Papers by Zornitsa Dimitrova
Zornitsa Dimitrova, 2023
Style and genre are categories within musical science
that are linked to the philosophical concep... more Style and genre are categories within musical science
that are linked to the philosophical concepts of quality and function.
They share essential characteristics, manifested uniquely in each.
Genre typifies by establishing specific parameters that “sift” stylistic
features, while style individualizes the typological parameters of
genre. In an interpretive aspect, situations related to genres with
emphasized practical function should prioritize the genre factor in
the performer’s vision. In situations linked to a more general genre
interpretation, the stylistic factor takes precedence, especially when
discussing works composed after the 17th century. The execution of
pieces from earlier epochs follows the logic of the genre. Teaching
genre or style without considering their mutual dependence leads to
a one-sided approach and a lack of understanding of their organic
connection. An indispensable element in education should be their
historical study through synchronous comparison.
With the adoption of the conception of key
competencies and its integration into the training pro... more With the adoption of the conception of key
competencies and its integration into the training process in the form
of a competency-based approach to the training, the new curricula
have undergone some changes. In them the priority should be given
to concepts, which lay the foundations of the given field of study, and
which correspond to the widest possible range of knowledge acquired
in other teaching disciplines. Against this background, the questions
remain open as to the reasons why exactly the concept of “style“,
which fully meets the criteria set and is contained in normative
documents regulating the teaching content in music, is excluded from
the curriculum in music and whether on the whole it is possible to
teach the training information in the upper course of study without
introducing stylistic issues. The report presents the idea of teaching
the training content through a theme-centric, style-oriented approach
that synthesizes training information about the style based on the
Ockham’s principle. The sequence of teaching the stylistic issues
in the context of the educational content, covering the history of
musical art, is presented in tabular form, giving examples of which
concepts can be successfully connected with the knowledge of style.
The categorial nature of the style provides an incredible number of
opportunities for implementation of interdisciplinary links within the
framework of music training, planning and implementation of binary
or integrated lessons, which could contribute to re-create the idea of
a competency-based approach to training. Some examples of such
lessons are suggested.
ВТОРА НАЦИОНАЛНА НАУЧНА КОНФЕРЕНЦИЯ СЪВРЕМЕННО МУЗИКАЛНО ОБРАЗОВАНИЕ И ВЪЗПИТАНИЕ Велико Търново, 2 юли 2021 г., 2021
This piece of research examines Guido Adler's ideas of "musical chiaroscuro" and "acoustic perspe... more This piece of research examines Guido Adler's ideas of "musical chiaroscuro" and "acoustic perspective" set forth in his work "Style in Music" regarding performance as an aspect of his concept of style. The exposition presents the author's views and comments on certain aspects of the ideas formulated while also tracing their reception in modern understanding of musical space. A conception is put forward for the application of "musical chiaroscuro" and "acoustic perspective" in the context of current developments in performance theory and performance practice.
Bulgarian musicology, 2021
This paper follows chronologically and in musical terms the development
of the knowledge of styl... more This paper follows chronologically and in musical terms the development
of the knowledge of style starting from antiquity and going all the way up
to the present day. It is argued that contemporary research on style should
unfold interdisciplinarily as a comparative study of stylistic manifestations
in various areas of arts and humanities. As a result of such approach style
could function as a category common to the humanities. Concrete examples
directly corresponding to the musical interpretation of style have been traced in
linguistics and psychology. There is an analysis of the application of ideas and
methods for studying style in the context of other sciences which could also be
utilized in musicology.
Статията проследява хронологично развитието на знанието за стила от Античността до наши дни в музикален аспект. Изказва се идеята, че съвременното изучаване на стила следва да се разгърне междудисциплинарно като сравнително изследване на стиловите прояви в различните сфери на изкуството и хуманитаристиката. В резултат от такъв подход стилът би могъл да функционира като обща за хуманитарните науки категория. Проследяват се конкретни примери от науката за езика и психологията, които пряко кореспондират с трактовката на стила в музикално отношение. Анализира се приложението на идеи и методи за изучаване на стила от други науки, които биха могли да бъдат използвани и по отношение на музикознанието.
