dobrota, Sara Barbariæ: CROATIAN ELEMENTARY SCHOOL STUDENTS’ ATTITUDES ... Table 7. Influence of gender on attitudes towards Music Culture course Dependent Variable Uzp Listening to the music on a daily basis 4502.5 3.95 0.00 Classical music preferences 5031.0 2.80 0.01 Importance of Music Culture course 5119.0 3.29 0.00 Effect (relaxing/burdening) of Music Culture course 5488.0 -2.98 0.00 Weight of Music Culture course 5818.0 2.57 0.01 Usefulness of Music Culture course 5336.5 3.03 0.00 Classes per week of Music Culture course 6016.5 0.69 0.49 There is a difference between boys and girls in almost all variables, where girls are more listening to music and prefer classical music, the subject of Music Culture course estimates more important, more useful, more relaxing and more difficult than boys. There is no difference between boys and girls in estimating the classes per week. According to this results, we can conclude that the sixth hypothesis is mostly confirmed. These results are in accordance with the results of numerous researches that are confirming that girls have more positive attitudes toward music lessons than boys and that they are more involved in music activities (Harrison, O’Neill, 2003). On the other hand, boys show greater interest in the implementation of music technology in the teaching process (Comber et al., 1993). H7: Younger students, compared to older students, prefer singing as music teaching activity, and older students, compared to younger students, prefer listening to music as music teaching activity. Figure 3. Favourite music activities considering students’ age 14 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek The results of the Chi-Square test of age and music activities showed a significant difference between one teacher education and subject teaching according to given preference for music activities ( 2 = 43.31; df = 3; p = .000). Almost 45% of one teacher education students and 34.29% of the subject teaching students chose singing as their favourite music teaching activity. Listening to music was chosen by 20.83% of one teacher education students and 59.05% of subject teaching students. The music creativity was chosen by 7.50% one teacher education students and only 2.86% of the subject teaching students, and playing of instruments 26.67% of the one teacher education students and 3.81% of the subject teaching students (Figure 3). According to this results, this hypothesis is confirmed. Rojko (2012) points out that young people generally like to sing, but not those songs that they sing at school. On the other hand, Klausmeier, Eckhardt and Lück (in Rojko, 2012) think that as age increase, young people are singing less and their enthusiasm for singing also decreases. H8: Girls, compared to boys, prefer singing as a music teaching activity. Figure 4. Favourite music activities considering students’ gender Based on the results of a Chi-Square test with variables of gender and musical activities ( 2 = 11.67; df = 3; p = .008), it is confirmed that girls, compared to boys, prefer singing as the music teaching activity. About 28.30% of boys chose singing as the favourite musical activity and as much as 50.42% of girls. However, boys chose listening to music as their favourite musical activity in 47.17%, which made it 31.09% of girls. Only 5.66% of boys and 5.04% of girls chose music creativity as their favourite activity, while 18.87% boys and 13.45% girls selected playing as the favourite music teaching activity (Figure 4). According to these results the eight hypothesis is confirmed. Dobrota and Obradoviæ (2012) noticed that girls prefer singing and boys listening to music. The results of Sunara’s research show that there is no significant difference in the 15 Snjeana Dobrota, Sara Barbariæ: CROATIAN ELEMENTARY SCHOOL STUDENTS’ ATTITUDES ... preference of singing as a teaching activity with regard to the gender of the students (Sunara, 2016). However, when the participants’ responses were grouped into two groups, the first of which include singing and the second include other musical activities, it was noticed that girls, compared to boys, prefer singing as the activities of music teaching. Conclusion This research confirms that music is an important part of the students’ leisure time, and that girls, compared to boys, spend more time daily on listening to music. The influence of a stimulating family background on the preference of classical music, the evaluation of the effects of subjects on students (burden/relaxation) and the evaluation of the usefulness of the subject, is also determined. Furthermore, the positive impact of additional music lessons and the preference of classical music on estimation of importance and usefulness of Music Culture course have been noted. Younger students, compared to older students, prefer classical music, consider the subject of Music Culture course more important and more useful, and as the subject that relaxes them. Music culture course is ranked third by favour, both in one teacher education and in subject teaching. Regarding gender differences, there was a difference in almost all components of attitudes towards the Music Culture course, except in estimating the classes per week of the course. And, finally, it is confirmed that younger boys and girls prefer singing, and older students listening to music as a music teaching activities. The fact that classroom students have positive attitudes towards music teaching and are open and flexible to listen to music of different styles, including classical music, is very supportive and encouraging for classroom teachers. Children should be surrounded by high-quality musical works from the earliest days and we should also allow them to enjoy in the world of music. Our results are in accordance with the results of the researches that confirm the decrease of interest in music lessons with age (Boal-Palheiros, Hargreaves, 2001). The reasons for decreased interest in music teaching are mostly explained by the fact that the content of the subject is not adapted to the challenges and changes of the modern society in which students live, then with great discrepancy in the choice of music at home and in the school. Listening to music in home and in school have different functions: the first one is connected with enjoyment, emotional mood and social relationships, while the second one is linked to motivation for learning and teaching content (Boal-Palheiros, Hargreaves, 2001). Furthermore, the decrease in interest for music teaching can be explained by differences in student motivation for learning different subjects at different stages of development, but also in the inflexibility of music pedagogues trained within the Western European classical music tradition and are largely reluctant to adapt and modernize their curriculum. Related to this, it would be interesting to explore the attitudes of high school students towards music classes, and to compare them with attitudes of elementary school students. 16 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek References Boal-Palheiros, Graça M., Hargreaves, David J. (2001). Listening to music at home and at school. 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Zagreb: Ministry of science and education. 18 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Povzetek Cilji glasbenega pouka v hrvaški osnovni šoli so: uvajanje uèencev v glasbeno kulturo, spoznavanje osnovnih elementov glasbenega jezika, razvijanje glasbene ustvarjalnosti, vzpostavljanje in usvajanje meril za kritièno in estetsko vrednotenje glasbe. Uèni naèrt predmeta Glasbena kultura je odprt, kar pomeni, da uèitelj svobodno izbira naèine aktivnega muziciranja. Poslušanje in spoznavanje glasbe sodi v obvezen del kurikula. V raziskavi so bila preuèevana stališèa osnovnošolcev do predmeta Glasbena kultura glede na spol, starost, druinsko okolje in dodatni glasbeni pouk. Preuèevan je bil vpliv spola in starosti na preference do razliènih glasbenih dejavnosti pri glasbenem pouku. Kot merska instrumenta sta bila uporabljena splošni vprašalnik in vprašalnik za preuèevanje stališè uèencev do predmeta Glasbena kultura. V aprilu in maju 2017 ju je izpolnilo 225 uèencev drugega, tretjega, sedmega in osmega razreda osnovnih šol v Splitu in Stobreèu. Rezultati so pokazali, da ima glasba zelo pomembno vlogo v ivljenju uèencev, še posebej deklet. V primerjavi s fanti veè èasa dnevno namenjajo poslušanju glasbe. Potrjen je bil vpliv druinskega okolja na dajanje prednosti klasièni glasbi, na oceno delovanja predmeta na uèence (obremenitev/sprostitev) in na oceno koristnosti predmeta. Razviden je tudi pozitiven vpliv izvenšolskega glasbenega pouka na dajanje prednosti klasièni glasbi in na oceno pomena in koristnosti predmeta Glasbena kultura. Mlajši uèenci so v primerjavi s starejšimi uèenci bolj dajali prednost klasièni glasbi ter zaznavali predmet kot pomemben, koristen in sprošèujoè. Glasbena kultura je bila glede priljubljenosti rangirana na tretjem mestu tako na razredni stopnji kot na predmetni stopnji osnovne šole. Razlike glede na spol so bile potrjene pri skoraj vseh komponentah stališè do Glasbene kulture, razen pri ocenjevanju tedenskega fonda ur predmeta. Rezultati so pokazali, da mlajši uèenci in dekleta raje pojejo, starejši uèenci pa imajo kot glasbeno dejavnost najraje poslušanje glasbe. Dejstvo, da imajo uèenci na niji stopnji pri razrednem pouku zelo pozitivna stališèa do glasbenega pouka in da so odprti ter fleksibilni za poslušanje razliènih glasbenih zvrsti - med njimi tudi klasiène glasbe -, je zelo spodbudno za razredne uèitelje. Otroke mora e v najzgodnejšem obdobju obkroati kakovostna glasba, v njih buditi pozitivna doivetja in uitek v njej. 19 Snjeana Dobrota, Sara Barbariæ: CROATIAN ELEMENTARY SCHOOL STUDENTS’ ATTITUDES ... 20 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Jernej Weiss 1 ,T jaš aRi b i z e l 2 , Ines Kouh 3 , Matja Debevc 4 1 Akademija za glasbo, Univerza v Ljubljani, Pedagoška fakulteta, Univerza v Mariboru; 2 Filozofska fakulteta, Univerza v Ljubljani 3 Fakulteta za elektroniko, raèunalništvo in informatiko, Univerza v Mariboru 4 Fakulteta za elektroniko, raèunalništvo in informatiko, Univerza v Mariboru MySolfeggio: MOBILE AND TABLET APPLICATION FOR LEARNING OF SOLFEGGIO Izvirni znanstveni èlanek / Original Scientific Article Abstract The mobile and tablet application MySolfeggio is intended to be used for independent practicing of Solfeggio. The application is an upgrade of traditional printed literature for learning music theory, which is used during courses of music theory in Slovenian music schools. The app MySolfeggio allows practicing songs, which are included in the textbooks Mali glasbeniki 3 (2014), Mali glasbeniki 4 (2015), Priroènik za solfeggio 3 (2008) and Priroènik za solfeggio 4 (2008). The app works in such a way that a pupil directs the smartphone camera toward a certain notation in the textbook, makes a photo and the app recognises which song the pupil wants to practice. In this process, elements of augmented reality are used. Users of the app can listen to songs, practice rhythm and singing, as well as consolidate their knowledge about the songs by completing an integrated quiz about music theory. In order to examine the practical usefulness of the app MySolfeggio, we conducted an experiment on three Slovenian music schools. During the experiment, we precisely designed the methodology and the first results show that the pupils have developed a positive relation in regard to learning with the mobile application MySolfeggio. Moreover, there is also a tendency for using MySolfeggio as a learning tool at home. Keywords: MySolfeggio, mobile application, information and communications technology, music theory Izvleèek MySolfeggio: mobilna in tablièna aplikacija za uèenje solfeggia Mobilna in tablièna aplikacija MySolfeggio je namenjena samostojnemu uèenju solfeggia. Aplikacija nadgrajuje tradicionalno tiskano literaturo, ki je sicer v uporabi pri predmetu Nauk o glasbi v slovenskih glasbenih šolah. Z aplikacijo MySolfeggio je tako mogoèe vaditi glasbene primere, ki so zajete v uèbenikih Mali glasbeniki 3 (2014), Mali glasbeniki 4 (2015), Priroènik za solfeggio 3 (2008) in Priroènik za solfeggio 4 (2008). Aplikacija deluje tako, da uèenec usmeri kamero telefona na notni zapis v uèbeniku, ga fotografira aplikacija pa razpozna, kateri glasbeni primer eli uèenec vaditi. V tem postopku so uporabljeni elementi razširjenje resniènosti. Uporabniki aplikacije lahko nato glasbene primere poslušajo, vadijo ritmièno in melodièno izvajanje le teh, hkrati pa tudi utrjujejo svoje znanje o dotiènih glasbenih primerih z reševanjem kviza z glasbenoteoretiènimi 21 Jernej Weiss, Tjaša Ribizel, Ines Kouh, Matja Debevc: MySolfeggio ... vprašanji. Da bi preuèili praktièno uporabnost aplikacije MySolfeggio, je bil izveden eksperiment na treh slovenskih glasbenih šolah. Prvi izsledki so pokazali, da so uèenci s pomoèjo aplikacije MySolfeggio razvili pozitiven odnos do samostojnega uèenja, kae pa se tudi tendenca, da bi uèenci uporabljali mobilno aplikacijo kot uèni pripomoèek doma. Kljuène besede: MySolfeggio, mobilna aplikacija, informacijsko–komunikacijska tehnologija, Nauk o glasbi The Development of the Application MySolfeggio The boom of information and communications technology (ICT), the growing availability of smart devices and social acceptability of digital sources in education have lead developers of mobile applications to an increasing development of learning tools which would function on smart devices. As a result, growing interest for research of influences of usage of contemporary learning tools on user learning appear in different spheres of knowledge also in the research field. The mobile and tablet application MySolfeggio was developed for solfeggio learning within the project Mobile and interactive solfeggio learning with the help of augmented reality 1 . Under the auspices of the Faculty of Education (PEF UM), Faculty of Electrical Engineering and Computer Science (FERI UM) at the University of Maribor, eight students from the departments of Musical Education, Media Communication, Informatics and Technologies of Communication and Information Technologies, as well as five members of the teaching staff from both faculties worked in the multidisciplinary project team. This article presents several basic motivational factors for inclusion of ICT into the practicing of music theory and as a possible solution introduces the app MySolfeggio, which was developed as part of the aforementioned project and is suitable for usage. This article is divided in three parts: 1) Connection between the course music theory in music schools and the usage of information and communication technologies; 2) Presentation of the mobile and tablet app MySolfeggio with elements of augmented reality; 3) First results of the research, in which the app was assessed. Music Theory and Information and Communications Technology (ICT) With the fast development of technics and technology, also the amount of knowledge that pupils have to gain during the learning process is growing. This development also affects education – with its new forms and methods of teaching, it has to be able to forward 22 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek 1 The project, which takes place as part of the programme Creative Path to Practical Knowledge,i s co-financed by the Ministry of Education, Science and Sports of the Republic of Slovenia and the European Union from the European social fund. knowledge as efficiently, quickly and well as possible (Panèur, 1997). The exact same capability of forwarding knowledge belongs to ICT that is not especially mentioned or recommended in the Slovene curriculum for Music Theory (Uèni naèrt. Nauk o glasbi / Curriculum. Music Theory, 2003). It is known that ICT entered into music schools much later than into primary schools. According to Valant, this probably happened due to the specificity of music, “music as art and its musical moment which at a given time and space is unique, unrepeatable.” (Valant, 2009, p. 57). Valant writes that the computer can sense real, objective components of music, such as pitch, intensity, speed, duration, but it cannot sense the nuances of expression and experience. These findings are correct – mostly when it comes to the artistic effect and performance of music, solo instrument playing or playing in various music formations (instrumental or vocal groups, ensembles). Learning music-theoretic elements and solfeggio, including the practicing of rhythmic punctuality and intonation, is especially in the beginning of musical development of an individual an objective act to which ICT may contribute greatly. In Slovenia, the course music theory is divided into six years and is taught at music schools on the primary level. “With complex musical activities, the development of relative pitch, musical capabilities, skills and knowledge is stimulated. It introduces the pupils into the understanding of musical notes in a reproductive and productive way” (Uèni naèrt. Nauk o glasbi / Curriculum. Music Theory, 2003, p. 322). The content of the music theory curriculum is for each class divided into five sublevels – solfeggio (performing rhythmic content, singing melodic exercises with sol-fa syllables and the music alphabet etc.), performance and interpretation of examples from music literature (practicing singing technique, familiarisation with music literature, accustomation to assessment of one’s own interpretation etc.), creating, listening and music-theoretic and form-related knowledge (clefs, time signature, scales, intervals, rhythmic duration, music alphabet, sol-fa syllables etc.). Solfeggio is a complex field that particularly aims at developing different skills – relative pitch, rhythm recognition and chord recognition. The pupil cannot gain the required knowledge and capabilities regarding these skills only at school but has to upgrade them also at home (Panèur, 1997). However, the problem is, that at this stage, the pupils have not yet been trained enough to be able to practice solfeggio comprehensively and efficiently on their own. ICT can be a helping training tool because its multimediality eases the pupils’ perception and prolongs the duration of their memory. Doing homework independently, the pupils can improve certain musical skills and develop their relative pitch and rhythm and chord recognition. Playing and practicing are also important strategies of ICT implementation (Valant, 2009). For younger pupils, computer learning environments, which support intuitive musical thinking and enable creative seeking of new solutions, are more appropriate (Borota, 2007). In her article, Borota draws the attention to the following viewpoint of the usage of computer as well as information and communication environments. It is vital that the pupil “starts interacting with the content and not with the technology” as soon as possible. “Wasting time trying to master the technology first can affect the interest for music and technology negatively.” (Borota, 2007, p. 31). 23 Jernej Weiss, Tjaša Ribizel, Ines Kouh, Matja Debevc: MySolfeggio ... Tsolova and Angelova state that the research which was carried out with students at the Academy of Music in Sofia showed that there is a relatively high preference for the usage of practicing systems on mobile devices. According to the positive results of this research, they have come to the conclusion that electronic and mobile learning should gradually be developed and introduced into the musical educational system (Borota, 2007). Due to their size, mobility and prevalence, smart phones and tablets are the handiest. Presentation and Usage of the App MySolfeggio MySolfeggio is an app which can be used on smart phones or tablets. Its purpose is to upgrade the usage of literature in the courses of music lessons in primary music schools and make it more diverse. With it, pupils can practice solfeggio at home using music examples from the chosen literature. For the app, the textbooks Mali glasbeniki 3 and Mali glasbeniki 4 by the authors Torniè Milharèiè and Širca Costantini were used, because their textbooks are the most widely spread in the music theory course at musical schools in Slovenia. Furthermore, handbooks Priroènik za solfeggio 3 and Priroènik za solfeggio 4 by Debevc were used for the app, because all six handbooks by this author are on the list of recommended literature on the music theory curriculum (Uèni naèrt. Nauk o glasbi / Curriculum. Music Theory, 2003). The app is designed in such a way that it can be upgraded with new music examples, regardless of the textbook. The target group were third and fourth grade pupils. They are already capable of using mobile devices and tablets, but are mostly not yet capable of independent practicing of music theory. The app MySolfeggio includes a wide variety of functions 2 – the possibility to listen to music, practice rhythm and singing and solve a music-theoretic quiz that can cover all the aforementioned sublevels of music theory lessons. The app includes two efficient ways of learning – learning through game and practicing. For diversification, elements of augmented reality 3 with which we sense a certain music example in physical form were added. The app MySolfeggio is simple to use. With the help of the camera on the smart phone or tablet, the pupil photographs the printed music example which is included in the app. After the photo has been taken, four options occur – “listening”, “rhythm”, “singing” and “quiz”. 