UDC:78.01 78:316.7 COBISS.SR-ID 274383372 _________________
Received:May 23, 2018
Reviewed:Jun 8, 2018
Accepted:July 03, 2018
#1
Sociokulturološki kontekst muzike
Musical Framework:
A sociocultural approach
Citation: Marijan, M. 2019. "Sociokulturološki kontekst muzike." Accelerando: Belgrade Journal of Music and Dance 4:1.
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Abstract
In this article music is regarded as one of the means of communication. The author approaches to music as a medium through which humans develop their skills, views, personal preferences, physical and mental abilities, as well as social skills. In this context, the author is trying to define the sociocultural aspects of music and music education. Accordingly, there are three sociocultural factors of music recognized as three ways how music is incorporated and distributed through society, building a sociocultural framework. This framework includes musical identity, music education, and public performance. Development of musical identity, as the first phenomenon, is the integral part of every person. It has been developed since early childhood, and has influence on personal views, ways of clothing, vocabulary, circle of friends, musical tastes. It has been developed independently through musical knowledge and skills, where mass media have the important role in shaping the identity, and particularly musical identity. In this sense, music identity is making up by the society and an environment in which the subject lives. However, the true cultivation of musical tastes and identity is possible only through music education and musical knowledge. Music schools and educative methodologies, as the second sociocultural phenomena through which the music is introduced into the society, have to train musical tastes, psycho-physiological skills and abilities, develop aesthetic theories, incorporate innovative methods in performing music, and introduce the technology into curriculum as the supportive remedy in the learning process and performing music. Furthermore, the state and government have to take a more active role in providing optimal and inspiring environment to schools, teachers and students in the field of music education. Finally, music performance, considered as sociocultural event, has to be integral part of the music pedagogy. Since the performance of classical music encountered the new age of technology and mass media, it has been suggested that a creative approach and an exploration of audio-visual integration have to be introduced into the concept of music performance. Therefore, the concept of audio-visual experience must be considered as an integrated part of music education and performance. In conclusion, musical experience and musical training have many therapeutic benefits as well as influence on cognitive, psychological, and physical abilities. Music develops social skills and tastes, helping a person’s integration with society, as well as building one’s identity. As music has enormous influence on the society, it has to be bared in mind that taming good musical tastes through media, developing musical skills through structured and integrated music education, and promotion of rich and inspiring public performances will eventually build healthy and beneficial sociocultural framework. Keywords: music education, performance, music identity, sociocultural framework, audio-visual integration |
Uvod
Šta je muzika? Definicija muzike varira, zavisno od kulture i socijalnog konteksta. Muzika se klasifikuje i objašnjava u okviru socio-kulturološkog konteksta. Tako na primer, muzika u određenim društvima kao što su primitivne zajednice, ima magijsko značenje i vezana je za određene ciklusne celine u okviru zajednice. Nasuprot tome, muzika u zapadnom sistemu vrednosti spada u kategoriju umetnosti što ima višestruko značenje. U prvom redu, ona je definisana kao umetničko delo koje je odraz stavaralčke volje, intuicije i tehničke sposobnosti stvaraoca, t.j. kompozitora. Ovako ona, kao delo ili umetnička struktura, postoji u vizuelnom obliku: kao notni zapis. S druge strane, ona poseduje i auditivnu komponentu koja se odražava kroz izvođenje ili auditivnu interpertaciju notnog zapisa koja omogućava doživljaj muzike. Na posletku, muzika kao umetnost je teorijski i estetski definisana u socioliškom okruženju, i kao takva dobija obrazovni karakter i ulazi u edukativni sistem. Međutim, u postmoderni, multidisciplinarni i pluralistički pristup u teoriji i istraživanjima je neophodan (Hargreaves and North 1997; MacDonald et al. 2002). Muzikolog Žan Žak Natije je definisao relativistički, postmodernistički pristup. Po njemu, granica između buke i muzike je kulturološki definisana, što znači da čak i u jednom istom društvu ta granica ne stoji na istom mestu, jer retko da postoji opšta saglasnost, odnosno konsenzus. Natije zaključuje da ne postoji jedinstveni, kulturološki univerzalni koncept kojim bi se muzika definisala (Nattiez 1990, 48, 55). U postmodernističko doba, društveno okruženje počinje muziku da koristi "poput odeće, kao simbol širokog spektra životnih stilova, ili identiteta" (Martin 1995, 21). Muzikom se prenose značenja, poruke i iskustva koja se ne mogu preneti rečima, a prenose se subjektu koji je politički entitet (zoon politikon [subjekt jednog društva i njegovog sistema vrednosti]), i samosvojan entitet (ličnost, pojedinac). Kakav će se subjekt oblikovati pod uticajem tih poruka i značenja od važnosti je za društvo u celini (Danaher et al. 2000). Međutim, iako je muzika prisutna u svim kategorijama vizuelnih elektronskih formi: muzički spotovi, reklame, filmovi, TV kviz, TV show, mora se imati u vidu da u određenim društvima može preovladati određeni tip formi, pa tako suziti krug muzičkog ukusa i na taj način formirati određene ideološke predstave kod pojedinaca, što može poslužiti vladajućim grupama da nametnu određene ideološke poruke i sistem vrednosti. Da bi subjekti u jednom društvu mogli da rasuđuju i kritički prilaze muzičkom ukusu koji se namaće putem medija, po autorovom mišljenju, potrebno je imati kvalitetan i nepristrasno organizovan muzički edukativni sistem koji će se zasnivati na racionalnim, klasičnim temeljima obrazovanja uz korišćenje savremenih tehnoloških dostignuća. Međutim, ovde se javlja problematika odnosa sociološkog okruženja, zajednice i muzičkog obrazovanja. U ovom radu autor će pokušati da definiše kako se muzika ispoljava u kontekstu sociološko-kulturološkog okruženja, i kako utiče na muzički i psihofizički razvoj pojedinca. Formiranje muzičkog identiteta u
