Article metrics

  • citations in SCindeks: 0
  • citations in CrossRef:0
  • citations in Google Scholar:[=>]
  • visits in previous 30 days:57
  • full-text downloads in 30 days:13
article: 2 from 65  
Back back to result list
2019, vol. 5, iss. 1, pp. 103-118
article language: Serbian
document type: Review Paper

Creative Commons License 4.0
Methodological functionality of the integrative approach in listening to music: Second garland, St. St. Mokranjac
OŠ "Nadežda Petrović", Beograd



The Work of Stevan Stojanović Mokranjac certainly represents the center of Serbian music history and Serbian musical culture as well. He showed a lot of interest in Serbian folk songs, which were the main inspiration for his creative work. His most significant works are his garlands. Garlands differ from similar musical pieces of other authors because Mokranjac did not reach any extreme when uniting folklore and artistic components in them. Many point out that this is precisely why the garlands represent a real artistic upgrade of folk art, not only their harmonization. Of particular importance is his innovative harmonic language. Therefore, his work must have a special place in the process of teaching music culture, if one considers that acquaintance with the one's own and other peoples' culture is one of the goals set by the teaching program. The analysis of textbooks of music culture for the third grade of primary school showed that Mokranjac and his garlands were approached through the processing of folk song U Budimu gradu - the final song of the Second garland. Since the center of this particular lesson is certainly listening to music, during the analysis we emphasized the importance of asking adequate questions to students during the phase of selective listening (a stage in which special emphasis is placed on the analysis of musical characteristics such as tempo, dynamics, performers, etc., on the basis of which students expand their knowledge of music by listening to music). It turned out that one textbook did not anticipate the processing of this composition at all, and that only three gave students adequate tasks during selective listening. This paper introduces a different approach, which implies that, through a series of five music culture lessons, all five folk songs, which inspired Mokranjac to write Second garland, will be processed and listening to the whole piece will be a natural upgrade to that. Particular emphasis is placed on the polyfunctional potential of folk songs, which implies that the songs of the Second garland have to fulfill some other teaching goals and tasks. The additional tasks that are accomplished during the processing of individual songs arise from the context which songs have in the music piece itself. Noticing the musical characteristics of the songs makes it easier for students to listen to the entire piece at the last of the five lessons. This is primarily related to the insistence on the dynamics and development of interpretive abilities in the song Osu se nebo zvezdama, playing harmonic accompaniment and initial work on the development of harmonic pitch in the song Jesam li ti, setting a new rhythmic figure in the song Smilj', Smiljana and playing a rhythmic arrangement with the characteristics of the rhythm of the baritone section in the song U Budimu gradu. Of course, it is also essential for students to work on reading the sheet music, because it is helping them develop the initial musical literacy. The sheet music is also important because it allows students to connect the sound of music to notes (music's visual representation) and make it easier for them to understand the entire Second garland. This is achieved not only with songs that they can read, but also with those they learn by ear. This way, in addition to getting acquainted with the works of Stevan Mokranjac, students are able to complete other teaching tasks such as the work in initial music literacy, development of musical abilities, all through the framework of the Mokranjac's Second garland.