24 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek 2 For the demonstration and manipulation of bar lines, the library SeeScore, Cross-platform Music XML Rendering (Dolphin Computing Cambridge Ltd.) was used. Accessible on: http://www.seescore.co.uk/. (13.5.2017). 3 The sensing of music examples in the physical form with the help of augmented reality is enabled by the developer tool Vuforia. Figure 1. Screen display of the app – “listening” When choosing “listening”, the users can listen to the vocal (musical alphabet, solmization or text) or to the piano version of the music example. If they choose the options “rhythm” or “singing”, they can test themselves. The option “rhythm” enables the pupil to tap the rhythm on the screen of the smart phone or tablet, while the app senses the accuracy and gives feedback with a red or green signal. The same happens with the option “singing”, where the app senses the pupil’s tone and checks the intonation and gives feedback. If the notes are red, they were not performed in accordance with the acceptable deviation. Namely, the human voice cannot sing a certain tone accurately to the Hertz, so the deviation + or – 10 Hz from the ideal frequency was added to the programme. 4 In the case of rhythm, the deviation of + or – 0.15 seconds was taken into account. 5 The last option is the “quiz”, which offers music-theoretic questions of the closed type (answers a, b, c, d) that are related to the photographed music example. Empirical Research: Rating of the App MySolfeggio With this research, the usefulness of the app MySolfeggio in practice for potential users was tested. The research was relatively broad-based; the primary interest was to find out whether the app was simple to use and understandable enough at the same time. The goal was also to find out how the pupils experience learning music theory with the app. Methodological Approach and Conduct of Empirical Research In this research, various research methods were used: experiment, method of observation and method of questioning. Before the beginning of the research, an agreement from all participants was acquired – from representatives of music schools, teachers and children’s parents. An agreement from the ethical committee of the Faculty of Arts at the University 25 Jernej Weiss, Tjaša Ribizel, Ines Kouh, Matja Debevc: MySolfeggio ... 4 The app senses the tone A4 with the frequency 440 Hz as correct if the user sings this tone with the frequency between 430 and 450 Hertz. 5 If the user tapped 0.15 seconds too fast or too slow, the tap was still recognized as accurate. of Maribor, which confirms that the study corresponds to the standards of research, was also obtained. The execution of the research comprised of four parts: 1) standard form of the music theory lesson with a music teacher, 2) first assessment session, 3) independent learning of solfeggio, 4) second assessment session. In the first part, a standard lesson with a music teacher who worked according to a lesson plan took place. Working with the music example from the previous lesson, the teacher revised the pupils’ knowledge on music-theoretic concepts: clefs, time signatures, scales, intervals, rhythmic duration, music alphabet and sol-fa syllables. After the music-theoretic part, the pupils performed the music example with the teacher’s improvised accompaniment on the piano. The standard form of lesson is in this way intended for revision of knowledge about music-theoretic concepts and for vocal warm-up. After this, the pupils were acquainted with a new song which they practiced in the second part of the research by themselves. The teacher sang the song, so the pupils got a first impression about it. The third grade pupils got to know the song Imam dolino zeleno (Širca Costantini, Torniè Milharèiè, 2014, p. 52) and the fourth grade students the song Tinga Layo (Širca Costantini, Torniè Milharèiè, 2015, p. 57). In the second part, the first assessment session took place. At first, the pupils received their identification numbers and wrote them down on the questionnaires. This assured the anonymity of the test. According to even and odd numbers, they were randomly divided into two groups which were sent into different classrooms. One of the groups was experimental and used the app in the third part of the research, whereas the other – control – group did not use the app. Afterwards, the pupils filled out the questionnaires. Their music-theoretic knowledge was measured on the basis of the song they were acquainted with in the first part of the research. Furthermore, the demographic characteristics of the pupils were measured, as well as their experience with the initial standard form of lessons with a teacher. In the third part, independent practice of solfeggio took place. The pupils in the control group worked with a musical notation, they studied independently and had the opportunity to consult their teacher in case of confusion or difficulty. Here, the method of observation was applied – the researcher observed the way of practicing and the behaviour of the pupils and noted his findings on the report afterwards. The pupils in the experimental group used the app MySolfeggio on smart phones. It has to be underlined that all phones had comparable technical specifications. The method of observation was applied to this group as well; the relationship the pupils were building towards the app MySolfeggio and how the app influenced their individual practicing and behaviour was assessed. Similar to the pupils in the control group, the pupils in the experimental group had the opportunity to consult the teacher in case of confusion or difficulty. This was registered by the researcher. 26 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek In the fourth part, the second assessment session, which included two components – filling out the questionnaires and assessment of singing – took place. The pupils had to fill out the questionnaire about music-theoretic concepts regarding the music example once more. In this way, the information about the level of knowledge of the research participants was acquired; the so-called before-and-after test was done. The results enabled a comparison between knowledge and the influence of the type of individual learning of music theory on the pupils’ level of knowledge. Furthermore, the experience of independent learning of a music example was measured in the control group; rhythm, text, help with learning intervals with an instrument and attentiveness to intonation. In the experimental group, the relationship of participants towards the app MySolfeggio was measured. In the second half of the fourth part, the assessment of participants’ singing took place. Members of both groups sang the music example. For the purpose of the subsequent thorough analysis, the recordings of the singing were carefully preserved. Afterwards, three teachers of music education – researchers – assessed them in accordance with the assessment report. Due to the time limitation – the testing was limited to one lesson which corresponds to the usual duration of a solfeggio lesson at music schools – the experiment had to be limited only to two music examples: Imam dolino zeleno and Tinga Layo. The first executional part lasted 15 minutes and then the pupils had 10 minutes for the before-test. This was followed by 15 minutes of independent solfeggio practicing with or without the app respectively. The last 10 minutes were intended for the after-test. Measuring Instruments As measuring instruments, questionnaires and assessment reports were used. Based on empirical and research questions, which lead the whole research, research variables were identified and measuring instruments were established accordingly. These were slightly distinguished in respect of the fact, whether they were meant for the pupils of the third or fourth grade or whether they were for the control or the experimental group. There were three types of questionnaires in the first assessment session: a demographic questionnaire, a questionnaire about the experience of the lesson in the classroom and a questionnaire about music-theoretic concepts linked with the music example concerned. With the demographic questionnaire, variables such as gender, age, year of music school, number of years of preparatory music schooling, music education of parents, music instruments that the pupils play and the type of independent practicing of music theory at home were measured. Furthermore, the pupils self-evaluated their own knowledge of music theory on the scale from 1 to 5, 1 meaning very bad and 5 very good. The likeability of different types of independent learning of music theory was also measured; how fond the pupils were of learning with a music notation, an instrument, a smart phone or tablet and a personal computer. For the purpose of measuring the level of early knowledge of ICT usage, the pupils assessed themselves on a scale from 1 (no knowledge or very bad) to 5 (excellent). 27 Jernej Weiss, Tjaša Ribizel, Ines Kouh, Matja Debevc: MySolfeggio ... The second questionnaire measured the experience of participants in the classroom lesson. The focus was on their relationship towards the activities in the music theory lesson, which was measured with the “Classroom Experience Questionnaire” (Nijs, Leman, 2013). The participants of the research had to mark on the 5-point scale whether they agreed with the given statements. If they chose 1, they did not agree with the statement at all, whereas 5 meant they agreed with it completely. Afterwards, the participants received the third questionnaire along with the printed notational material – the music example. Their knowledge on music-theoretic elements, which were related to the music example, was tested with a closed-ended questionnaire. This questionnaire involved questions about the scale, time signature, composer, first interval measure and the longest note value in the music example. The questionnaire tested the pupils’ basic knowledge on music-theoretic elements. During the independent learning of solfeggio, the researchers primarily observed the behaviour of the research participants. The researchers assessed the behaviour parameters when the pupils were using the mobile app. For this, an adapted version of the questionnaire from the literature (Cano, Sanchez-Iborra, 2015) was used. The focus was on the simplicity of the usage of the app – to find out, whether the pupil was able to start the app and use it easily; the intuitiveness of the app – whether the pupil could find out, how the app works; attention – whether the pupil was able to activate it and keep it activated in order to get appropriate information; thinking – whether the pupil was capable to transfer the newly acquired principles into different contexts and develop new principles for general and new situations; memory – whether the pupil was able to learn and memorize new information; the mood during app usage – whether the pupil showed signs of good mood (laughter, verbal expressions of happiness, enthusiasm, high level of excitement or energy etc.). The researchers’ task was also to measure, how often the pupil asked the teacher for help, while he was using the app, and what the specific reasons were for that. In the second assessment session, the pupils received the questionnaire about music-theoretic concepts for the second time. In this case, it was an open-ended questionnaire. When the research participants sang the music example in the end, the assessors, who were academically educated music teachers, assessed the performance with a 5-point scale (1 meaning very bad, 5 meaning very good) in accordance with rhythmic accuracy, intonation, text and interpretation. Research Sample The research was conducted on 30 and 31 May 2017 on the Music School Ljubljana Viè Rudnik, Conservatory of Music and Ballet Ljubljana and Music School Ljubljana Moste – Polje. 42 pupils took part in the research – half of them were in the third grade and half in the fourth grade. In each group, there were 21 pupils – 13 boys and 29 girls. The average age was 10 years – the youngest pupil was 9 and the eldest 13. The majority played the piano and the rest the flute, saxophone, violin, violoncello, guitar, drums and xylophone. 28 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Primary Results of the Research In this part, the primary qualitative results of the testing will be presented. After the pupils stopped using the app MySolfeggio, the experimental group of pupils was asked, whether they liked it and what they liked or disliked the most. The majority agreed that the app was understandable and interesting. They said it was easy to use and to find out how it is used. Furthermore, they were excited about the fact that they received immediate feedback concerning their singing. The pupils were also eager to know, when they would be able to use the app for practicing solfeggio at home on their own. Concerning the things they liked the least, the pupils said that the app should offer more than two music examples for practicing solfeggio. One pupil pointed out that the app should warn the user before it starts to measure the rhythm. While the pupils were using the app MySolfeggio, they were also observed. It turned out the majority was using the app with excitement and the pupils wanted to sing the song over and over in order to accomplish better results. They also gave very positive answers to the question, basing on five statements, with which their opinion about independent solfeggio practicing with the help of the mobile app was measured. The pupils ranked the statements on a 5-point scale, where 1 meant that practicing with the app was very boring and 5 that it was very interesting. The average estimated value was 4.45 (SD = 0.53) which indicates that the independent solfeggio learning activities with the app were interesting for the pupils. The control group which did not use the app for independent solfeggio practicing showed a significant difference in terms of commitment to learn. While a few pupils actively practiced by singing and practicing the rhythm and even wrote the sol-fa syllables on the musical notation, the rest were bored and did not use the time available for practice fully. These pupils also ranked how interesting the learning activities for independent solfeggio practicing with the musical notation were with the help of a 5-point scale – 1 meant that the activity with the musical notation was very boring and 5 that it was very interesting. The average estimated value was 4.32 (SD = 0.74) which indicated that independent practicing without the mobile app MySolfeggio indeed was interesting, but slightly less than the one with the mobile app. 6 Conclusion The technics and technology are developing swiftly, which determines the amount of knowledge, the pace, effectiveness and quality of teaching. In the future, ICT will certainly become more and more integrated into our everyday life. The app MySolfeggio helps in a way that is rational and effective from the point of giving feedback about the knowledge of pupils. 29 Jernej Weiss, Tjaša Ribizel, Ines Kouh, Matja Debevc: MySolfeggio ... 6 Due to the fact that the research sample was relatively small, a more extensive app testing is planned and will be followed by an accurate statistic data analysis. MySolfeggio includes two effective ways of learning – through game and practicing. When creating the app, special attention was given to the simplicity of app usage, which enables the pupils to quickly connect with the content, so that the technology does not inhibit them. Since the app gives a relatively simple technical experience, the user can interact with the content quickly and without unnecessary interruptions. The app is intended for mobile phones and tablets, which are simple to use, handy and portable. With the app, pupils can practice certain musical skills at home independently and develop their rhythm recognition and relative pitch. Moreover, it implements all five components of music theory – solfeggio, performing and interpreting different examples from music literature, creating, listening and music-theoretic and form-related knowledge. The first tests also showed that it is possible that multiple pupils use the app in class or in the same room simultaneously. Therefore, the app offers a wide variety of possibilities for solfeggio practicing at home or anywhere else, when the pupils do not have the chance or the required knowledge to practice solfeggio with an instrument. It has to be underlined that the app MySolfeggio can in no way replace the standard form of learning solfeggio at a music school, because it cannot sense certain nuances, relevant for expressing and experiencing of different musical examples. In spite of certain limitations, the app offers a variety of options for practicing of music-theoretic elements and solfeggio, including rhythmic and intonational accuracy particularly in the beginning of musical development of an individual. Especially in the initial phase of music theory learning, this is an objective act to which such ICT can be of great help. The first test results of the app MySolfeggio are very encouraging. They showed that it can motivate the user to practice music theory relatively highly. Its multimediality also eases the perception and prolongs the duration of memory. In the future, the range of options that the app offers will be extended and the app itself will be adjusted to the user experience. The literature, featured in the app, and the range of musical examples for practicing will have to be extended. The visual appearance of the app and its outreach need to be improved, so that it will not be available only on Android devices, on iOS and Windows devices as well. MySolfeggio is certainly the only program of its kind in Slovenia and the only program with such a design in the world; therefore, it is worth of further development, extending and the broadest user reach possible. 30 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek References Borota, B. (2007). Nekateri vidiki vkljuèevanja sodobne tehnologije v pouk glasbe. Glasba v šoli in vrtcu, Year. 12, Issue 3-4, pp. 28–31. Cano, M.-D. Sanchez-Iborra, R. (2015). On the use of a multimedia platform for music education with handicapped children: a case study. Comput. Educ. 87, pp. 254–276. Debevc, M. (2008). Priroènik za solfeggio 3: samostojni delovni zvezek za predmet Nauk o glasbi, 3. razred. Šentilj: Vedoma. Debevc, M. (2008). Priroènik za solfeggio 4: samostojni delovni zvezek za predmet Nauk o glasbi, 4. razred. Šentilj: Vedoma. Nijs, L., Leman, M. (2013). Interactive technologies in the instrumental music classroom: a case study with the Music Paint Machine. In: J. Pitt (Ed.). 6th MERYC Conference, Proceedings, pp. 117–133. Presented at the 6th MERYC Conference, Gehrels Muziekeducatie. Panèur, R. (1997). Raèunalnik pri glasbenih dejavnostih. Glasbeno-pedagoški zbornik Akademije za glasbo v Ljubljani, Vol. 2, pp. 129–141. SeeScore. http://www.seescore.co.uk/. (13.5.2017). Širca Costantini, K., Torniè Milharèiè, B. (2014). Mali glasbeniki 3. Uèbenik z elementi delovnega zvezka za 3. razred nauka o glasbi. Hruševje: samozaloba. Širca Costantini, K., Torniè Milharèiè, B. (2015). Mali glasbeniki 4. Uèbenik z elementi delovnega zvezka za 4. razred nauka o glasbi. Postojna: samozaloba. Tsolova, S. Angelova, K. (2014). E-learning and M-learning System at Higher Academic Musical Education Institution - Specifics, Challenges and Results. 56th International Symphosium ELMAR-2014. Uèni naèrt. Nauk o glasbi. [Curriculum, Music Theory.] (2003). http://www.mizs.gov.si/fileadmin/mizs.gov.si/pageuploads/podrocje/glasba/pdf/nauk_ o_glasbi321-340.pdf. (13.5.2017). Valant, M. (2009): Opremljenost glasbenih šol z IKT ter njena uporaba pri pouku nauka o glasbi. Glasbeno-pedagoški zbornik Akademije za glasbo v Ljubljani, Vol. 12, pp. 56–70. Vuforia. https://www.vuforia.com/. (13.5.2017). 