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references |
Summary |
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Music is the mean of communication. An increasing number of academic researches interested in research the foundations of musical behavior asserted that we all respond emotionally to music (Juslin and Sloboda 2001; Trevarthen, 2002). There are many works which endeavor to develop our understanding of the psychology of music and many researches that utilized a predominantly quantitative empirical epistemology which focused on isolating variables and was less concerned with the wider sociocultural aspects of music. However, a more multidisciplinary and pluralistic position is entirely in keeping with postmodern research priorities.
Definition of music is very ambiguous, depending of the culture and the social context. In some societies, particularly indigenous ones, music is the integral part of every day life, performed on various occasions such as funerals, ceremonies, and religious rituals. In the Western world, music is regarded as an art: the creation of the artistic intuition, which is the essence of the creative process. Music was regarded as a mirror of the heavenly word, and as mover of earthly passion which was meditated by church doctrine, and by developing of musical notation that enabled polyphonic music with its sonorous beauty to be seen as reflecting the mathematical complexity of divine order. Eventually, music considered as art is theoretically and aesthetically defined in the social environment, and as such it takes on its educational features and becomes a part of an educational system. In the postmodern, pluralistic and multidisciplinary approach of Hargreaves and North (1997), MacDonald (MacDonald et al. 2002), and Nattiez (1990, 48, 55) the stand is that there is no consensus about definition of music, even though there is no such a consensus in the same society. In the postmodern period music is used as a clothing, like a symbol of somebody‘s life style or identity (Martin 1995, 21). In the theories of musical meaning, where meaning is considered to be an immanent response that depends on the quality of the music as the object of listening and on the cultural capacities of its audience, the main factors that motivate the meaning are found to lay in its expressive or in its structural properties, particularly in the harmonic domain, analysed in terms of patterns of tension and resolution (Lerdahl 2003). On the other hand, theories that emerged from sociological and ethnomusicological explorations aim to understand music and its meaning in the social context in which it arises. Music is the path for transferring meanings, ideas and notions which are hardly been transferred by other means, such as words, and it aims to be understood by the individual who is either the political identity, zoon politicon, the part of the particular society, and as such the part of its system of values and norms, and the entity, individual, personality. Accordingly, how this personality will be shaped depends on those influences, which puts music on the pedestal of great importance to the society as a whole (Danaher et al. 2000). However, in spite that music is affordable in various electronic forms, like musical videos, advertisements, movies/films, TV quizzes and TV shows, in some societies only some forms may be prevalent and therefore the span of musical events and styles may be very narrow which leads to the creation of the certain ideology and value system, i. e., accepted and rewarded social conduct and behavior. In those societies the way people are reasoning and thinking is suppressed by mass media. According to the author, the only way to avoid this damaging effects on individuals is through quality and open educational system set up on rational, classical foundations, and modern technology. Although, in this aspect, the researcher have to answer some questions regarding interconnection between society and music education. From such perspective, meaning in music cannot be understood solely as a consequence of music‘s aesthetic dimension. Taking into account that music can fulfill a multiplicity of the functions in the society, its meaning can be best interpreting as adverting to emic conceptions of social facts and circumstances: it could be understood in the contexts of the belief systems and cultural practices within which it has a role, but also may be interpreted as oriented towards more mundane ends. In this paper music is conceived as a mode of interaction rather than as the object of auditory perception, and there are indicated the possible methods whereby this might be achieved, i. e. methods of addressing the study of the musical meanings that are inherent in processes of musical interaction, as well as implications of this approach. Thus, this work synthesize indicative research findings and considers the implications for music pedagogy and performance. |
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Belgrade Center for Music and Dance is the publisher of Accelerando: BJMD
Belgrade Center for Music and Dance is the publisher of Accelerando: BJMD