culture; music; listening; St. St. Mokranjac; garlands; folk song


Newly uploaded article: references checking, normalizing and linking in progress.
Alberta Education. (2007). Curriculum Integration: Making Connections. Edmonton, AB: Government of Alberta.; 22. 1. 2018
Vasilević, Z. (2006). Metodika muzičke pismenosti. Beograd: Akademija
Gardner, H. (2011). Frames of Mind: The Theory of Multiple Intelligences. New York: Basic Book
Despić, D. (1999). Harmonski jezik i horska faktura u Mokranjčevim delima. U D. Despić & V. Peričić (Ur.), Stevan Stojanović Mokranjac: život i delo. Beograd: Zavod za udžbenike; Knjaževac: Nota
Konjović, P. (1999). Stevan St. Mokranjac. U D. Despić & V. Peričić (Ur.), Stevan Stojanović Mokranjac: život i delo. Beograd: Zavod za udžbenike; Knjaževac: Nota
Makević, Z. (1991). Mokranjčeve rukoveti kao mogućnost uspostavljanja nacionalnog harmonskog idioma. Razvitak, broj 3, 31; 66-70
Marinković, S. (2007). Muzika u XIX i prvoj polvini XX veka. U Istorija srpske muzike. Beograd: Zavod za udžbenike
Marinković, S. (2007). Muzičko školstvo. U Istorija srpske muzike. Beograd: Zavod za udžbenike
Miletić, A. (2010). Integracija tradicionalnog i klasičnog muzičkog obrazovanja u nastavi početnog muzičkog opismenjavanja. Beograd: Učiteljski fakutet. neobjavljena doktorska disertacija
Miletić, A. (2011). Početno muzičko opismenjavanje na srpskom muzičkom jeziku. Beograd: Dijamant print
Miletić, A., & Stošić, A. (2016). Pesma kao višenamensko nastavno sredstvo u razvoju muzičkih sposobnosti pri uvođenju učenika u elementarno muzičko obrazovanje. Didaktičko-metodički pristup i strategije - podrška učenju i razvoju dece. Beograd: Učiteljski fakultet
Mokranjac, S.S. (1992). Svetovna muzika I - rukoveti. Beograd: Zavod za udžbenike; Knjaževac: Nota
Radoš, K. (2010). Psihologija muzike. Beograd: Zavod za udžbenike
Službeni glasnik RS-Prosvetni glasnik. (2005). Nastavni program za treći razred osnovnog obrazovanja i vaspitanja. Službeni glasnik RS - prosvetni glasnik, broj 1, 54; 3-81
Stojanović, G. (1996). Nastava muzičke kulture: Od I do IV razreda osnovne škole. Beograd: Zavod za udžbenike i nastavna sredstva
Stojanović, G. (2001). Komparativna metodologija nastave muzičke pismenosti i početnog čitanja i pisanja. Beograd: Fakultet muzičke umetnosti. neobjavljena doktorska disertacija
Stošić, A. (2007). Polifunkcionalnost pesme u nastavi muzičke kulture na mlađem školskom uzrastu. Užice: Učiteljski fakultet. neobjavljen magistraski rad
Stošić, A. (2008). Pesma -spona u integrativnom pristupu nastave muzičke kulture, srpskog jezika i književnosti za decu. Književnost za decu u nauci i nastavi. Jagodina: Pedagoški fakultet
Stošić, A. (2012). Udžbenik muzičke kulture - oslonac u radu učenika i nastavnika. Inovacije u nastavi, 2 (4); 21-30
Stošić, A. (2016). Funkcionalnost udžbeničkog kompleta u razvoju vokalnih sposobnosti učenika mlađih razreda osnovne škole. Inovacije u nastavi, 29 (1); 60-76
Galjević, M. (2016). Muzička kultura - udžbenik za 3. razred osnovne škole. Beograd: Bigz
Grujić, G., & Sokolović, I.M. (2018). Maša i Raša, priručnik za učitelje uz udžbenički komplet muzička kultura - udžbenik za 3. razred osnovne škole. Beograd: Klet
Grujić, G., & Sokolović, I.M. (2019). Maša i Raša, muzička kultura - udžbenik za 3. razred osnovne škole. Beograd: Klet
Ilić, V. (2018). Muzička kultura za 3. razred osnovne škole. Beograd: Kreativni centar
Ilić, G. (2019). Čarobni svet muzike - muzička kultura za 3. razred osnovne škole. Beograd: Klet
Mitrović, Z. (2007). Muzička čarolija - za 3. razred osnovne škole. Beograd: Draganić
Stojanović, G. (2016). Muzička kultura za 3. razred osnovne škole. Beograd: Zavod za udžbenike