53 research outputs found
Singing school of Julij Betetto
No full textDoktorska disertacija obravnava tematiko, povezano s pevsko šolo Julija Betetta in je vsebinsko razdeljena na štiri poglavja s podpoglavji, ki obravnavajo zgodovinski razvoj poučevanja petja na Slovenskem do ustanovitve Konservatorija Glasbene matice, umetniško in pedagoško pot Julija Betetta, njegovo pevsko šolo ter recepcijo in njen pomen za slovensko glasbeno, natančneje pevsko pedagogiko in poustvarjalno prakso.
Basista Julija Betetta (1885–1963) uvrščamo med najpomembnejše slovenske in jugoslovanske glasbene poustvarjalce 20. stoletja, kot izjemen basist se je zapisal tudi v zgodovino evropske operne poustvarjalnosti. Rojen Ljubljančan se je šolal v domačem mestu in leta 1903 postal član ljubljanske Opere. Leta 1907 se je vpisal na dunajsko Akademijo za glasbo in gledališko umetnost in jo v dveh letih z odliko končal. V dunajski Dvorni operi je pričel peti že med študijem in tam ostal do konca sezone 1921/1922, ko se je odzval povabilu Mateja Hubada in sprejel mesto prvega basista v ljubljanski Operi. Konec leta 1924 je kot pedagog pričel delovati na Konservatoriju Glasbene matice. Z njim se je pouk solopetja na Slovenskem populariziral, intenziviral in sistemiziral. Decembra 1933 je prevzel ravnateljsko mesto Državnega konservatorija, leta 1942 je postal rektor Glasbene akademije. Ob koncu 30.-ih so stopili v veljavo njegovi učni načrti za solopetje za celotno vertikalo glasbenega šolstva. Po vojni je do upokojitve leta 1962 deloval na Akademiji za glasbo, bil predstojnik solopevskega oddelka, dva mandata rektor ustanove in inšpektor za pouk solopetja. Betetto je utemeljil lastno pevsko šolo, ki sicer ni sistemizirana ali izdana v obliki didaktičnega priročnika, njeni temelji so sistematičnost, pevska tehnika in metodika petja. Nastala je po vzorih pevske šole Thuiskona Hauptnerja (1880), njegovih dunajskih profesorjev petja in iz lastne pevske prakse. Z Betettom se je nivo poučevanja na Slovenskem izjemno dvignil in dosegel evropsko primerljivo raven, kar potrjujejo številni uspehi njegovih učencev, študentov oz. zrelih umetnikov, ki so se uveljavili kot operni in/ali koncertni pevci ter pevski pedagogi. Društvo glasbenih umetnikov Slovenije podeljuje Betettovo nagrado za umetniške dosežke, od leta 1990 je pred ljubljansko Opero njegov doprsni kip. Življenjska pot velikega umetnika in pevskega pedagoga se je končala 14. januarja 1963.The doctoral dissertation discusses topics related to singing school of Julij Betetto. The content is divided into four major chapters with subsections discussing historical development of the teaching of singing, establishment of the Conservatorium of Glasbena matica, the artistic and pedagogical path of Julij Betetto, his singing school and its reception, as well as the school\u27s importance for the Slovenian music, specifically for vocal pedagogy and performing practice.
