Muzikata v bălgarskoto učilište v kraja na XIX i načaloto na XX vek:
Музиката в българското училище в края на XIX и началото на XX век
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Bulgarian |
| Veröffentlicht: |
Sofija
Institut za izsledvane na izkustvata - BAN
2020
|
| Ausgabe: | Părvo izdanie |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Literaturverzeichnis Seite 178-195 |
| Beschreibung: | 211 Seiten Illustrationen, Faksimiles, Notenbeispiele |
| ISBN: | 9789548594004 |
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Datensatz im Suchindex
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СЪДЪРЖАНИЕ УВОД . 5 I. ФУНДАМЕНТ И ИДЕИ (1878 - 1891) Привременният устав от 1878 г. 11 Необходимият нов прочит
. 15 Учебните програми и въпросът за нотното пеене. 16 За хербартианската педагогика. 23 Средните училища и подготовката на
учителите. 29 Основни възгледи от края на XIX век. 41 II. ЗАДАЧИ И РЕШЕНИЯ (1891 - 1903) Просветният закон от 1891 г. 49 Учебниците по музика в края на XIX
век. 54 Дискусията в сп. „Учител“.64 Кой е A-moll? . 70 За песенния
репертоар. 78 За приспивните песни. 84 III. ДЕБАТИ И ПОСТИЖЕНИЯ (1903 - 1918) Първият събор на учителите по
музика. 93 Динамика на нагласите.99 Проблеми и конгреси до 1909
г. 102 „Нужен ли е учебник по пеене?“. 107 Учебни пособия от началото на XX век. 116 Законът от 1909 г. и времето на войните. 124 „На теб, мила мамо!“. 127 210
IV. МУЗИКАЛНИ ДЕЙЦИ ОТ КРАЯ НА XIX И НАЧАЛОТО НА XX ВЕК, СВЪРЗАНИ С БЪЛГАРСКОТО УЧИЛИЩЕ Александър Г. Доросиев. 134 Александър Кръстев. 135 Алексей
Шулговски. 137 Алоис Мацак.138 Анастас А. Стоянов.
139 Ангел Букорещлиев. 141 Атанас Бадев. 142 Атанас Ив. Паунов
.143 Атанас П. Колев. 144 Васил Мирчев.145
Георги Байданов. 146 Димитър В. Радев.148 Димитър
Попиванов. 149 Димитър Хаджигеоргиев . 150 Димо
Бойчев. 152 Добри Христов. 154 Емануил Манолов.155 Йосиф Каломати. 157 Карел Йермарж. 158 Карел Махан. 159 Константин Тарасеевич.161 Михаил Константинов. 162 Михаил Кочев.164 Нено Димов. 165 Николай Николаев. 166 Панайот Пипков. 167 Рачо Μ. Рачов. 169 Руси Коджаманов.170 Стефан Вапорджиев. 171 Стоян
Бешков. 172 Тодор Пъндев. 173 Янко Мустаков. 174 ЗАКЛЮЧЕНИЕ. 176 БИБЛИОГРАФИЯ. 178 ПРИЛОЖЕНИЯ. 196 Music in the Bulgarian School at the End of the 19th and the Beginning of the 20th Century. 207 211
MUSIC IN THE BULGARIAN SCHOOL AT THE END OF THE 19TH AND THE BEGINNING OF THE 20TH CENTURY Rossitsa Oraganova The topic of this book is the formation and specifics of the process of music education in Bulgaria in the late 19th and early 20th century. But, as it is known to those acquainted with our musical history, it is precisely the school that was one of the main places for making music and a key driver of the actively developing Bulgarian musical culture at that time. Therefore, the contribution of this research is not only to the revealing and rethinking of music pedagogical practices, but at the same time it is an attempt to actualize our knowledge of the processes and the figures of Bulgarian music during this period. The issues related to laying the basis of Bulgarian education immediately after the Liberation have been discussed in the first chapter — Foundation and Ideas (1878 — 1891). The characteristics of the first music curriculums, the need for a new reading and understanding of the documents and the typical concepts about the „нотното пкние” (singing on the basis of musical notation), the connection with the „църковното пЬяние“ (church singing) and the Herbartian pedagogy have been commented on. The interesting testimonies of Nikola Iv. Vankov and Ivan T. Brakalov have been presented and the music pedagogical ideas of the leading figures of our music education at the end of the 19th century (Karel Mahan, Georgi Baydanov as well as others) have been reviewed. The most significant contributions have been concentrated in the second chapter — Tasks and Solutions
(1891 — 1903). Data on 207
the first anthologies and textbooks on music, published after the Liberation, have been systematized. For the first time is presented the discussion on the problems of music practice which took place on the pages of the magazine „Uchitel“ („Teacher“) in the 1895/96, 1896/97 and 1897/98 school years, which allows to explain why the editions of the period — including the undisputed in terms of its qualities and authority Baydanov’s textbook — start with numerous critiques, excerpts from newspaper reviews, etc. There is a hypothesis proposed as to the identity of A-moll — the anonymous author of some of the most interesting and influential texts about music, published at the end of the 19th century. Questions about the repertoire, the role of the lullaby in the music education of the Bulgarian child, as well as the processes of redefining and forming our national composition school have been discussed. In the third chapter of the book — Debates and Achievements f7 903— 1918) important new moments stand out in the analysis of the topics and decisions of the first music congresses. Special attention has been paid to the discussion about the content and use of singing textbooks, something which has not been debated in the literature so far, but which brings valuable information about the processes in our music pedagogical practices in the early twentieth century. The problems of the repertoire have been discussed in this chapter too, whereby the inclusion of new composers’ names, as well as the intensification of the flow of patriotic titles immediately before and during the wars
has been emphasized. The song collections of Dimo Boychev and his activities for the creation of children’s music societies („Kitki“) and for the genre-related and thematic enrichment of the children’s repertoire have been examined. The changes in the self-awareness of the Bulgarian musician and teacher during the studied period have also been interpreted. However the need to systematize the data about the musicians related to the Bulgarian school and originating from the end of the 19 th and the beginning of the 20th century emerged gradually in the process of research. It also appeared necessary to reference the current sources for them. This body of biographical information and comments about the role of 32 representatives of Bulgarian music and education is the result of the analytical screening and summarizing of numerous publications and archival materials. It complements the interpretations in the first three chapters in a specific way. 208
All cited publications and archival documents have been listed in the detailed bibliography at the end. The sources analysed, i.e. textbooks, song collections or manuals, have been presented on a separate list. The attached musical examples as well as the documentary and portrait photos published in the book have been selected as a result of a special study, and they illustrate the issues commented on. As a result of all this, the research adds to the understanding of the processes in music education, and more generally, it complements the knowledge about the dynamics of Bulgarian music culture at the end of the 19th and the beginning of the 20th century. 209 |
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