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AESTHETICS EDUCATION AND ITS POSITION IN THE 21ST-CENTURY DEMOCRATIC SOCIETY

100%
Kopčáková S.
Ars inter Culturas
|
2018
|
vol. 7
249-262
EN
In the paper, the author considers philosophical, aesthetic and pedagogical concepts explaining the specific position of aesthetics education in the education system and its importance in developing the ability to express authentic attitudes not only in the assessment of the arts but also in social processes of a democratic society. A historical account is part of this consideration, as it gives us an overview of cultural epochs in which emphasis on the aesthetics education of a young person became a national interest or, on the contrary, it stood partly on the edge of interest. Through the ideas of important thinkers of the 20th and 21st centuries (John Dewey, Paul G. Woodford, etc.), I try to emphasize the potential of musical, artistic, literary, dramatic education in the development of critical thinking as a fundamental attribute in the education of an authentic, free- and democratically- minded person. Active reception of art and the evaluation of artistic expressions occupy an important place in the awareness of one’s position in a society that faces many civilization and political challenges, such as poverty, migration, change of cultural mechanisms, and reception habits. All this requires reflection at the level of the philosophy of education in co-operation with its related disciplines, like pedagogy, aesthetics, cultural studies, and their applied educational disciplines. The definitive recognition of a dignified status for aesthetics education is one of the ways of coping with the civilization challenges of the 21st century and of flexible re-evaluation of the changing trends in the technologyoriented society structure and the one-sided general education
2
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JÁN ALBRECHT – ESTETICKÁ DIMENZIA VŠESTRANNEJ UMELECKEJ A PEDAGOGICKEJ OSOBNOSTI

100%
Kopčáková S.
ESPES
|
2012
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vol. 1
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issue 1
24 – 30
EN
In the presented paper attention is drawn to the so-far under-appreciated art history and aesthetic orientation of a multidimensional personality. Jan Albrecht (1919-1996) embodies a ”personal unity“ in whom a performing musician, musicologist, aesthetician, renowned university teacher and musical impresario all came together. He was one of those personalities that formed future generations of artists, teachers and theoreticians in the second half of the 20th century. With his personal imprint, Albrecht shaped post-war musical culture in Slovakia. His theoretical legacy represents a very interesting yet so-far not sufficiently researched chapter of the history of aesthetic reflection on art issues or the history of music aesthetics in Slovakia. As a music aesthetician, Jan Albrecht was in the background for a long time; for that reason, our aim is mainly to point out the aesthetic dimension of his personality and also partially analyse its results.
3
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SOME GUIDELINES ON THE PRECONDITIONS AND PREPARATION OF TEACHERS OF AESTHETIC EDUCATION

100%
Kopčáková S.
Ars inter Culturas
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2013
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issue 2
147-153
EN
Changes in the 21st century place new demands on teachers of Aesthetic Education. The question of preparation of primary and secondary school teachers’ is a sensitive one, especially from the point of view of selection and predisposition of applicants for this type of university education. This article summarises the findings of a three-year research into the preconditions, motivation and preparation of future teachers of Aesthetic Education.
4
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HUDBA, ZVUK A HLUK V SÚČASNOM HUDOBNODRAMATICKOM UMENÍ

100%
Kopčáková S.
ESPES
|
2013
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vol. 2
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issue 2
9 – 16
EN
The increase of noise in man’s environment is a characteristic of aural human culture of the 20th century. Its subsequent involvement in artistic culture (futurism, electroacoustic music, noise music, etc.) is a natural consequence of these processes. At its beginnings, noise, hisses, distortions, and various, originally non-musical, sounds came to be the means of expansion of potential aesthetic qualities of art. In the paper, the presence of noise elements as means of expression in the contemporary musical-dramatic genre is considered. Their aesthetic effects in alternative theatre are analysed using examples of performances and workshops at the “Academic Prešov” festival.
5
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K PROBLÉMU ROZPADU A KONŠTITÚCIE NOVÝCH POSLUCHÁČSKYCH NÁVYKOV ZO ZORNÉHO UHLA HUDOBNEJ ESTETIKY

100%
Kopčáková S.
ESPES
|
2015
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vol. 4
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issue 1
4 – 11
EN
The matter of considering popular music as a phenomenon that in the 20th century, along with the penetration of mass-media and recording into music, has caused a complete change in listening habits. Together with innovations in compositional techniques, or better approaches to music production and performing practice, the possibilities of modifying sound, not only in connection to the author and performer but also to the listener, have arisen. A new type of listener as well as a new kind of listening demands scrutinization of issues connected to so-called adequate listening within adequate auditive situations. In the contribution the author, through historical connections, surveys developmental changes in listening. In parallel, the author also takes into account issues of professional and lay participation in musical communication through current tendencies objectified in the deliberations of music aestheticians, scholars as well as authors (composers, producers).
6
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DRAMA THAT WAS NOT PLAYED IN HUNGARY. DRAMATIC WORKS OF PRESSBURG SCHOLAR AND WRITER TOBIAS GOTTFRIED SCHRÖER (1791 – 1850)

63%
Kopčáková S., Zubal P.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 3
322 – 336
EN
The study deals with the dramatic works of a writer, professor of the Evangelical Lyceum of the Augsburg Confession in Pressburg, Tobias Gottfried Schröer. As a citizen of German descent striving to avoid the harsh censorship of the time, between 1820 and 1849, he published his works under various pseudonyms. Under his real name, he published only textbooks and three compendia intended for the Lyceum students. In Germany (Leipzig, Hamburg, etc.), he was quite a well-known writer; his short stories, poems and plays were published in various almanacs and collections. His drama work is almost unknown, and the number of his plays (existing as primary sources, including those that are only referred to), we estimate at fifteen so far. They were written approximately between the years 1806 and 1846, which testifies to their author’s lifelong interest in theatre and story dramatizations. A historical drama Leben und Thaten Emerich Tokoly’s und seiner Streitgenossen [The Life and Deeds of Emerich Tököly and His Comrades-in-arms by A. Z.] (1839), published in Leipzig under the pseudonym of A. Z., and a comedy Der Bär [The Bear] (1830) can be considered the most important.
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