The bassist Julij Betetto (1885–1963) is one of the most important Slovenian and Yugoslav musical performers of the 20th century. He was one of the greatest bassists in the history of European opera interpreters. Born in Ljubljana, he was educated in his home town and in 1903 became a member of the Ljubljana Opera House. In 1907, he enrolled in the Imperial Academy of Music and the Performing Arts and graduated with honors in two years. He started singing in the Vienna Court Opera during his study and stayed there until the end of the 1921/1922 season, when he accepted an invitation from Matej Hubad to take the position of the first bassist in the Ljubljana Opera House. At the end of 1924, he began teaching at the Conservatorium of Glasbena matica. He popularized, intensified, and systemized the teaching of singing in the Slovenian region. He became the Headmaster of the Slovene National Conservatorium in December 1933 and later a Rector of the Music Academy in 1942. In the late 1930\u27s his lesson plans for singing were implemented as the standard for all of music education. After World War II, and until his retirement in 1962, he worked at the Academy of Music as Head of the Solo Singing Department, two terms as Rector of the institution, and as the inspector for singing lessons. Betetto founded his own singing school, whose teaching method was not formalized or published as a didactic manual. Its base were systematic, vocal technique, and singing methodology. It was created on the basis of a singing school of Thuiskon Hauptner (1880), his Viennese teacher of singing and on his own singing practice. Julij Betetto significantly raised the standard of teaching in Slovenia to the level of that comparable to the rest of Europe. This was validated by numerous successes of his students and renowned artists, who have established themselves as opera and/or concert singers and singing teachers. The Musicians\u27 Association of Slovenia awards Betetto Prize for Artistic Achievement. His statue has been standing in front of the Ljubljana Opera House since 1990. Betetto passed away on January 14, 1963
Where Participatory Approaches Meet Pragmatism in Funded (Health) Research: The Challenge of Finding Meaningful Spaces
No full textThe term participatory research is now widely used as a way of categorising research that has moved beyond researching "on" to researching "with" participants. This paper draws attention to some confusions that lie behind such categorisation and the potential impact of those confusions on qualitative participatory research in practice. It illuminates some of the negative effects of "fitting in" to spaces devised by other types of research and highlights the importance of forging spaces for presenting participatory research designs that suit a discursive approach and that allow the quality and impact of such research to be recognised. The main contention is that the adoption of a variety of approaches and purposes is part of the strength of participatory research but that to date the paradigm has not been sufficiently articulated. Clarifying the unifying features of the participatory paradigm and shaping appropriate ways for critique could support the embedding of participatory research into research environments, funding schemes and administration in a way that better reflects the nature and purpose of authentic involvement
Performances of Slovenian Bass Julij Betetto (1885–1963) in Croatia
No full textU prvoj polovini 20. stoljeća oblikovanju hrvatskog opernog i koncertnog stvaralaštva znatno je pridonio slovenski bas Julij Betetto (1885. – 1963.). U hrvatskom je prostoru nastupio više od šezdeset puta, pretežno u razdoblju između dvaju svjetskih ratova. Kao gost se predstavio u karlovačkoj, zagrebačkoj i riječkoj operi, u nekoliko hrvatskih gradova kao koncertni stvaralac i kao član ljubljanske Opere, koja je više puta gostovala u Dubrovniku, Splitu, Osijeku i Šibeniku. Kozmopolit koji je četrnaest godina radio u bečkoj Dvorskoj operi (1907. – 1922.) te dvije sezone u bavarskoj Operi u Münchenu (1930. – 1932.) svojim je europskim iskustvima znatno utjecao na kvalitetu izvedbe hrvatskih opernih ansambala. Hrvatska publika i kritika prihvaćale su Betettovo operno i koncertno stvaralaštvo s oduševljenjem, a uprava zagrebačke Opere čak ga je htjela angažirati kao solista, no kao osviješteni domoljub ostao je u Ljubljani i redovito gostovao na hrvatskom tlu. Julij Betetto bio je priznat ne samo kao eminentan operni i koncertni reproduktivac, već i kao izvrstan pjevački pedagog. Na osnovi svojih bogatih iskustava i stečenoga znanja te pod utjecajem priručnika uvaženih autora oformio je vlastitu školu pjevanja, u okviru koje se pokazao kao odličan profesor. Kao pedagog radio je gotovo četrdeset godina te je izravno utjecao i na hrvatski prostor kako su brojni učenici niz godina uspješno sudjelovali na različitim opernim podijima Hrvatske, među mnogima i slovenski umjetnici bas Marjan Rus, tenori Rudolf Francl i Josip Gostič. Betettova škola pjevanja prepoznata je kao kvalitetna i na hrvatskom i širem jugoslavenskom prostoru, no danas je u aktualnoj pjevačkoj pedagoškoj praksi više nije moguće pronaći. Uzroke treba tražiti u činjenici da su samo rijetki pojedinci postali pjevački pedagozi. Julij Betetto bez dvojbe je jedan od najvećih slovenskih opernih pjevača svih vremena, koji je kao umjetnik i pedagog ostavio neizbrisiv trag i na hrvatskom prostoru.Slovenian bass Julij Betetto (1885–1963) undoubtedly left a deep mark on Croatian opera and concert performance in the first half of the 20th century. A cosmopolitan, but a patriot by heart, he interpreted around 175 roles in 140 operas and participated in more than 173 concerts. In total, he gave more than 3241 performances, from which more than 60 took place on Croatian opera and concert stages. The article deals with his important contribution in the artistic field as well as indirectly in the pedagogical field – many of his students successfully enriched the 20th-century Croatian operatic scene with their roles. The article looks at a selection of Betetto’s opera and concert performances in Croatia and their critical responses, pointing out also some of his Slovenian students who famously characterized the Croatian opera scene in the 20th century, including bass Marjan Rus and tenors Rudolf Francl and Josip Gostič
