The role and purposes of the theory courses in the academic curricula of the Faculty of Arts in Nis

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The role and purposes of the theory courses in the academic curricula of the Faculty of Arts in Nis

Natasa Nagorni Petrov, PhD in Pedagogy, Professor of Department of Musical Arts of the Faculty of Arts, University of Nis (Nis, Republic of Serbia).

Danijela Stojanovic, PhD in Pedagogy, Professor of Department of Musical Arts of the Faculty of Arts, University of Nis (Nis, Republic of Serbia).

Danijela Ilic, PhD in Arts History, Professor of Department of Musical Arts of the Faculty of Arts, University of Nis (Nis, Republic of Serbia).

The teaching process at the Department of Music Art at the Faculty of Arts in Nis is realized through the accredited study programs for Bachelor's degree studies (BA) and Master's degree studies (MA). The theory courses Harmony and Harmonic Analysis, Counterpoint and Musical Forms belong to a group of theoretical courses. They are taught at all levels of study within different study programmes. Starting from the theoretical basis, through the acquisition and development of skills, the analytical approach to compositions of different stylistic epochs, students are enabled to monitor the development of musical thinking, compositional practices, styles and genres through the opus of a large number of composers, as well as to have the possibility of pedagogical approach to different music-theoretical disciplines. curriculum academic course

This paper analyzes the structure of the study programmes and teaching contents of Harmony and Harmonic Analysis, Counterpoint and Musical Forms, as theoretical disciplines. The importance of these theoretical courses is also encouraged by their correlation with other music disciplines. The academic courses Harmony and Harmonic Analysis, Counterpoint and Musical Forms are taught at Master's degree academic studies as mandatory courses, but also at the study programme of Theory Courses Teaching Methods.

bywords: harmony and harmonic analysis, counterpoint, musical forms, theory courses, teaching methods, pedagogical approaches to teaching.

ЦЕЛЬ И ЗАДАЧИ ТЕОРЕТИЧЕСКИХ КУРСОВ В АКАДЕМИЧЕСКОЙ УЧЕБНОЙ ПРОГРАММЕ ФАКУЛЬТЕТА ИСКУССТВ В НИШЕ

Наташа Нагорни Петров, кандидат педагогических наук, профессор кафедры музыкального искусства факультета искусств, Университет в Нише (г. Ниш, Республика Сербия).

Даниела Стоянович, кандидат педагогических наук, профессор кафедры музыкального искусства, заместитель декана по художественно-научным вопросам факультета искусств, Университет в Нише (г. Ниш, Республика Сербия).

Даниела Илич, кандидат искусствоведения, профессор кафедры музыкального искусства факультета искусств, Университет в Нише (г. Ниш, Республика Сербия).

Учебный процесс на кафедре музыкального искусства факультета искусств в Нише осуществляется через аккредитованные учебные программы на уровне бакалавриата (БА) и магистратуры (МА). Курсы «Гармония и гармонический анализ», «Контрапункт» и «Музыкальные формы» относятся к группе теоретических курсов. Они преподаются на всех уровнях обучения в рамках различных учебных программ. Исходя из теоретической основы, путем приобретения и развития навыков аналитического подхода к композициям разных стилистических эпох, студенты получают возможность отслеживать развитие музыкального мышления, композиционных практик, стилей и жанров через анализ произведений множества композиторов. Студенты также имеют возможность осваивать педагогические подходы к преподаванию разных музыкально-теоретических дисциплин.

В данной статье анализируется структура учебных программ и содержания курсов «Гармония» и «Гармонический анализ», «Контрапункт» и «Музыкальные формы» как теоретических дисциплин. Важность этих теоретических курсов подтверждается также и их соотношением с другими музыкальными дисциплинами. Академические курсы «Гармония и гармонический анализ», «Контрапункт» и «Музыкальные формы» преподаются на академических курсах магистратуры в качестве обязательных предметов, а также в рамках учебной программы по методике преподавания теоретических курсов.

Ключевые слова: гармония и гармонический анализ, контрапункт, музыкальные формы, теоретические курсы, методика преподавания, педагогические подходы к преподаванию.