31 Jernej Weiss, Tjaša Ribizel, Ines Kouh, Matja Debevc: MySolfeggio ... Povzetek Z razmahom uporabe informacijsko-komunikacijske tehnologije in z vse veèjo dostopnostjo do t.i. pametnih elektronskih naprav, kot tudi drubeno sprejetostjo digitalnih virov v izobraevanju, se med razvijalci mobilnih aplikacij poveèuje zanimanje za razvoj sodobnih uènih pripomoèkov, ki bi delovali na omenjenih napravah. Posledièno je mogoèe zaslediti vse veèje zanimanje za raziskovanje vplivov uporabe sodobnih uènih pripomoèkov na uèenje uporabnikov v razliènih domenah znanj tudi v raziskovalni sferi. Za namen uèenja solfeggia je bila v okviru projekta Mobilno in interaktivno uèenje solfeggia s pomoèjo nadgrajene resniènosti razvita mobilna in tablièna aplikacija MySolfeggio. Slednja nadgrajuje tradicionalno tiskano literaturo, ki je sicer na niji stopnji v uporabi pri predmetu Nauk o glasbi v slovenskih glasbenih šolah. Aplikacija deluje tako, da uèenec usmeri kamero telefona na notni zapis v uèbeniku, ga fotografira, aplikacija pa razpozna, kateri glasbeni primer eli uèenec vaditi. V tem postopku so torej uporabljeni elementi razširjenje oz. nadgrajene resniènosti. Uporabniki aplikacije lahko nato glasbene primere poslušajo, vadijo ritmièno in melodièno izvajanje le teh, hkrati pa tudi utrjujejo svoje znanje o dotiènih glasbenih primerih z reševanjem kviza z glasbenoteoretiènimi vprašanji. Aplikacija tako posega na vseh pet podroèij predmetnika Nauka o glasbi – solfeggio, izvajanje in interpretacija primerov iz glasbene literature, ustvarjanje, poslušanje ter glasbenoteoretièno in oblikovno znanje. Na ta naèin ponuja širok nabor prilonosti za uèenja solfeggia in komplementarnih glasbenih vsebin doma ali kjer koli drugje, kadar uèenci nimajo monosti ali znanja vaditi le teh s pomoèjo instrumenta. Da bi preuèili praktièno uporabnost aplikacije MySolfeggio, je bilo na treh slovenskih glasbenih šolah izvedeno testiranje razliènih vidikov uporabnosti in funkcionalnosti aplikacije. Izsledki testiranja so pokazali, da so uèenci s pomoèjo aplikacije MySolfeggio razvili pozitiven odnos do samostojnega uèenja, kae pa se tudi tendenca, da bi uèenci uporabljali mobilno aplikacijo kot uèni pripomoèek doma. Testiranje je sicer pokazalo, da aplikacija MySolfeggio ne more nadomestiti klasiènega pouka uèenja solfeggia v glasbeni šoli, saj ni sposobna zaznati nekaterih nians bistvenih za izraanje in doivljanje posameznega glasbenega primera. Navkljub nekaterim omejitvam pa aplikacija posamezniku, posebej v zaèetku glasbenega razvoja, ponuja obilo prilonosti za podporo uèenja solfeggia in drugih glasbenoteoretiènih vsebin. Le to je na zaèetni stopnji Nauka o glasbi v prvi vrsti objektivno dejanje, ki mu je tovrstna informacijsko-komunikacijska tehnologija lahko v veliko pomoè. 32 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Katarina Habe 1 , Vida Kriè 2 1 Univerza v Ljubljani, Akademija za glasbo 2 Osnovna šola Jakoba Aljaa Kranj DOIVLJANJE IZVAJALSKE ANKSIOZNOSTI UÈENCEV GLASBENE ŠOLE V ZGODNJEM MLADOSTNIŠTVU Izvirni znanstveni èlanek / Original research paper Izvleèek Namen naše raziskave je bil preuèiti doivljanje izvajalske anksioznosti pri uèencih v glasbenih šolah na prehodu iz otroštva v mladostništvo. V raziskavi je sodelovalo 261 od 10 do 15 let starih uèencev sedmih razliènih slovenskih glasbenih šol: 103 deèkov in 158 deklic. Za namen raziskave smo oblikovali anketni vprašalnik, ki je vseboval tudi Lestvico izvajalske anksioznosti (Habe, 2002). Rezultati so pokazali, da med mlajšimi (10 12 let) in starejšimi uèenci (13 15 let) ne obstajajo pomembne razlike v doivljanju izvajalske anksioznosti. Ugotovili smo, da so miselni simptomi izvajalske anksioznosti v zgodnjem mladostništvu bolj izraeni kot telesni, da deklice doivljajo izvajalsko anksioznost intenzivneje kot deèki in da imajo manj izvajalske anksioznosti tisti uèenci, ki so zaèeli nastopati v zgodnjem otroštvu, ki imajo pozitivne prve izkušnje z nastopanjem in ki radi nastopajo. Razlike v doivljanju izvajalske anksioznosti niso bile potrjene glede na posamezne inštrumentalne skupine, so jo pa pevci v primerjavi z razliènimi skupinami inštrumentalistov doivljali opazno veè. Pokazalo se je tudi, da je doivljanje izvajalske anksioznosti negativno nizko povezano z zakljuènima ocenama pri inštrumentu in pri glasbenoteoretiènih predmetih. Kljuène besede: izvajalska anksioznost, trema, glasbeni nastop, glasbena šola, zgodnje mladostništvo Abstract Experiencing Performance Anxiety in Music School Pupils in Early Adolescence The aim of our study was to explore music performance anxiety (MPA) in music school students in early adolescence. 261 young students from seven different Slovenian music schools aged 10 to 15 years (103 boys, 158 girls) participated in the study. Music performance anxiety scale (Habe, 2002) was used for measuring the intensity of cognitive and somatic symptoms. The results reveal that there are no differences in MPA between younger (aged 10-12) and older (aged 13-15) music students in early adolescence. It was found that MPA is more prevalent in girls than in boys. Less MPA is experienced by students who started performing early in childhood, in those with positive first performing experiences and those who enjoy being on stage. There were no differences in MPA regarding instrumental groups, although singers evidently reported the highest rates of MPA compared to other groups. There was a low negative correlation between MPA and final grades in instrumental/theoretical practice. Keywords: stage fright, performance anxiety, music performance, basic music school, early adolescence 33 Katarina Habe, Vida Kriè, DOIVLJANJE IZVAJALSKE ANKSIOZNOSTI UÈENCEV ... Uvod Glasbeno nastopanje je umešèeno visoko na lestvici stresnih situacij (Habe, 2010). Zelo redki so posamezniki, ki stopijo na oder in zaigrajo na inštrument ali zapojejo, ne da bi pri tem doivljali obèutke poveèanega vznemirjenja. Tudi najbolj vrhunski izvajalci doivljajo te prednastopne obèutke, se pa s pomoèjo številnih izkušenj in z ustrezno psihièno pripravo na nastop nauèijo obvladovati svoje telo, èustva in misli, predvsem pa svoje vedenjske reakcije (Kenny in Osborne, 2006). Kar je najpomembneje njihova stališèa do prednastopnega vznemirjenja se spremenijo v pozitivna. Ozavestijo lastne prednastopne obèutke, jih sprejmejo kot normalen odziv telesa pred odhodom na oder in se nauèijo usmeriti ta dodaten vir energije v veèjo budnost in pozornost, boljši spominski priklic, boljšo interpretacijo in ne nazadnje v boljšo komunikacijo s publiko. Èe bi otroke pravoèasno nauèili, da sprejmejo prednastopne obèutke kot popolnoma normalne, in jih postopno pripravili na situacijo odrske izpostavljenosti, bi morda marsikateri otrok vztrajal na glasbeni poti, predvsem pa bi bilo veè tistih, ki bi jih nastopanje navdajalo z obèutkom notranjega zadovoljstva. e otroci namreè poroèajo, da se na odru pogostokrat ne poèutijo prijetno, saj so ivèni, dlani se jim potijo, srce jim hitrejše bije in skrbi jih glede nastopa (Kriè, 2016). Razveseljivo pa je, da ne glede na to kar 82 % od njih rado nastopa in ima pozitivna (25 %) ali vsaj veèinoma pozitivna in le vèasih negativna stališèa (47 %) do nastopanja. Le 8 % otrok ima izrazito negativna stališèa do nastopanja (Kriè, 2016). Doivljanje poveèanega fiziološkega vzburjenja pred odhodom na oder predstavlja obièajno stresno reakcijo boj/beg. Ta reakcija predstavlja normalen telesni odziv, vendar pa lahko izvajalcu, èe se ne nauèi ustrezno spoprijemati z njo in je obvladovati, predstavlja moteè dejavnik, ki negativno vpliva na njegova stališèa do nastopanja in pogostokrat tudi na dejansko izvedbo. Glede na to, da mora glasbenik na odru obvladati finomotoriène gibe, je treba vso odveèno fiziološko vzburjenje pravoèasno uravnati s primernimi psihološkimi tehnikami. To, kakšno stopnjo izvajalske anksioznosti bo posameznik doivljal pred odhodom na oder, je odvisno od njegovih osebnostnih predispozicij, od situacije nastopanja, od predhodnih izkušenj in od njegove fiziène in psihiène pripravljenosti (Habe, 2010). Pri razvoju izvajalske identitete odigrajo pomembno vlogo zgodnje izkušnje z nastopanjem. Opredelitev izvajalske anksioznosti Izvajalska anksioznost je psiho-fiziološki fenomen, ki se kae v izrazitih in vztrajnih obèutkih tesnobnosti, ki se pojavijo pred odhodom na oder in so vezani na glasbeni nastop. Izvor izvajalske anksioznosti so specifiène anksiozno pogojevane izkušnje. Gre za kombinacijo èustvenih, miselnih, telesnih in vedenjskih simptomov. Izvajalska anksioznost je lahko situacijska (vezana samo na glasbeni nastop) ali dispozicijska (spremljana z drugimi anksioznimi motnjami, še posebej s socialno fobijo; Kenny, 2011). V slovenskem prostoru se kot sopomenki izvajalski anksioznosti uporabljata še anksioznost pred obèinstvom in anksioznost pred nastopanjem, v slovenskem 34 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek pogovornem jeziku pa se je uveljavil izraz trema (Puklek Levpušèek, 2006). Na podroèju psihologije športa se uporablja termin prednastopna napetost (Tušak in Tušak, 2003). K. Habe (2010) na podroèju glasbenega nastopanja opredeljuje izvajalsko anksioznost (angl. maladaptive performance anxiety) kot patološko obliko prednastopne napetosti, ki se pojavi e nekaj èasa pred nastopom, vztraja med njim in je prisotna tudi po njem. Kae se v moèno izraenih telesnih simptomih, ki jih spremljajo tudi številni miselni simptomi. Izvajalska anksioznost obvladuje izvajalca in negativno vpliva na uspešnost nastopanja. 1 Doivljanje izvajalske anksioznosti pri otrocih in mlajših mladostnikih Otroci na prehodu iz otroštva v mladostništvo so zaradi številnih fizioloških in psiholoških razvojnih sprememb zelo ranljivi tudi v doivljanju in spoprijemanju z izvajalsko anksioznostjo. Nekatere raziskave kot posledico hormonskih sprememb v puberteti navajajo poveèano èustvenost in muhavost v obdobju zgodnjega mladostništva (Buchanan idr., 1992, v Papalia, Olds in Feldman, 2003). Z vidika psihosocialnega razvoja gre za obdobje iskanja lastne identitete, ko si najstnik prizadeva, da bi osmislil svoj jaz. Kot je dejal Erikson (1968, v Papalia, Olds in Feldman, 2003), je poglavitna mladostnikova naloga v tem obdobju, da izoblikuje jasno identiteto nasproti identitetne zmedenosti. Kot posledica hipotetiènih uvidov, ki se pojavijo z razvojem abstraktnega mišljenja, in obdobja oblikovanja identitete se tudi pri glasbenem nastopanju uèenec na prehodu iz otroštva v mladostništvo znajde pred novimi izzivi. Zaène se ukvarjati z lastnim doivljanjem ob nastopanju, razmišlja, kaj bi se lahko zgodilo, èustveno se na odru moèneje odziva in tudi veè razmišlja o sebi. Prisotnost izvajalske anksioznosti sta pri otrocih prva raziskovala Simon in Martens (1979, v Osborne in Kenny, 2006). Primerjala sta doivljanje izvajalske anksioznosti pri deèkih, starih od 9 do 14 let, v treh razliènih nastopnih situacijah: pred športno izvedbo, pred solistièno glasbeno izvedbo in pred skupinsko glasbeno izvedbo (orkester). Ugotovila sta, da je anksioznost najizrazitejša pri deèkih, ki nastopajo kot solisti inštrumentalisti. Orkestrsko nastopanje je povzroèalo najveèjo mero anksioznosti med vsemi skupinskimi dejavnostmi, vkljuèno z ekipnimi športi. Izvajalsko anksioznost naj bi doivljalo kar 23 % otrok in 34 % mladostnikov. Variirala naj bi glede na razliène pristope uèiteljev, podporo druine in glede na mentalno stanje uèencev (Fehm in Schmidt, 2005; Wang, 2001, v Hendricks, Smith in Stanuch, 2014). Najveè pozornosti raziskovanju izvajalske anksioznosti pri otrocih in mladostnikih je namenila C. Ryan (2006). Ugotovila je, da veliko otrok in odraslih glasbenikov kae podobne simptome izvajalske anksioznosti in da ne glede na starost velja, da je izvajalska anksioznost negativno povezana s samospoštovanjem in kakovostjo izvajanja. Prav tako 35 Katarina Habe, Vida Kriè, DOIVLJANJE IZVAJALSKE ANKSIOZNOSTI UÈENCEV ... 1 Opredelitev izvajalske anksioznosti pri glasbenikih v slovenskem prostoru še vedno ni enotna. Med glasbeniki samimi je zelo zakoreninjen laièni termin trema, psihološka stroka pa zagovarja termin izvajalska anksioznost. K. Habe, ki se je leta 1998 v slovenskem prostoru prva zaèela raziskovalno ukvarjati s preuèevanjem tega fenomena pri glasbenikih, se je na podlagi tuje literature in po posvetovanju s strokovnjaki odloèila za uporabo strokovnega termina izvajalska anksioznost (Habe, 1998), vendar pomisleki o ustreznosti poimenovanja ostajajo. je bilo starostno univerzalno, da izvajalska anksioznost narašèa s številènostjo obèinstva in s pomembnostjo glasbenega nastopa. H. Boucher in C. Ryan (2010) sta z merjenjem fizioloških parametrov pred nastopanjem pri otrocih ugotovili, da e tri- in štiriletniki doivljajo poveèano fiziološko vzburjenje pred odhodom na oder, prav tako pa so rezultati pokazali poveèano stopnjo kortizola (stresnega hormona) v krvi in negativne vedenjske vzorce na odru (jok otroka). Pomembna ugotovitev njune raziskave je bila tudi, da je bilo doivljanje izvajalske anksioznosti pri otrocih povezano s poznanostjo okolja èe so okolje dobro poznali, so doivljali manj izvajalske anksioznosti, kot èe ga niso. Prav tako se je izkazalo, da se je doivljanje stresa pred nastopanjem znialo, èe je otrok kmalu za prvim nastopom nastopil še enkrat. e pri otrocih lahko zaznamo razlike v tem, ali je izvajalska anksioznost pri njih situacijsko pogojena ali pa gre za njihovo osebnostno znaèilnost (Habe, 1998), ki se e v zgodnjem otroštvu kae kot plahost in srameljivost. V prvem primeru bo uèenec v glasbeni šoli doivljal izvajalsko anksioznost kot odziv na situacijo nastopanja, v drugem primeru pa mu anksioznosti ne bo povzroèal le glasbeni nastop, temveè vse situacije, v katerih je socialno izpostavljen. M. Osborn in D. Kenny (2008) sta izvedli raziskavo z 298 uèenci, starimi od 11 do 19 let, ki so pisno opisali svoj najslabši nastop. Njihovi opisi so bili ocenjeni glede na šest podroèij: situacijski in vedenjski dejavniki, èustveni, kognitivni in somatski simptomi anksioznosti ter uspešnost nastopa. Rezultati so pokazali, da so dekleta doivljala izvajalsko anksioznost intenzivneje kot deèki in da je kar 78 % uèencev imelo negativne zaèetne izkušnje z nastopanjem. Avtorici sta opozorili na pomen kognitivnih predstav pri doivljanju izvajalske anksioznosti in ob tem poudarili pomen uporabe kognitivno-vedenjske terapije pri obvladovanju izvajalske anksioznosti. Najobsenejšo metaanalitièno študijo o doivljanju izvajalske anksioznosti pri otrocih in mladostnikih je izvedla A. Brugues Ortiz (2011). Na podlagi analize 16 raziskav o izvajalski anksioznosti pri otrocih in mladostnikih je prišla do zakljuèkov, da naj bi otroci le redko doivljali izvajalsko anksioznost, da pa se ta pojavi na prehodu v mladostništvo. Prav tako je ugotovila, da veèina raziskav poroèa o veèji stopnji izvajalske anksioznosti pri deklicah kot pri deèkih. E. Dempsey (2015) pa je opozorila, da so bolj zanesljive in veljavne raziskave, ki so bile izvedene pri starejših otrocih in mladostnikih kot pri predšolskih otrocih, saj šele v mladostništvu otroci postanejo samorefleksivni, po drugi strani pa laje ubesedijo svoje doivljanje. Ugotovila je tudi, da obstajajo razlike v intenzivnosti doivljanja izvajalske anksioznosti, pri èemer so mladostniki poroèali o intenzivnejših simptomih izvajalske anksioznosti kot otroci. 36 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Doivljanje izvajalske anksioznosti glede na spol, izvajalske izkušnje ter izbrani inštrument Veèina izvedenih raziskav potrjuje razlike v doivljanju izvajalske anksioznosti glede na spol enske poroèajo o intenzivnejšem doivljanju izvajalske anksioznosti kot moški (Brugues Ortiz, 2011; Habe, 1998, 2002; Iusca in Dafinoiu, 2011; Rae in Mc Cambridge, 2004; Osborne in Kenny, 2008; Ryan, 2004, 2005; Yondem, 2007, Wilson in Roland, 2002). Omeniti je treba, da je bil veèji dele navedenih raziskav o doivljanju izvajalske anksioznosti izveden s tehniko samoporoèanja, manj pogoste pa so bile fiziološke študije. e Abel in Larkin (1990) sta opozorila, da sicer enske res pogostokrat poroèajo o intenzivnejšem doivljanju izvajalske anksioznosti, vendar pa fiziološke meritve pokaejo intenzivnejše fiziološko vzburjenje pred nastopom pri moških, kar je v svoji raziskavi ugotovila tudi C. Ryan (2004). Tudi Nolen-Hoeksema (2012) ugotavlja, da so enske v stresni situaciji nagnjene k analiziranju, osredotoèijo se na negativne misli, obèutke in simptome stresa, kar povzroèi veèjo stopnjo izvajalske anksioznosti. Lerner (2011) povzema številne raziskave, ki potrjujejo, da enske od zgodnjih let dalje poroèajo o intenzivnejšem doivljanju izvajalske anksioznosti kot moški. Vendar pa po drugi strani tudi opozarja, da moški pri reševanju vprašalnika podcenjujejo ali celo zanikajo lastne obèutke anksioznosti, v sami izvedbi pa se negativni uèinki na uspešnost pri njih pojavljajo celo pogosteje. Pomembno vlogo pri doivljanju, predvsem pa pri spoprijemanju z izvajalsko anksioznostjo naj bi imele tudi izvajalske izkušnje. Hamann (1982, v Habe, 1998) je ugotovil, da naj bi se uèenci z dolgoletnimi izkušnjami igranja na inštrument bolje znašli na nastopu kot tisti z manj izkušnjami, saj naj bi razvili boljši obèutek izvajalske kompetentnosti. Tudi Biasutti in Concina (2014) med napovednike izvajalske anksioznosti poleg števila ur individualne vadbe na teden in strategij spoprijemanja s stresom umešèata izkušnje; v njuni raziskavi so študenti akademije za glasbo doivljali veèjo izvajalsko anksioznost kot poklicni glasbeniki. Po drugi strani pa je kar nekaj raziskav pokazalo, da izkušnje naj ne bi pomembno vplivale na doivljanje izvajalske anksioznosti; korelacije so bile nizke ali pa jih sploh ni bilo (Cox in Kenardy, 1993; Kirchner, 2003; Rae in McCambridge, 2004). J. Kirchner (2003) je tako npr. ugotovila, da profesorji glasbe z mnogoletnimi izvajalskimi izkušnjami doivljajo enako stopnjo fizioloških in psihiènih simptomov kot njihovi študenti, ki imajo precej manj izkušenj. Razlike glede na predhodne izvajalske izkušnje se pokaejo v naèinih spoprijemanja, kar posledièno vpliva na bolj pozitivna stališèa do nastopanja in do bolj uspešnega nastopanja. Kar se tièe razlik v doivljanju izvajalske anksioznosti glede na izbrani inštrument, so bile izvedene le redke raziskave. Iusca in Dafinoiu (2012) sta ugotovila, da godalci in pevci doivljajo pomembno veè izvajalske anksioznosti kot pianisti, pihalci in trobilci. Manning (2013) pa v svoji raziskavi poroèa, da naj bi najveè izvajalske anksioznosti doivljali pihalci, najmanj pa tolkalci in trobilci. Dodaja tudi, da se glede na igrani inštrument pokaejo razlike v vrsti najbolj izraenih simptomov izvajalske anksioznosti – tako je pri pihalcih najmoèneje izraen simptom izvajalske anksioznosti hiperventilacija, pri trobilcih potenje, pri godalcih hladne roke in pri tolkalcih napetost v mišicah. 37 Katarina Habe, Vida Kriè, DOIVLJANJE IZVAJALSKE ANKSIOZNOSTI UÈENCEV ... Empirièna raziskava Opredelitev problema, namen in cilji Izvajalska anksioznost je fenomen, s katerim se sreèujejo glasbeniki od samih zaèetkov nastopanja dalje in je prisoten celo pri vrhunskih glasbenikih. e uèenci v nijih glasbenih šolah se pri prvih nastopih zaènejo sooèati s simptomi, kot so potenje in tresenje rok, napetost v elodcu, plitvo dihanje in pospešeno bitje srca. Ti simptomi številnim glasbenikom onemogoèajo, da bi se prepustili glasbi in v nastopu uivali. Zato je pomembno, da prednastopno napetost pri otrocih ozavešèamo e od samih zaèetkov glasbenega nastopanja dalje in da profesorji inštrumenta/petja veèjo pozornost posvetijo tudi kakovostni psihièni pripravi na nastop. Glede na to, da je doivljanje izvajalske anksioznosti relativno slabo raziskano pri otrocih in mlajših mladostnikih ter da je to obdobje kljuèno v razvoju pozitivne izvajalske samopodobe, smo se v naši raziskavi osredotoèili na to populacijo. Osrednji namen naše raziskave je preuèiti doivljanje izvajalske anksioznosti pri uèencih glasbene šole na prehodu iz otroštva v mladostništvo; pri tem elimo osvetliti tudi razlike glede na spol in glede na izbrani inštrument ter ugotoviti, ali obstajajo razlike v doivljanju izvajalske anksioznosti glede na izraenost telesnih in miselnih simptomov, glede na èas in valenco prvih izkušenj z nastopanjem ter glede na to, ali otrok rad nastopa ali ne. Cilj raziskave je ponuditi vpogled v doivljanje izvajalske anksioznosti pri otrocih in mlajših mladostnikih. Raziskovalne hipoteze Hipoteza 1: Starejši mladostniki (13 15 let) v glasbeni šoli doivljajo izvajalsko anksioznost intenzivneje kot mlajši mladostniki (10 12 let). Hipoteza 2: Izvajalska anksioznost je pri dekletih v obdobju zgodnjega mladostništva bolj izraena kot pri deèkih. Hipoteza 3: Pri uèencih glasbene šole v obdobju zgodnjega mladostništva so telesni simptomi izvajalske anksioznosti moèneje izraeni kot miselni simptomi. Hipoteza 4: Obstajajo razlike v doivljanju izvajalske anksioznosti med razliènimi inštrumentalnimi skupinami uèencev glasbene šole v obdobju zgodnjega mladostništva. Hipoteza 5: Obstajajo razlike v doivljanju izvajalske anksioznosti pri uèencih glasbene šole v obdobju zgodnjega mladostništva glede na èas (H5.1) in valenco (H5.2) zgodnjih izkušenj z nastopanjem. Hipoteza 6: Uèenci glasbene šole v obdobju zgodnjega mladostništva, ki raje nastopajo, doivljajo manj izvajalske anksioznosti kot tisti, ki ne nastopajo radi. Hipoteza 7: Izvajalska anksioznost je pri uèencih glasbene šole v zgodnjem mladostništvu povezana z oceno pri inštrumentu (H7.1) in oceno nauka o glasbi ter solfeggia (H7.2). 38 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Metoda V raziskavi smo uporabili deskriptivno in kavzalno neeksperimentalno metodo empiriènega raziskovanja. Vzorec V raziskavo je bilo vkljuèenih 261 uèencev sedmih razliènih slovenskih nijih glasbenih šol, ki so bili stari od 10 do 15 let (M = 12,2). Od tega je bilo 103 (39 %) deèkov in 158 (61 %) deklic. Inštrumenti V namen raziskave je bil oblikovan anketni vprašalnik, ki se je izkazal kot zanesljiv (Cronbach = 0,87). Vkljuèeval je tudi Lestvico izvajalske anksioznosti (Habe, 2002) s 30 trditvami, ki jih posameznik ocenjuje na 5-stopenjski lestvici Likertovega tipa, pri èemer 1 pomeni sploh ni prisotno,5p azelo intenzivno izraeno . Merske znaèilnosti Lestvice izvajalske anksioznosti so ustrezne; potrjena je bila dvodimenzionalna struktura; 12 postavk se nanaša na telesne simptome, 18 na miselne. Zanesljivost lestvice je visoka (Cronbach = 0,93; Amon, Breèko, Gregorec in Horvat, 2015). Postopek Zbiranje podatkov je potekalo od 2. 