Umetniško udejstvovanje sopranistke Milke Gerbič v slovenskem prostoru
No full textThe soprano Milka Gerbič was one of the most important Slovenian operatic and concert singers of the nineteenth century. As a professionally trained singer, she played a crucial role in laying the foundations of Slovenian theatre and left a visible mark on Slovenian musical culture with her versatile personality. The article is the first in-depth study of her artistic activity in the area of Slovenia.Sopranistka Milka Gerbič sodi med najpomembnejše slovenske operne in koncertne poustvarjalke 19. stoletja. Kot profesionalno šolana pevka je imela ključno vlogo pri postavljanju temeljev slovenskega gledališča in je s svojo vsestransko osebnostjo pustila viden pečat v slovenski glasbeni kulturi. Prispevek predstavlja prvo poglobljeno študijo o njenem umetniškem udejstvovanju v slovenskem prostoru
Julij Betetto in njegova vloga v upravnem in pedagoškem ustroju ljubljanskega konservatorija
No full textUmetniško delovanje basista Julija Betetta v ljubljanski Operi
No full textThe bass Julij Betetto is considered one of the most important Slovenian and Yugoslav musical performers of the twentieth century, also leaving a deep impression on the history of European operatic singing. In an artistic career spanning over half a century he appeared in more than three thousand operatic performances, interpreting 175 roles in 140 different operas. The article looks at Betetto’s artistic career and expands previous knowledge about his thirty-six-year-long collaboration with the Ljubljana Opera, emphasizing his pedagogical influence and importance for that institution.Basist Julij Betetto sodi med najpomembnejše slovenske in jugoslovanske glasbene poustvarjalce 20. stoletja, kot izjemen basist pa se je zapisal tudi v zgodovino evropske operne poustvarjalnosti. V pol stoletja trajajoči umetniški karieri je nastopil v več kot 3000 opernih predstavah ter poustvaril 175 vlog v 140 operah. Prispevek osvetljuje in nadgrajuje doslej znana védenja o Betettovem delovanju v ljubljanski Operi, kjer je kar 36 let sooblikoval operne predstave, prav tako je kot predmet razprave izpostavljen njegov pedagoški vpliv ter pomen za to ustanovo
Poučevanje glasbene umetnosti na daljavo v osnovnošolskem izobraževanju med epidemijo covid-19
No full textThe study’s purpose was to determine the level of digital literacy and experience in distance teaching of music art teachers in primary school education in the period before and after the declaration of the COVID-19 epidemic. The results confirm the increase in digital literacy level in that period and show positive experiences with information and communication technology in practice.The study’s purpose was to determine the level of digital literacy and experience in distance teaching of music art teachers in primary school education in the period before and after the declaration of the COVID-19 epidemic. The results confirm the increase in digital literacy level in that period and show positive experiences with information and communication technology in practice.Namen raziskave je bil ugotoviti raven digitalne pismenosti in izkušnje učiteljev glasbene umetnosti v osnovnošolskem izobraževanju s poučevanjem na daljavo v obdobju pred razglasitvijo epidemije covid-19 in po njej. Izsledki potrjujejo dvig ravni digitalne pismenosti v navedenem obdobju in kažejo na pozitivne izkušnje z uporabo informacijsko-komunikacijske tehnologije v praksi
Poučevanje glasbene umetnosti na daljavo v osnovnošolskem izobraževanju med epidemijo covid-19
No full textNamen raziskave je bil ugotoviti raven digitalne pismenosti in izkušnje učiteljev glasbene umetnosti v osnovnošolskem izobraževanju s poučevanjem na daljavo v obdobju pred razglasitvijo epidemije covid-19 in po njej. Izsledki potrjujejo dvig ravni digitalne pismenosti v navedenem obdobju in kažejo na pozitivne izkušnje z uporabo informacijsko-komunikacijske tehnologije v praksi
Experiences in distance education and practical use of ICT during the COVID-19 epidemic of Slovenian primary school music teachers with different professional experiences
No full textThe aim of this study was to determine the influence of music teachers’ professional experience on ICT use in
Slovenian primary education before and after the proclamation of the COVID-19 epidemic. We collected data
using an online questionnaire; eighty-three music teachers participated. We divided them into three groups with
different professional experiences. The results show that music teachers with less professional experience used
ICT more and had fewer problems than those with more professional experience. The creative ICT use of music
teachers in primary schools today has a significant impact on the quality of learning objectives, motivation and
efficiency
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