INTRODUCTION

The Faculty of Arts in Nis is one of the thirteen faculties of the University of Nis. It comprises the Department of Music Art, the Department of Visual Arts and the Department of Applied Arts. Respecting the purposes of the higher education which is based: “on the principles of academic freedom, autonomy, synthesis of pedagogical and artistic or research and scholarly work, students' participation in the faculty management bodies and affirmation of competition in the field of education and research with the purpose of creating a more efficient higher education system of reputable standard” [4], the Faculty of Arts in Nis has defined its unique goals pertaining to its own educational and academic mission:

• “1 to transfer artistic, scholarly and expert knowledge and skills;

• 2 to improve the artistic creation and further develop of the scientific knowledge of art;

• 3 to recruit young artists, scholars and experts;

• 4 to offer equal opportunities to all individuals willing to acquire higher education and to pursue the life-long education” [4].

The Faculty of Arts in Nis offers a variety of fully accredited study programmes implemented at the level of Bachelor's degree and Master's degree.

The Department of Music Art at the Faculty of Arts in Nis offers eight (8) study programmes at the levels of Bachelor's degree (BA) studies and two (2) study programmes at the Master's degree academic studies (MA). The Bachelor's degree study programmes are the following: Music Theory and Pedagogy, Piano, Solo-singing, String Instruments, Wind Instruments, Guitar, Accordion and Percussion Instruments. The Master's degree study programmes are the following: Music Theory and Pedagogy and Performing Arts comprising twelve (12) modules.

The paper analyzes the study programmes offered at the Department of Music of the Faculty of Arts in Nis and the role of the main theory courses - Harmony and Harmonic Analysis, Counterpoint and Musical Forms. Some other theory courses are also discussed, such asMusic Piece Analysis, Harmony and Harmonic Analysis seminar, Counterpoint seminar, Musical Forms seminar and Theory Courses Methods [3] “The study programme comprises mandatory and elective academic courses, or fields of study, in other words, together with their outlined curricula that qualify students to acquire a corresponding academic degree” (Statute of the Faculty of Arts, article 109).. All the aforementioned courses are taught at various study programmes and levels of study as mandatory and/or elective courses.

THEORY COURSES AT THE DEPARTMENT OF MUSIC ART AT THE FACULTY OF ARTS IN NIS

Three theory courses occupy a very significant position in the system of secondary music education in Serbia: Harmony, Counterpoint and Musical Forms. The official curricula require that pupils at all departments of secondary music schools attend the courses in Harmony (0+3+2+2) The number of classes per week and grades. and Musical Forms (0+1+1+2) starting from the second grade, and the course in Counterpoint (0+0+2+2) from the third grade. These courses provide the essential expert and theoretical knowledge [2].

The theory courses knowledge is further improved at the level of higher or academic education. The courses Counterpoint and Musical Forms retain their names whereas the study materials and programmes are changed. The course Harmony becomes Harmony and Harmonic Analysis with modified study programmes and ultimate educational goals.Harmony and Harmonic Analysis is a new subject studied at the faculty, which is based upon the secondary music school education of this subject. According to Despic, the author of the textbook for the course in Harmony and Harmonic Analysis, used in the educational system of the Republic of Serbia Dejan Despic (1930- ), composer, music scholar, theoretician and pedagogue is one of the most inventive creative individuals from the second half of XX century and also the author of the textbooks for various music subjects: Основи науке о музици (1979), Музички инструменти (1989), Увод у савремено компоновапе (1991), Хар- монска анализа (1970), Тонски слог. Мелодика (1973), Тонски слог. Двоглас (1974), Тонски слог. Вишеглас/е (1974), Тонски слог. Вишегласни аранжмани (1975), Музички инструменти (1976), Хармони)'а са хармон- ском анализом (1997), Теорща музике (1997), Музички стилови (2004)., the purpose of this newly created course is “...to expand, upgrade and integrate the students' previously acquired knowledge related to harmony in three ways: theoretical, stylistic-historic and practical, the last one including the `creative' and analytical approach” [7].

The course in Harmony and Harmonic Analysis taught at the Faculty of Arts in Nis is a mandatory course in the Bachelor's degree studies for the following study programmes: Music Theory and Pedagogy, Piano, Accordion, Guitar and Percussion Instruments. The course duration and the accredited curricula are different.

