Repository of the Academy of Arts and Culture in Osijek
Not a member yet
1566 research outputs found
Sort by
Work on the play "About Love"
No full textPredstava „O ljubavi“ nastala je kao diplomski ispit studentice Vanje Čiča, pod mentorstvom profesora Hrvoja Seršića i sumentorstvom Andrije Krištofa, koji je ujedno bio i partner Vanji Čiča u stvaranju ovom diplomskog ispita. U ovome radu pojašnjen je, od početka do kraja, proces nastajanja predstave „O ljubavi“. Unutar poglavlja rastavljen je na određene elemente, kako bi se što detaljnije pojasnio cjelokupan proces. Rad prati nastanak predstave od prve probe, pisanja teksta, odabira izražajnih sredstava, osmišljavanja koncepta, vrste animacije, problema i otklanjanja tih problema do krajnjeg produkta. Pojašnjeno je i zašto se u ovoj predstavi radi o lutkarstvu, iako u njoj nema klasične vrste animacije te su naglašene mogućnosti koje nudi kazalište predmeta. I u konačnici, istaknuto je kako je za uspješnu predstavu iznimno važno zajedništvo te snažna volja svih aktera, njihovo međusobno uvažavanje i poštivanje.The play “About love” was created as a Master’s thesis by student Vanja Čiča under the mentorship of Hrvoje Seršić and co-mentorship of Andrija Krištof who was also Vanja’s partner in creating of this Master’s thesis. This thesis explains the process of creation of the show “Abut love” from the beginning to end. I used dividing by chapters so I could thoroughly explain each factor of the entire process; including the first rehearsal, writing the text, choosing means of expression, coming up with the context, type of animation through problems that got in the way and solving them until we came to the final product. I explained why this show deals with puppetry, even though my approach to puppet animation wan’t classical, and all of the opportunities of object theatre. Togetherness, strong will of all the contributors and mutual respect are the three ingredients that make a successful show
Shy Students and Performing Music Activities
No full textU današnjem je svijetu sramežljivost sve češća pojava među djecom i odraslima. Rad se bavi utjecajem sramežljivosti na učenike prilikom izvođenja glazbenih aktivnosti, no potrebno je shvatiti zbog čega dolazi do sramežljivosti. Na početku rada navedeni su tipovi osobnosti te kako su introvertirane osobe podložnije sramežljivosti od ekstravertiranih. Za pojavu sramežljivosti od velike su važnosti vanjski čimbenici i utjecaji. Na sramežljivost kod djece utječu obiteljsko, školsko i vršnjačko okruženje. Svakako treba uzeti u obzir da svako sramežljivo dijete nije isto te kako postoje vrste, razine i razlike s obzirom na spol u sramežljivosti. Sama sramežljivost utječe i na druge osjećaje kod djece kao što je samopoštovanje koje je niže ukoliko dijete posjeduje visok stupanj sramežljivosti. Na nastavi glazbe aktivnosti koje se izvode su pjevanje, sviranje, ples/pokret i glazbene igre. Rad se u manjoj mjeri bavi i problematikom organizacije navedenih aktivnosti. Najčešća aktivnost je pjevanje, a u školama se najmanje svira zbog raznih razloga (neodgovarajuća oprema, manjak vremena). Učitelji kao voditelji odgojno-obrazovnog procesa imaju važnu ulogu u kreiranju razrednog ozračja. Upravo to znači da bi se učitelji trebali znati postaviti prema svakom učeniku, a tako i prema sramežljivima, te znati na koji način im pomoći da budu opušteniji i svoji. Sramežljiva djeca imaju slabiji uspjeh u izvođačkim glazbenim aktivnostima jer su sklona nesigurnosti i povlačenju u sebe. Aktivnosti koje mogu pomoći u suzbijanju sramežljivosti su razne glazbene igre, no bitno je da one budu dobro osmišljene kako bi djeca bila neopterećena i kako bi uživala u njima.In today's world, shyness is a common phenomenon among children and adults. The paper deals with the influence of shyness on students when performing musical activities, but it is necessary to understand why shyness occurs. At the beginning of the paper, personality types are listed and how introverts are more susceptible to shyness than extroverts. External factors and influences are of great importance for the appearance of shyness. Shyness in children is influenced by the family, school, and peer environment. It should certainly be considered that not every shy child is the same, and that there are types, levels, and gender differences in shyness. Shyness itself also affects other feelings in children, such as self-esteem which is lower if the child has a high degree of shyness. In music lessons the performed activities are singing, playing, dancing/movement