Formulating a Theoretical Basis for Working on Triads Sharing the Same Third in the Higher Education Curriculum

Jelena  Beočanin; Marko Aleksić

doi:10.5937/newso2464063B

Jelena Beočanin University of Kragujevac, Faculty of Philologyand Arts, Department of Music Theory and Pedagogy
Marko Aleksić University of Arts in Belgrade, Faculty of Music, Department of Music Theory

DOI: https://doi.org/10.5937/newso2464063B

Keywords: Terzgleicher, functionality, solfeggio, harmony, musical hearing

Abstract

Relations between triads sharing the same third are rare within harmonic progressions and, due to their distinct sonority, they are fascinating to listen to and perform. They have received little attention in theoretical literature on music (partly due to their limited representation in the musical repertoire) and they are rarely mentioned in solfeggio literature. Regardless, they represent a significant element of musical expression that needs to be studied, theoretically established, and introduced into the teaching of solfeggio and harmony to a greater extent than is currently the case. Therefore, this paper focuses on triads sharing the same third (also known as Terzgleicher) employing analytical and descriptive methods. The analysis will encompass both Serbian and foreign textbook-theoretical literature in the field of solfeggio and solfeggio teaching, as well as in the field of harmony, in which the problem of these triads is discussed. This paper aims to establish a theoretical foundation for the future expansion of theoretical and analytical approaches and literature on solfeggio. This expansion would be dedicated to shared third relations, especially in the context of enhancing students’ musical hearing.

Author Biographies

Jelena Beočanin, University of Kragujevac, Faculty of Philologyand Arts, Department of Music Theory and Pedagogy

Ph.D. (b. 1976), Associate Professor at the Faculty of Philology and Arts in Kragujevac (Serbia), has been teaching Aural skills and Aural skills pedagogy since 2002. She graduated, defended master’s thesis and defended her Ph.D. at the Faculty of Music in Belgrade. The title of the doctoral dissertation is “Development of musical hearing through the literal paralelism in the perception and performance of the tonally extended and atonal music of Serbian composers within the program of teaching aural skills”. She is the author of the book “Between Mistake and Inertia of Hearing in Aural Skills” (2008) and co-author of the book “Three-part Dictations I - Solfeggio Practicum for Music Students” (2019). Also, she published series of articles and conference papers (including papers published abroad: the Netherlands, Poland, Bosnia and Herzegovina, Montenegro). She was a mentor of twenty graduate works, author of accredited seminars, a jury member in Aural skills competitions, reviewer of books and scientific journals, as well as head of the Department of Music Theory and Pedagogy at the Faculty of Philology and Arts in Kragujevac. She is also occasionally engaged in journalism. Her works in the area of Aural skills pedagogy are cited in texts published in Serbia and abroad (Greece, the Netherlands, Estonia, Bosnia and Herzegovina, Montenegro...).

Marko Aleksić, University of Arts in Belgrade, Faculty of Music, Department of Music Theory

Ph.D. (b. 1977), is an Assistant Professor at the Department of Music Theory, Faculty of Music in Belgrade. He graduated, and obtained his master’s degrees and PhD at the Department of Music Theory, Faculty of Music in Belgrade. He obtained his PhD with a dissertation entitled “The Role of Harmony in the Formation of a Network of Interpretative Relations in German Opera and the Symphonic Lied of the Second Half of the Nineteenth and the Beginning of the Twentieth Century”. He has been working at the Faculty of Music in Belgrade since 2001. His areas of professional interest are music theory and analysis, especially harmony, harmonic analysis, interpretive music analysis, and the analysis of popular music. He presented his spoken papers at numerous conferences in Serbia and abroad. So far, he has published over 20 works in domestic and international journals and publications. He was a scholarship recipient of the Republic Foundation for the Development of Scientific and Artistic Youth of the Republic of Serbia, as well as the Royal Norwegian Embassy. On several occasions, he was a member of the expert jury at competitions in the field of harmony. He was the editor and co-editor several publications in the field of music theory. He is a member of the Serbian Society for Music Theory and the Serbian Musicological Society.