Music Theory and Pedagogy students attend the course in Harmony and Harmonic Analysis for three academic years during which time they learn about the origin and development of the harmonic language throughout the long history of the art of music - from the foundations of the harmonic dimension of music up to the latest issues in the music of XX century. Students are obliged to attend both theoretical and practical lectures, write term papers and take midterm tests so as to be better acquainted with the chronological and interesting harmonic developments pertaining to the particular periods of music, such as Baroque, Classicism, Romanticism, Impressionism and harmony of XX century. Being qualified to resolve each complicated situation characteristic of a particular style within a specific piece of music, students demonstrate proficiency in particular harmonic occurrences present in a certain style. Students also gain practical knowledge and skills of the harmonic occurrences characteristic for a particular style of music, practical and skillful reconstruction of the harmonic language of a particular epoch and its representatives. The analysis of fragments and/or whole compositions belonging to various genres enables students to integrate the acquired harmonic and theoretical music knowledge and thus create their own analytical concepts. The goals of the course Harmony and Harmonic Analysis are aimed at developing the knowledge and skills through an independent, practical, analytical and theoretically based approach to music referential materials from the point of view of both creation and practice [1].

Music Theory and Pedagogy students attend the course in Counterpoint during their first and second academic year in the course of the Bachelor's degree studies. The students are qualified to master the counterpoint techniques both analytically and practically, the techniques characteristic for the Renaissance and Baroque style, through the analysis of carefully selected examples of music pieces and students' individual composition work. The starting point is the mastering of the specific counterpoint elements of a particular style (Renaissance, Baroque), extending and increasing the already acquired knowledge and the analysis of the counterpoint procedures in the defined (determined) polyphonic piece. Practical work naturally enables students to individually compose fragments or complete pieces of the Renaissance or Baroque music: two-part or three-part models, two-part inventions, fugues [1].

Music Theory and Pedagogy students attend the course in Musical Forms during the second and third academic year in the course of the Bachelor's degree studies. The course is not taught in the first academic year of study since it is believed that students should acquire certain experience in music theory and gain additional knowledge in the field of music prior to attending this academic course. The primary goals of the course are mastering the elements of the musical forms and their interaction in order to create a desirable music flow, as well as the introduction into the general principles of forms (regardless of the formal model). Students are expected to learn and understand the musical forms typology from the point of view of the analysis of a piece of music, since it is the most significant teaching method [9]. Moreover, students are expected to analyze the musical forms elements, to understand and to individually interpret the music flow. The visual and audio materials related to the fragments and complete compositions belonging to various music genres and epochs enable students to individually analyze the forms of the song, rondo, sonata, as well as different intertwined formal models. Students are also expected to present their critical opinion and generalize the obtained analytical results. During the final, fourth semester students individually analyze the cyclical compositions belonging to various music genres and periods. In addition, they take an active part in the interpretation of the forms characteristic for the contemporary techniques of composition [1].

Music Theory and Pedagogy students choose one of the offered elective courses in the fourth academic year of study: Harmony and Harmonic Analysis seminar, Counterpoint seminar, Musical Forms seminar. All three academic courses have a common educational cause - to qualify students for their individual and independent scholarly and research work and to enable them to master the teaching methods and techniques of writing an academic paper. The selection of one of the offered electives, Harmony and Harmonic Analysis seminar, Counterpoint seminar and Musical Forms seminar, means that a student shows their inclination to the analytical and historical research, defining the subject matter, its methods and goals. It presupposes the focus on the subject matter of the research. Writing of the seminar or term paper comprises the following: analysis of the selective composition, completion of the paper content, clear formulation of the main idea and its realization, proper selection and presentation of reference materials, application of adequate methods, writing the first draft and preparation of the paper defense. The elective academic courses Harmony and Harmonic Analysis seminar, Counterpoint seminar and Musical Forms seminar are the subjects that prepare students for another level of study, which is the Master's degree study programme [1].

The theory courses Harmony and Harmonic Analysis, Counterpoint and Musical Forms are part of the accredited curriculum of the study programme Music Theory and Pedagogy in the Master's degree academic studies (MA) at the Faculty of Arts in Nis. The selection of one of the three offered theory courses, the choice of the field of study and the particular topic and final thesis represent an opportunity for students to exhibit the acquired knowledge in the process of preparing, writing and defending their final paper. Students are also expected to individually specify the subject matter of their research and to produce their own seminar paper [6]. They are provided some necessary expert help to define their ideas, use properly the methods and the scholarly paper techniques. Master's degree studies organized at the Faculty of Arts in Nis within the study programme of Music Theory and Pedagogy qualify students for an independent scholarly and academic work in the field of music theory and analysis as well as for adequate pedagogical work in the defined field [1].