and musical games. To a lesser extent, the paper also deals with the issue of organization of the mentioned activities. The most common activity is singing, and in schools playing is less represented because of various reasons (inadequate equipment, lack of time). Teachers as leaders of the educational process have an important role in creating the classroom atmosphere. This means that teachers should know how to approach each student, including the shy ones, and know how to help them to be more relaxed and to be themselves. Shy children have less success in performing musical activities because of their insecurity and withdrawing into themselves. Activities that can help to suppress shyness are various musical games, but it is important that they are well thought out so that children are unburdened and enjoy them
Work on the play "Matching Mental Illness"
No full textU sklopu postdramskog kazališta koje nudi poetične izvedbene mogućnosti lišene klasične strukture i koji je ispunjen autentičnošću nastala je i ova predstava kao dio praktičnog dijela diplomskog rada. Predstava Matching Mental Illness inspirirana je mladima koje sam upoznala na O djelu adolescen t ske psihijatrije koji se nalaze u jednom od izazovnijih perioda u životu, a to je pubertet. Na putu iz dramskog pisma u scensko pismo procesom improvizacija pod mentorstvom profesorice, Tamare Kučinović obogatila sam svoj profesionalni, ali i osobni unutarnji svijet sv ojeg „ja“ te produbila svoje razumijevanje, otvorenost i ranjivost na sceni.As part of the post dramatic theater, which offers poetic performance opportunities devoid of classical structure and filled with authenticity, this play was created as part of the practical component of the diploma thesis. The play Matching Mental Illness was inspired by the young people I met at the D epartment of A dolescent psychiatry who are in one of the most challenging periods in their lives, which is puberty. On the way from dramatic script to stage script through the process of improvisations under the mentorship of professor Tamara Kučinović, I have enriched my professional, but also my personal inner world and deepened my understanding,openness and vulnerability on stage
Tactile in visual arts
No full textRad Taktilno u vizualnoj umjetnosti istraživanje je rutine i svakodnevice. Promatraju se repetitivne radnje, trenutci prekidanja niza navika te prelasci u nove rutine. Opisane radnje proučavam promatrajući ljude/sebe i prateći nizanje misli, osjećaja, događaja i doživljaja koji nas intruzivno zaokupiraju u određenim periodima života. Formalno gledano, rad je instalacija spojenih tekstilnih objekata koji su načinjeni tehnikama: štrikanja, heklanja kukičanja ), tkanja, i vezenja tj. punch needle. Konac je korišten poput olovke u prostoru. Konac odabirem jer njime dobivam uvid u poleđinu rada i trodimenzionalnu istanjenu masu. Također, tekstura koju konac stvara sugerira dodir i interakciju ; odnosno promatranje i praćenje ispletenih redova koji djeluju hipnotizirajuće. Korištenjem raznih vrsta konaca (boja, debljina, materijala) i debljino m igala, ujedno ispreplićem i otpuštam konac. Ono što nižem koncem u raznim tehnikama sagledava se sa svih strana u prostoru to rad čini instalacijom. Pomoću tog čina poigravam se idejom reprezentiranja zasićenih tj. otpuštenih ponavljanja i okolnosti koje su ujedno i izvor inspiracije ovog rada. Ni zanje navika i misli paralelno prati manipulaciju konca u prostoru. Svaki bod, red ili pokret koji je uložen u rad predstavlja radnju koja je rezultat apstrahiranja okolnosti. Okolnosti u kontekstu ovo rada p redstavljaju misli, osjećaje, događaje itd. i izvorna su inspiracija te početak rada. Drugačije rečeno, svaki šav ili petlja rezultat je redukcije skupa pojmova koji me intuitivno inspiriraju. Nadalje, nizanje apstrahirane okolnosti predstavlja svakodnevicu tj. rutinu. Rad je završno izložen kao instalacija koja se prožima kroz prostor.Work Tactile in Visual Art is an exploration of routine and everyday life. It observes repetitive actions, moments of interruption in habitual sequences, and transitions to new routines. These described actions are studied by observing people/oneself and following the sequence of thoughts, feelings, events, and experiences that intrusively captivate us during certain periods of life. Formally speaking, the work is an installation of connected textile objects created using techniques such as knitting, crocheting, weaving and punch needle. The thread is used as a tool to navigate through space. I choose