Branimir Djokic og hans instrument - Pædagogiske reflektioner om en accordionmester.

Sammanfattning: My research project first and foremost tries to investigate Branimir Djokics’ way of playing his instrument, accordion. My research questions were: What characterises Djokic’s way of playing? What kind of pedagogical method is he using when instructing his students? Why should you use a six raw’s b-grip instrument when playing music from the Balkans? In my project I have used different qualitative research methods for data collection and analysis. I went to Serbia and made an interview with Djokic, I made a qualitative analysis of recorded music by him and supplemented these data by using my own experiences as a musician brought up in Djokic’s tradition as a third source of data. Among the main findings are that Djokic is a dedicated representative for the Serbian folk music tradition. His good and logic technique and fingerings make his melody phrases even but also rhythmically spread with short and precise touch in the accompaniment both in legato and staccato passages. Djokic has no formal pedagogical education and in his views on instrumental education he represents a traditional master learning model with repetition and musical progression in focus. However he does not want his students to imitate him completely. The use of a six raw’s b-grip instrument and the fingerings that Djokic is using are so smart that a melody or a phrase directly can be transposed to any key only by shifting the hand position on the flat keyboard. The advantages by using this kind of instrument should open the eyes of the accordeon manufacturers to the potential market that could be found among executors of Balkan folk music.