The Problematization of The Triad Style-Genrelanguage in The Didactic Approach of The Discipline The History of Music

Open access

Abstract

Conventional mentality, according to which, in the teaching activities carried out during the courses of History of Music, the approach of the triad style-genre-language is performed under restrictions and in most cases in a superficial manner, the professor dealing with the usual general correlations (information regarding the epoch, biography and activity of the creator, affiliation of the musician to a certain culture of origin, the classification of the opus under discussion chronologically in the context of the composer’s work) falls into a traditional perspective on the discipline brought to our attention, a perspective that determines, following the processes of periodical or final assessment, average results and a limited feedback from students. For these reasons, it is necessary to use the modern methods of approaching the discipline, new teaching strategies in the comments and correlations on scientific content, so that the problematization of the style-genre-language triad in didactic approach of the discipline The History of Music, to generate optimal results in specific teaching and assessment activities.

1. Coeurdevey, A. (1998). Histoire du langage musical occidental, collection Que je sais, Paris: Presses Universitaires de France.

2. Garaz, O. (2016). Genurile muzicii. Ideea unei antropologii arhetipale, [Musical genres: The idea of an archetypal anthropology, Cluj-Napoca: Editura Eikon.

3. Herman, V. (1977). Formă și stil în noua creație muzicală românească, [Form and style in the new Romanian musical creation], București: Editura Muzicală.

4. Herman, V. (1982). Originile și dezvoltarea formelor muzicale, [The origins and development of musical forms], București: Editura Muzicală.

5. Iațeșen, L. (2015). Muzica Modernă. Stil și Limbaj, [Modern Music. Style and Language], Iași: Editura Artes.

6. Jenny, L. (éd.2011). Le style en acte: vers une pragmatique du style, Collection Voltiges, Genève: MētisPresses.

7. Meyer, L. B. (1967). Music, the Arts and Ideas. Patterns and Predictions in Twentieth-Century Culture, Chicago: Chicago University Press.

8. Nattiez, J. J. (2003). Musique de lꞌavenir în: Musiques: une encyclopédie pour le XXIe siècle, vol.1: Musiques du XXe siècle edited by Jean-Jacques Nattiez, Paris: Actes Sud/Cité de la musique, pp. 1392-1423.

9. Samoud, W. (2016). La méthode analogique musique-langage dans lꞌétude de lꞌexpression musicale: enjeux et limites. Vers une transversalité sémiotique, Université de Gafsa, Institut Supérieur des Arts et Métiers, Centre Tunisien de Publication Musicologique, CTUPM, http://ctupm.com/fr/the-analog-musiclanguage-method-in-the-study-of-musical-expression, pp. 1-20.

10. Timaru, V. (2003). Analiza muzicală între conștiința de gen și conștiința de formă, [Musical analysis – between the conscience of genre and the conscience of style] Oradea: Editura Universității.

11. Timaru, V. (2014). Stilistica muzicală [Musical stylistics] (3 vol.), Cluj-Napoca: Editura MediaMusica.

Journal Information

Metrics

All Time Past Year Past 30 Days
Abstract Views 0 0 0
Full Text Views 111 111 22
PDF Downloads 49 49 9