Music in the bulgarian school at the end of the 19th and the beginning of the 20th century. Author: Rositsa Draganova. Sofia, Institute of Art Studies – BAS, 2020, 211 p. ISBN: 978-954-8594-00-4
Pedagogical Almanac
In her monograph Rositsa Draganova introduces new data and facts in the unique process of the cre... more In her monograph Rositsa Draganova introduces new data and facts in the unique process of the creation and performance of bulgarian educational system particularly in its sector dealing with musical teaching. In the first three chapters of this survey the author analyzes in details the normative documents, the pedagogic practice, the philosophic and pedagogical concepts, the published during the surveyed period textbooks, guide books and training materials, as well as discussions between the musical pedagogues. The last chapter of this book presents historic information on Bulgarian musical professionals who are of particular importance for the development of musical pedagogy in our country. This book presents great interest not only for the researchers in the musical pedagogy sphere and for the professionals focused on the history of Bulgarian musical culture, but also for the teachers in music at the secondary schools. It could be used as basic reference in the training of future ...
The report concerns some specific approaches to singing and musical instrument training of future... more The report concerns some specific approaches to singing and musical instrument training of future speech therapists, offering a specific teaching model. The main focus is on the singing activity as a link between music and speech. The theoretical conclusions and recommendations were tested in 2017 at VTU St. St. Cyril and Methodius personally by the author.
The present paper examines the problem of application of the theory of musical-rhetorical figures... more The present paper examines the problem of application of the theory of musical-rhetorical figures in classical singing training. The necessity of including the theory of musical-rhetorical figures and the theory of affects in the course of classical singing training is based on it. Pedagogical model is offered for working with young singers in the performance of vocal Baroque music.
The publication presents the classification of secular Baroque vocal music by styles, considered ... more The publication presents the classification of secular Baroque vocal music by styles, considered based on three key attributes: style as staging, style as composer's approach and way of singing and the style as expression.
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Papers by Zornitsa Dimitrova
that are linked to the philosophical concepts of quality and function.
They share essential characteristics, manifested uniquely in each.
Genre typifies by establishing specific parameters that “sift” stylistic
features, while style individualizes the typological parameters of
genre. In an interpretive aspect, situations related to genres with
emphasized practical function should prioritize the genre factor in
the performer’s vision. In situations linked to a more general genre
interpretation, the stylistic factor takes precedence, especially when
discussing works composed after the 17th century. The execution of
pieces from earlier epochs follows the logic of the genre. Teaching
genre or style without considering their mutual dependence leads to
a one-sided approach and a lack of understanding of their organic
connection. An indispensable element in education should be their
historical study through synchronous comparison.
competencies and its integration into the training process in the form
of a competency-based approach to the training, the new curricula
have undergone some changes. In them the priority should be given
to concepts, which lay the foundations of the given field of study, and
which correspond to the widest possible range of knowledge acquired
in other teaching disciplines. Against this background, the questions
remain open as to the reasons why exactly the concept of “style“,
which fully meets the criteria set and is contained in normative
documents regulating the teaching content in music, is excluded from
the curriculum in music and whether on the whole it is possible to
teach the training information in the upper course of study without
introducing stylistic issues. The report presents the idea of teaching
the training content through a theme-centric, style-oriented approach
that synthesizes training information about the style based on the
Ockham’s principle. The sequence of teaching the stylistic issues
in the context of the educational content, covering the history of
musical art, is presented in tabular form, giving examples of which
concepts can be successfully connected with the knowledge of style.