2. do 7. 4. 2016. Podatki so bili zbrani s pomoèjo skupinskega apliciranja vprašalnika v razliènih glasbenih šolah. Pred tem so bila pridobljena ustrezna privoljenja s strani staršev, uèiteljev in ravnateljev glasbenih šol. Testiranje je trajalo priblino 15 minut in je bilo izvedeno na zaèetku ali na koncu pouka nauka o glasbi/solfeggia. Pridobljeni podatki so bili obdelani s programsko opremo SPSS. Za preverjanje razlik med mlajšimi in starejšimi mladostniki, razlik med spoloma, razlik v izraenosti telesnih in miselnih simptomov izvajalske anksioznosti ter glede na izkušnje z nastopanjem smo uporabili t-test. Za preverjanje razlik v doivljanju izvajalske anksioznosti glede na izbrani inštrument smo uporabili enosmerno analizo variance, za preverjanje povezanosti med doivljanjem izvajalske anksioznosti in ocenami pa Pearsonov koeficient korelacije. Rezultati in interpretacija Na podlagi opaanj iz prakse in na podlagi predhodnih raziskav (Brugues, 2011; Hendricks, Smith in Stanuch, 2014) smo predvidevali, da se bodo pojavile razlike v doivljanju izvajalske anksioznosti med starostno skupino mlajših (10 12 let) in starejših (13 15 let) uèencev glasbene šole. 39 Katarina Habe, Vida Kriè, DOIVLJANJE IZVAJALSKE ANKSIOZNOSTI UÈENCEV ... Tabela 1: Prikaz numerusa (N), aritmetiène sredine (M), standardnega odklona (SD), t-testa in pomembnosti razlik (p) v doivljanju izvajalske anskioznosti glede na starost NMS Dtp Mlajši (10 12) 157 68,43 22,416 1,255 0,211 Starejši (13 15) 104 71,88 20,537 Rezultati (Tabela 1) tega niso potrdili, èeprav je bilo opaziti, da uèenci, stari od 13 do 15 let, doivljajo izvajalsko anksioznost intenzivneje kot uèenci, stari od 10 do 12 let, vendar pa razlike niso bile statistièno pomembne. Na podlagi tega lahko zavrnemo prvo hipotezo. So pa dobljeni rezultati v skladu z raziskavo Dempseyjeve (2015), ki je prav tako ugotovila, da tako mlajši kot starejši uèenci doivljajo podobne simptome izvajalske anksioznosti, èeprav se je tudi v njeni raziskavi pokazal trend razlik v prid izrazitejših telesnih simptomov pri mladostnikih. Morda bi se razlike potrdile, èe bi merili fiziološke odzive in podatkov ne bi pridobivali s pomoèjo samoocenjevalne lestvice, saj tudi v predhodnih raziskavah opozarjajo na razlike v dobljenih rezultatih, èe izvajalsko anksioznost merijo s pomoèjo tehnike samoporoèanja ali s pomoèjo fizioloških meritev. Tabela 2: Prikaz aritmetiène sredine (M), standardnega odklona (SD), t-testa in pomembnosti razlik (p) v doivljanju izvajalske anksioznosti med deèki in deklicami MS Dtp Deèki 64,61 20,724 3,174 0,002 Deklice 73,19 21,735 Veèina predhodnih raziskav (Brugues, 2011; Habe, 1998, 2002; Nolen-Hoeksema, 2012; Osborne in Kenny, 2008; Yondem, 2007) ugotavlja, da obstajajo razlike v doivljanju izvajalske anksioznosti med spoloma, in sicer naj bi enske doivljale izvajalsko anksioznost intenzivneje kot moški. Tudi naši rezultati so pokazali pomembnost razlik med spoloma (Tabela 2), in sicer so deklice doivljale izvajalsko anksioznost intenzivneje kot deèki. S tem lahko potrdimo drugo hipotezo. Morda naj na tem mestu omenimo še zanimiv fenomen, na katerega opozarjajo nekateri avtorji (Abel in Larkin, 1980; Lerner, 2011; Nolen-Hoeksema, 2012), da se razlike v doivljanju izvajalske anksioznosti med spoloma pokaejo v prid deklicam, èe v raziskavah uporabimo lestvice oz. vprašalnike samoporoèanja; èe izvedemo fiziološke meritve, pa je pogostokrat situacija ravno obratna – deèki imajo bolj izraeno izvajalsko anksioznost. Avtorji pojasnjujejo, da so deèki bolj nagnjeni k zanikanju, deklice pa k analiziranju lastnih obèutkov. Tabela 3: Prikaz aritmetiène sredine (M), standardnega odklona (SD), t-testa in pomembnosti razlik (p) glede na izraenost miselnih in telesnih simptomov izvajalske anksioznosti MS Dtp Miselni simptomi 43,49 14,504 31,244 0,000 Telesni simptomi 24,19 7,593 40 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Preverjali smo tudi razlike glede na izraenost miselnih in telesnih simptomov izvajalske anksioznosti. Na podlagi predhodnih raziskav (Habe, 1998, 2002) smo predvidevali, da bodo telesni simptomi bolj izraeni kot miselni. Zanimivo se je v naši raziskavi pokazal ravno nasproten trend, in sicer so bili miselni simptomi pomembno bolj izraeni kot telesni (Tabela 3). S tem smo morali tretjo hipotezo ovreèi. Morda lahko to pripišemo temu, da na prehodu iz otroštva v mladostništvo uèenec postane izrazito samorefleksiven, kar pomeni, da se zaène v mislih ukvarjati z doivljanjem nastopanja in premlevati dogodke v zvezi s tem. Kennyjeva (2011) poroèa o uravnoteeni zastopanosti telesnih in miselnih simptomov pri mladostnikih, pri èemer so se kot najbolj izraeni pokazali sledeèi: visoka prièakovanja do sebe, prekomerno fiziološko vzburjenje pred ali med nastopom, slaba izkušnja z nastopanjem in negativne misli/skrbi glede nastopa. Tabela 4: Prikaz numerusa (N), aritmetiène sredine (M), standardnega odklona (SD), Friedmanove analize variance (F) in pomembnosti razlik (p) v doivljanju izvajalske anksioznosti glede na izbrani inštrument NMS DFp Inštrumenti s tipkami 97 68,10 21,306 0,576 0,749 Godala 24 66,46 18,175 Brenkala 41 70,15 20,453 Pihala 60 72,98 22,885 Trobila 27 70,41 22,517 Tolkala 8 67,63 32,998 Petje 4 80,25 20,887 Skupaj 261 69,80 21,712 Le redke so raziskave, ki so preuèevale razlike v doivljanju izvajalske anksioznosti glede na izbrani inštrument. Manning (2013) je s fiziološkimi meritvami potrdil razlike v izvajalski anksioznosti med razliènimi skupinami inštrumentalistov, Iusca in Dafinoiu (2012) pa sta ugotovila, da godalci in pevci doivljajo pomembno veè izvajalske anksioznosti kot pianisti, pihalci in trobilci. Naše predvidevanje o razlikah v doivljanju izvajalske anksioznosti glede na izbrani inštrument smo osnovali tudi na raziskavah o osebnostnih razlikah med razliènimi skupinami inštrumentalistov (Kemp, 2000). Dobljeni rezultati tovrstnih razlik niso potrdili, lahko pa opazimo, da pevci doivljajo obèutno veè izvajalske anksioznosti kot druge skupine izvajalcev (Tabela 4). Na podlagi tega zavrnemo èetrto hipotezo. Tabela 5: Prikaz aritmetiène sredine (M), standardnega odklona (SD), t-testa in pomembnosti razlik (p) glede na èas zaèetkov glasbenega nastopanja NMS Dtp Zgodnji zaèetki 218 68,47 20,929 2,249 0,025 Poznejši zaèetki 43 76,56 24,481 41 Katarina Habe, Vida Kriè, DOIVLJANJE IZVAJALSKE ANKSIOZNOSTI UÈENCEV ... Tabela 6: Prikaz aritmetiène sredine (M), standardnega odklona (SD), t-testa in pomembnosti razlik (p) v doivljanju izvajalske anksioznosti glede na pozitivne ali negativne prve izkušnje z nastopanjem NMS Dtp Pozitivne prve izkušnje 111 59,92 17,902 6,872 0,000 Negativne prve izkušnje 46 84,00 24,334 Glede vpliva izkušenj na doivljanje IA si raziskave niso enotne. Nekatere (Biasutti in Concina, 2014; Hamman, 1982 v Habe, 1998) poroèajo, da naj bi tisti z veè izkušnjami doivljali manj izvajalske anksioznosti, druge (Cox in Kenardy, 1993; Kirchner, 2003; Rae in McCambridge, 2004) pa razlik niso potrdile. Naši rezultati so v skladu s slednjimi, saj se je pokazal zgolj trend razlik v smeri veèje izvajalske anksioznosti pri tistih, ki so zaèeli nastopati kasneje (Tabela 5). Vsekakor so izkušnje pomembne, vendar pa vplivajo predvsem na uèinkovitost spoprijemanja z izvajalsko anksioznostjo (Kenny, 2011). Ni pa pomemben samo èas zaèetkov nastopanja, temveè tudi valenca. Naši rezultati kaejo, da tisti uèenci, ki so imeli pozitivne prve izkušnje z nastopanjem, obèutijo pomembno manj izvajalske anksioznosti kot tisti z negativnimi izkušnjami (Tabela 6). To potrjuje peto hipotezo in je v skladu s predhodnimi raziskavami (Osborne in Kenny, 2008; Ranelli, Smith in Straker, 2015). Tabela 7: Prikaz aritmetiène sredine (M), standardnega odklona (SD), t-testa in pomembnosti razlik (p) v doivljanju izvajalske anksioznosti glede na to, ali uèenci radi nastopajo ali ne NMS Dtp Radi nastopajo 189 64,41 19,673 7,098 0,000 Ne nastopajo radi 72 83,97 20,505 Optimalna izkušnja na odru zajema obèutenje zanosa, ki je povezano tudi s tem, kako radi nastopamo. Kadar smo v zanosu, izvajalsko anksioznost pretvorimo v optimalno izvedbo (Habe, 2010). Csikszentmihalyi (1990, v Csikszentmihalyi, 2014) v svojem modelu zanosa poudarja, da se anksioznost pojavi, kadar so izzivi visoki, sposobnosti oz. vešèine pa nizke. Ta model bi lahko v primeru glasbenega nastopanja dopolnili in sposobnostim oz. vešèinam dodali osebnostne predispozicije. Naši rezultati kaejo, da tisti, ki ne nastopajo radi, doivljajo veè izvajalske anksioznosti kot tisti, ki nastopajo radi (Tabela 7). Kognitivna ocena zaznane situacije je zelo pomembna pri odzivu na stresen dogodek, kar glasbeni nastop je. Stresor lahko zaznamo kot izziv ali kot gronjo in od tega je odvisen naš odziv (Habe, 2002). Tisti, ki radi nastopajo, enake simptome lahko doivljajo kot izziv, tisti, ki ne nastopajo radi, pa v njih vidijo gronjo. Dobljeni rezultati potrjujejo šesto hipotezo. Tudi M. Osborn in D. Kenny (2008) sta v svoji raziskavi poudarili pomen kognicij v zvezi z nastopanjem kot pomembnega elementa uspešnega spoprijemanja z izvajalsko anksioznostjo. Na koncu smo eleli preveriti še povezanost izvajalske anksioznosti s konèno oceno pri inštrumentu in konèno oceno pri nauku o glasbi/solfeggiu. Ugotovili smo, da je povezanost negativna in nizka, in sicer je s konèno oceno pri inštrumentu znašala 42 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek r= 0,18 (p = 0,003), s konèno oceno pri nauku o glasbi in solfeggiu pa je r = 0,14 (p = 0,021). Na podlagi tega lahko predvidevamo, da imajo tisti uèenci, ki doivljajo manj izvajalske anskioznosti, boljše ocene, po drugi strani pa morda tudi, da tisti, ki imajo slabše ocene, doivljajo veè izvajalske anksioznosti. Dobljeni rezultati potrjujejo sedmo hipotezo. K. Habe (2002) je v predhodni raziskavi potrdila tovrstno povezanost, opozorila pa je tudi, da izvajalska anksioznost prvenstveno vpliva na obèutke notranje uspešnosti (obèutki notranjega zadovoljstva ob izvedbi) in ne vedno na zunanjo uspešnost (pozitivni odzivi publike, kritikov, doseganje nagrad ipd.). Sklep Glede na to, da je prehod iz otroštva v mladostništvo kljuèen pri uspešnem obvladovanju prednastopne napetosti, saj v tem obdobju otrok postaja èedalje bolj samorefleksiven, hkrati pa tudi fiziološki simptomi postanejo intenzivnejši kot posledica hormonskih sprememb, smo se v naši raziskavi usmerili na preuèevanje doivljanja izvajalske anksioznosti pri uèencih glasbene šole, starih od 10 do 15 let. Ugotovili smo, da je veèina simptomov izraenih zgolj srednje ali nizko, kar pomeni, da veèina uèencev doivlja izvajalsko anksioznost v obvladljivi obliki. Na podlagi dobljenih rezultatov lahko zakljuèimo, da ne obstajajo razlike v doivljanju izvajalske anskioznosti glede na starost in da, èeprav starejši uèenci (13 15 let) doivljajo veè izvajalske anksioznosti kot mlajši (10 12 let), te razlike niso bile pomembne. Rezultati so pokazali, da so miselni simptomi izvajalske anksioznosti v zgodnjem mladostništvu bolj izraeni kot telesni in da deklice doivljajo izvajalsko anksioznost intenzivneje kot deèki. Glede vloge predhodnih izkušenj smo ugotovili, da imajo manj izvajalske anksioznosti tisti uèenci, ki so zaèeli nastopati v zgodnjem otroštvu, ki so imeli pozitivne prve izkušnje z nastopanjem in ki radi nastopajo. Razlike v doivljanju izvajalske anksioznosti niso bile potrjene glede na posamezne inštrumentalne skupine, so jo pa pevci v primerjavi z vsemi skupinami inštrumentalistov doivljali opazno veè. Pokazalo se je tudi, da je doivljanje izvajalske anksioznosti negativno povezano z zakljuènima ocenama pri inštrumentu in pri glasbenoteoretiènih predmetih. Izboljšave raziskave vidimo v izvedbi kvalitativne raziskave, ki bi ponudila bolj poglobljen uvid v doivljanje izvajalske anksioznosti pri otrocih in mladostnikih, dobro bi bilo preuèiti tudi naèine spoprijemanja z izvajalsko anksioznostjo pri tej populaciji, najveèjo uporabno vrednost pa bi imel longitudinalni eksperiment, s katerim bi preverjali uspešnost delovanja razliènih strategij obvladovanja izvajalske anksioznosti pri otrocih in mladostnikih. 43 Katarina Habe, Vida Kriè, DOIVLJANJE IZVAJALSKE ANKSIOZNOSTI UÈENCEV ... Literatura Abel, Jenifer L., Larkin, Kevin T. (1990). Anticipation of Performance among Musicians: Physiological Arousal, Confidence, and State-Anxiety. Psychology of Music, 18 (2), 171 182. Amon, Ana, Breèko, Zala, Gregorec, Ana, Horvat, Luc (2015). Psihometriène karakteristike Lestvice izvajalske anksioznosti (zakljuèno poroèilo iz vaj pri predmetu Psihometrija v šolskem letu 2014/2015). Maribor: Filozofska fakulteta, Oddelek za psihologijo. 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The association of music experience, pattern of practice and performance anxiety with playing-related 45 Katarina Habe, Vida Kriè, DOIVLJANJE IZVAJALSKE ANKSIOZNOSTI UÈENCEV ... musculoskeletal problems (PRMP) in children learning instrumental music. International Journal of Music Education, 33 (4), 390–412. Ryan, Charlene (2004). Gender differences in children’s experience of musical performance anxiety. Psychology of music, 32 (1), 89–103. Ryan, Charlene (2006). Experience of musical performance anxiety in elementary school children. International Journal of Stress Management, 12, 331 342. Tušak, Maks, Tušak, Matej (2003). Psihologija športa. Ljubljana: Znanstvenoraziskovalni inštitut Filozofske fakultete. Wilson, Glen D., Roland, David (2002). Performance Anxiety. V Richard, Parncutt and Garry, E. McPherson (Ur.), The Science and Psychology of Music Performance (str. 47 61). Oxford: Oxford University Press. Yondem, Zeynep Deniz (2007). Dysfunctional Attitudes and Gender in University Music Students. Social Behavior and Personality, 35 (10), 1415 1426. 46 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Summary In an early adolescence, children are extremely sensitive because of many developmental changes (Papalia, Olds & Feldman, 2003); they experience emotions that are more intense and on a cognitive level self-reflection and self-evaluation occur. According to Erik Erikson (1968, in Papalia, Olds & Feldman, 2003), children from 10 to 15 face two psychosocial challenges; they are supposed to develop a sense of self-competence, comparing themselves with others, and later from 12 years on, they are supposed to form their identity. All these numerous physiological and psychological changes reflect also on musical performance. Many music pupils in puberty start facing music performance anxiety (MPA) in a maladaptive way. According to Dianne Kenny (2011) MPA is a psycho-physiological phenomenon that occurs prior going on a stage and represents marked and persistent anxious apprehension related to musical performance that has arisen through underlying biological and/or psychological vulnerabilities and/or specific anxiety conditioning experiences. MPA exhibits through affective, cognitive, bodily, and behavioral symptoms. Habe (2010) defines MPA as a conglomerate of psycho- physiological symptoms, which are experienced in musicians on the continuum from total absence to total inundation with symptoms, and regarding to that lead to adaptive or maladaptive performing outcomes. The majority of studies on MPA has been executed on music students and professional musicians, eventhough musicians’ self-concept and self-esteem which represent a ground point for attitudes towards MPA start developing in childhood. Only a few researchers dedicated their research interest to exploring MPA in children and young adolescents (Brugues Ortiz, 2011, Dempsey 2015, Osborn & Kenny, 2008, Ryan 2006). Since we are convinced that early adolescence is crucial in developing healthy and realistic attitudes towards MPA, the aim of our study was to explore MPA in music pupils, aged from 10 to 15. Kriè (2016) reports that 25% music pupils, aged from 10 to 15 have positive attitudes towards performing, and that only 7% of music pupils have extremelly negative attitudes, all the others are some where in between. It is a good news, that 82% of music pupils enjoy while being of stage (Kriè, 2016). Eventhough they report symptoms, such as nervousness, palm sweating, higher blood pressure and worries about performing, the pupils are usually capable of succesful coping with the symptoms. 261 pupils from seven different Slovenian music school (103 boys, 158 girls), participated in the study. Music performance anxiety scale (Habe, 2002) was used for measuring the intensity of cognitive and somatic symptoms of MPA. The instrument has good psychometric characteristics (Amon, Breèko, Gregorec & Horvat, 2015). The results reveal that there are no differences in MPA between younger (10 -12 year olds) and older (13-15 year olds) music pupils in early adolescence. This is not in line with most of previous research (Brugues, 2011; Hendricks, Smith in Stanuch, 2014), eventhough Dempsey (2015) came to simmilar conclusions as we did. Regarding gender differences, the majority of previous studies report higher levels of MPA in female than in male musicians (Brugues, 2011; Habe, 1998, 2002; Nolen-Hoeksema, 2012; Osborne & Kenny, 2008; Yondem, 2007) and so does our study. We also wanted to explore differences in experiencing MPA in 47 Katarina Habe, Vida Kriè, DOIVLJANJE IZVAJALSKE ANKSIOZNOSTI UÈENCEV ... different instrumental groups. Some previous studies show that those differences exist (Iusca in Dafinoiu, 2012; Kemp, 2002; Manning, 2013). Our results did not confirm these differences, eventhough it could be observed, that MPA is consideravbelly higher in singers than in other groups of musicians. Considering the valence and timing of music performing experiences our results show, thar less MPA is reported in music pupils who started performing in early childhood, those with positive first performing experiences and those who enjoy being on stage. The relationship between experiencing MPA and final grades in instrumental/theoretical practice was confirmed. 48 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Milena Petroviæ 1 , Gordana Aèiæ 2 , Vera Milankoviæ 3 1,3 Fakultet muzièke umetnosti Beograd, 2 MŠ „Dr Vojislav Vuèkoviæ“ Beograd MUSICIANS’ FREE ASSOCIATIONS ON THE GIVEN MUSIC CONCEPTS Izvirni znanstveni èlanek / Original Scientific Article Abstract Free association is a mental connection or relation between thoughts, feelings, ideas or sensations. Association is an important and effective principle that is active in all instances of learning through accumulated experience. There is a considerable number of studies that deal with music stimuli provoking different associations. Therefore, association is the mechanism that connects music motif with extra musical description. Our aim was to induce associations in musicians, provoked by the given verbal music stimuli within group of musicians. We tested 184 musicians and used 30 verbal stimuli of music theory and history. The results show three categories: cognitive, emotional and sociological (CES). In cognitive associations we included frequently obtained metaphorical associations. In this paper we are interested in presenting the richness of metaphorical associations triggered by different music stimuli: harp, cello, adagio, dolce, staccato, crescendo and ritenuto. Metaphorical association stereotype is notable for Mozart and piano, while the identical or similar associations have been found for rhythmic and metric stimuli. There’s a frequency in associating 3/4 as waltz, 7/8 as folk and siciliana as geographical origin. The domination of social associations for rococo and jazz was expected. Keywords: associations, music terms, metaphors, verbal music stimuli, meaning in music Izvleèek Svobodne asociacije glasbenikov na dane glasbene koncepte Svobodne asociacije so mentalne povezave ali odnosi med mislimi, idejami ali obèutji. Asociacije so pomemben in uèinkovit princip, temeljeè na zbranih izkušnjah, ki je dejaven pri vsakem uèenju. Številne študije se ukvarjajo z glasbenimi spodbudami ki izzovejo razliène asociacije. Asociacije so torej mehanizmi, ki povezujejo glasbeni motiv z dodatnim verbalnim glasbenim opisom. Cilj raziskave je bil z danimi verbalnimi spodbudami sproiti ascociacije pri razliènih skupinah glasbenikov. Pri testiranju 184 glasbenikov smo uporabili 30 verbalnih spodbud s podroèij glasbene teorije in zgodovine. Rezultati so kazali tri kategorije asociacij: kognitivno, emocionalno in sociološko (CES). Med kognitivne asociacije smo vkljuèili pogostokrat izraene metaforiène zveze. V prispevku predstavljamo bogastvo metaforiènih asociacij, sproenih z razliènimi glasbenimi pojmi, kot so harfa, èelo, adagio, dolce, staccato, crescendo in ritenuto. Razviden je metaforièni asociativni stereotip med besedama Mozart in klavir. Identiène in zelo podobne asiciacije so bile izkazane pri ritmiènih in metriènih verbalnih spodbudah. 