The academic course Theory Courses Teaching Methods is the mandatory course in the study programme Music Theory and Pedagogy at the

Master's degree academic studies. The goals of the course are acquiring knowledge concerning the secondary music education in theory courses and the methods of teaching theory courses, such as Music Theory, Harmony, Counterpoint and Musical Forms. Students are inspired to develop an interest in the pedagogical work and to educate themselves for teaching theory subjects. On the other hand, students are expected to develop a critical and analytical approach towards these courses, to understand the theory courses teaching methods, to form a comparative and analytical approach regarding the necessary reference materials. In the process of learning theory and practical skills, the focus is on the development of creativity in teaching as an imperative for the future individual teaching of theory courses [1]. Experienced educator and teacher of Theory Courses Teaching Methods at the Faculty of Music Art in Belgrade and renown author Zivkovic deliberates that, “The crucial aim of this subject is not offering ready-made solutions on how to transfer knowledge and skills in the best possible way but qualifying future teachers for the analysis of both their and other persons' methods and for an adequate assessment of the effects of such procedures, as well as for the analysis of the pedagogical reference materials in their selected field of study” [8] Mirjana Zivkovic (1935- ), composer, author of music textbooks, theoretician and pedagogue, author of a great number of textbooks in the field of various theory disciplines: Хармони^а у оквиру музичких етилова,.

Academic education acquired by studying Theory Courses Teaching Methods is aimed at learning the essential and obligatory elements pertaining to the teaching of particular subjects as well as at “...inspiring students to create clearer ideas regarding the importance of teaching these subjects in secondary schools and to accept their own independent ideas about the most convenient ways of applying the learned procedures accordingly, which will offer them a proper direction and make their classes more interesting, colorful and dynamic” [5].

Students of the study programmes Piano, Guitar, Accordion and Percussion Instruments attend the academic courses Harmony and Harmonic Analysis and Counterpoint in the first year of the Bachelor's degree studies. This represents a certain qualitative recapitulation of the knowledge and skills attained during the previous course of music education, but also some augmentation and preparation for the attendance of the academic course Music Analysis. The study of the most significant elements of the classicist harmony and the elements of the analytical harmony leads to the acquisition of the independent soprano and bass melody harmonization and an analytical approach to the works composed by various composers belonging to different music styles and epochs. The Counterpoint classes are structured so as to enable students to master the counterpoint techniques of the Renaissance and Baroque style through the analysis of the selected and exemplary music pieces and the individual composition work (two-part inventions) [1]study notes (1978), Хармони^а на клавиру: адаптаци^а збирке Пола Видала и На^е Буланже (1979), Методи-ка теори'ске наставе,study notes (1979), Хармонщ'а, secondary music school textbook (valid for university students) (1990), Хармони^а за II разред. Хармони^а за III и IV разред(valid for university students) (2001), Инструментални контрапункт,secondary music school textbook (valid for university students) (1991), Бахове четворогласне хармонизаци^е корала (1996).⁶ The following are the authors of the theory subjects textbooks: M. Tajcevic. Општа теорщ'а музике (1982), D. Skovran, V Pericic. Наука о музичким обли- цима (1991), М. Mihajlovic. Музички облици (1989),Pericic. Вокални контрапункт (1992)..

Students studying performing arts start attending a new course in the second year of study, the course Music Analysis, which represents an intermingling of the elements of all theory courses. A theoretical and analytical approach to the composed works from different music epochs and genres enables students of performing arts to apprehend analytically the music reference materials that they perform within their major courses, chamber music and orchestra courses. The three-year academic study of the course Music Analysis aims at qualifying students of performing arts to understand the importance of the analytical observations in the shaping of their own individual interpretative concept, as well as to relate the studied materials with the materials learned in other courses and with the scholarly reference materials [1].

Table 1

Theory courses in the study programmes at the Faculty of Arts in Nis

CONCLUSION

The theory academic courses studied at the Faculty of Arts in Nis are the following: Harmony and Harmonic Analysis, Counterpoint and Musical Forms. The study of theory courses is beneficial to students since they acquire necessary theoretical knowledge and skills regarding their analytical approach to music pieces composed by various composers and belonging to different music genres and epochs.

Harmony and Harmonic Analysis, Counterpoint and Musical Forms are studied as both mandatory and elective academic courses in different study programmes of Bachelor's degree studies and Master's degree studies at the Faculty of Arts in Nis. The study of the theory courses at the level of Bachelor's degree studies and the selection of the offered elective seminars (Harmony and Harmonic Analysis seminar, Counterpoint seminar and Musical Forms seminar) represent a carefully designed programme, leading to the Master's degree studies and a more comprehensive and detailed exploration of the practical, theoretical and analytical knowledge and skills within one of the theory disciplines. The academic teaching continuity, a wide range of offered courses and study materials and the period necessary for their realization represent a model for a long-term process of creating and shaping the personality of a music pedagogue, theoretician and performer.

