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Branimir Djokic og hans instrument - Pædagogiske reflektioner om en accordionmester.

Nenic, Buzor (2012)
Malmö Academy of Music
Abstract
My research project first and foremost tries to investigate Branimir Djokics’
way of playing his instrument, accordion. My research questions were:
What characterises Djokic’s way of playing?
What kind of pedagogical method is he using when instructing his students?
Why should you use a six raw’s b-grip instrument when playing music from the Balkans?
In my project I have used different qualitative research methods for data collection and analysis. I went to Serbia and made an interview with Djokic, I made a qualitative analysis of recorded music by him and supplemented these data by using my own experiences as a musician brought up in Djokic’s tradition as a third source of data. Among the main findings are that Djokic is a dedicated... (More)
My research project first and foremost tries to investigate Branimir Djokics’
way of playing his instrument, accordion. My research questions were:
What characterises Djokic’s way of playing?
What kind of pedagogical method is he using when instructing his students?
Why should you use a six raw’s b-grip instrument when playing music from the Balkans?
In my project I have used different qualitative research methods for data collection and analysis. I went to Serbia and made an interview with Djokic, I made a qualitative analysis of recorded music by him and supplemented these data by using my own experiences as a musician brought up in Djokic’s tradition as a third source of data. Among the main findings are that Djokic is a dedicated representative for the Serbian folk music tradition. His good and logic technique and fingerings make his melody phrases even but also rhythmically spread with short and precise touch in the accompaniment both in legato and staccato passages. Djokic has no formal pedagogical education and in his views on instrumental education he represents a traditional master learning model with repetition and musical progression in focus. However he does not want his students to imitate
him completely. The use of a six raw’s b-grip instrument and the fingerings that Djokic is using are so smart that a melody or a phrase directly can be transposed to any key only
by shifting the hand position on the flat keyboard. The advantages by using this kind of instrument should open the eyes of the accordeon manufacturers to the potential market that could be found among executors of Balkan folk music. (Less)
Abstract (Danish)
Mit forskningsprojekt handler først og fremmest Branimir Djokic hvor jeg prøver at undersøge hans spillemåde på knapharmonikaen. Jeg har i projektet stillet disse forskningsspørgsmål:
• Hvad kendetegner Djokic’s spillemåde?
• Hvilken slags pædagogisk metode bruger han, når han underviser sine elever?
• Hvorfor skal man benytte seks rækker b-greb instrument for at kunne spille balkanmusik?
I projektet har jeg anvendt forskellige kvalitative forskningsmetoder for at kunne samle data og analysere dem. Jeg rejste til Serbien og gennemførte et interview med Djokic, analyserede indspilninger af ham og kompletterede disse data med at anvende mine egne erfaringer som musiker i Djokic’s tradition. Mine hovedresultater viser at Djokic er en... (More)
Mit forskningsprojekt handler først og fremmest Branimir Djokic hvor jeg prøver at undersøge hans spillemåde på knapharmonikaen. Jeg har i projektet stillet disse forskningsspørgsmål:
• Hvad kendetegner Djokic’s spillemåde?
• Hvilken slags pædagogisk metode bruger han, når han underviser sine elever?
• Hvorfor skal man benytte seks rækker b-greb instrument for at kunne spille balkanmusik?
I projektet har jeg anvendt forskellige kvalitative forskningsmetoder for at kunne samle data og analysere dem. Jeg rejste til Serbien og gennemførte et interview med Djokic, analyserede indspilninger af ham og kompletterede disse data med at anvende mine egne erfaringer som musiker i Djokic’s tradition. Mine hovedresultater viser at Djokic er en dedikeret repræsentant for den serbiske folkemusiktradition. Hans gode og logiske teknik og fingersætning gør hans fraser i melodien jævn og rytmikken er spredt med korte og præcise anslag i forbindelse med akkompagnementet både i legato og staccato passager. Djokic har ingen formel pædagogisk uddannelse og med hans synspunkter om instrumental undervisning repræsenterer han en traditionel mesterlære model med repetition og musikalsk progression i fokus. Men han vil ikke at hans studenter skal imiterer ham fuldstændigt. De skal finde deres egen fortolkning af
folkemusikken. Anvendelsen af seks rækker b-greb instrument og fingersætningen som Djokic anvender, er så smart at en melodi eller frase kan transponeres til hvilken som
helst toneart ved at rykke hånden på det flade diskantklaviatur. Disse fordele burde åbne fabrikanternes øjne for det potentielle marked som ville kunne findes bland folkemusik udøvere i balkan stilen. (Less)
Please use this url to cite or link to this publication:
author
Nenic, Buzor
supervisor
organization
year
type
M2 - Bachelor Degree
subject
keywords
Pedagogik, Accordion, Didaktik, Branimir Djokic, Balkan musik, Pedagogy, Didactics, Balkan music.
language
Danish
id
3167656
date added to LUP
2012-11-13 14:08:06
date last changed
2012-11-13 14:08:06
@misc{3167656,
  abstract     = {My research project first and foremost tries to investigate Branimir Djokics’
way of playing his instrument, accordion. My research questions were:
What characterises Djokic’s way of playing?
What kind of pedagogical method is he using when instructing his students?
Why should you use a six raw’s b-grip instrument when playing music from the Balkans?
In my project I have used different qualitative research methods for data collection and analysis. I went to Serbia and made an interview with Djokic, I made a qualitative analysis of recorded music by him and supplemented these data by using my own experiences as a musician brought up in Djokic’s tradition as a third source of data. Among the main findings are that Djokic is a dedicated representative for the Serbian folk music tradition. His good and logic technique and fingerings make his melody phrases even but also rhythmically spread with short and precise touch in the accompaniment both in legato and staccato passages. Djokic has no formal pedagogical education and in his views on instrumental education he represents a traditional master learning model with repetition and musical progression in focus. However he does not want his students to imitate
him completely. The use of a six raw’s b-grip instrument and the fingerings that Djokic is using are so smart that a melody or a phrase directly can be transposed to any key only
by shifting the hand position on the flat keyboard. The advantages by using this kind of instrument should open the eyes of the accordeon manufacturers to the potential market that could be found among executors of Balkan folk music.},
  author       = {Nenic, Buzor},
  keyword      = {Pedagogik,Accordion,Didaktik,Branimir Djokic,Balkan musik,Pedagogy,Didactics,Balkan music.},
  language     = {dan},
  note         = {Student Paper},
  title        = {Branimir Djokic og hans instrument - Pædagogiske reflektioner om en accordionmester.},
  year         = {2012},
}