3/4 takt je bil pogostokrat asociiran z valèkom, 7/8 takt z ljudsko glasbo, siciliana pa z geografskim izvorom. Sociološke asociacije za rokoko in jazz so bile prièakovane. Kljuène besede: asociacije, glasbeni pojmi, metafore, verbalne glasbene spodbude, pomen v glasbi 49 Milena Petroviæ, Gordana Aèiæ, Vera Milankoviæ: MUSICIANS’ FREE ASSOCIATIONS ... Associations and Meaning in Music Meaning in music is a field which attracts a lot of attention of researchers and is an important theoretical base for our research. Since the same associations for specific music concepts have been used in continuity for over five centuries 1 , they have become a part of western culture. At the same time, associations have also become universal and have led to the creation of inherent associations between musical expression and emotion (Cooke, 1959). Some researchers equate emotions produced by music with musical meaning (Meyer, 1956; Cooke, 1959), while others do not view them within the context of meaning (Juslin and Sloboda, 2001). Music causes emotion based on acoustic qualities and styles of instrument playing, individual state of mind of the listener, as well as the context under which music is performed and consumed (Scherer, 2001). Listeners often remember past emotional experiences, which are something that findings, concerning activation of the hippo campus while listening to music causing the feeling of nostalgia, try to address (Juslin and Vastfjall, 2008). Freud was the first to speak of emotions as an important factor which affects memory and free association (Jones, 1964). Following the trail of associations, we come to the root of experience and sensation which has been caused by the first sensation. And so, the musical piece which we listen to can remind us of an event or person from the past because associative processes enable us access to unconscious areas of our personality. Because of this, not every listener will react in the same way to the same music, nor will the same person always experience the same music in the same way (Meyer, 1956). Many therapeutic techniques in psychology involve activities which resemble those from art. Associative thinking is one of those techniques. Beyond the therapeutic context, associations are mentioned for the first time in English philosopher John Locke’s 1690 essay – An Essay Concerning Human Understanding, only to be accepted much later as a common psychological principle related to the phenomenon of memory and recollection. In learning theory, they represent a process of creating mental connections between various sensations, ideas, or memories in connection with similarity, subtlety or resemblance, but also on the basis of pleasure (Thorndike, 1931). Last but not least, associations represent an important and effective principle in the learning process because it encompasses accumulated experience and can be used to stimulate the learning process (Ebbinghaus, 1885). The associative technique of learning often uses metaphors. Some scientists consider metaphors to be rooted in human experience and in turn they are also means to comprehension and organization of experience (Lakoff and Johnson, 2003). The description and experience of music is founded on concepts from non musical fields of human experience (Eimer and Timmers, 2010), and so the connection between musical and visual context has been thoroughly researched (Cook, 1998). Hanslick has written that 50 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek 1 In the period between 1400 and 1950, positive emotions were connected to major chords, and negative emotions to minor chords (see Meyer, 1953). the metaphor is the only solution when describing sound and motion and that musical analysis is, in its essence, metaphorical (Hanslick, 1957). Musical meaning is hidden in metaphors (Zbikowski, 2002), and so metaphorization appears as a basic mechanism in the conceptualization of musical elements (Antoviæ et al., 2016). When talking about verbal description of the musical experience, we risk relying on two different approaches: some scientists think that language is insufficient to explain the essence of musical expression, meaning and experience (Karbusicky, 1987), while others claim that words themselves transform hidden meaning into musical meaning (Cook, 1998). The use of verbal information within the listening capabilities is present in many methodological studies. The verbal description of music offers researchers rich sources of information (Haack, 1992): “Language communication is based on many musical elements, while the description of personal reactions caused by music is located in the center of learning music and the musical experience” (Flowers, 2002: 45). Sometimes, researchers group and systematize received verbal responses from subjects, and received affective and associative responses could be used as ideas for creating new instructions for music listening (Johnson, 2003). In contemporary theory, the meaning of associations which have been received can be intra-musical, musical genetic and extra-musical (Koelsch, 2013), and can so be perceived in the context of inherent and arbitrary associations (Antoviæ et al., 2016). With inherent meaning, the symbol and marker belong to music (Green, 2010), so understanding of the inherent meaning depends on the listeners’ competence. Research Methodology Differing from investigations which deal with associations caused by music stimuli (listening to music), in literature we do not find investigations which examine free associations received from verbal stimuli which relate to music concepts. In this very fact we found the inspiration for our research. Considering that the quality and type of associations in this case are significantly affected by the listeners’ competence, the specimens of this research could only have been musicians (professionals and amateurs). Therefore, testing non musical subjects would result in a completely different quality and reach of associations which, for us, would not be relevant in the given context of research. 2 The aim of the research was to affirm the array, richness and nature of associations on music concepts in different groups of musicians. Procedure The act of investigation encompassed free association test subjects with a total of 30 proposed music concepts which were grouped in 6 areas: 1) Musical instruments (piano, guitar, saxophone, harp, cello), 2) Rhythm and time signature (3/4, syncope, 7/8, 51 Milena Petroviæ, Gordana Aèiæ, Vera Milankoviæ: MUSICIANS’ FREE ASSOCIATIONS ... 2 The potential width and quality of associations of the non musicians could be the subject of a different focus in the research of free associations which would, by its nature, belong to the field of semiotics (general theory of meaning). siciliana), 3) Composers (Mozart, Vivaldi, Tchaikovsky, Mokranjac, Schoenberg), 4) Style (Rococo, Classical, Romanticism, Jazz, Expressionism), 5) Tempo (adagio, ritenuto), character (dolce) dynamics (crescendo), articulation (staccato), 6) shape – form (sonata, scherzo, concert, solo song, symphony). Researchers wrote down the answers of the subjects from the List of Free Associations, which contained the given music concepts, category of subjects (see specimen catalog), as well as their answers. The examination was released between October and December of 2015. The associations that were received were put to quantitative and qualitative analysis. Considering the exploratory nature of this research, the data treatment pertained only to frequencies. The quantitative analysis pertained to the total number of various associations on a given music concept, as well as the number of subjects which had the same association to the given concept. In the qualitative analysis we grouped the delivered associations into three basic categories, based on the theoretical model we proposed. Having considered the received answers from the subjects, we decided to group them into three basic categories: cognitive, emotional and sociologically conditioned associations (CES). This division stems from the nature of the music experience, which is by its characteristics, always a combination of cognitive, emotional and sociological components of the human experience. We assorted the received metaphorical associations into the group of cognitive associations, because they were previously determined by knowledge. Emotional associations are prompted by emotions caused by memories of music which correlates to verbal stimuli (up until now, emotions have been explored in connection to auditive music stimuli, see Juslin and Sloboda, 2001). Sociological associations have been culturally conditioned in advance. Participants Having sampled a total of 184 musicians we have had 75 professors of different profiles on all levels of music education, 97 students from the Faculty of Music in Belgrade and 12 music amateurs, meaning self taught musicians-performers, without formal music education. The structure of the participants is located in Chart 1. Chart 1. Structure of participants 52 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek The group of professional musicians consists of teachers and professors of solfeggio (33) and instrument teachers (42), and non performing students (54) (music education, music theory, musicology, ethnomusicology, composing) and students of the performance departments (43) (instrumental, jazz, conducting). The structure of tested subjects is shown in Chart 2. Chart 2. Structure of examined subjects Results For the first group of music concepts, in which there are five musical instruments (piano, guitar, saxophone, harp and cello), cognitive associations are most often attained, with a lesser number of emotional and sociologically implied associations. It is interesting to emphasize the growing number of metaphorical responses in relation to the type of music instrument: piano and guitar got the least number of responses, while the cello and harp got the most metaphorical responses (Chart 3). The progression of metaphorical associations concerning different musical instruments can be viewed in Table 1. Chart 3. The procuration of metaphorical responses for music instrument 53 Milena Petroviæ, Gordana Aèiæ, Vera Milankoviæ: MUSICIANS’ FREE ASSOCIATIONS ... Table 1. Representation of metaphors for musical instruments Number of delivered metaphors Piano 9 Guitar 9 Saxophone 15 Harp 30 Cello 32 woman, elephant, I, height-depth, white-black, zebra, flower, crystals, love woman, pear, Spain, skiing, dismal, warm, hole, gentle, freedom man, sex, sexy, sensual, loneliness, gold, yellow, black, greasy, wood, wine glass, beak, alphabet, noise, Lisa Simpson sea, lake, river, aquarium, swimming, woman, girl, fairy, siren, hair, angel, heaven, cherubs, psalms, church, fresco, divine, wealth, calm, never land, wind, sky, cloud, bird, Orpheus, lyre, Ancient, Ancient Greece, triangle, fan woman, femininity, female body, body (4) 3 , pear, sex, subtle eroticism, passion, warm, big man, height, sky, depth (7), water, sorrow, mist (2), dark (2), livid, brown, soft, bear, elephant, snail, swan, tree, wine, wind, feather, nail, furniture, nasal congestion, boredom It is interesting that, in the answers of the questionees of different groups on music instrument concepts, we find associations to women (piano, guitar, harp, cello), while associations to men are only found in the saxophone term (sex, sexy, sensual), and the stimulus received from cello brings somewhat moderate sexual associations (femininity, the female body, sex, subtle eroticism, passion; Table 1). In relation to this, we should mention investigations that deal with the relationships between musical instruments and gender. In one of them, stereotypes dealing with the relationship between gender and choice of musical instruments were investigated (Abeles and Porter, 1978). Certain instruments are experienced as male (for instance – trumpet, trombone and percussion instruments), and female (flute, violin and piano), while some are perceived as gender neutral (saxophone and cello; Crowe, 2010). Investigations deal with answering the question if and how the color (timbre) of an instrument effects the listeners emotional perception of assigned melodies (Hailstone et al., 2009), but also with the connection between the selection of musical instruments and timbre preferences, character traits and gender (Payne, 2010). The largest number of metaphorical answers received is from the tempo and its micro-modifications (ritenuto), character (dolce), dynamics (crescendo) and articulation (staccato) (Chart 4). An inspection of delivered metaphorical associations can be found in Table 2. 54 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek 3 Numbers adjacent to associations indicate the number of subjects which associated to the same term. Chart 4. The amount of metaphorical responses regarding tempo, character, dynamics and articulation Table 2: Metaphors regarding tempo, character, articulation and dynamics Number of metaphors Adagio 27 Dolce 29 Staccato 35 Crescendo 38 Ritenuto 39 sorrow (2) 4 , dream (2), composed, old age, ghastly, funeral procession, mourning day, melancholy, pain, calm sea, peace, lazy, turtle, flatland, tide, stretched out, pondering, meditation, timeless, car, middle, pink, blue, aristocratic, pizzeria I, nice, love, baby, heart, sympathy, being in love, apple, carousel, childlike, little doll, ice cream, pie, candy, chocolate, sugar, coffee, soft, thin, load, emptiness, tenderness, motherly affection, elegant, clothes, gabbana, vita, dolce vita, perfume I, in effect, direction, flickering, jump, jumping, hopping, bouncing, over leap, rope jumping, goat jumping, chopping, step, standing on toes, ouch-ouch hot, short, tiny, dot, sharp, imperious, cracking, jerking, happiness, joy, children, waking up, asphyxiation, bells, sizzle, gay, prodding, pins, porcupine, raindrops, rain hitting a drainpipe stormy (2), strength, lift off, rush, tension, forward, Charge!, scream, neurotic, excitement, condensation, growth, passion, anxiety, enlargement, raising of dough, slide, gradual, turning the dial on the radio, energy, enlargement, lifting, running, angry woman, wind, alcohol, expression, wavy hair, wave, rough, tide, announcement, freedom, development, culmination, inspiration delay (2), relief (2), dying, the end, tiredness, the fall, the dusk of life, disappearance, watering down, pause, halt, holding off, tightening, pausing, stop, a train slowing down, calming, steps, breathing, sleeping, rest, bed, journey to space, smell, sudden, abrupt, unnecessary, exaggeration, limping, tripping, ice skating, Vojvodina, width,breaking, getting ready, dimming, fear, life 55 Milena Petroviæ, Gordana Aèiæ, Vera Milankoviæ: MUSICIANS’ FREE ASSOCIATIONS ... 4 The numbers in brackets next to associations indicate the number of subjects that associated the same term. Expected and predictable associations in our research have been acquired for stimuli which are connected to the second group of concepts – meter and rhythm. The waltz was the most common answer for the 3/4 concept. The 7/8 time received the largest amount of answers which point to geographical descendancy – Macedonia, Balkans, Kosovo, Southern Serbia, Vranje, Niš and so on, as well as belonging to an ethno or folk sound. Italy, Sicily, pizza, spaghetti and so on, were the largest amount answers for the term siciliana. The term upbeat most often was associated to: inhaled breath, breath or air, as well as breathing, strange breathing, suffocation, time, waiting, immediately, a swing, flight, takeoff, bird, preparation, greeting, oops, ugh, tennis, work out, step, pounce, exclamation mark, ledge. Syncope resulted in metaphorical answers among the questionees, such as: stone, lady, drama, gondola, footstep, extension, leap, spiral, shorter leg, hiccups, arrhythmia, chopped, apple, hoe, rest, Hungary, Africa. At the same time, this group of concepts resulted in the least metaphorical associations. The associations concerning composers are dominated by mainly conventional metaphorical associations: Mozart – balls, wig, hair, child, heavens, Vienna, Salzburg, Austria. The least conventional and unusual – more individual – metaphors relating to Tchaikovsky – blue, fear, suffering, sulking, darkness, night, snow, stairs, porcelain tea set. Styles of music, as stimuli, produced the most sociologically conditioned associations. Rococo is in the lead here – cleavage, powder, dress, pantaloons, wig, lace, declamatory, kitsch, artificial, costumed movies, ballerinas, cake, flower, pearl, bird, saloon, parrot, the sound of a kiss (a very rare onomatopoeic answer), furniture, cathedral, building, baroque, tragedy, stone (we assume this is a metaphor which is conditioned with the translation from the English word rock). The most common associations with jazz are also sociologically conditioned: blacks, party, club, smoke, night, life, freedom, Statue of Liberty, challenge, but also boredom. Among the answers to the given music concepts which pertain to shape and form (sonata, scherzo, concert, lied, symphony), the most metaphorical answers were received for the term scherzo: violet, dress, grasshopper, turn, speed, devilish, impertinence, addition, pepper, croqui, arlecine, joke, jest, witty, funny, good mood, hanging out, toys, but also a forced joke and – everything but a joke. The term concert did not produce a large number of metaphorical answers among the questionees. They responded mostly with sociologically conditioned responses, probably duo to the doubly meaning of this term: Kolarac 5 , smell of the tree at Kolarac, elegant attire, tuxedo, black shoes, dismay and so on. Conclusion The abundance of received material on the basis of the results offers possibilities for many analysis and deeper investigations. However, the authors of this investigation were, at this moment, much more interested in displaying the received metaphorical associations. 56 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek 5 A famous concert hall in Belgrade, Serbia. Metaphors are frequently used in education to explain a concept, assist in the analysis of data, aid in the understanding of new ideas and for clarifying complex systems. Teachers naturally use metaphors to make new and unfamiliar concepts more meaningful to learners by connecting what is already known to what is being learned. According to Conceptual Metaphor Theory (CMT; Lakoff & Johnson, 1980), metaphors consist of mappings between a concrete, source domain and a more abstract, target domain. They are, accordingly, one of the best ways to examine how people conceptualize experiences, things and events in music. The amplification of metaphorical association has been established in the answers to verbal stimuli of harp and cello (Table 1 and Chart 3). The answers often implicated that musicians identify with their instruments, they personify them – give them traits, a look and shape of a human: a woman is a common association for the piano, guitar, harp, cello, while the saxophone is associated with a man. Expected and conventional metaphors for stimuli were received, such as 3/4 (waltz), 7/8 and siciliana (answers for these two terms are most often related to their geographical background). Frequent occurrences of sociological metaphors were noticed in the answers of the questionees concerning stimuli such as jazz and rococo, while a stereotype of metaphorical associations was observed in the answers to verbal stimuli piano and Mozart. The largest number of metaphorical associations was received for music terms which relate to tempo, character, articulation and dynamics (Table 2). We assume that the reason for such a result is the possible relation of these terms with a particular movement which can be found in everyday human activity (Giordano et al., 2014). The opposite case can be noticed in the relationship with the interpretative (non)maturity of the stimulus scherzo: the range of associations goes from “joke” to “forced joke”, as well as “prank” to “all but prank”. An amplified ego was noticed in a small number of questionees in the answer to the verbal stimuli piano and concert (“me”, “that’s me”). Finally, regardless of the small number of tested amateur musicians, a more expressed metaphorical association was noticed compared to the students. Interestingly, a small number of onomatopoeic responses was received (ouch-ouch hot, the drumming of rain on a drain, the sound of a kiss), because it may be possible that an onomatopoeia is not relevant to the formation of meaning (see Antoviæ et al., 2016). No physically conditioned association was received (such as, for instance – shivering, see Lerdahl and Jackendoff, 1983), probably because questionees were given verbal, and not concrete music stimuli. The aggravated verbalization of two professional performers was most probably created due to their primary emotional experience of music. Only a few questionees expressed anxiety with free associations, believing that their answers would be “wrong”, “inappropriate” or that they would reveal some aspects of their personality. Implications In a contemporary education, there is a change of focus from behavioral and cognitive paradigm to more humanistic one, which emphasizes the role of emotions in mental processing. This research enlightens the latter, since it explores associations that are 57 Milena Petroviæ, Gordana Aèiæ, Vera Milankoviæ: MUSICIANS’ FREE ASSOCIATIONS ... colored with emotions. It is important that music education begins with accenting the experience which music causes, so personal emotions caused by listening to and performing music should be discussed. Students need to go from understanding the material as presented to generating their own