1,720,959 research outputs found
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
The Accordion in Traditional and School Practice: Phenomenology and Educational Aspects
Full text linkOva istraživanja posvećena načinima učenja harmonike svoju opravdanost nalaze u naučnoj sferi, praktičnoj potrebi i ličnom interesovanju istraživača. Naučna opravdanost proističe ne samo iz činjenice da harmonika nije bila dovoljno zastupljena u etnomuzikološkim i pedagoškim istraživanjima, nego je u ovom slučaju bitan aspekt posmatranja harmonike kao fenomena i načina učenja sviranja ovog instrumenta. Cilj ovog istraživanja je utvrditi pedagoško-muzičke karakteristike dva osnovna najčešće zastuplja modela praktično primenjivih u učenju sviranja harmonike: slobodni-neinstitucionalni, ili izvanškolski model i institucionalni, ili školski. Opšta hipoteza: Pretpostavlja se da nema statistički bitnih razlika u organizacionim, metodičkim i drugim aspektima učenja sviranja harmonike između vanškolskog i školskog modela učenja. U skladu sa opštom, formirane su posebne hipoteze: h1: Pretpostavlja se da nema statistički značajnih razlika u pogledu osnovnog cilja podučavanja između vanškolskog i školskog učenja sviranja harmonike. h2: Pretpostavlja se da nema statistički značajnih razlika u pogledu vremenskog trajanja časa i socijalnog oblika nastave u školskom i vanškolskom učenju sviranja harmonike. h3: Pretpostavlja se da nema statistički značajnih razlika u pogledu odabira vrste učenja (iz nota, na sluh) u vanškolskom i školskom učenju sviranja harmonike. h4: Pretpostavlja se da nema statistički značajnih razlika u pogledu primene pojedinih nastavnih, tehničkih i drugih sredstava, koja se koriste u podučavanju u vanškolskom i školskom učenju sviranja harmonike. h5: Pretpostavlja se da nema statistički značajnih razlika u pogledu faktora koji utiču na organizaciju časa u vanškolskom i školskom učenju sviranja harmonike. h6: Pretpostavlja se da nema statistički značajnih razlika u pogledu primene pojedinih postupaka motivacije učenika na času u vanškolskom i školskom učenju harmonike. h7: Pretpostavlja se da nema statistički značajnih razlika u postignućima, u pogledu odabira vrste instrumenta i vrste muzike na početku učenja sviranja u vanškolskim i školskim uslovima. h8: Pretpostavlja se da nema statistički značajnih razlika u pogledu značaja pojedinih faktora koji utiču na uspeh ili postignuće učenika u sviranju harmonike u vanškolskom i školskom učenju. h9: Pretpostavlja se da nema statistički značajnih razlika u pogledu prednosti i nedostataka učenja harmonike u vanškolskim i školskim uslovima. h10: Pretpostavlja se da nema statistički značajnih razlika u vrednovanju statusa instrumenta, društvenog položaja izvođača i učitelja u vanškolskom i školskom učenju sviranja harmonike. U gradskim i seoskim sredinama na području Srbije sprovedena su terenska istraživanja u periodu od 2014-2016. godine. Tehnikom intervjua, specijalno pripremljenog za potrebe ovih istraživanja, dobijeni su podaci o međusobnom odnosu učitelja harmonike, učenika i roditelja, o časovima harmonike, načinu rada i efektima učenja sviranja harmonike. Uzorak je činilo 30 ispitanika, od kojih se jedan deo ispitanika bavi podučavanjem učenika u sferi narodne muzike neinstitucionalno (privatno) i izvođaštvom, a drugi deo ispitanika čine nastavnici i profesori harmonike koji se podučavanjem bave institucionalno, na različitim nivoima muzičkog školovanja. Za potrebe prikupljanja podataka upotrebljena je i tehnika skaliranja i njoj pripadajući instrument skala procene. Uzorak je takođe mali, činilo ga je 30 ispitanika, od kojih se jedan deo bavi podučavanjem sviranja harmonike u školi, a drugi deo ispitanika se bavi podučavanjem van škole. Ispitanici su birani na osnovu sledećih kriterijuma: da su muzičko školovanje ili radno iskustvo kao nastavnici i profesori harmonike stekli u Muzičkoj školi „Isidor Bajić― u Novom Sadu, odnosno da kao učitelji / nastavnici harmonike žive i deluju u Novom Sadu. U vanškolskom i školskom učenju sviranja harmonike cilj podučavanja je isti. U pogledu pojedinih socijalnih oblika rada primećuje se da su rad u grupi učenika i kombinovanje više oblika rada zastupljeni u školskom okruženju. Ispitanici koji podučavaju u školskom okruženju smatraju da je bitnije da se učenici tokom učenja oslanjanju na note, nego da uče po sluhu. Učenju po sluhu veću prednost daju ispitanici koji podučavaju van škole. Svi spitanici procenjuju da isti faktori imaju podjednak uticaj na organizaciju časa u vanškolskom i školskom učenu sviranja harmonike. Sredstva motivacije učenika, kao što su korektno ocenjivanje postignuća učenika, javni nastupi učenika i primereno korišćenje kazne zastupljenija su u školskom tipu učenja. Svi ispitanici su se složili u mišljenju da je za učenika prednost paralelno učenje narodne i klasične muzike, da je za učenika najbolje da prva znanja dobije u školi. U vanškolskom okruženju se kao prednosti ističu učenje vrste