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Owing to its strong emotional effect, music plays a great role in experiencing and expressing self-identity. In Hungary, 19 th century compilers of folksong collections consciously professed the national value of their work, while they were embarrassed by the tonality of genuine folksongs, having an aversion to pentatonic tunes. In the early 20 th century, it was exactly this tonal world that attracted Bartók and Kodály and helped them to develop their own compositional style and create sovereign Hungarian music in opposition to German romanticism. Pentatony recognized in folk music aroused their interest in researching eastern, prehistoric connections and also inspired them to carry on the stylistic interpretation of the Hungarian folk music stock. Kodály based his music pedagogical conception on the acquisition of the musical mother tongue, first of all pentatonic folksongs, which he meant as a remedy against the identity crisis of the society. The role of pentatony as a vehicle of identity has been verified by new achievements of ethnomusicology which has explored the importance of the five-tone scale in the history of Hungarian folk music more thoroughly.
. , & Beqiri-Vula , L. ( 2020 ). European comparative research project Schools@Concerts: Experiences from Croatia and Macedonia (reviewed and accepted for publishing . In V. Svalina , (Ed.) , Music pedagogy in the context of present and future changes 6
Abstract
This article is the summary of a workshop on the violin duets of Béla Bartók and Luciano Berio, and the pedagogical implications of the works. Bartók’s Forty-Four Duos are based on folk melodies, and in this workshop, we explored how the text of certain melodies are recreated using tone-painting in the music. Luciano Berio’s 34 Duetti were inspired by the Duos of Bartók, and each duet focuses on a specific technique or concept in twentieth-century music. Like Bartók did with his Duos, Berio also intended his pieces to be performed by children as well as professionals. In addition, Berio’s duets are each inspired by a person, story, or event. All duets refer to a person with their surname, including Béla [Bartók] (no. 1), Pierre [Boulez] (no. 14), Edoardo [Sanguinetti] (no. 20), Vinko [Globokar] (no. 22), Igor [Stravinky] (no. 28) or Lorin [Maazel] (no. 33). In this workshop we explored how Berio recreates these inspirations in his music.
Bartók’s “Six Dances in Bulgarian Rhythm,” the only formally self-contained set within the Mikrokosmos, is the crowning series of pieces in this huge compendium of the composer’s later piano music. Since Bartók recorded all six of them in 1940, they are ideal for an investigation of performance issues. The recordings from the Mikrokosmos, although relatively late, are fortunately close to the composition of most of the pieces, which makes these recordings all the more “authentic.” The essay, however, focuses on the concept of the series as a series revisiting the compositional manuscripts, discussing the evolution of the individual pieces and the emergence of the idea of the set (first intended to comprise only five pieces) and Bulgarian rhythm as a pedagogical issue within the series. The “Six Dances” also bear a somewhat enigmatic dedication to the British pianist of Jewish descent, Harriet Cohen, obviously not an accidental choice. The dedication might be considered with what Bartók said in an interview in 1940 about the “hibridity” of national musical types in his “Bulgarian” pieces as well as with his article “Race Purity in Music” (1942) in mind. The significance of order and ordering in Bartók’s creative work, a hitherto little discussed common central element in the various fields of his activity, collecting, performing and composing, are also discussed.
–Welch, 2007 ). Music pedagogical research supports the need to study the field, as high school students are undermotivated in their lessons and their musical creativity is not sufficiently exploited ( Deliège–Wiggins, 2006 ). When we are
, T. (Eds.). ( 2018 ). Multicoloured music pedagogy. Studies on the role, methods and social effects of music pedagogy . Debrecen, DUPress © The Author(s) 2019 The Author
, T. (Eds.). ( 2019 ). The past, present and future of music pedagogy – Handbook of the presentations of the conference for the 50th anniversary of higher educational music teacher training . Debrecen , DUPress
methodological implementation of alternative music pedagogical trends concerning the use of tools. The second part of the volume introduces the world of innovative practices and development methods to the reader, touching on the following topics: mobile devices
form underlining an interesting connection with the thoughts of the painter Paul Klee; Veress's views and methods concerning music-pedagogy on the basis of his Sonatinen für Kinder (nos. 1–3); the intertwining of folklore-collecting and classical
required complex expertise includes topics from education theory, music psychology, sociology, music aesthetics, music pedagogy, music history, music theory, communication, marketing, and management. To carry out music pedagogy in a successful way, the