thoughts about it. The dominant school practice implies students as passive receivers of information that had been packaged and predigested by teachers and textbooks. But, learning is primarily an activity which arises from the personal experience and though the scientific systematization of human experience presents the highest attainment in the evolution of the mind of man. Learning becomes personally meaningful only if the educational process is a constant reorganization and transformation of experience. We assume education could grow only when combining past with present experiences in order to receive and understand future experiences. The authors of this research assume that rich associative thinking, metaphoric associations and a personal relationship associating to music terms could create better music understanding. Thus the educational process should consist of social and emotional learning that is intimately linked with cognitive development. Or to put it another way, only cognitive activities combining social and emotional learning pave the way for better academic learning and make learning meaningful. During the analysis of the results – verbal answers of the quesionees based on the proposed music concepts, we received some insights which provide basis for future consideration of the problem of music concept, music theory, history and music education. Our idea for the future is that received verbal metaphors can be used to enhance motivation, attention and understanding through a particular form of associative thinking concerned with metaphorical reasoning. The logical consequence is the integrative learning that can involve usefully blending knowledge and skills from different disciplinary areas as a catalyst for teaching across curriculums. The ability to think broadly across disciplines is becoming an increasingly critical component of a quality 21 st century education. Music may well be the most powerful and effective educational tool to meet this educational need, providing students with quality integrated learning opportunities. The results of this research inspired the authors to think about the benefits of an integrative approach to learning music from early stages of education (Petroviæ and Milankoviæ, 2013). This approach to learning involves the integration of auditive, visual, kinesthetic and a tactile way of learning, which would comply with the activation of all senses in perception and cognition of music. As the music experience moves from the right into the analytical intellectual left hemisphere, we think that all music terms and concepts, during the process of music education, should be introduced in the following order: sound › student as a recipient and emotional music processor › translation and re-connection of the emotional experience with the cognitive treatment (a phase of understanding and cognition) › participation of all modalities of senses in the reproduction of the experienced and learned (visual-spacial and tactile-kinesthetic sensory modalities). This approach, from experience to cognition, is not only important because it connects the hemispheres 58 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek and enhances their cooperation, but associative learning can induce stimulus-specific plasticity and drive their changes very early in sensory systems. 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Implementing Musical in an Integrated Curriculum for Primary School. In G. K. Konkol and M. Kierzkowski (Eds.), Competences: International Aspects of Music Education, Vol. 2 (pp.90-101). Gdansk: The Stanislaw Moniuszko Academy of Music in Gdansk. Scherer, K. R. & Zentner, M. R. (2001). Emotional Effects of Music: Production Rules. In P. N. Juslin &J. A. Sloboda (Eds.), Music and emotion: theory and research (pp.361-392). New York: Oxford University Press. Thorndike, E. L. (1931). Human Learning. New York: The Century Co. Zbikowski, L. M. (2002). Conceptualizing music: Cognitive structure, theory and analysis. New York: Oxford University Press. 60 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Povzetek Prispevek uvodoma obravnava vlogo asociacij pri razumevanju glasbenih konceptov, pomena glasbe in emocij, ki jih sproa glasba. Asociativno mišljenje je obravnavano kot temeljni princip uèenja. Uporablja se tudi kot psihološka terapevtska tehnika. Posameznik gradi asociacije na osnovi akumuliranih preteklih izkušenj. Pri asociativni tehniki uèenja se vedno uporabljajo metafore. Hanslick (1957) je menil, da zvok in glasbeni potek lahko opišemo le metaforièno in da je glasbena analiza v svojem bistvu metaforièna. Tudi Zbikowski (2002) in Antoviæ idr. (2016) pravita, da je glasbeni pomen skrit v metaforah in da osnovni mehanizem pri konceptualizaciji glasbenih elementov temelji na metaforiki. V literaturi ne zasledimo raziskav, ki bi preuèevale svobodne asociacije, sproene z verbalnimi spodbudami: z glasbenimi koncepti in pojmi. V raziskavi, izvedeni od oktobra do decembra 2015, smo preuèevali vrste in bogastvo asociacij ter njihovo naravo glede na akumulirane izkušnje pri razliènih skupinah glasbenikov. Testiranih je bilo 184 oseb, med katerimi je bilo 75 profesorjev glasbe in 97 študentov glasbe s Fakultete za glasbo v Beogradu ter 12 glasbenih amaterjev. Uporabljen je bil test svobodnih asociacij, ki je vkljuèeval 30 verbalnih spodbud – glasbenih pojmov in konceptov s šestih podroèij: 1. glasbeni inštrumenti; 2. ritem in taktovski naèini; 3. skladatelji; 4. glasbeni stil in zvrst; 5. tempo, karakter, dinamika, artikulacija, 6. glasbena oblika. V raziskavi je bil uporabljen Seznam svobodnih asociacij, ki je vkljuèeval dane glasbene pojme in koncepte z navedenih kategorij in ponujene odgovore. Zbrani povezani pojmi so bili obdelani s kvantitativno in kvalitativno analizo. Pri kvalitativni analizi so bile asociacije razvršèene v tri kategorije: kognitivno, emocionalno in sociološko. Rezultati so pokazali bogastvo metaforiènih asociacij, sproenih z razliènimi glasbenimi pojmovnimi spodbudami. Odgovori na verbalne spodbude, povezane z glasbenimi inštrumenti, so pokazali, da se glasbeniki identificirajo s svojimi inštrumenti. Pripisujejo jim èloveške lastnosti, videz in obliko. Asociacija enske je bila najveèkrat povezana s klavirjem, kitaro, harfo in èelom, asociacija moškega pa s saksofonom. V skladu s prièakovanji so bili tudi rezultati, povezani z metaforami, ki jih sproajo 3/4 takt (valèek), 7/8 takt (ljudska glasba, geografsko poreklo), sicciliana (geografsko poreklo). Sociološke metafore so bile najpogosteje razvidne pri verbalnih stimulih, ki so se nanašali na glasbeno zvrst in stil (jazz, rokoko). Rezultati so potrdili metaforièni asociativni stereotip med besedama Mozart in klavir. Najveèje število metaforiènih asociacij so sproile verbalne spodbude, ki se nanašajo na tempo, znaèaj, artikulacijo in dinamiko. Pri glasbenem pouku uèitelji pogostokrat uporabljajo metafore za razlago glasbenih pojmov in konceptov, za analizo podatkov in kot pomoè uèencem pri razumevanju komplesnih sistemov glasbenega izraanja in novih idej. Uèitelji prek asociacij povezujejo kar je e znano in usvojeno z novo in uèencem neznano snovjo. V sklepnem delu prispevka so podani predlogi za implementacijo raziskovalnih rezultatov v pedagoško prakso. 61 Milena Petroviæ, Gordana Aèiæ, Vera Milankoviæ: MUSICIANS’ FREE ASSOCIATIONS ... 62 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Tina Bohak Univerza v Ljubljani, Akademija za glasbo »HOÈEM POSTATI PEVKA« – IVLJENJSKA IN USTVARJALNA POT KONCERTNE PEVKE, ALTISTKE MARIJE BITENC SAMEC Izvirni znanstveni èlanek / Original Scientific Article Izvleèek Altistko Marijo Bitenc Samec uvršèamo med najizrazitejše koncertne poustvarjalke 2. pol. 20. stoletja. Poleg solistiène kariere je bila zelo dejavna kot komorna glasbenica, v 80. letih je aktivno delovala tudi kot drubenokulturna delavka. Koncertni repertoar Marije Bitenc Samec je obsegal baroène in operne arije, kantate, partizanske pesmi ter samospeve slovenskih in tujih skladateljev. Kot cenjena umetnica je med drugim praizvedla samospeve dr. Danila Švare, Lucijana Marije Škerjanca, Alojza Srebotnjaka, Zvonimirja Ciglièa in drugih. Koncertirala je po nekdanji Jugoslaviji, Avstriji, Italiji in Belgiji, na radiu in televiziji pa je razen v navedenih deelah nastopala še v Zahodni Nemèiji, Franciji in Veliki Britaniji. Leta 1990 je kot pobudnica in organizatorka izpeljala postavitev spomenika njenemu profesorju Juliju Betettu pred ljubljansko Opero. V prispevku elimo dosedanja vedenja dopolniti, nadgraditi in strniti ter celovito predstaviti in ovrednotiti ivljenje in delo Marije Bitenc Samec ter njen pomen za zgodovino slovenske glasbene poustvarjalnosti, predvsem na podroèju koncertne poustvarjalnosti. Kljuène besede: Marija Bitenc Samec, altistka, koncertna poustvarjalka, ivljenjska pot, ustvarjalna pot Abstract “I want to become a singer” – The Life and Creative Path of the Concert Singer, Alto Marija Bitenc Samec Alto Marija Bitenc Samec is one of the most prominent concert performers in the second half of the 20 th century. Besides her solo career she was also very active as a chamber musician. In 80s, Marija Bitenc Samec had been also actively working as a sociocultural worker. The concert repertoire of Marija Bitenc Samec covered baroque and operatic arias, cantatas, partisan songs and songs of Slovenian and foreign composers. As a respected artist she performed lieds of dr. Danilo Švara, Lucijan Marija Škerjanc, Alojz Srebotnjak, Zvonimir Cigliè and others for the very first time. She often recreated lieder of Slovenian composers outside of our borders and so she helped carried the mother language in various European countries. Her concerts took place from former Yugoslavia through Austria, Italy to Belgium. She performed, besides previously mentioned countries, also on radio and television in West Germany, France and in Great Britain. In 1990, she was the initiator and organizer of setting a monument of her professor Julij Betetto in front of Ljubljana Opera House. In this article we wish to complete, upgrade, consolidate and evaluate the life and work of Marija Bitenc Samec, as well as her contribution to the history of Slovenian musical performances, especially in the field of concert performances. Keywords: Marija Bitenc Samec, alto, concert singer, life path, creative path 63 Tina Bohak, »HOÈEM POSTATI PEVKA« – IVLJENJSKA IN USTVARJALNA POT ... Marija Bitenc Samec se je rodila 12. julija 1932 v Ljubljani. Oèe Vinko Bitenc (1895–1956) je bil znani slovenski pisatelj, pesnik, dramatik in esperantist. Med njegova najbolj prepoznavna dela sodita roman za odrasle z naslovom Sonène pege (1934) ter lirièna pravljica z naslovom Zlati èeveljèki (1935), ki so jo priredili tudi za televizijsko predvajanje. Obe deli sta bili izdani pri ljubljanski Vodnikovi drubi. 1 Po prvi svetovni vojni je študiral dramsko igro in reijo pri Avgusti Danilovi na ljubljanskem konservatoriju, prav tako je imel solidno glasbeno izobrazbo – igral je citre in klavir. 2 Mati Adela, rojena Povalej, je bila sicer doma iz Celja, a se je po poroki leta 1929 preselila v enodruinsko hišo v Vimarje (hišna številka 135). Tam je imela trgovino z mešanim blagom ter skrbela za dom. Leta 1931 se je Vinku in Adeli rodil prvorojenec, sin Vinko ml., ki je kmalu po porodu umrl, leto za tem pa hèi Marija, ki je kot edinka postala oèetova ljubljenka. Kršèena je bila v upnijski cerkvi sv. Vida v Šentvidu nad Ljubljano kot Marija Friderika, a svojega drugega imena ni nikoli uporabljala. Njena krstna botra je bila Terezija Horvat iz Šiške, ki je stanovala v hiši na Remizi in sta jo z oèetom velikokrat obiskala. 3 Oèe Vinko, ki je bil tudi Marijin vzgojitelj in mentor, jo je v otroštvu poimenoval z vzdevkom Minka oz. Minkica. Dobila ga je po oèetovi starejši sestri, ki je umrla zaradi tuberkuloze. 4 Tako ne èudi, da je leta 1935 pri Vodnikovi drubi izšla lirièna pravljica z naslovom Zlati èeveljèki, in sicer z ilustracijami Janka Omahna, kjer je protagonistko predstavljala ravno Minka. 5 Osnovno šolo je Marija obiskovala v Šentvidu. V otroštvu je sama in v duetu z oèetom rada prepevala. Kot je sama dejala, je e pri šestih letih vedela, da bo pevka. 6 Veèkrat sta hodila na sprehode in prav on ji je priblial ljubezen do lepote, narave in kulturne dedišèine. 7 Oèe je zelo zgodaj opazil Marijino nadarjenost za glasbo in ji odprl vrata v svet umetnosti, glasbe in knjievnosti. 8 Uèil jo je slovenskih narodnih pesmi, kot npr. Zabuèale gore, Gor èez izaro, Ko ptièica sem pevala in druge. 9 Bitenc Samec se spominja, da so slovenske narodne pesmi prav zaradi oèeta pustile poseben peèat v njenem ivljenju. V osnovni šoli je imela poseben zvezek, v katerega je med drugim v spisu Kaj bom postala kot tretješolka zapisala: »Zazrla sem se globoko v umetniško ivljenje. Spoznala sem, da je najlepše, èe lahko zapoješ kakšno lepo operno arijo. Ne vem, ali sem tragiko tako zelo vzljubila zato, ker sem tudi sama tako zelo tragièna. […] Hoèem, èe bo le mogoèe, postati pevka. S tem zakljuèujem svoj spis. Minka Bitenc, 3. r.« 10 Otroška srèna elja se je Mariji v prihodnjih letih izpolnila v vsej polnosti. Med drugo svetovno vojno je oèe zaradi svojega poklica doivel marsikatero bridko izkušnjo in posledièno z njim tudi vsa njegova druina. Med nemško okupacijo je bil 64 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek 1 Marjeta ebovec, »Knjievnik, ki je kopal strelske jarke«, Sobotna priloga Dela 58/164 (2016), 23. Dostopno na: http://www.delo.si/sobotna/knjizevnik-ki-je-kopal-strelske-jarke.html, obiskano 16. 12. 2016. 2 Prav tam. 3 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 4 Osebni pogovor z Marijo Bitenc Samec, 10. 12. 2016. 5 Leta 2009 je pravljico Zlati èeveljèki z izvirnimi ilustracijami ponatisnila Mohorjeva druba. Pravljico so prav tako uprizorili kot baletno predstavo za otroke in jo od leta 1983 veèkrat predvajali na RTV Slovenija. ebovec, »Knjievnik, ki je kopal strelske jarke«, prav tam. 6 Nada Kirbiš in Dušica Herman, »Marija Bitenc – Samèeva«, Pepita (november 1997), 68. 7 Prav tam, 66. 8 Prav tam, 67. 9 Prav tam. 10 M. Stante, »Marija Bitenc – Samèeva,« Tedenska tribuna 15/9 (1967), 8. zaposlen v Kranju (na Landratu), 11 na oddelku za ivilske karte. Nekoè so ilegalci precejšnje število kart ukradli in krivda je padla nanj. Nemci so ga zaprli in druino nameravali izseliti v Berlin, po eninem posredovanju pa na Dunaj, kjer je Vinko dobil slubo na obèini – prav tako na oddelku za ivilske karte, proti koncu vojne pa je moral kopati strelske jarke. 12 Mati Adela je bila v avstrijski prestolnici, kjer so bivali dve leti, oskrbnica hiše z zgledno urejenim vrtom, ki je bila last neke bogatašinje. 13 Tudi v novem okolju je Marija skupaj z oèetom na vrtu redno prepevala slovenske narodne pesmi, prav tako pa sta skupaj obiskovala operne predstave. e tedaj jo je uèil duet iz Puccinijeve opere Madame Butterfly (oèe kot Suzuki, Marija kot Butterfly), ki je Mariji še danes posebej pri srcu, saj si je to predstavo s starši na Dunaju tudi ogledala, in to v Dunajski dravni operi, kjer je vlogo Pinkertona pel znameniti bolgarski tenorist, Wenko Wenkoff (1921–1992). 14 Kot se spominja, so sedeli v peti vrsti in kot deklico jo je opera izjemno ganila. O spominu na to predstavo pravi: »Opera Madame Butterfly ima globino, vzbuja mi posebne spomine – na oèeta, na najzgodnejše otroštvo.« 15 Druina je redno obiskovala cerkev sv. Štefana, kjer so med drugim izvajali Haydnove in Bachove maše, peli pa so najrazliènejši operni pevci in zbor Dunajskih deèkov. Spominja se, da si je oèka, kot ga je imenovala, zelo elel, da bi postala sopranistka, a ji je usoda namenila lahten in krasen alt. 16 Po vojni se je druina Vinka Bitenca z velikimi upi vrnila v Slovenijo, a doivela bridko razoèaranje. Druina, ki je ivela v njihovi nedograjeni hiši na Jeici, je Vinka lano ovadila sodelovanja z okupatorjem. Takratna oblast je laem verjela in jim hišo zasegla, oèetu pa odvzela status knjievnika. 17 Ker doma niso veè imeli, so se Bitenèevi za tri leta preselili k Marijini stari mami v Celje. V knejem mestu je obiskovala gimnazijo in se s štirinajstimi leti prièela uèiti tudi petja na glasbeni šoli pri sopranistki Heleni Lapajne, 18 sicer uèenki vplivne dunajske pevske pedagoginje Marie Rado-Danielli. 19 Ob vpisu je Marija zapela slovensko narodno pesem Zabuèale gore. Profesorica Lapajne je bila nad njenim glasom navdušena, vendar je pridala, da je v njem najti veliko topline in lepih tonov, a da jo èaka še veliko dela, èe eli postati pevka. 20 To je bila zagotovo dovolj 65 Tina Bohak, »HOÈEM POSTATI PEVKA« – IVLJENJSKA IN USTVARJALNA POT ... 11 15. 9. 1941 je bilo ustanovljeno podeelsko okroje (L andkreis) Kranj iz bivših jugoslovanskih okrajev Kranj in Škofja Loka. S tem se je prenehalo delo politiènega komisarja v Škofji Loki. 1. 2. 1942 so politiènega komisarja v Kranju preimenovali v deel nega svetnika s sedeem v Kranju. Dostopno na: https://www.archivesportaleurope.net/ead-display/-/ead/pl/aicode/SI-ARS/type/fa/id/SI+AS+1604, obiskano 29. 10. 2016. 12 ebovec, »Knjievnik, ki je kopal strelske jarke«, prav tam. 13 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 14 Dostopno na: http://hosting.operissimo.com/triboni/exec?method=com.operissimo.artist.webDisplay &xsl=webDisplay&id=ffcyoieagxaaaaabcxxm, obiskano 25. 11. 2016. 15 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 16 Kirbiš in Herman, »Marija Bitenc – Samèeva«, 67. 17 Hèi Marija je s svojimi prizadevanji dosegla, da mu je bil vrnjen status knjievnika in dodeljena pokojnina, hišo pa je lahko zahtevala šele po osamosvojitvi v skladu z zakonom o denacionalizaciji. ebovec, »Knjievnik, ki je kopal strelske jarke«, prav tam. 18 Med uèenci Helene Lapajne zasledimo tudi slovenskega basista Aleksandra Kovaèa (1920–2008), ki se je v obdobju 1952–1971 uveljavil kot solist mariborske Opere in v tem èasu poustvaril veè kot 60 lirskih basovskih vlog ter tako pomembno zaznamoval ustvarjalnost mariborske Talije. Dostopno na: www.dlib.si/stream/URN:NBN:SI:doc-LMR7FJ0N/6fddfbfa-8f4d-4df8.../PDF, obiskano 29. 10. 2016.Tonèka Stanonik in Lan Brenk, Osebnosti: Veliki slovenski biografski leksikon (Ljubljana: Mladinska knjiga, 2008), 533. 19 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 20 Kirbiš in Herman: »Marija Bitenc – Samèeva«, 67. vzpodbudna popotnica, da je Marija pevsko izobraevanje vzela skrajno resno in je, kot pravi, »dobro napredovala«. 21 Iz Celja se je druina Bitenc leta 1948 preselila v Maribor, kjer so stanovali na Limbuški cesti 27 in ostali tam 9 let. 22 Oèe, ki je v mestu ob Dravi obèasno deloval kot korektor pri èasniku Veèer ter deloval pod psevdonimom Radoš, je Marijo v šolskem letu 1949/1950 vpisal v prvi razred pripravnice za srednjo glasbeno šolo k profesorici Elizabeti Krejèi, ki je kot honorarna pedagoška sodelavka na Srednji glasbeni šoli v Mariboru delovala v obdobju 1947–1953. 23 Prvi pevski nastop je imela konec maja leta 1950, kjer je zapela arijo Lascia ch’io pianga iz opere Rinaldo Georga Friedricha Händla, takrat še kot mezzosopranistka. 24 Marija je po drugem razredu pripravnice študij solopetja nadaljevala na Srednji glasbeni šoli v Mariboru, prav tako pri profesorici Krejèi. 25 V èasu bivanja v Mariboru je oèe spoznal marsikaterega mariborskega veljaka, mdr. takratnega opernega direktorja Demetrija ebreta (1912–1970). Ta je uredil, da je Marija prièela v sezoni 1952/1953 peti v opernem zboru SNG Maribor. 26 Kot zboristka je tako med drugim sodelovala kot gejša v svoji najljubši operi, Puccinijevi Madame Butterfly. 27 V èasu študija solopetja v Mariboru sta potek uènega procesa spremljala pooblašèena inšpektorja sopranistka Zlata Gjungjenac (1898–1982) in basist Julij Betetto (1885–1963). Kot cenjena pevska pedagoga sta prisostvovala pouku in usmerjala pedagoge ter uèence k še boljšemu napredku. Prav tovrstni obiski so bili za Marijo usodni, saj je Betetto prepoznal njeno nadarjenost in kvalitete glasu ter jo povabil k študiju solopetja v njegovem razredu na Akademiji za glasbo v Ljubljani. Povabilo je z velikim veseljem sprejela in v obdobju 1955–1957 študij solopetja nadaljevala pri mojstru Betettu, kot so ga radi poimenovali. 28 Kmalu po prièetku študija se je udeleila 6. mednarodnega glasbenega tekmovanja »Gian Battista Viotti« v italijanskem Vercelliju, ki je potekal oktobra 1955. Kot najmlajša udeleenka je prejela diplomo. 29 V istem letu je kot študentka uspešno nastopila v vlogi Dojilje v Poroènem prizoru Gounodove opere Romeo in Julija, ki je bila na sporedu kot operna matineja slušateljev in dijakov oddelkov za solopetje Akademije za glasbo in Srednje glasbene šole. 30 Leta 1956 se je udeleila 1. Jugoslovanskega tekmovanja mladih glasbenih umetnikov, ki je potekalo v drugi polovici oktobra 1956 v Ljubljani, ter prejela 2. nagrado. 31 Marija, ki je e od mladosti veljala za izredno perfekcionistko, je po tekmovanju na vprašanje Bogdana Uèakarja, kako je 66 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek 21 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 22 Prav tam. 23 Milena Šmid in Vasja Sterlé, »Sodelavci Srednje glasbene in baletne šole Maribor,« v: Srednja glasbena in baletna šola Maribor 1945–1985 (jubilejni almanah) (Maribor: Srednja glasbena in baletna šola Maribor, 1985), 38. 