The categorial nature of the style provides an incredible number of
opportunities for implementation of interdisciplinary links within the
framework of music training, planning and implementation of binary
or integrated lessons, which could contribute to re-create the idea of
a competency-based approach to training. Some examples of such
lessons are suggested.
of the knowledge of style starting from antiquity and going all the way up
to the present day. It is argued that contemporary research on style should
unfold interdisciplinarily as a comparative study of stylistic manifestations
in various areas of arts and humanities. As a result of such approach style
could function as a category common to the humanities. Concrete examples
directly corresponding to the musical interpretation of style have been traced in
linguistics and psychology. There is an analysis of the application of ideas and
methods for studying style in the context of other sciences which could also be
utilized in musicology.
Статията проследява хронологично развитието на знанието за стила от Античността до наши дни в музикален аспект. Изказва се идеята, че съвременното изучаване на стила следва да се разгърне междудисциплинарно като сравнително изследване на стиловите прояви в различните сфери на изкуството и хуманитаристиката. В резултат от такъв подход стилът би могъл да функционира като обща за хуманитарните науки категория. Проследяват се конкретни примери от науката за езика и психологията, които пряко кореспондират с трактовката на стила в музикално отношение. Анализира се приложението на идеи и методи за изучаване на стила от други науки, които биха могли да бъдат използвани и по отношение на музикознанието.
that are linked to the philosophical concepts of quality and function.
They share essential characteristics, manifested uniquely in each.
Genre typifies by establishing specific parameters that “sift” stylistic
features, while style individualizes the typological parameters of
genre. In an interpretive aspect, situations related to genres with
emphasized practical function should prioritize the genre factor in
the performer’s vision. In situations linked to a more general genre
interpretation, the stylistic factor takes precedence, especially when
discussing works composed after the 17th century. The execution of
pieces from earlier epochs follows the logic of the genre. Teaching
genre or style without considering their mutual dependence leads to
a one-sided approach and a lack of understanding of their organic
connection. An indispensable element in education should be their
historical study through synchronous comparison.
competencies and its integration into the training process in the form
of a competency-based approach to the training, the new curricula
have undergone some changes. In them the priority should be given
to concepts, which lay the foundations of the given field of study, and
which correspond to the widest possible range of knowledge acquired
in other teaching disciplines. Against this background, the questions
remain open as to the reasons why exactly the concept of “style“,
which fully meets the criteria set and is contained in normative
documents regulating the teaching content in music, is excluded from
the curriculum in music and whether on the whole it is possible to
teach the training information in the upper course of study without
introducing stylistic issues. The report presents the idea of teaching
the training content through a theme-centric, style-oriented approach
that synthesizes training information about the style based on the
Ockham’s principle. The sequence of teaching the stylistic issues
in the context of the educational content, covering the history of
musical art, is presented in tabular form, giving examples of which
concepts can be successfully connected with the knowledge of style.
The categorial nature of the style provides an incredible number of
opportunities for implementation of interdisciplinary links within the
framework of music training, planning and implementation of binary
or integrated lessons, which could contribute to re-create the idea of
a competency-based approach to training. Some examples of such
lessons are suggested.
of the knowledge of style starting from antiquity and going all the way up
to the present day. It is argued that contemporary research on style should
unfold interdisciplinarily as a comparative study of stylistic manifestations
in various areas of arts and humanities. As a result of such approach style
could function as a category common to the humanities. Concrete examples
directly corresponding to the musical interpretation of style have been traced in
linguistics and psychology. There is an analysis of the application of ideas and
methods for studying style in the context of other sciences which could also be
utilized in musicology.
Статията проследява хронологично развитието на знанието за стила от Античността до наши дни в музикален аспект. Изказва се идеята, че съвременното изучаване на стила следва да се разгърне междудисциплинарно като сравнително изследване на стиловите прояви в различните сфери на изкуството и хуманитаристиката. В резултат от такъв подход стилът би могъл да функционира като обща за хуманитарните науки категория. Проследяват се конкретни примери от науката за езика и психологията, които пряко кореспондират с трактовката на стила в музикално отношение. Анализира се приложението на идеи и методи за изучаване на стила от други науки, които биха могли да бъдат използвани и по отношение на музикознанието.