The paper examines the role of revolutionary and mass songs in music instruction and musical activities in elementary schools in PR/SR Bosnia and Herzegovina. Although the educational system underwent various reform processes that affected the curriculum of music lessons, the revolutionary songs retained their continuity. Drawing on research of the archival materials, curricula in Bosnia and Herzegovina (1948-1980), and songbooks, we present some of the revolutionary songs included in the children's repertoire, as well as compositions inspired by the national liberation struggle by Yugoslav and Bosnian-Herzegovinian composers. The paper aims to highlight the importance of this repertoire for shaping the musical identity of elementary school students in Bosnia and Herzegovina.
The paper aims to highlight the importance of international networking of the Yugoslav Pioneer Association [Savez pionira Jugoslavije] & acy;s part of the Union of Organizations for the Education and Care of Children of Yugoslavia [Savez organizacija za vaspitanje i brigu o deci Jugoslavije] through the United Nations Educational, Scientific and Cultural Organization (UNESCO). The study pays particular attention to the dynamics of the relationship between Yugoslav Pioneer Association and the Children's International Summer Villages (CISV) organization from 1955 to 1988, specifically from 1962, when the first Yugoslav pioneer delegation participated in the CISV camp in Alexandria, Egypt, until 1988, when the last Yugoslav pioneer delegations attended camps across Europe. The central part of the paper focuses on the analysis of the musical segment of the programs through which Yugoslav pioneer delegations presented themselves at CISV camps across Europe and the world. The paper aims to demonstrate how the presentation of Yugoslav pioneer delegations, through the selection of various musical genres, reflected the country's foreign policy orientation, internal social and political conditions, and the level of development of musical education and culture in Yugoslavia.
This comparative study examines the scores for two theatrical productions of the play Mister Dolar, the first of which premiered at the Yugoslav Drama Theatre in 1973, and the restaged production at the Belgrade Drama Theatre (1997). The two productions are rare examples of an almost identical restaging with minor changes (different casts, theatres, and musical authors), which aimed to re-examine the themes of greed and hypocrisy in this play by Branislav Nusic (1864-1938) within a new social context. The aim of this paper is twofold: firstly, to understand the peculiar position of the musical collaborator in the process of staging the play, and secondly, to examine how music helps communicate the identity transformation of one of the characters, the waiter Zan/Jovan Todorovic. To achieve this, the author applies the reconstructive-analytical method to the available documentation on the aforementioned productions.
Greek-language music historiography, emerging in the late nineteenth century, was profoundly shaped by women scholars, including Athina Seremeti, Avra Theodoropoulou, Sofia Spanoudi, and Katy Romanou. In 1888, Seremeti translated the first comprehensive history of European art music into Greek. Theodoropoulou wrote the first inclusive history of Western and Greek art music in 1924. Spanoudi was the first to translate, in 1931, a history of music with added chapters on Greece. At the beginning of the twenty- first century, Romanou penned an extensive study of Greek art music from the late Middle Ages to the present. This article uses a critical literature review and gender perspectives to assess their impact.
This paper examines the pedagogical applicability of Kodaly hand signs within the Chinese educational system using cognitive load theory (CLT) as its analytical framework. Children aged 7-9 in Chinese mixed-curriculum schools simultaneously navigate multiple symbolic systems, each of which carries a measurable cognitive load. The paper maps conditions under which hand signs generate extraneous cognitive load, arguing that pedagogical effectiveness depends on the symbolic density of the receiving context and advocating selective rather than universal application of the Kodaly method.