24 Stante, »Marija Bitenc – Samèeva«, prav tam. 25 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 26 Prav tam. 27 Zapis in fotografija z operne predstave Giacoma Puccinija Madame Butterfly, osebni arhiv Marije Bitenc Samec. 28 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 29 Diploma 6. mednarodnega glasbenega tekmovanja »Gian Battista Viotti«, Vercelli, 31. 10. 1955, osebni arhiv Marije Bitenc Samec. 30 Koncertni list Operne matineje, 5. 6. 1955, osebni arhiv Marije Bitenc Samec. 31 Seznam prejemnikov nagrad in diplom na 1. Jugoslovanskem tekmovanju mladih glasbenih umetnikov, osebni arhiv Marije Bitenc Samec. zadovoljna z uspehom, odgovorila: »Sem, a ne popolnoma. Zelo redki so namreè trenutki, da sem popolnoma zadovoljna z interpretacijami ter prvinami, ki krojijo vsako dobro glasbeno podajanje.« 32 Kot študentka je v koncertni sezoni 1956/1957 delovala kot èlanica zbora Slovenske filharmonije, od aprila do junija 1956 pa je s pevskimi vloki sodelovala pri predstavi Federica Garcíe Lorce Mariana Pineda v izvedbi Mestnega gledališèa Ljubljana. 33 Komisija za kulturne stike s tujino (Komisija za kulturne veze sa inostranstvom) pri Zveznem izvršnem svetu v Beogradu je Marijo Bitenc leta 1957 izbrala za udeleenko na Mednarodnem Eisteddfodu 34 v Llangollenu (Wales) v Veliki Britaniji. 35 V izjemno moèni konkurenci sto petdeset pevk in pevcev je na svoj petindvajseti rojstni dan osvojila prvo mesto. 36 Kot prvonagrajenka je pela na zakljuènem koncertu v avditoriju z veè kot 12.000 poslušalci, prav tako pa ji je bil omogoèen intervju 37 ter snemanje slovenskih in jugoslovanskih samospevov na britanski producentski korporaciji BBC (The British Broadcasting Corporation). 38 Njen tekmovalni repertoar je med drugim obsegal samospev Josipa Pavèièa enjica ter obvezno skladbo Na Babilonskih vodah (op. 99, št. 7) Antonina Dvoøáka. Na zakljuènem koncertu je nastopila z dvema opernima arijama, in sicer z arijo Magdalene iz opere Evangeljnik (Der Evangelimann) Wilhelma Kienzla ter arijo Ulrike iz Verdijeve opere Ples v maskah (Un ballo in maschera). 39 O njenem izjemnem uspehu sta se med drugim razpisala tudi tedanja vodilna angleška èasnika Daily Express in Liverpool Daily Post. Glasbeni kritik Michael Walsh je v Daily Expressu med drugim zapisal: »[…] De je obrisal glamur iz vèerajšnjega internacionalnega Eisteddfoda v Llangollenu. […] Mnogi so bili prisiljeni, da so se zatekli v dvorano Big Top, bolj zaradi nevihte kakor zato, da bi poslušali neskonèno vrsto nastopov solistiènih pevcev. Toda vsi so se dvignili in ostrmeli, ko je stopila na oder Titova najboljša altistka, ki se je sprehodila po cvetoèem odru. Bila je Marija Bitenc, ki je na ta dan slavila 25. rojstni dan. […]« 40 Nepodpisan avtor liverpoolskega Daily Posta pa je pod fotografijo Marije Bitenc Samec dodal: »Jugoslovanska vlada je poslala Marijo Bitenc v Llangollen kot najboljšo pevko svojega razreda v dravi. Vèeraj – na njen 25. rojstni dan – je Marija upravièila zaupanje z zmago kot altistka v odprti kategoriji.« 41 Po vrnitvi domov je o 67 Tina Bohak, »HOÈEM POSTATI PEVKA« – IVLJENJSKA IN USTVARJALNA POT ... 32 Bogdan Uèakar, »Glasbeno poroèilo iz Ljubljane,« Veèer 12/20 (1956), 11. 33 Pogodba o sodelovanju pri predstavi Federica Garcie Lorce Mariana Pineda, 25. 4. 1956, osebni arhiv Marije Bitenc Samec. 34 Eisteddfod je eden izmed najveèjih kulturnih festivalov na svetu, ki poteka v angleškem Walesu in prinaša obèinstvu raznovrstne koncerte in druge prireditve s podroèja glasbe, literature, plesa, vizualnih umetnosti in gledališèa. Dostopno na: http://www.eisteddfod.org.uk/cymraeg/faqs/, obiskano 1. 9. 2016. 35 Potrdilo »Komisije za kulturne veze sa inostranstvom«, 1. 7. 1957, osebni arhiv Marije Bitenc Samec. 36 Kirbiš in Herman, »Marija Bitenc – Samèeva«, 67. 37 Potrdilo BBC o snemanju intervjuja, 17. 7. 1957, osebni arhiv Marije Bitenc Samec. 38 Prispevek o Mariji Bitenc Samec v oddaji TV Slovenija Opus, 21. 6. 2005, urednica Darja Korez Korenèan. 39 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 40 »Rain wiped the glamour from the International Eisteddfod at Llangollen yesterday. […] Others were forced into the »Big-Top« more to take refuge from the weather than to listen to unending vocal solos. But they sat up and took notice when Tito’s top contralto walked on to the flower-bedecked platform. It was Mariya Bitenc’s 25th birthday. […]« Michael Walsh, »Tito girl’s birthday song beats the blues«, Daily Express, 13. 7. 1957, osebni arhiv Marije Bitenc Samec, NN, »Marija Bitenèeva zmagala v Llangollenu,« Kulturni obzornik, Veèer 13/210 (1957), 5. 41 »The Yugoslav Government sent Mariya Bitenc to Llangollen as the best singer of her class in the country. Yesterday – her twenty-fifth birthday – Mariya justified the confidence by winning the contralto solo (open).« Liverpool Daily Post št. 31,788 (1957), osebni arhiv Marije Bitenc Samec. svojem doivljanju tako prestinega tekmovanja, kjer so med tridesetimi altistkami v polfinale prišle le tri, v finale pa edina, v enem izmed intervjujev dejala: »[…] Precej sem samozavestna, vendar sem vedela, da se med tolikimi pevci ne bo prav lahko uveljaviti. Razveselila sem se, ko mi je mednarodna irija prisodila prvo nagrado, a èe je èlovek presreèen, ne more biti prav vesel.« 42 Poudariti velja, da je bilo prvo mesto na tako prestinem tekmovanju zagotovo odskoèna deska in dobra referenca za kasnejše koncerte ter radijska in televizijska snemanja tako doma kot tudi v tujini. Med drugim je v obdobju 1957–1959 sodelovala tudi v ljubljanski Operi, 43 kjer je poustvarila vlogo Glas matere v operi Jacquessa Offenbacha Hoffmannove pripovedke 44 ter uspešno nastopila kot Tretja gozdna vila v operi Antonina Dvoøáka Rusalka. 45 Na Radiu Trst je prviè nastopila e leta 1960, kasneje pa jo je koncertna pot ponesla v London, Milano, Frankfurt, München, Dunaj, Gradec, Rim, Bruselj, Maribor, Ljubljano, Reko, Zagreb, Beograd in Skopje. Poseben poudarek je na svojih nastopih namenjala poustvarjanju jugoslovanskih samospevov raznih avtorjev, od starejših do novejših. 46 Leto 1959 je zaznamovalo tudi Marijino zasebno ivljenje. 28. novembra tega leta se je poroèila z arhitektom in oblikovalcem Dušanom Samcem (1925–2010), ki je od leta 1963 do upokojitve deloval kot samostojni umetnik. 47 Marija je tako ponovno prišla v Celje, kjer sta z moem zaivela na posestvu ob stari rimski cesti, ki ga je Dušan leta 1958 podedoval po stricu Karlu Samcu in kjer biva še danes. Poroèna prièa Mariji je bil bratranec njenega oèeta, znan slovenski igralec France Presetnik (1913–1997), Dušanu pa stric Janez Samec. 48 Leta 1960 se jima je rodila prva hèi Vanja, danes magistra gradbeništva in geodezije ter ena vodilnih svetovnih strokovnjakinj za dolge mostove. 49 V prvih letih po rojstvu hèerke (do 1964), se je Marija posveèala zgolj druini in imela le manjša snemanja. 50 Na podlagi izjemnih umetniških dosekov na tekmovanjih doma in v tujini ter koncertne poustvarjalnosti je Marija Bitenc Samec leta 1963 pridobila status svobodne umetnice. S tem statusom je delovala vse do upokojitve leta 1991, kar je bila v tistih èasih precejšnja redkost. Bitenc Samec pravi, da je bil status finanèno precej neugoden, a ji je kot eni in materi dopušèal monost svobodne izbire prostega in delovnega èasa. To ji je pomenilo najveè. 51 Za nastope v tujini si je izbrala impresarije, kar je bilo za tedanje politiène razmere tako rekoè neznanka. 52 Na Dunaju je nad njenim umetniškim poustvarjanjem bdel impresarij Alois Starka, v Nemèiji pa Robert Schulz in Harry Schmidt, ki sta jo sicer hotela navdušiti nad monostjo, da bi sprejela katerega izmed ponujenih rednih 68 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek 42 M. K., »Èe je èlovek presreèen, ne more biti prav vesel!«, osebni arhiv Marije Bitenc Samec. 43 Stante, »Marija Bitenc – Samèeva«, prav tam. 44 Koncertni list Jacques Offenbach: Hoffmannove pripovedke, 27. 2. 1957, osebni arhiv Marije Bitenc Samec. 45 Koncertna lista Antonin Dvoøák: Rusalka, 16. 3. 1957 in 29. 3. 1957, osebni arhiv Marije Bitenc Samec. 46 R. R., »Pri pevki Mariji Bitenèevi«, Primorski dnevnik 20/88 (1964), 3. 47 Stanonik in Brenk, Osebnosti: Veliki slovenski biografski leksikon, 995–996. 48 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 49 Osebni pogovor z Vanjo Samec, 12. 3. 2016. 50 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 51 Prav tam. 52 Kirbiš in Herman, »Marija Bitenc – Samèeva«, 68. angamajev v Frankfurtu, Regensburgu in Nürnbergu. Tovrstne ponudbe, da bi bila veliko zdoma, je niso navduševale in jih nikoli ni sprejela. 53 Leta 1962 je na povabilo Danila Švare v Ljubljano prišel tedanji umetniški vodja operne hiše Giuseppe Verdi v Trstu Luigi Toffolo (1909–2004) 54 z namenom, da sliši perspektivno mlado altistko Marijo Bitenc Samec. Znanemu dirigentu in pevskemu pedagogu se je predstavila z arijama Gioconde iz istoimenske Ponchiellijeve opere in Ulrike iz Verdijeve Ples v maskah. 55 Toffolo je po opravljeni »avdiciji« Mariji Bitenc Samec med pogovorom povedal, da bi se dalo v njenem petju še nekatere stvari izboljšati ter jo povabil na pevsko izpopolnjevanje v Trst. 56 Ponudbo je sprejela in se pred svojim odhodom elela najprej posvetovati s svojim profesorjem Betettom, ki ji je dejal pritrdilno: »Malo bel canta ti ne bo škodilo.« 57 Bitenc Samec z velikim spoštovanjem poudari, da ji je bil Betetto drugi oèe in je ostal njen cenjen mentor, prijatelj in zaveznik vse do smrti leta 1963. Nanj in na njegovo eno Irmo je bila izjemno navezana. 58 Marija Bitenc Samec je leta 1963 odpotovala na pevsko izpopolnjevanje v Trst, kar ji je omogoèila štipendija Prešernovega sklada. 59 Dobro leto (do 1964) je bivala pri Olgi Gerina, in sicer v samem centru, v hiši na Via Machiavelli 13/I. V tem èasu jo je takratni ravnatelj Glasbene matice Gojmir Demšar vabil k pouèevanju petja na tej ustanovi, a se povabilu ni odzvala. 60 Kot je dejala, do pouèevanja ni nikoli imela posebne afinitete. 61 V Trst se je Marija Bitenc Samec rada vraèala tudi po pevskem izpopolnjevanju. Tako sta med drugim v organizaciji Glasbene matice Trst v Kulturnem domu v zaèetku marca 1965 izzvenela dva koncerta operne glasbe, na katerih se je predstavila z operno arijo Habanera iz opere Carmen, skupaj z orkestrom Glasbene matice pod taktirko dirigenta Oskarja Kjudra (1925–2012), 62 sicer ustanovitelja in dolgoletnega dirigenta Traškega 69 Tina Bohak, »HOÈEM POSTATI PEVKA« – IVLJENJSKA IN USTVARJALNA POT ... 53 Janez Florjanèiè, »Oboujem vse lepo«, 7dni16/18 (1966), 6. 54 Dirigent in pevski pedagog Luigi Toffolo je bil izvrsten pianist in izjemen poznavalec glasbene literature, zaradi èesar je slovel kot odlièen spremljevalec (korepetitor) solistov, predvsem pevcev. Klavir je študiral pri italijanskem organistu in skladatelju Gastoneju de Zuccoliju (1887–1958), ki je pouèeval orgle in klavir na traškem konservatoriju ( Conservatorio »G. Tartini« di Trieste), prav tako pa je Toffolo obiskoval pouk kompozicije pri skladatelju Antoniu Smareglii (1854–1929). Nacionalizacija Conservatoria di musica »G. Tartini« di Trieste po drugi svetovni vojni je bila leta 1958 odrejena z zakonsko doloèbo. Med profesorji na konservatoriju zasledimo tudi Toffola, ki je bil zadolen za orkestralno prakso, prav tako je dirigiral uprizoritve oper Domenica Cimarose, Gian Carla Menottija, Claudia Monteverdija in drugih v okviru konservatorija. Leta 1968 je maestro Toffolo postal umetniški direktor Teatra Verdi, kjer je med drugim kot dirigent številnih uprizoritev Verdijevih oper deloval do leta 1972. Po upokojitvi na traškem konservatoriju je del oval zasebno kot pevski pedagog in spremljevalec mladih solistov. Med njegovimi uèenci najdemo med drugim tudi italijansko mezzosopranistko Fedoro Barbieri (1920–2003) in slovensko sopranistko Ondino Otto Klasinc (1924–2016). »Luigi Toffolo,« dostopno: http://www.atrieste.eu/Forum3/viewtopic.php?f=20&t=5414, obiskano 24. 11. 2016, »Oxford Music Online,« dostopno na: http://www.oxfordmusiconline.com.nukweb.nuk.uni-lj.si/subscriber/article/grove/music/02005?q=luigi +toffolo&search=quick&pos=1&_start=1#firsthit, obiskano 16. 9. 2016. 55 Osebni pogovor z Marijo Bitenc Samec, 10. 12. 2016. 56 Prav tam. 57 Osebni pogovor z Marijo Bitenc Samec, 4. 2. 2012. 58 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 59 Marlen Premšak, »Hoèem postati pevka …,« Veèer 43/288 (1987), 23. 60 Dopis Glasbene matice Trst Mariji Bitenc Samec, 16. 9. 1964, osebni arhiv Marije Bitenc Samec. 61 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 62 Koncertni list za Koncert operne glasbe v Kulturnem domu v Trstu, 6. in 7. 3. 1965, osebni arhiv Marije Bitenc Samec. partizanskega pevskega zbora Pinko Tomaiè. 63 Po koncertih je bilo mogoèe brati pomenljivo kritiko v Primorskem dnevniku: »[…] Marija Bitenèeva je v znani Habaneri iz Bizetove opere Carmen v celoti uveljavila svoj ametni alt in svoj izraziti pevski dar. Njeno petje je kultivirano in odraa poglobljeni študij. […]« 64 Odzivi na koncerte so bili omenjeni tudi v Novem listu, kjer je bila Marija Bitenc Samec opredeljena kot »[…] dozorela in rutinirana umetnica z globoko pevsko in muzikalno kulturo. Njen glas je oèarljiv in interpretacija dognana. […]« 65 Potrebno je izpostaviti, da je bila altistka Marija Bitenc Samec izjemno dejavna kot komorna glasbenica, saj je v okviru Koncertnega biroja slovenskega društva glasbenih umetnikov v letu 1966 veliko pela v ciklusu Komornih koncertov širom po Sloveniji – Koper, Kranj, Koèevje, Domale in drugod. 66 V letu 1967 je skupaj s sopranistko Vando Gerloviè, tenoristom Rajkom Koritnikom ter basistom Ladkom Korošcem in pianistko Zdenko Lukec med drugim nastopila na opernem veèeru v Trbovljah. 67 Rada se spominja neštetih koncertov s Korošcem. O njih pove takole: »[…] Z Ladkom Korošcem, našim izvrstnim basistom, sva po dolgem in poèez prevandrala Slovenijo. Eno od teh turnej […] so v tisku oznaèili za pouèno, odzivno turnejo. Mnogo smo peli na podeelju in reèi moram, da so poslušalci, ki imajo le redko monost poslušati te vrste glasbo, najhvalenejše obèinstvo. « 68 Marija Bitenc Samec in Ladko Korošec sodita med pionirja šolskih koncertov. V organizaciji Ljubljanskega festivala in Glasbene mladine Slovenije sta skupaj s pianistom Andrejem Jarcem nemalokrat nastopala v številnih manjših krajih po Sloveniji z namenom pribliati klasièno glasbo ljudem, ki se ne sreèujejo s tovrstno glasbo vsakodnevno. Med drugim so v letu nastopili v Grosupljem, Stièni, Gotovljah pri alcu in Gornji Radgoni. Repertoar je zajemal slovenske samospeve in operne arije. 69 Šolski koncerti so sicer imeli pouèno-vzgojni pomen za mladino, vendar kot še danes pripomni Bitenc Samec: […] ni bilo prav nobene razlike med mladinskimi in drugimi javnimi nastopi. 70 Leta 1968 se je Mariji in Dušanu rodila druga hèi Tanja in Marija se je ponovno nekaj èasa posveèala le druini. Prvi koncert, ki ga je izvedla po porodu druge hèerke, se je zgodil v zaèetku julija 1969, v atriju ljubljanskega Magistrata v okviru Društva glasbenih umetnikov Slovenija. Nastopila je skupaj s pianistoma Tanjo Buèar in Leonom Engelmanom. Na koncertu se je predstavila z dvema antiènima arijama ter s samospevi Huga Wolfa in Lucijana Marije Škerjanca. 71 Kot komorna glasbenica je veliko nastopala tudi v 70. in 80. letih, posebno v okviru Glasbene mladine Slovenije, in sicer v razliènih komornih skupinah z Ladkom Korošcem, pianisti Zdenko Lukec, Andrejem Jarcem in Cirilom Cvetkom, baritonistom Marcelom 70 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek 63 Dostopno na: http://www.slovenska-biografija.si/oseba/sbi1014210/, obiskano 24. 12. 2016. 64 J. K., »Lep koncert opernih arij z orkestrom GM in solisti,« Primorski dnevnik 21/56 (1965), 8. 65 R., »Koncert Glasbene matice,« Novi list 14/539 (1965), 6. 66 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 67 Plakat za Operni veèer v Delavskem domu v Trbovljah, 12. 1. 1967, osebni arhiv Marije Bitenc Samec. 68 Premšak, »Hoèem postati pevka…,« prav tam. 69 P. ., »Umetnost na kraju samem«, Delo 18/304 (1975), 6, Skupnost koncertnih poslovalnic Slovenije, programi 1977/1978, 1978/1979, osebni arhiv Marije Bitenc Samec, Glasbena mladina Slovenije, program 1980/1981, osebni arhiv Marije Bitenc Samec. 70 Telefonski pogovor z Marijo Bitenc Samec, 14. 11. 2016. 71 Koncertni list Komornega koncerta v atriju Magistrata, 9. 7. 1969, osebni arhiv Marije Bitenc Samec. Ostaševskim, sopranistko Zlato Ognjanoviè, tenoristom Rajkom Koritnikom, baritonistom Stanetom Koritnikom ter recitatorjema Andrejem Kurentom in Alenko Svetel. Mladim so na njim dostopen naèin prikazali koncertno in operno glasbo, kar je imelo izjemen pomen za vzgojo kulturnih poslušalcev. 72 Koncertni repertoar Marije Bitenc Samec je obsegal baroène in operne arije, kantate, partizanske pesmi ter samospeve slovenskih in tujih skladateljev. 73 Oboevala je antiène arije 17. in 18. stoletja ter klasiène samospeve – od Danila Švare, Lucijana Marije Škerjanca in Alojza Srebotnjaka. Med opernimi skladatelji so jo najbolj navduševali Camille Saint-Saëns, George Bizet, Giuseppe Verdi in Giacomo Puccini. 74 Potrebno je poudariti, da je bila kot koncertna pevka izjemno cenjena, zato so marsikateri skladatelji imeli eljo, da praizvede njihove samospeve. Med drugim je praizvedla samospeve Danila Švare (Bazovica, Elegija, Šivilja), Lucijana Marije Škerjanca (Vizija, Slovo od prijatelja, Pisma, Beli oblaki, Jesenska pesem), Alojza Srebotnjaka (Ne, jaz noèem še umreti), idr. 75 Zvonimir Cigliè ji je posvetil samospev Usoda in v posvetilu zapisal: »Oiviš vso polnost notranje harmonije in odraajoèo blagodejnost umetniške izpovednosti .« 76 O poustvarjanju na odru je med drugim dejala: »Kadar pojem na odru, ne èakam le na ploskanje, saj to hitro mine in ko èlovek pride s šopki domov, je tako sam. Pojem z ljubeznijo, zaradi tega, ker rada pojem, in tako nisem nikdar sama s cvetjem, ki spominja na koncert. […]« 77 K temu je še dodala: »Èlovek ni nikoli sam, èe ima sreèen dom.« 78 Posebej je potrebno izpostaviti, da je Marija Bitenc Samec samospeve slovenskih skladateljev velikokrat poustvarila tudi izven naših meja ter tako ponesla materin jezik in slovensko kulturno dedišèino v najrazliènejše evropske drave. Koncertirala je po nekdanji Jugoslaviji, Avstriji, Italiji in Belgiji, na radiu in televiziji pa je razen v navedenih dravah nastopala še v Zahodni Nemèiji, Franciji in Veliki Britaniji, kjer je med drugim pela v eminentni londonski dvorani Royal Albert Hall. 79 Na vprašanje, zakaj se je odloèila za pot koncertne pevke, je Bitenc Samec dejala: »Ob samospevih sem èutila tekst, èutila sem glasbo, mogoèe je tudi v mojem znaèaju to, da sem te stvari predstavljala, takšne kot so bile zapisane, da sem se vivela v pesnikov tekst in njegovo podajanje. […] Rada sem imela te stvari …«. 80 Kot pravi, je dela študirala zelo premišljeno in tehtno – najprej je veèkrat prebrala besedilo, poizkušala razumeti bistvo, ki ga je pesnik elel podati in se po tem ob klavirju prièela uèiti melodijo. Zanjo je bilo bistvenega pomena fraziranje, interpretacija, smisel za estetsko podajanje ter muzikalna finesa. Zelo rada je poslušala nemškega baritonista Dietricha Fischer-Dieskaua (1925–2012). 81 O pomembnosti in neloèljivi povezanosti besedila z melodijo o študiju samospevov pove: »Imam ogromno dušo – s srcem poustvarim vsak tekst, ki ga pojem, ga doivljam, še 71 Tina Bohak, »HOÈEM POSTATI PEVKA« – IVLJENJSKA IN USTVARJALNA POT ... 72 Osebni pogovor z Marijo Bitenc Samec, 4. 2. 2012. 73 Radijska oddaja enske v svetu glasbe , 2. del, 30. 3. 2015, avtorica oddaje in glasbena urednica Tjaša Krajnc. Dostopno na: http://4d.rtvslo.si/!arhiv/zenske-v-svetu-glasbe/174326566, obiskano 16. 12. 2016. 74 Osebni pogovor z Marijo Bitenc Samec, 10. 12. 2016. 75 Osebni pogovor z Marijo Bitenc Samec, 4. 2. 2012. 76 Posvetilo Zvonimirja Ciglièa Mariji Bitenc Samec, 23. 10. 1987, osebni arhiv Marije Bitenc Samec. 77 Osebni pogovor z Marijo Bitenc Samec, 4. 2. 2012. 78 Osebni pogovor z Marijo Bitenc Samec, 10. 12. 2016. 79 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 80 Prispevek o Mariji Bitenc Samec v oddaji RTV Slovenija Opus,pr avtam . 81 Osebni pogovor z Marijo Bitenc Samec, 10. 12. 2016. posebno èe to sovpade z melodijo.« 82 Ko je samospev kot celoto tehnièno in interpretacijsko dodelala, je prièela študirati s korepetitorjem, od katerega je vedno prièakovala konstruktivne pripombe, preko katerih je skladba zaivela kot celota. 83 Kot vsak umetnik, se je tudi Marija Bitenc Samec v èasu koncertne kariere v doloèeni meri sooèala s pozitivno tremo. O tem je v enem izmed intervjujev dejala: »Ima jo vsak umetnik. A skoraj vedno e v zaèetku zaèutim tisti neogibni fluid, ki mi vzpostavi topel odnos do obèinstva. Do tistega, ki mu prviè pojem, ali do starih znancev.« 84 Skrbno je izbirala pianiste – spremljevalce, saj je bila mnenja, da »moraš èutiti ob pianistu in pianist ob pevcu, da se to spaja. Potem je pa lahko to ena popolnost.« 85 Sodelovala je z Mašo Bohinec, Zdenko Lukec, Cirilom Cvetkom, Maøenko Plzak Sancin, Andrejem Jarcem, Igorjem Deklevo in Leonom Engelmanom, ki so vsak na svoj naèin dodali svoj tehten prispevek posameznega dela ter skupaj z Bitenc Samec ustvarili celoto. 