muzike po želji i odabir učitelja koji će podučavati, a u školskom učenju se kao prednosti izdvajaju kompetencija nastavnika, obaveza vođenja dnevnika rada, sticanje svedočanstva o pohađanju škole, dostupnost štampanih muzikalija / udžbenika, učenje predmeta (muzička teorija, solfeđo) / disciplina, koje pomažu ukupni muzički razvoj pojedinca, nadzor podučavanja od strane stručnih organa, nabavka harmonike sa bariton sistemom, kao i prisutnost udžbenika za metodiku nastave harmonike. Ispitanici koji podučavaju van škole procenjuju da instrument harmonika zauzima viši status u društvu, a time i finansiranje izvođačke delatnosti i medijska promocija izvođača, za razliku od mišljenja koje zastupaju ispitanici koji podučavaju u školi. Za ovu doktorsku disertaciju je značajno to što se na interdisciplinaran način, sa aspekta etnomuzikologije i muzičke pedagogije, objedinjuje problematika učenja sviranja harmonike. Rezultati i podaci dobijeni ovim istraživanjem, između ostalog, donose nova saznanja u oblasti metodike nastave harmonike. Oni mogu biti značajan dokument u strategiji dinamičnijeg i, na teritoriji Srbije, ravnomernog uvođenja harmonike na sve nivoe školovanja, imajući pritom u vidu zastupljenost ovog instrumenta u više muzičkih žanrova.The present study, which is focusing on the ways accordion is learned, is justified by its scientific contribution, practical need and the personal interest of the researcher. The scientific justification stems not only from the fact that there is an insufficient body of research on the accordion in the field of ethnomusicology, but, more importantly, this study focuses on the aspect of the accordion as a phenomenon and the way the playing on this instrument is learned. The present study is aimed at determining pedagogical-musical features of the two predominant models that are practiced in learning the accordion playing: free- non-institutional or outside-of-school model and institutional or school model. The general hypothesis: It is assumed that there are no statistically significant differences in organisational, methodological and other aspects of learning the accordion playing between the outside-of-school and school models of learning. Stemming from the general hypothesis, the following specific hypothesis have been formulated: h1: It is assumed that there are no statistically significant differences in the primary teaching objectives between the outside-of-school and the school learning of the accordion playing. h2: It is assumed that there are no statistically significant differences in the lesson duration and the social form of teaching between the outside-of-school and school learning of the accordion playing. h3: It is assumed that there are no statistically significant differences in terms of choice of learning types (from musical scores, by ear) between the outside-of-school and school learning of the accordion playing. h4: It is assumed that there are no statistically significant differences in terms of educational, technical and other resources used in teaching in the outside-of-school and school learning of the accordion playing. h5: It is assumed that there are no statistically significant differences in terms of the factors that affect the organisation of lesson in the outside-of-school and school learning of the accordion playing. h6: It is assumed that there are no statistically significant differences in terms of the use of student motivation procedures between the out-of-school and school learning the accordion. h7: It is assumed that there are no statistically significant differences in the achievements, as well as the selection of the instrument and music types at the beginning of learning in the outside-of-school and school conditions. h8: It is assumed that there are no statistically significant differences in the importance of certain factors that affect the student success and/or achievement in playing the accordion in the outside-of-school and school learning. h9: It is assumed that there are no statistically significant differences in terms of the advantages and disadvantages of the accordion learning in the outside-of-school and school conditions. h10: It is assumed that there are no statistically significant differences in the evaluation of the status of the instrument, social status of artists and teachers in the out-of-school and learning of the accordion playing. A field research was carried out in urban and rural communities in the territory of Serbia in the period 2014 – 2016. A technique of interview, which was designed for the needs of the present study, was used to obtain the data on the interpersonal relationship of the accordion teachers, students and their parents, on accordion lessons, method of work and learning of the accordion playing outcomes. The sample comprised 30 interviewees. One segment of the sample consisted of musicians who are engaged in teaching traditional music to students outside of school (private tutors) and performing music, while the other group consisted of accordion teachers and professors engaged in institutional teaching on different levels of music education. For the purposes of data collection, the technique of scaling with an appropriate evaluation scale was used. The sample was small, consisting of 30 respondents, some of whom teach the accordion at school while others teach it outside of school. The respondents were selected on the basis of the following criteria: that they have received their music education or gained their work experience as accordion teachers and professors at Music School „Isidor Bajic‖ in Novi Sad, and/or that as the accordion teachers/professors they live and work in Novi Sad. The teaching aims in the out-of-school and school accordion playing are the same. In regard to certain social forms of work it is noticeable that group work and combination of several forms of work are present in the school environment. The respondents who teach at school put emphasis on the importance of students‘ relying on musical scores in comparison to playing by ear during the learning process. Learning to play by ear is given preference by the respondents who teach outside of school. The methods of motivating students, such as fair evaluation of their achievement, students‘ public performances and an appropriate use of punishment, are preferred in the school type of teaching. All the respondents agree that it is beneficial for students to learn traditional and classical music in parallel have an advantage. What is emphasised as an advantage of the out-of-school environment is learning the desired music with a chosen teacher, while in the school learning among the identified advantages are teachers‘ competences, the mandatory records of lessons, obtaining a certificate of school attendance, availability of printed musical scores/textbooks, learning different subjects (music theory, solfeggio) /disciplines which facilitate the overall music development of students, supervision of teaching by professional bodies, obtaining an accordion with a baritone system, as well as the existence of textbooks for the accordion teaching methodology. The respondents who teach outside of school consider that the accordion as an instrument has a higher social status, thus contributing to the financing of performances and media promotion of performers, on the contrary to the predominant opinion of the respondents who teach at school. The significance of this doctoral thesis lies in the fact that the learning of the accordion playing is observed from the point of view of ethnomusicology and music pedagogy in an interdisciplinary way providing a complete overview of the subject. The results and data obtained from this research, among other things, bring new insights into the accordion teaching methodology. These insights can serve as a significant document in the strategy of a more dynamic and, in the territory of Serbia, more even introduction of the accordion on all educational levels, bearing in mind the fact that this instrument is present in several music genres. The present study, which is focusing on the ways accordion is learned, is justified by its scientific contribution, practical need and the personal interest of the researcher. The scientific justification stems not only from the fact that there is an insufficient body of research on the accordion in the field of ethnomusicology, but, more importantly, this study focuses on the aspect of the accordion as a phenomenon and the way the playing on this instrument is learned. The present study is aimed at determining pedagogical-musical features of the two predominant models that are practiced in learning the accordion playing: free- non-institutional or outside-of-school model and institutional or school model. The general hypothesis: It is assumed that there are no statistically significant differences in organisational, methodological and other aspects of learning the accordion playing between the outside-of-school and school models of learning. Stemming from the general hypothesis, the following specific hypothesis have been formulated: h1: It is assumed that there are no statistically significant differences in the primary teaching objectives between the outside-of-school and the school learning of the accordion playing. h2: It is assumed that there are no statistically significant differences in the lesson duration and the social form of teaching between the outside-of-school and school learning of the accordion playing. h3: It is assumed that there are no statistically significant differences in terms of choice of learning types (from musical scores, by ear) between the outside-of-school and school learning of the accordion playing. h4: It is assumed that there are no statistically significant differences in terms of educational, technical and other resources used in teaching in the outside-of-school and school learning of the accordion playing. h5: It is assumed that there are no statistically significant differences in terms of the factors that affect the organisation of lesson in the outside-of-school and school learning of the accordion playing. h6: It is assumed that there are no statistically significant differences in terms of the use of student motivation procedures between the out-of-school and school learning the accordion. h7: It is assumed that there are no statistically significant differences in the achievements, as well as the selection of the instrument and music types at the beginning of learning in the outside-of-school and school conditions. h8: It is assumed that there are no statistically significant differences in the importance of certain factors that affect the student success and/or achievement in playing the accordion in the outside-of-school and school learning. h9: It is assumed that there are no statistically significant differences in terms of the advantages and disadvantages of the accordion learning in the outside-of-school and school conditions. h10: It is assumed that there are no statistically significant differences in the evaluation of the status of the instrument, social status of artists and teachers in the out-of-school and learning of the accordion playing. A field research was carried out in urban and rural communities in the territory of Serbia in the period 2014 – 2016. A technique of interview, which was designed for the needs of the present study, was used to obtain the data on the interpersonal relationship of the accordion teachers, students and their parents, on accordion lessons, method of work and learning of the accordion playing outcomes. The sample comprised 30 interviewees. One segment of the sample consisted of musicians who are engaged in teaching traditional music to students outside of school (private tutors) and performing music, while the other group consisted of accordion teachers and professors engaged in institutional teaching on different levels of music education. For the purposes of data collection, the technique of scaling with an appropriate evaluation scale was used. The sample was small, consisting of 30 respondents, some of whom teach the accordion at school while others teach it outside of school. The respondents were selected on the basis of the following criteria: that they have received their music education or gained their work experience as accordion teachers and professors at Music School „Isidor Bajic‖ in Novi Sad, and/or that as the accordion teachers/professors they live and work in Novi Sad. The teaching aims in the out-of-school and school accordion playing are the same. In regard to certain social forms of work it is noticeable that group work and combination of several forms of work are present in the school environment. The respondents who teach at school put emphasis on the importance of students‘ relying on musical scores in comparison to playing by ear during the learning process. Learning to play by ear is given preference by the respondents who teach outside of school. The methods of motivating students, such as fair evaluation of their achievement, students‘ public performances and an appropriate use of punishment, are preferred in the school type of teaching. All the respondents agree that it is beneficial for students to learn traditional and classical music in parallel have an advantage. What is emphasised as an advantage of the out-of-school environment is learning the desired music with a chosen teacher, while in the school learning among the identified advantages are teachers‘ competences, the mandatory records of lessons, obtaining a certificate of school attendance, availability of printed musical scores/textbooks, learning different subjects (music theory, solfeggio) /disciplines which facilitate the overall music development of students, supervision of teaching by professional bodies, obtaining an accordion with a baritone system, as well as the existence of textbooks for the accordion teaching methodology. The respondents who teach outside of school consider that the accordion as an instrument has a higher social status, thus contributing to the financing of performances and media promotion of performers, on the contrary to the predominant opinion of the respondents who teach at school. The significance of this doctoral thesis lies in the fact that the learning of the accordion playing is observed from the point of view of ethnomusicology and music pedagogy in an interdisciplinary way providing a complete overview of the subject. The results and data obtained from this research, among other things, bring new insights into the accordion teaching methodology. These insights can serve as a significant document in the strategy of a more dynamic and, in the territory of Serbia, more even introduction of the accordion on all educational levels, bearing in mind the fact that this instrument is present in several music genres
The Accordion in Traditional and School Practice: Phenomenology and Educational Aspects
No full textOva istraživanja posvećena načinima učenja harmonike svoju opravdanost nalaze u naučnoj sferi, praktičnoj potrebi i ličnom interesovanju istraživača. Naučna opravdanost proističe ne samo iz činjenice da harmonika nije bila dovoljno zastupljena u etnomuzikološkim i pedagoškim istraživanjima, nego je u ovom slučaju bitan aspekt posmatranja harmonike kao fenomena i načina učenja sviranja ovog instrumenta. Cilj ovog istraživanja je utvrditi pedagoško-muzičke karakteristike dva osnovna najčešće zastuplja modela praktično primenjivih u učenju sviranja harmonike: slobodni-neinstitucionalni, ili izvanškolski model i institucionalni, ili školski. Opšta hipoteza: Pretpostavlja se da nema statistički bitnih razlika u organizacionim, metodičkim i drugim aspektima učenja sviranja harmonike između vanškolskog i školskog modela učenja. U skladu sa opštom, formirane su posebne hipoteze: h1: Pretpostavlja se da nema statistički značajnih razlika u pogledu osnovnog cilja podučavanja između vanškolskog i školskog učenja sviranja harmonike. h2: Pretpostavlja se da nema statistički značajnih razlika u pogledu vremenskog trajanja časa i socijalnog oblika nastave u školskom i vanškolskom učenju sviranja harmonike. h3: Pretpostavlja se da nema statistički značajnih razlika u pogledu odabira vrste učenja (iz nota, na sluh) u vanškolskom i školskom učenju sviranja harmonike. h4: Pretpostavlja se da nema statistički značajnih razlika u pogledu primene pojedinih nastavnih, tehničkih i drugih sredstava, koja se koriste u podučavanju u vanškolskom i školskom učenju sviranja harmonike. h5: Pretpostavlja se da nema statistički značajnih razlika u pogledu faktora koji utiču na organizaciju časa u vanškolskom i školskom učenju sviranja harmonike. h6: Pretpostavlja se da nema statistički značajnih razlika u pogledu primene pojedinih postupaka motivacije učenika na času u vanškolskom i školskom učenju harmonike. h7: Pretpostavlja se da nema statistički značajnih razlika u postignućima, u pogledu odabira vrste instrumenta i vrste muzike na početku učenja sviranja u vanškolskim i školskim uslovima. h8: Pretpostavlja se da nema statistički značajnih razlika u pogledu značaja pojedinih faktora koji utiču na uspeh ili postignuće učenika u sviranju harmonike u vanškolskom i školskom učenju. h9: Pretpostavlja se da nema statistički značajnih razlika u pogledu prednosti i nedostataka učenja harmonike u vanškolskim i školskim uslovima. h10: Pretpostavlja se da nema statistički značajnih razlika u vrednovanju statusa instrumenta, društvenog položaja izvođača i učitelja u vanškolskom i školskom učenju sviranja harmonike. U gradskim i seoskim sredinama na području Srbije sprovedena su terenska istraživanja u periodu od 2014-2016. godine. Tehnikom intervjua, specijalno pripremljenog za potrebe ovih istraživanja, dobijeni su podaci o međusobnom odnosu učitelja harmonike, učenika i roditelja, o časovima harmonike, načinu rada i efektima učenja sviranja harmonike. Uzorak je činilo 30 ispitanika, od kojih se jedan deo ispitanika bavi podučavanjem učenika u sferi narodne muzike neinstitucionalno (privatno) i izvođaštvom, a drugi deo ispitanika čine nastavnici i profesori harmonike koji se podučavanjem bave institucionalno, na različitim nivoima muzičkog školovanja. Za potrebe prikupljanja podataka upotrebljena je i tehnika skaliranja i njoj pripadajući instrument skala procene. Uzorak je takođe mali, činilo ga je 30 ispitanika, od kojih se jedan deo bavi podučavanjem sviranja harmonike u školi, a drugi deo ispitanika se bavi podučavanjem van škole. Ispitanici su birani na osnovu sledećih kriterijuma: da su muzičko školovanje ili radno iskustvo kao nastavnici i profesori harmonike stekli u Muzičkoj školi „Isidor Bajić― u Novom Sadu, odnosno da kao učitelji / nastavnici harmonike žive i deluju u Novom Sadu. U vanškolskom i školskom učenju sviranja harmonike cilj podučavanja je isti. U pogledu pojedinih socijalnih oblika rada primećuje se da su rad u grupi učenika i kombinovanje više oblika rada zastupljeni u školskom okruženju. Ispitanici koji podučavaju u školskom okruženju smatraju da je bitnije da se učenici tokom učenja oslanjanju na note, nego da uče po sluhu. Učenju po sluhu veću prednost daju ispitanici koji podučavaju van škole. Svi spitanici procenjuju da isti faktori imaju podjednak uticaj na organizaciju časa u vanškolskom i školskom učenu sviranja harmonike. Sredstva motivacije učenika, kao što su korektno ocenjivanje postignuća učenika, javni nastupi učenika i primereno korišćenje kazne zastupljenija su u školskom tipu učenja. Svi ispitanici su se složili u mišljenju da je za učenika prednost paralelno učenje narodne i klasične muzike, da je za učenika najbolje da prva znanja dobije u školi. U vanškolskom okruženju se kao prednosti ističu učenje vrste muzike po želji i odabir učitelja koji će podučavati, a u školskom učenju se kao prednosti izdvajaju kompetencija nastavnika, obaveza vođenja dnevnika rada, sticanje svedočanstva o pohađanju škole, dostupnost štampanih muzikalija / udžbenika, učenje predmeta (muzička teorija, solfeđo) / disciplina, koje pomažu ukupni muzički razvoj pojedinca, nadzor podučavanja od strane stručnih organa, nabavka harmonike sa bariton sistemom, kao i prisutnost udžbenika za metodiku nastave harmonike. Ispitanici koji podučavaju van škole procenjuju da instrument harmonika zauzima viši status u društvu, a time i finansiranje izvođačke delatnosti i medijska promocija izvođača, za razliku od mišljenja koje zastupaju ispitanici koji podučavaju u školi. Za ovu doktorsku disertaciju je značajno to što se na interdisciplinaran način, sa aspekta etnomuzikologije i muzičke pedagogije, objedinjuje problematika učenja sviranja harmonike. Rezultati i podaci dobijeni ovim istraživanjem, između ostalog, donose nova saznanja u oblasti metodike nastave harmonike. Oni mogu biti značajan dokument u strategiji dinamičnijeg i, na teritoriji Srbije, ravnomernog uvođenja harmonike na sve nivoe školovanja, imajući pritom u vidu zastupljenost ovog instrumenta u više muzičkih žanrova.The present study, which is focusing on the ways accordion is learned, is justified by its scientific contribution, practical need and the personal interest of the researcher. The scientific justification stems not only from the fact that there is an insufficient body of research on the accordion in the field of ethnomusicology, but, more importantly, this study focuses on the aspect of the accordion as a phenomenon and the way the playing on this instrument is learned. The present study is aimed at determining pedagogical-musical features of the two predominant models that are practiced in learning the accordion playing: free- non-institutional or outside-of-school model and institutional or school model. The general hypothesis: It is assumed that there are no statistically significant differences in organisational, methodological and other aspects of learning the accordion playing between the outside-of-school and school models of learning. Stemming from the general hypothesis, the following specific hypothesis have been formulated: h1: It is assumed that there are no statistically significant differences in the primary teaching objectives between the outside-of-school and the school learning of the accordion playing. h2: It is assumed that there are no statistically significant differences in the lesson duration and the social form of teaching between the outside-of-school and school learning of the accordion playing. h3: It is assumed that there are no statistically significant differences in terms of choice of learning types (from musical scores, by ear) between the outside-of-school and school learning of the accordion playing. h4: It is assumed that there are no statistically significant differences in terms of educational, technical and other resources used in teaching in the outside-of-school and school learning of the accordion playing. h5: It is assumed that there are no statistically significant differences in terms of the factors that affect the organisation of lesson in the outside-of-school and school learning of the accordion playing. h6: It is assumed that there are no statistically significant differences in terms of the use of student motivation procedures between the out-of-school and school learning the accordion. h7: It is assumed that there are no statistically significant differences in the achievements, as well as the selection of the instrument and music types at the beginning of learning in the outside-of-school and school conditions. h8: It is assumed that there are no statistically significant differences in the importance of certain factors that affect the student success and/or achievement in playing the accordion in the outside-of-school and school learning. h9: It is assumed that there are no statistically significant differences in terms of the advantages and disadvantages of the accordion learning in the outside-of-school and school conditions. h10: It is assumed that there are no statistically significant differences in the evaluation of the status of the instrument, social status of artists and teachers in the out-of-school and learning of the accordion playing. A field research was carried out in urban and rural communities in the territory of Serbia in the period 2014 – 2016. A technique of interview, which was designed for the needs of the present study, was used to obtain the data on the interpersonal relationship of the accordion teachers, students and their parents, on accordion lessons, method of work and learning of the accordion playing outcomes. The sample comprised 30 interviewees. One segment of the sample consisted of musicians who are engaged in teaching traditional music to students outside of school (private tutors) and performing music, while the other group consisted of accordion teachers and professors engaged in institutional teaching on different levels of music education. For the purposes of data collection, the technique of scaling with an appropriate evaluation scale was used. The sample was small, consisting of 30 respondents, some of whom teach the accordion at school while others teach it outside of school. The respondents were selected on the basis of the following criteria: that they have received their music education or gained their work experience as accordion teachers and professors at Music School „Isidor Bajic‖ in Novi Sad, and/or that as the accordion teachers/professors they live and work in Novi Sad. The teaching aims in the out-of-school and school accordion playing are the same. In regard to certain social forms of work it is noticeable that group work and combination of several forms of work are present in the school environment. The respondents who teach at school put emphasis on the importance of students‘ relying on musical scores in comparison to playing by ear during the learning process. Learning to play by ear is given preference by the respondents who teach outside of school. The methods of motivating students, such as fair evaluation of their achievement, students‘ public performances and an appropriate use of punishment, are preferred in the school type of teaching. All the respondents agree that it is beneficial for students to learn traditional and classical music in parallel have an advantage. What is emphasised as an advantage of the out-of-school environment is learning the desired music with a chosen teacher, while in the school learning among the identified advantages are teachers‘ competences, the mandatory records of lessons, obtaining a certificate of school attendance, availability of printed musical scores/textbooks, learning different subjects (music theory, solfeggio) /disciplines which facilitate the overall music development of students, supervision of teaching by professional bodies, obtaining an accordion with a baritone system, as well as the existence of textbooks for the accordion teaching methodology. The respondents who teach outside of school consider that the accordion as an instrument has a higher social status, thus contributing to the financing of performances and media promotion of performers, on the contrary to the predominant opinion of the respondents who teach at school. The significance of this doctoral thesis lies in the fact that the learning of the accordion playing is observed from the point of view of ethnomusicology and music pedagogy in an interdisciplinary way providing a complete overview of the subject. The results and data obtained from this research, among other things, bring new insights into the accordion teaching methodology. These insights can serve as a significant document in the strategy of a more dynamic and, in the territory of Serbia, more even introduction of the accordion on all educational levels, bearing in mind the fact that this instrument is present in several music genres. The present study, which is focusing on the ways accordion is learned, is justified by its scientific contribution, practical need and the personal interest of the researcher. The scientific justification stems not only from the fact that there is an insufficient body of research on the accordion in the field of ethnomusicology, but, more importantly, this study focuses on the aspect of the accordion as a phenomenon and the way the playing on this instrument is learned. The present study is aimed at determining pedagogical-musical features of the two predominant models that are practiced in learning the accordion playing: free- non-institutional or outside-of-school model and institutional or school model. The general hypothesis: It is assumed that there are no statistically significant differences in organisational, methodological and other aspects of learning the accordion playing between the outside-of-school and school models of learning. Stemming from the general hypothesis, the following specific hypothesis have been formulated: h1: It is assumed that there are no statistically significant differences in the primary teaching objectives between the outside-of-school and the school learning of the accordion playing. h2: It is assumed that there are no statistically significant differences in the lesson duration and the social form of teaching between the outside-of-school and school learning of the accordion playing. h3: It is assumed that there are no statistically significant differences in terms of choice of learning types (from musical scores, by ear) between the outside-of-school and school learning of the accordion playing. h4: It is assumed that there are no statistically significant differences in terms of educational, technical and other resources used in teaching in the outside-of-school and school learning of the accordion playing. h5: It is assumed that there are no statistically significant differences in terms of the factors that affect the organisation of lesson in the outside-of-school and school learning of the accordion playing. h6: It is assumed that there are no statistically significant differences in terms of the use of student motivation procedures between the out-of-school and school learning the accordion. h7: It is assumed that there are no statistically significant differences in the achievements, as well as the selection of the instrument and music types at the beginning of learning in the outside-of-school and school conditions. h8: It is assumed that there are no statistically significant differences in the importance of certain factors that affect the student success and/or achievement in playing the accordion in the outside-of-school and school learning. h9: It is assumed that there are no statistically significant differences in terms of the advantages and disadvantages of the accordion learning in the outside-of-school and school conditions. h10: It is assumed that there are no statistically significant differences in the evaluation of the status of the instrument, social status of artists and teachers in the out-of-school and learning of the accordion playing. A field research was carried out in urban and rural communities in the territory of Serbia in the period 2014 – 2016. A technique of interview, which was designed for the needs of the present study, was used to obtain the data on the interpersonal relationship of the accordion teachers, students and their parents, on accordion lessons, method of work and learning of the accordion playing outcomes. The sample comprised 30 interviewees. One segment of the sample consisted of musicians who are engaged in teaching traditional music to students outside of school (private tutors) and performing music, while the other group consisted of accordion teachers and professors engaged in institutional teaching on different levels of music education. For the purposes of data collection, the technique of scaling with an appropriate evaluation scale was used. The sample was small, consisting of 30 respondents, some of whom teach the accordion at school while others teach it outside of school. The respondents were selected on the basis of the following criteria: that they have received their music education or gained their work experience as accordion teachers and professors at Music School „Isidor Bajic‖ in Novi Sad, and/or that as the accordion teachers/professors they live and work in Novi Sad. The teaching aims in the out-of-school and school accordion playing are the same. In regard to certain social forms of work it is noticeable that group work and combination of several forms of work are present in the school environment. The respondents who teach at school put emphasis on the importance of students‘ relying on musical scores in comparison to playing by ear during the learning process. Learning to play by ear is given preference by the respondents who teach outside of school. The methods of motivating students, such as fair evaluation of their achievement, students‘ public performances and an appropriate use of punishment, are preferred in the school type of teaching. All the respondents agree that it is beneficial for students to learn traditional and classical music in parallel have an advantage. What is emphasised as an advantage of the out-of-school environment is learning the desired music with a chosen teacher, while in the school learning among the identified advantages are teachers‘ competences, the mandatory records of lessons, obtaining a certificate of school attendance, availability of printed musical scores/textbooks, learning different subjects (music theory, solfeggio) /disciplines which facilitate the overall music development of students, supervision of teaching by professional bodies, obtaining an accordion with a baritone system, as well as the existence of textbooks for the accordion teaching methodology. The respondents who teach outside of school consider that the accordion as an instrument has a higher social status, thus contributing to the financing of performances and media promotion of performers, on the contrary to the predominant opinion of the respondents who teach at school. The significance of this doctoral thesis lies in the fact that the learning of the accordion playing is observed from the point of view of ethnomusicology and music pedagogy in an interdisciplinary way providing a complete overview of the subject. The results and data obtained from this research, among other things, bring new insights into the accordion teaching methodology. These insights can serve as a significant document in the strategy of a more dynamic and, in the territory of Serbia, more even introduction of the accordion on all educational levels, bearing in mind the fact that this instrument is present in several music genres
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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