the thread because it provides insight into the backside of the work and the three-dimensional thin mass. Additionally, the texture created by the thread suggests touch and interaction - observing and following the woven rows that have a hypnotic effect. By using various types of threads (colors, thicknesses, materials) and needle sizes, I simultaneously intertwine and unravel the thread. What I thread together can be viewed from all angles in space, thus constituting the installation. Through this act, I play with the idea of representing saturated or released repetitions and circumstances that are both the source of inspiration for this work. The weaving of habits and thoughts parallels the movement of the thread in space. Each stitch, row, or movement represents an action that results from abstracting circumstances. Circumstances, in the context of this work, represent thoughts, feelings, events, etc., and are the original inspiration and starting point of the work. In other words, each stitch is the result of reducing a set of concepts that intuitively inspire me. Furthermore, the threading of abstracted circumstances represents everyday life, i.e., routine. The work is finally exhibited as an installation that permeates the space
Work on the play "Pancake, Poem, Snail, Road and Dwarf"
No full textSudentica Ivana Vukićević u svom radu piše o procesu rada na predstavi “Palačinka, pjesmuljak, puž, put i patuljak“ od samog nastanka ideje i raspisivanja teksta do osjećaja nakon premijere. Kroz opisivanje procesa stvaranja teksta, lutaka, scenografije, karaktera likova i način na koji je organizirala rad i kreirala predstavu do završnog produkta – premijere. U zadnjem dijelu rada autorica se okreće drugačijoj formi pisanja te rad tada nalikiuje više dnevničkom zapisu nego šturom diplomskom radu. Propitkuje svoje osjećanje za vrijeme i nakon stvaranja iste te razlaže proces koji se događa nakon što se cijeli proces stvaranja predstave završi. Smatra da je to bitno jednako koliko i sama priprema za rad kao i rad na predstavi te se pokušava sama pomiriti sa svojim idejama i stavovima te racionalizirati te osjećaje. Dolazi do zaključka da je sve to dio normalnog procesa i da je svakako vrijedno prolaziti taj osjećaj iz početka. Svakim radom i svakom premijerom te se raduje i nada svom daljnjem napretku u neopterećenom učenju i stjecanju znanja kroz iskustvo.In her work, student Ivana Vukićević writes about the process of working on the play "Pancake, song, snail, road and dwarf" from the very beginning of the idea and writing the text to the feelings after the premiere. She describes the process of creating the text, puppets, scenography, characters and the way she organized the work to create the final product - the premiere. In the last part of the work, the author turns to a different form of writing, and the work then looks more like a diary entry than a short graduate thesis. She examines her feelings during and after the creation of the same and breaks down the process that happens after the entire process of creating the play. She believes that this is just as important as the preparation for the work as well as the work on the play, and she tries to come to terms with her own ideas and attitudes and rationalize these feelings. She comes to the conclusion that all this is part of a normal process and that it is definitely worth experiencing that feeling of accomplishment with each work and each premiere. Also, she looks forwardto the future and hopes to feel further progress in unburdened learning and gaining knowledge through experience
Analitička struktura djela Te Deum Arva Parta
No full textOvaj rad bavi se proučavanjem skladateljskog stila suvremenog estonskog skladatelja Arva Pärta i strukturalnom analizom njegove kompozicije Te Deum. Arvo Pärt je skladatelj čije je stvaralaštvo značajno promijenilo način na koji shvaćamo prirodu glazbe. Godine 1976. stvorio je jedinstveni glazbeni jezik nazvan tintinnabuli, koji je dosegao široku publiku različitih slušatelja i odredio njegov rad sve do danas. Tintinnabuli stil posebna je tehnika skladanja koja spaja melodiju i tonove rastavljenog toničkog kvintakorda u jednu, nerazdvojnu cjelinu. Te Deum je skladba napisana za tri zbora, gudački orkestar, preparirani klavir i puhačku harfu u tintinnabuli stilu 1984.g. Bazirana je na liturgijskom kršćanskom tekstu iz 4. stoljeća. Svaki stih iznosi se prvo u dionicama zbora u melodiji nalik gregorijanskom koralu a zatim se ponavlja u dionicama zbora ili gudačkog orkestra.This paper deals with the study of the compositional style of the contemporary Estonian composer Arvo Pärt and the structural analysis of his composition Te Deum. Arvo Pärt is a composer whose work has significantly changed the way we understand the nature of music. In 1976, he created a unique musical language called tintinnabuli, which reached a wide audience of diverse listeners and has defined his work to this day. Tintinnabuli style is a special compositional technique that combines the melody and the tones of the divided tonic fifth chord into a single, inseparable whole. Te Deum is a composition written for three choirs, string orchestra, prepared piano and wind harp in tintinnabuli style in 1984. It is based on a liturgical Christian text from the 4th century. Each verse is presented first in the choir sections in a Gregorian chorale-like melody and then repeated in the choir or string orchestra sections
Scenic Music and Vocal-Instrumental music Forms in the Teaching of Music Culture
No full textGlazbeno-scenske i vokalno-instrumentalne vrste predstavljaju neke od najznačajnijih i najopsežnijih nastavnih cjelina u nastavi Glazbene kulture. Kao spoj više različitih umjetnosti te posjedujući jezična obilježja, njihovu metodičku obradu karakteriziraju neke posebnosti. Suvremena informacijsko-komunikacijska tehnologija uvelike može olakšati i pojačati učenički doživljaj glazbenih djela ove vrste, pri čemu je od osobitog značaja audio-vizualno upoznavanje. U ovom radu razmatra se problematika glazbeno-scenskih i vokalno-instrumentalnih vrsta u nastavi Glazbene kulture, donosi se njihov pregled s muzikološkog gledišta, razlaže se upoznavanje s obzirom na važeći kurikulum, analiziraju se tri udžbenika Glazbene kulture za osmi razred osnovne škole s obzirom na ove nastavne cjeline te završno, priloženi su primjeri realizacije nastavnih jedinica na temu glazbeno-scenskih i vokalno-instrumentalnih vrsta u nastavi Glazbene kulture.Scenic music and vocal-instrumental music forms represent some of the most significant and comprehensive teaching modules in the teaching of Music Culture. Being a combination of several different arts as well as possessing linguistic properties, the methodic approach to teaching these forms is marked by certain particularities. The modern information and communication technology can greatly facilitate and enhance the pupil experience of the music works of this kind, while the audio-visual approach is of special significance. This thesis deals with the topics of scenic music and vocal-instrumental music forms in the teaching of Music Culture, provides their overview from the musicological point of view, explains the teaching in regard to the current curriculum, analyzes the three Music Culture textbooks for the 8th grade of elementary school in regard to these music forms, and lastly, provides examples of the realization of lessons units on the subjects of scenic music and vocal-instrumental music forms in the teaching of Music Culture
Expectations of future music pedagogues in the context of the pedagogical profession
No full textU ovom diplomskom radu pisat će se o potrebnim kompetencijama učitelja općenito kao i kompetencijama učitelja glazbe. Bit će govora o razlozima i motivaciji za odabir posla učitelja i analizirat će se pravilnici o odgovarajućoj vrsti obrazovanja kako bi bilo jasnije što studenti Glazbene pedagogije nakon završenog studija mogu predavati. Analizirat će se studij Glazbene pedagogije, kako se studij odvija, koje se kompetencije stječu na njemu te koji se studijski kolegiji izvode na studiju. Također, navest će se svi predmeti koje glazbeni pedagozi mogu podučavati u osnovnim i srednjim općeobrazovnim i glazbenim školama. U istraživačkom dijelu rada bit će prikazano empirijsko istraživanje koje je obuvatilo 39 studenata studija Glazbene pedagogije na Akademiji za umjetnost i kulturu u Osijeku. Istraživanje provedeno anonimnim anketnim upitnikom za cilj je imalo utvrditi motivaciju studenata za odabir studija, karijerne planove nakon studija kao i zadovoljstvo stečenim kompetencijama tijekom studiranja.In this thesis, I will write about the necessary competencies of teachers in general as well as the competencies of music teachers. The reasons and motivations for choosing the job of a teacher will be discussed, and the regulations on the appropriate type of education will be analyzed in order to make it clearer what students of Music Pedagogy can teach after completing their studies. The study of Music Pedagogy will be analyzed, including how the study takes place, what competencies are acquired there, and which study courses are offered at the study. Also, all subjects that music pedagogues can teach in primary and secondary general education and music schools will be listed. In the research part of the work, empirical research conducted by 39 students of Music Pedagogy at the Academy of Arts and Culture in Osijek will be analyzed. The aim of the research carried out using an anonymous survey questionnaire was to determine the students' motivation for choosing their studies, their career plans after their studies, as well as their satisfaction with the competencies acquired during their studies
Digitalizacija glazbenog sadržaja - Streaming servisi/ Koncert prema programu
No full textCilj ovog rada je istražiti digitalizaciju glazbe i glazbene streaming servise te razvoj tehnologije koji je doveo do digitalizacije koja danas zauzima bitnu ulogu u distribuciji glazbe. U ovom završnom radu objasnit će se pojam streaminga i streaming servisa kao i njihov utjecaj na današnju konzumaciju glazbe. Također, detaljnije će se objasniti i prikazati nastanak, razvoj i značajke pojedinih streaming servisa koji su dostupni u Hrvatskoj (Deezer, Youtube Music, Apple Music, Spotify, Tidal).The aim of this paper is to examine the digitalization of music and the streaming services for music, and the developments of the technology that led to digitalization which today holds an important role in distribution of music. In this bachelor paper, the term streaming and streaming services will be explained as will their influence on today’s consumption of music. Moreover, streaming services available in Croatia (Deezer, Youtube Music, Apple Music, Spotify, Tidal) will be described in detail along with their origins, development and features
ŽIVOT I DJELO ANTONIJA JOSEA/ KONCERT PREMA PROGRAMU
No full textAntonio José bez sumnje zauzima važno mjesto u gitarskoj literaturi s početka 20. stoljeća. Njegova je sonata, pod utjecajem impresionizma i kasnog romantizma, jedno od najkompleksnijih djela napisanih za gitaru visoke umjetničke vrijednosti. Zbog svega navedenog ovaj rad tematizira važnost Sonate za gitaru Antonija Joséa u okvirima gitarske literature 20. stoljeća te suvremene metodike nastave gitare. Svrha rada je istražiti stupanj Joséova poznavanja mogućnosti gitare te na koji je način te granice moguće svladati u suvremenim interpretacijama djela. Analitičkim pregledom navedenog djela, uočavaju se visoki strukturalni, harmonijski te izvedbeni zahtjevi sonate, kao i složenost njezine metodičke primjene u kontekstu nastave gitare. Kroz temeljitu analizu partiture, istražuje se kompozicijska tehnika, stilističke karakteristike, harmonijske progresije, ritmički motivi, ali i tehnički zahtjevi izvedbe navedene sonate. Također, rad pruža i pregled različitih metodičkih strategija koje se mogu primijeniti u suvremenom nastavnom procesu. Koristeći analitičke rezultate i različite pristupe interpretaciji, izvođači djela i nastavnici gitare dobivaju mogućnosti jasnijeg razumijevanja Joséove sonate, a samim time i sistematičnijeg prenošenja znanja i vještina.Antonio José doubtlessly holds an important place in guitar literature from the beginning of the 20th century. His sonata, influenced by the impressionism and late romanticism, is one of the most complex works written for the guitar that are of high artistic value. Due to stated, this thesis thematizes the importance of Antonio José's Sonata for Guitar in the framework of guitar literature of the 20th century and modern guitar teaching methods. The purpose of thesis is to investigate the level of José's knowledge of the guitar possibilities and the ways of overcoming its boundaries in contemporary interpretations of the piece. By analytical review of the mentioned work, high structural, harmonic and performance requirements of the sonata are revealed, as well as the complexity of its methodical application in the context of guitar lessons. Through score analysis investigates the compositional technique, stylistic characteristics, harmonic progressions, rhythmic motives, but also the technical requirements of the performance of the mentioned sonata. Also, thesis provides overview of different methodological strategies which can be applied in modern teaching process. By using the analytical results and different approaches to interpretation, performers of the piece and guitar teachers get opportunities for a clearer understanding of José's sonata, and thus for a more systematic transmission of knowledge and skills