86 Kot izjemna umetnica je uivala ugled tudi pri drugih kolegih. Tako je v priporoèilu o njej zapisal skladatelj in pianist Marijan Lipovšek: »[…] Umetnica se odlikuje z izredno lepim in za nastope na koncertnem, oratorijskem in opernem podroèju zelo pomembnim in uèinkovitim glasom. […] Iz svojih koncertantskih izkušenj solistko za vsakršen koncert, turnejo ali prireditev, kjer se zahteva izdelana in poglobljena interpretacija, najtopleje priporoèam. […]« 87 Marija Bitenc Samec je bila skozi celotno umetniško kariero dejavna tudi kot poustvarjalka, ki je posebno pozornost namenjala snemanju arhivskih posnetkov. V fonoteki – glasbenem arhivu Radia Slovenija je ohranjenih petinsedemdeset digitaliziranih posnetkov, kjer se je Bitenc predstavila kot solistka – poustvarjalka, preteno z deli jugoslovanskih skladateljev. 88 Leta 1969 je Mladinska knjiga izdala plošèo samospevov skladatelja Lucijana Marije Škerjanca, dodanih pa je bilo še nekaj samospevov skladatelja Danila Švare v izvedbi altistke Marije Bitenc Samec in ob klavirski spremljavi Leona Engelmana. 89 Oba skladatelja sta Bitenc Samec napisala tudi priporoèilo, da te samospeve èim veèkrat izvede. 90 Ob 100-letnici rojstva skladatelja Lucija Marije Škerjanca in ivljenjskem jubileju altistke Marije Bitenc Samec se je porodila zamisel o izdaji faksimila te plošèe v CD obliki, ki je bila uresnièena in podprta s strani Ministrstva za kulturo Republike Slovenije leta 2003, ko je Zaloba kaset in plošè na RTV Slovenija izdala Faksimile samospevov Lucijana Marije Škerjanca. 91 O zgošèenki je med drugim pisal tudi Marijan Zlobec: »[…] ‘Faksimile’ je naslov zgošèenke altistke Marije Bitenc – Samèeve ob klavirski spremljavi Leona Engelmana. Faksimile zato, ker je ponatis štirih samospevov L. M. Škerjanca s prve plošèe iz leta 1969. Tedaj in 72 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek 82 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 83 Prav tam. 84 Florjanèiè: »Oboujem vse lepo«, 7. 85 Prispevek o Mariji Bitenc Samec v oddaji RTV Slovenija Opus,pravtam . 86 Osebni pogovor z Marijo Bitenc Samec, 10. 12. 2016. 87 Priporoèilo Marijana Lipovška direktorju Jugokoncerta, tov. Veljku Bijediæu, 15. 4. 1974, osebni arhiv Marije Bitenc Samec. 88 Glasbeni arhiv Radia Slovenija. 89 Plošèa samospevov L. M. Škerjanca in Danila Švare (Ljubljana: Mladinska knjiga, 1969), osebni arhiv Marije Bitenc Samec. 90 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 91 Prispevek o Mariji Bitenc Samec v oddaji RTV Slovenija Opus,pravtam . še prej so nastali preostali posnetki samospevov: štirje Škerjanèevi in trije Danila Švara, ki pa niso bili izdani, ker na prvi plošèi ni bilo prostora. Danes jih dobivamo prviè v celoti, kar kae na snemalni in interpretativni standard pri nas pred 35 leti in kvaliteto petja Marije Bitenc – Samèeve. Njen glas je mehak, s prefinjenimi dinamiènimi gradacijami, toploto emocije in vivljanja v kitajsko liriko Li Tai-Poja (Škerjanc), medtem ko je pri Švari veè baladnosti in pretresljivosti (npr. Bazovica). […]« 92 Bitenc Samec je kot prva posnela sklop samospevov Huga Wolfa v slovenskem jeziku, ki so bili izdani na kaseti leta 1987, ko je umetnica zakljuèila svojo pevsko kariero s koncertom v Cankarjevem domu. 93 Samospeve je prevedla Maøenka Plzak Sancin, 94 ki je altistko tudi spremljala pri klavirju. Marijan Zlobec je o izboru Wolfovih samospevov zapisal: »[…] Bitenèeva je izbrala deset Wolfovih pesmi, veèinoma na besedila H. Heineja in N. Lenaua, v prevodu M. Sancin. Bitenèeva se je odloèila za slovenski prevod, za preizkus zvenenja Wolfovih pesmi v slovenšèini. Njena odloèitev je bila pravilna. […]« 95 Izjemno uspešno koncertno umetniško kariero je zakljuèila z odmevnim koncertom ob 30-letnici umetniškega delovanja v Cankarjevem domu. Na veèeru komorne glasbe, ki ga je povezoval Sandi Èolnik, reiral pa Aleš Jan, so ob slavljenki nastopili njeni stanovski kolegi, s katerimi je skupaj študirala in ljudje, ki so bili tako ali drugaèe neposredno povezani z ivljenjsko zgodbo Marije Bitenc Samec. Med drugimi so nastopili violinist Dejan Bravnièar, pianisti Andrej Jarc, Igor Dekleva in Leon Engelman, hornist Joe Falout, reiser, lutkar, pedagog in violonèelist Edi Majaron, sopranistka Zlata Ognjanoviè, tenorist Jurij Reja, klarinetist Alojz Zupan, prevajalec in urednik Joe Stabej in tolkalist Boris Šurbek. 96 Zvonimir Cigliè, ki ji je, kot e omenjeno, posvetil samospev Usoda, je v èestitki med drugim zapisal: »[…] Ob 30-letnici tvojega umetniškega delovanja, se te spominjam kot mlado zagnanko, ki je pred 33. leti komponirano ‘Usodo’, kot prva nastopila z menoj in jo izvajala e takrat z vso ubranostjo in bleskom svojega boajoèega alta v najlahtnejšem pomenu pojoèe besede. […]« 97 Kljub dejstvu, da je bila na zakljuènem koncertu še v izjemni pevski kondiciji, je menila, da je nastopil èas za zakljuèek kariere. Kot pravi: »[…] Èlovek se mora poèasi pripraviti na odhod, in to takrat, ko je še sposoben kvalitetno nastopati in ne takrat, ko je e vse za njim. Samokritika je, da najdeš pravi èas in pravo mero.« 98 73 Tina Bohak, »HOÈEM POSTATI PEVKA« – IVLJENJSKA IN USTVARJALNA POT ... 92 Marijan Zlobec, »Bogata bera glasbe, v ozadju grozi polom,« Delo 46/72 (2004), 11. 93 Osebni pogovor z Marijo Bitenc Samec, 11. 8. 2016. 94 Glasbena pedagoginja in pianistka Maøenka Plzak Sancin je v Celju delovala od leta 1929. V prvih prehodnih mesecih po drugi svetovni vojni leta 1945 je bila Sancin, ki je pouèevala klavir, ena izmed štirih uèiteljev na celjski Glasbeni šoli, ki so še izhajali iz tradicije predvojne Glasbene matice. Na Glasbeni šoli so še pouèevali: Dušan Sancin (1902–1973) violino, Anka ulj klavir in Albin Peterman citre in pihala oziroma trobila. Janko Germadnik, »Nemška okupacija in prva povojna leta«, Novi tednik (NT & RC) 67/102 (2012), 10. Dostopno na: http://www.dlib.si/details/URN:NBN:SI:DOC-OZDRVHZ0/?query=%27keywords%3dnovi+tednik%2 7&pageSize=25&fyear=2012&sortDir=ASC&sort=date&page=5, obiskano 1. 9. 2016. 95 Marijan Zlobec, »Od srednjeveških koralnih rokopisov do Wolfovih pesmi,« Delo 32/111 (1990), 7. 96 Koncertni list Umetniškega veèera ob 30-letnici delovanja altistke Marije Bitenc Samec, 27. 10. 1987, osebni arhiv Marije Bitenc Samec, Premšak, »Hoèem postati pevka …,« prav tam. 97 Èestitka Zvonimirja Ciglièa Mariji Bitenc Samec ob 30-letnici umetniškega delovanja, osebni arhiv Marije Bitenc Samec. 98 Premšak, »Hoèem postati pevka …,« prav tam. V 80. letih je aktivno delovala tudi kot drubenopolitièna delavka, saj je bila le na tak naèin tesno povezana s kulturo in njenimi teavami. Bila je podpredsednica Sindikata samostojnih kulturnih delavcev Slovenije in osem let opravljala še funkcijo predsednice Zdruenja samostojnih kulturnih delavcev Slovenije (1982–1990), prav tako je bila èlanica sveta za kulturo pri predsedstvu RK SZDL, delegatka kulturne skupnosti Slovenije ter delegatka Ljubljanske kulturne skupnosti. 99 Ob upokojitvi leta 1990 je kot pobudnica in organizatorka izpeljala postavitev spomenika profesorju Juliju Betettu pred ljubljansko Opero, za kar je prejela posebno nagrado. Spomenik je bil narejen in postavljen pro bono s strani vseh izvajalcev. 100 Avtor celotne arhitekturne zamisli spomenika je bil arhitekt Marko Marijan Mušiè, umetniški portret Julija Betetta pa je izdelal akademski kipar Stojan Batiè in po bronastem odlitku v marmor izklesal akademski kipar Julijan Renko. Odkritja spomenika se Bitenc Samec spominja takole: […] Sem presreèna, ko grem mimo, da imamo tako velikega umetnika, tako zaslunega za naše pevce, za našo kulturo, konèno pred Opero. […]« 101 Z veliko hvalenostjo se je odkritja spomenika spominjal tudi Betettov neèak, dr. Milan Betetto (1922–2007), sicer priznani dermatovenerolog in redni profesor na Medicinski fakulteti v Ljubljani. Bitenc Samec je v zahvali med drugim zapisal: »[…] Sedaj, ko so za nami prijetni spomini na odkritje spomenika Juliju Betettu, si štejem v èast, da se vam kot njegov neèak in zadnji èlan druine Betetto zahvalim za neizmerno portvovalnost, s katero ste kljub vsem oviram neumorno spodbujali in konèno dosegli, da je bil – èeprav bi se to moglo zgoditi dosti prej – 21. decembra spomenik odkrit na prostoru in v obliki, kot ju spomin na tega velikega moa zaslui. S tem ste se kot koncertna in operna pevka ne le dostojno zahvalili našemu uèitelju, temveè s svojo zavzetostjo in zgledno organizacijsko sposobnostjo dosegli, da se mu je oddolila tudi slovenska javnost. […]« 102 Sklep Marija Bitenc Samec je v tridesetletni koncertni karieri pustila v slovenski kulturi neizbrisen peèat kot solistka in komorna glasbenica, o èemer prièajo številni koncerti z najrazliènejšimi zasedbami in nenazadnje številni arhivski posnetki RTV Slovenija. Posebno pozornost je namenjala izvajanju slovenskega samospeva in praizvedbam le-teh ter jih vidno poustvarila ne samo na domaèih tleh, ampak tudi na tujem. Skupaj z basistom Ladkom Korošcem sodita med pionirja slovenskih šolskih koncertov, prav tako med izjemne doseke Marije Bitenc Samec štejemo izdajo plošèe leta 1969 s samospevi Lucijana Marije Škerjanca in Danila Švare, ter izdajo faksimila te plošèe v CD obliki leta 2003. Ko prva je posnela tudi sklop samospevov Huga Wolfa v slovenskem jeziku, ki so bili izdani na kaseti leta 1987 ob zakljuèku njene koncertne kariere, ki ga je obeleila s koncertom v Cankarjevem domu. Leta 1990 je tudi uspešno izpeljala organizacijo in postavitev spomenika svojemu profesorju, Juliju Betettu, in prejela posebno nagrado. 74 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek 99 Prav tam. 100 Prav tam. 101 Prispevek o Mariji Bitenc Samec v oddaji RTV Slovenija Opus,pravtam . 102 Zahvala dr. Milana Betetta Mariji Bitenc Samec, Ljubljana, 26. 12. 1990, osebni arhiv Marije Bitenc Samec. Jesen ivljenja ugledna altistka, ena najprodornejših slovenskih koncertnih solistk 2. pol. 20. st., preivlja na svojem domu v Celju, kjer uiva v negovanju svojega parka s številnimi dragocenimi botaniènimi vrstami, ki so pod naravovarstveno zašèito. 103 V enem izmed intervjujev je kot ljubiteljica pastelnih barv, morja in narave, na vprašanje, kaj ceni pri ljudeh, poudarila: »Iskrenost; predvsem to.« 104 Spoštljiv odnos do kulture in kulturne dedišèine je bila Mariji Bitenc Samec tako rekoè poloena v zibelko. Tako ne èudi, da je v nekem drugem intervjuju dejala: »[…] Kultura je kakor kruh. Brez nje ni naroda, ni srène kulture v èloveku.« 105 Literatura Bitenc Samec, Marija. Glasbeni arhiv RTV Slovenija. Bitenc Samec, Marija. Osebni arhiv. Bitenc Samec, Marija. Osebni pogovor. Celje. 4. 2. 2012. Bitenc Samec, Marija. Osebni pogovor. Celje. 11. 8. 2016. Bitenc Samec, Marija. Osebni pogovor. Celje. 10. 12. 2016. Bitenc Samec, Marija. Telefonski pogovor. 14. 11. 2016. Eisteddfod. Dostopno na: http://www.eisteddfod.org.uk/cymraeg/faqs/, obiskano 1. 9. 2016. Florjanèiè, Janez. »Oboujem vse lepo«, 7 dni 16/18 (1966): 6–7. Germadnik, Janko. »Nemška okupacija in prva povojna leta«, Novi tednik (NT & RC) 67/102 (2012): 10. K. J. »Lep koncert opernih arij z orkestrom GM in solisti«, Primorski dnevnik 21/56 (1965): 8. Kjuder, Oskar. Dostopno na: http://www.slovenska-biografija.si/oseba/sbi1014210/, obiskano 24. 12. 2016. Kirbiš, Nada in Herman, Dušica. »Marija Bitenc – Samèeva«, Pepita (november 1997): 66–69. Korez Korenèan, Darja (ur.). Televizijska oddaja Opus, 21. 6. 2005. Kranjc, Tjaša. Radijska oddaja enske v svetu glasbe , 2. del, 30. 3. 2015. Dostopno na: http://4d.rtvslo.si/!arhiv/zenske-v-svetu-glasbe/174326566, obiskano 16. 12. 2016. Lapajne, Helena. Dostopno na www.dlib.si/stream/URN:NBN:SI:doc-LMR7FJ0N/6fddfbfa-8f4d-4df8.../PDF, obiskano 29. 10. 2016. Medved, Drago. »Intervju z Marijo Bitenc Samec«, Novi Tednik 29/13 (1975): 8. 75 Tina Bohak, »HOÈEM POSTATI PEVKA« – IVLJENJSKA IN USTVARJALNA POT ... 103 Osebni pogovor z Marijo Bitenc Samec, 4. 2. 2012. 104 Florjanèiè, »Oboujem vse lepo«, 7. 105 Drago Medved, »Intervju z Marijo Bitenc Samec«, Novi Tednik 29/13 (1975), 8. NN, »Marija Bitenèeva zmagala v Llangollenu,« Kulturni obzornik, Veèer 13/210 (1957): 5. Premšak, Marlen. »Hoèem postati pevka …,« Veèer 43/288 (1987): 23. R. »Koncert Glasbene Matice«, Novi list 14/539 (1965): 6. R., R. »Pri pevki Mariji Bitenèevi«, Primorski dnevnik 20/88 (1964): 3. Samec, Vanja. Osebni pogovor. Celje. 12. 3. 2016. Stanonik, Tonèka in Brenk, Lan. Osebnosti: Veliki slovenski biografski leksikon. Ljubljana: Mladinska knjiga, 2008. Stante, M. »Marija Bitenc – Samèeva,« Tedenska tribuna 15/9 (1967): 8. Šmid, Milena in Sterlé, Vasja. »Sodelavci Srednje glasbene in baletne šole Maribor,« v: Srednja glasbena in baletna šola Maribor 1945–1985 (jubilejni almanah) (Maribor: Srednja glasbena in baletna šola Maribor, 1985): 38. Toffolo, Luigi. Dostopno na: http://www.atrieste.eu/Forum3/viewtopic.php?f=20&t=5414, obiskano 24. 11. 2016. Walsh, Michael. »Tito girl’s birthday song beats the blues«, Daily Express, 13. 7. 1957. Zlobec, Marijan. »Bogata bera glasbe, v ozadju grozi polom,« Delo 46/72 (2004): 11. Zlobec, Marijan. »Od srednjeveških koralnih rokopisov do Wolfovih pesmi,« Delo 32/111 (1990): 7. ebre, Demetrij. Dostopno na: http://www.sl ovenska-biografija.si/oseba/sbi893532/, obiskano 31. 10. 2016. .,P.» Um e t nos tnakra jus a m e m « , Delo 18/304 (1975): 6. ebovec, Marjeta. »Knjievnik, ki je kopal strelske jarke«, Sobotna priloga Dela 58/164 (2016): 23. 76 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Summary Alto Marija Bitenc Samec is one of the most prominent concert performers in the second half of the 20 th century. She was studying solo singing between 1955–1957 under the mentorship of professor Julij Betetto at the Academy of Music in Ljubljana. Later, in the years from 1963 to 1964 she deepened vocal studying under the mentorship of professor Luigi Toffolo, famous conductor, singing teacher and the artistic director of the opera Giuseppe Verdi in Trieste at that time. Besides her solo career she was also very active as a chamber musician. As being part of Komorni biro of Slovenian Association of musical artists in the 60s she was singing in a cycles of chamber concerts across Slovenia as well as in the 70s and 80s under the sponsorship of the Glasbena mladina Slovenije. Alto Marija Bitenc Samec and the bassist Ladko Korošec are among the pioneers of school concerts, as they were together with pianist Andrej Jarc under the organisation of the Ljubljana Festival and Glasbena mladina Slovenije often performed in many small towns across Slovenia with the aim to close classical music to people, children who had not faced this kind of music every day. The repertoire consisted of Slovenian lied songs and opera arias. School concerts had instructive-educational importance for young people. The concert repertoire of Marija Bitenc Samec covered baroque and operatic arias, cantatas, partisan songs and songs of Slovenian and foreign composers. As a respected artist she performed lieds of Danilo Švara, Lucijan Marija Škerjanc, Alojz Srebotnjak, Zvonimir Cigliè and others for the very first time. She often recreated songs of Slovenian composers outside of our borders and so she helped carried the mother language in various European countries. Her concerts took place from former Yugoslavia through Austria, Italy to Belgium. She performed, besides previously mentioned countries, also on radio and television in West Germany, France and in prominent London’s Royal Albert Hall in Great Britain. In 1969, Mladinska knjiga published plate of lieder songs from the composer Lucijan Marija Škerjanc. where few songs composed by Danilo Švara and performed by alto Marija Bitenc Samec with piano accompaniment of Leon Engelman were added. On the 100th anniversary of the birth of the composer and life jubilee of alto Marija Bitenc Samec the idea of issuing a facsimile of the plate in the form of a CD has been born. The same idea has then been implemented and supported by the Ministry of Culture of the Republic of Slovenia in 2003, when Zaloba kaset in plošè RTV Slovenija has issued the CD of Facsimile songs of Lucijan Marija Škerjanc. Marija Bitenc Samec has as the first solo singer recorded the set of Hugo Wolf’s songs in the Slovenian language together with piano accompaniment of Maøenka Plzak Sancin, which were then issued on cassette in 1987. At that year the artist finished her singing career with a concert at Cankarjev dom. In 80s, Marija Bitenc Samec had been actively working as a sociocultural worker as being the Vice President of the Union of independent cultural workers of Slovenia as well as being the president of the Association of independent cultural workers of Slovenia from 1982 to 1990. She was also a member of the council for culture of RK SDZL, delegate of cultural Community of Slovenia and the delegate of the Ljubljana cultural community. 77 Tina Bohak, »HOÈEM POSTATI PEVKA« – IVLJENJSKA IN USTVARJALNA POT ... After her retirement in 1990, she was the initiator and organizer of setting a monument of her respectful professor Julij Betetto in front of Ljubljana Opera House, for which she received a special award. The autumn of her life, Marija Bitenc Samec as one of the most successful Slovenian concert soloists in the second half of the 20 th century, spends at her home in Celje. 78 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek Marina Bizjak Osnovna šola Idrija VOKALNA TEHNIKA V ADOLESCENCI Disertacija / Dissertation Namen doktorske disertacije je osvetliti problematiko ustrezne glasovne higiene v èasu adolescence in pomen ustrezne vokalne tehnike, s katero lahko uèitelji glasbe oz. zborovodje pomembno vplivajo na oblikovanje zdravega glasu pri uèencih. V teoretiènem delu je predstavljena fiziologija pevskih organov (dihalnih, glasovnih in resonanènih), sledijo opredelitve razliènih naèinov dihanja, prikazan je proces nastanka glasu, nato artikulacija, pevski registri in motnje glasu, govora in petja. Osrednji del teoretiènega uvoda predstavljajo znaèilnosti glasov v obdobju adolescence, pri èemer je najveèji poudarek na vokalno-tehniènih vajah za razvijajoèe se glasove. Empirièni del vsebuje dve raziskavi; namen prve raziskave je bil ugotoviti, kakšne so glasovne in govorne navade mladostnikov ter njihov odnos do glasu v vzorcu populacije osnovnošolcev iz dveh regij v Sloveniji. Ugotovitve so vplivale na informacije, ki so jih mladi pevci dobivali v drugem delu raziskave. Namen druge pilotne raziskave je bilo ugotavljanje vpliva v teoretiènem delu opisanih vokalno-tehniènih vaj in pomembnih informacij o glasovni higieni na razvoj glasu v adolescenci. Pri prvi raziskavi je bilo v vzorec vkljuèenih 110 osnovnošolcev, starih 12–13 let, ne glede na pevsko udejstvovanje zunaj obveznih šolskih dejavnosti. Rezultati so pokazali slabo znanje o pravilni skrbi za glas – veè kot polovica vkljuèenih mladostnikov je imela neprimerne govorne navade (glasno govorjenje, krièanje, ne poèivajo ob glasovnih teavah) in prehrambene navade. Uèenci, ki so imeli obèasne ali pogoste glasovne teave, so se razlikovali od ostalih brez glasovnih teav po spolu, poznem obroku hrane zveèer ter glasovnih teavah pred nastopom pubertete. Samo 11,8 % uèencev je navedlo, da ne morejo peti ne v višino ne v niino. Rezultate prve raziskave smo uporabili v drugi raziskavi, da so aktivno vkljuèeni uèenci dobili ustrezne informacije o skrbi za glas. V drugo prospektivno pilotno raziskavo je bilo vkljuèenih 10 deklet in 12 fantov, starih 12 let na zaèetku in 14 let ob koncu študije. Razdeljeni so bili v skupino, ki je redno izvajala pripravljene vokalno-tehniène vaje glede na posameznikove glasovne zmogljivosti in dobila ustrezne informacije o skrbi za glas (5 deklet in 3 fantje), in skupino, ki teh vaj ni izvajala (5 deklet in 9 fantov). Rezultati pilotne raziskave so kljub majhnemu številu vkljuèenih uèencev nakazali pozitiven vpliv vokalno-tehniènih vaj na razvoj glasu v èasu adolescence. Poznavanje skrbi za glas se je po konèanem opazovanem obdobju izboljšalo, uèenci, ki so aktivno sodelovali v pilotni raziskavi, niso navajali pomembnih glasovnih teav, navajali pa so pozitivne obèutke o svojih glasovnih sposobnostih in subjektivnem doivljanju petja. Parametri akustiène analize glasovnih vzorcev govorjenega in petega glasu se v veèini parametrov niso bistveno spremenili, saj so bili uèenci tudi ob koncu opazovanega obdobja še vedno v fazi razvoja grla in glasovnih sposobnosti. Najbolj opazno se je izboljšala kontrola glasnosti ter poveèal glasovni obseg. Prav po 79 Marina Bizjak, VOKALNA TEHNIKA V ADOLESCENCI subjektivnem doivljanju lastnega glasu in glasovnem pevskem obsegu so se loèili od skupine uèencev, ki vokalno-tehniènih vaj ni izvajala. Glavne ugotovitve o monem pozitivnem vplivu podajanja informacij o glasovni higieni in predvsem izbranih in oblikovanih vokalno-tehniènih vaj za glasove v obdobju adolescence so bile: boljše glasovne in govorne navade mladostnikov ter skrb za glas; da s kontinuirano vokalno-tehniko skozi glasovni razvoj lahko doseemo neteaven oz. bolj gladek razvoj glasu, kar sami obèutijo tudi mladi pevci; da je skrbna in premišljena izbira vokalnih vaj kljuènega pomena za zdrav razvoj glasu, saj vodi k boljši informiranosti mladostnikov o spremembah, ki se dogajajo z glasom. Pilotna raziskava je vkljuèevala majhno število uèencev, vendar rezultati te ugotovitve podpirajo. Za dejanski dokaz pozitivnega vpliva individualnega pristopa k mladim pevcem v èasu rasti vokalnega trakta in razvoja glasu bi bila potrebna raziskava na veèjem številu mladostnikov. Iz izsledkov naših raziskav pa vendarle lahko ugotovimo, da je vodenje pevskih glasov skozi glasovni razvoj kljuènega pomena. Zagovor: 12. septembra 2017 na Akademiji za glasbo Univerze v Ljubljani 80 GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek