Upoznavanje duhovnoga nasljeđa u nastavi glazbe na primjeru napjeva pučke pobožnosti Sedam žalosti Blažene Djevice Marije i skladbe Gospin plač s. Lujze Kozinović

The first part of thesis systematically portrays and elaborates the concepts of customs vs. tradition through the case study of popular piety the Seven Sorrows of the Blessed Virgin Mary (Seven Sorrows of Mary, Lat. Via Matris). The historical background, practice and performance of Via Matris would be present as an integral part of the Lenten season’s musical heritage in Bosnia and Herzegovina. Catholic religion has a deep root in customs of Bosnia; the Franciscans were among the first monks that came in the 13th century to the region of Bosnia, continuously influenced regions religious and cultural life. Together with their parishioners over the centuries Franciscans shaped various devotional practices. At the time, numerous devotions, processions and liturgical dramas (cf. Car-Mihec 1997) particularly considered life and death of Jesus and sorrows of his Mother Mary. Nowadays, ancient Bosnian Franciscan monasteries preserve their own (local) ways of practicing devotion, especially its distinct musical features. Some of them partially stayed until present time as a recognizable signs of a local identity. The second part of thesis endeavors introduce an example of local spiritual tradition (Kresevo, Bosnia) using a didactic-methodical approach, as a part of the musical education curriculum. The example of the Kresevo’s Seven Sorrows of the Blessed Virgin Mary popular piety will be followed by the composition Lamentations of Mary composed by Zorka Sr. Lujza Kozinovic. Abovementioned devotional melodies or the custom were inspiration for this composition. The life path (career) of this composer and pedagogue will also be considered, as well as her place in the socio-historical context and the 20th century composer circle in Croatia. Following the instructions of Curriculum of Music teaching, the aim is to find a suitable and methodically valid model that would shape and present such content in music teaching, respecting the principles of synchronicity and interculturalism. The possible would result that students themselves, aware of the importance of knowledge, ability, beliefs and customs as cultural capital, could later actively participate in musical life and contribute to the preservation, transposition, enrichment and dissemination of cultural and spiritual heritage