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dc.contributor.advisorPerković, Ivana
dc.contributor.otherPopović Mlađenović, Tijana
dc.contributor.otherDaković, Nevena
dc.contributor.otherO Brajen, Nada
dc.contributor.otherMarković, Vladimir
dc.creatorMarković, Luka
dc.date.accessioned2021-05-24T14:14:17Z
dc.date.available2021-05-24T14:14:17Z
dc.date.issued2020-12-11
dc.date.submitted2020-09-14
dc.identifier.urihttp://eteze.arts.bg.ac.rs/handle/123456789/464
dc.identifier.urihttps://nardus.mpn.gov.rs/handle/123456789/18336
dc.description.abstractU međusobnoj razmeni savremenih kulturoloških disciplina, muzičke prakse i njenih teorijskih platformi, doskora je najmanje učestvovala muzička pedagogija. Problematizujući ovaj nedostatak u srpskoj violinskoj pedagogiji, u radu je primenjena ideja otvorenog pristupa u istraživanju propustljivosti granica teorijskog sistema violinizma, kao posebne naučno-umetničke discipline. Koncept otvorenosti, kao metodski postupak u razradi teme, shvaćen je kao opšti princip promenljivosti, rekonstruktivnosti i fleksibilnosti. Primenljivost ovog metodskog modela zasnivala se na hipotezi da konceptualizacija osnovnih postulata violinske pedagogije može da omogući naturalizaciju i hibridizaciju znanja iz drugih umetnosti i nauka, kroz diskurs interdisciplinarnosti. Pretpostavka je bila i da uvođenje novih paradigmatskih diskursa u dosadašnje obrasce školovanja (koji su uslovljeni i specifičnim dispozitivima komponovanja i postmodernističkim poetikama izvođenja) ne bi poništilo ni jedan verifikovani protokol institucionalizovanog didaktičkog okvira. U srpskoj teorijskoj praksi sistem nastave violine razmatran je kroz pet naučno-umetničkih segmenata: istorijsko iskustvo, opštu pedagogiju i didaktiku, psihološke odrednice, psihomotorne senzacije i sredstva muzičko-umetničkog izražavanja. U kritičkom pristupu ovim temama, formirala se i osnovna teza rada: da poznavanje konvencionalnih postulata nastave violine predstavlja utoliko održiviji sistem, ukoliko liminalnost njegovih granica (kao rubni prostor) omogućava veću prohodnost vandisciplinarnih znanja i tehnika. Rekonstrukcijom cikličnog istorijskog toka violinske pedagogije u genealoški poredak; hibridizacijom progresivnog obrazovanja novim tehnikama psihopedagogije; uvidom u morfologiju senzomotornih aktivnosti i kontekstualizacijom muzičkog mišljenja, modeli nastave pokazali su potencijal predstavljanja kao sistema u pokretu. To je bio i cilj rada: ukazivanje na mogućnost unošenja invencija u konvencije teorija violinizma, čime bi metodika nastave violine mogla da postane izmenljivo, živo teorijsko (i u praksi primenljivo) polje u kome će se uvek naći opravdanje za različite načine i poetike učenja, tumačenja i izvođenja muzičkog dela (preobražavanje teksta u kontekst), ne gubeći iz vida autonomnost same discipline.en
dc.description.abstractMusic pedagogy has until recently participated the leastin international exchange of contemporary and cultural disciplines, music practice and its theoretical platforms. By problematizing this shortcoming in Serbian violin pedagogy, this work has applied an idea an the open-approach in researching the permeability of theoretical system of violin studies, as a particular scientific and artistic discipline. The concept of openness is, as a methodological procedure in theme development, understood as a general principle of variability, reconstruction and flexibility. Application of this methodological model is based upon a hypothesis that the conceptualization of fundamental principles of violin pedagogy can provide knowledge naturalization and hybridization in other arts and sciences through the discourse of interdisciplinarity. An assumption was that the intervening of new paradigmatic discourses in present schooling patterns (which are conditioned by specific composing dispositions and postmodern performing poetics as well) would not discard any of verified procedures of institutional didactical setting. Violin teaching method in Serbian theoretical practice has been analyzed by five scientific and artistic approaches: historical experience, general pedagogy and didactics, psychological traits, psychomotor activities and musical and artistic skills. Critical approach to theaforementionedsubjects has created the primary thesis of this work: competence in conventional postulates of violin teaching presents a sustainable system, the more liminal its boundaries are. If understood as borderlines they can provide greater influence of extradisciplinary knowledge and technics. Reconstruction of cyclic historical flow of violin pedagogy into a genealogical order; hybridization of progressive education by new technics of psychopedagogy; insight into morphology of sensomotoric activities and contextualization of musical opinion have shown that teaching models can be presented as a system in motion. Precisely that was an objective of this work: emphasizing the possibility of inventions in conventional violin theories, by which the violin teaching methods could become an interchangeable, lively theoretical (in practice applicable) field of different study-modes and poetics, interpretations and performances of musical piece (transcription of text into context), without dismissing the autonomy of the discipline itself.en
dc.language.isoscen
dc.publisherУниверзитет уметности у Београду, Интердисциплинарне студије Универзитета уметностиsr
dc.rightsopenAccessen
dc.sourceУниверзитет уметности у Београдуsr
dc.subjectkoncept otvorenostien
dc.subjectopen-approach concepten
dc.subjectcontextualization of violin methodologyen
dc.subjectgenealogy of pedagogical experiencesen
dc.subjectpsychomotor relationsen
dc.subjectpsycho-pedagogical technicsen
dc.subjecthybridizationen
dc.subjectnaturalizationen
dc.subjectinterdisciplinarityen
dc.subjectkontekstualizacija violinske metodikeen
dc.subjectgenealogija pedagoškog iskustvaen
dc.subjectpsihomotorne relacijeen
dc.subjectpsihopedagoške tehnikeen
dc.subjecthibridizacijaen
dc.subjectnaturalizacijaen
dc.subjectinterdisciplinarnosten
dc.titleMogućnost implementacije koncepta otvorenosti na postojeće teorijske platforme metodike nastave u srpskoj violinskoj pedagogijien
dc.typedoctoralThesisen
dc.identifier.fulltexthttps://nardus.mpn.gov.rs/bitstream/id/71592/bitstream_71592.pdf
dc.identifier.fulltexthttps://nardus.mpn.gov.rs/bitstream/id/71591/bitstream_71591.pdf
dc.identifier.rcubhttps://hdl.handle.net/21.15107/rcub_nardus_18336


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