Literature

1. Course overview. - Nis: Faculty of Arts, 2012.

2. Regulations on alterations and amendments of the Regulations on the four-year secondary education in the field of culture, art and media. - Belgrade, 1996.

3. Regulations on the fields of study of the Faculty of Arts in Nis. - Nis, 2012.

4. Statute of the Faculty of Arts. - Nish, 2012.

5. Andelkovic-Protic Jasminka. Analiticki pregled postupaka u radu na metodici teorijske nastave // Zbornik katedre za teorijske predmete. - Beograd: Fakultet muzicke umetnosti, 2004. - P. 123-128.

6. Damjanovic Milan. Mesto teorijskog rada u okviru univerziteta umetnosti. - Beograd: Univerzitet umetnosti u Beo- gradu, 1976.

7. Despic Dejan. Harmonija sa harmonskom analizom. - Beograd: Zavod za udzbenike i nastavna sredstva, 2002.

8. Zivkovic Mirjana. O metodici nastave teorijskih predmeta na Fakultetu muzicke umetnosti u Beogradu (Ili: Kako je pocelo) // Interakcija muzike i vremena. Zbirka tekstova. - Beograd: Fakultet muzicke umetnosti, 2014. - P. 387-391.

9. Нагорни Петров Наташа, СтсуановиЪ Данщела. Важност уцбеника у холистичком приступу настави ужеструч- них предмета на Факултету музичке уметности // Холистички приступи у васпитаау. - Пирот: Висока школа струковних студща за образоваае васпитача у Пироту, 2013. - P. 38-46.

References

1. Obzor kursa [Course overview]. Nish, Faculty of Arts Publ., 2012. (In Engl.).

2. Polozhenie o vnesenii izmeneniy i dopolneniy v Polozhenie o chetyrekhletnem srednem obrazovanii v oblasti kul 'tury, iskusstva i media [Regulations on alterations and amendments of the Regulations on the four-year secondary education in the field of culture, art and media]. Belgrade, 1996. (In Engl.).

3. Polozhenie o napravleniyakh obucheniya fakul'teta iskusstv v Nishe [Regulations on the fields of study of the Faculty of Arts in Nish]. Nish, 2012. (In Engl.).

4. Ustav fakul 'teta iskusstv [Statute of the Faculty of Arts]. Nish, 2012. (In Engl.).

5. Andelkovic-Protic Jasminka. Analitiki v poiskakh knigi po metodike teorii nastavleniya [Analysts in search of a book on methods of theory of guidance]. Sbornik kafedry po teoreticheskim predmetam [Collection of the Department of theoretical disciplines]. Beograd, Fakultet muzicke umetnosti, 2004, pp. 123-128. (In Serb.).

6. Damjanovic Milan. Mesto teoreticheskoy raboty v universitete iskusstv [Place of theoretical work within the University of the Arts]. Belgrade, Belgrade University of Art Publ., 1976. (In Serb.).

7. Despic Dejan. Garmoniya s garmonicheskim analizom [Harmony with harmonic analysis]. Belgrade, Institute for Textbooks and Teaching Aids Publ., 2002. (In Serb.).

8. Zivkovic Mirjana. O metodike prepodavaniya teoreticheskikh predmetov na muzykal'nom fakul'tete v Belgrade (ili: Kak eto nachalos') [About the Teaching Methods of Theoretical Subjects at the Faculty of Music in Belgrade (Or: How it started)]. Vzaimodeystvie muzyki i vremeni: sbotnik[The interaction of music and time. Collection of texts]. Belgrade, Faculty of Music Arts Publ., 2014, pp. 387-391. (In Serb.).

9. Nagorny Petrov Natasha, Stojanovic Danijela. Vazhnost' uchebnikov v tselostnom podkhode k prepodavaniyu osnovnykh predmetov na muzykal'nom fakul'tete [The importance of textbooks in a holistic approach to teaching the core subjects at the Faculty of Music]. Tselostnye podkhody v obrazovanii [Holistic Approaches in Education]. Pirot, College of Professional Studies for the Education of Teachers in Pirot Publ., 2013, pp. 38-46. (In Serb.).

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