20.500.12556/RUL-187981 Doživljanje ritmičnega zanosa pri profesionalnih glasbenikih in plesalcih magistrsko delo The experience of groove in professional musicians and dancers Ritmični zanos je izmuzljiv in obenem vseprisoten pojav, ki ga literatura najpogosteje opredeli kot željo po gibanju ob glasbi, ki ga spremlja občutek užitka. Namen magistrske naloge je bil preučiti doživljanje ritmičnega zanosa pri profesionalnih glasbenikih ob njihovem glasbenem udejstvovanju in profesionalnih plesalcih ob plesu. Z delno struktriranimi fenomenološki intervjuji smo najprej zbrali deset poglobljenih opisov doživljanja ritmičnega zanosa, ki jih je prispevalo deset udeležencev. V drugi fazi zbiranja podatkov smo z istimi udeleženci izvedli dodatne intervjuje, s katerimi smo še poglobili razumevanje njihovega doživljanja. S pomočjo kvalitativne analize podatkov smo oblikovali konstruktivistično utemeljeno teorijo, ki pojasnjuje doživljajske opise udeležencev. Na podlagi kod smo določili sedem kategorij in 30 pripadajočih podkategorij; nekatere smo dodatno razdelali in s tem pridobili skupno 36 podkategorij nižjega reda. Ko udeleženci govorijo o ritmičnem zanosu, opisujejo stanje zanosa, v katerem nekatere zaznave zbledijo ali začasno izginejo iz njihove zavesti. Pogosto poročajo tudi o specifičnih občutkih v telesu, ki se pojavljajo lokalizirano ali pa se razširjajo kot občutek energije po celem telesu. Ob tem se lahko bistveno spremeni tudi zaznavanje in doživljanje lastnega telesa. Na doživljanje ritmičnega zanosa vplivajo različne okoliščine, povezane s prostorom in njegovim vzdušjem, splošnim kulturnim ozadjem in občutkom zaupanja ter varnosti. Udeleženci obsežno pripovedujejo tudi o občutku skupnosti, pri katerem svoj ritmični zanos na različne načine delijo z drugimi ter se prek njega medsebojno povezujejo. Pomembno področje predstavlja tudi kategorija glasbe, v kateri razdelamo konkretne glasbene elemente, ki jih udeleženci opisujejo kot pomembne za doživljanje ritmičnega zanosa. Poleg tega obravnavamo čustva, ki spremljajo to izkušnjo, ter različne načine prehajanja v stanje ritmičnega zanosa in iz njega. Rezultati magistrske naloge prispevajo k poglobljenemu razumevanju ritmičnega zanosa ter ob tem opozarjajo na pomembnost raziskovanja izkustvenega dela tega večplastnega in kompleksnega pojava. Groove is an elusive yet ubiquitous phenomenon, most commonly defined in the literature as the pleasurable urge to move in response to music. The aim of the present thesis was to explore the lived experience of groove among professional musicians and dancers during musical performance and dance, respectively. To this end, we conducted semi-structured phenomenological interviews. In the first phase, ten in-depth descriptions of groove experience were obtained from ten participants. In the second phase, follow-up interviews with the same participants were conducted to further deepen the understanding of their experiences. Using qualitative data analysis, a constructivist grounded theory was developed to explain the participants’ experiential accounts. Data coding revealed seven categories and thirty corresponding subcategories were identified. Some of these were further refined, resulting in a total of 36 lower-order subcategories. The participants describe groove as a state in which certain perceptions fade or temporarily disappear from conscious awareness. They frequently report specific bodily sensations that were either localized to particular parts of the body or experienced as a flow of energy throughout the entire body. Their perception and experience of their own body can also undergo significant changes. The experience of groove is influenced by various contextual factors, including the physical environment, its atmosphere, cultural background, and feelings of trust and safety. Participants also extensively describe a sense of community, in which groove is shared with others and serves as a means of interpersonal connection. Music itself emerges as another important category, encompassing specific musical elements that participants perceived as essential for the experience of groove. In addition, the study explored the emotions accompanying this experience, as well as the ways in which the experience of groove develops and comes to an end. The findings of the present thesis contribute to a deeper understanding of groove as a complex, embodied, and relational phenomenon, while highlighting the importance of further research into its experiential dimensions. ritmični zanos profesionalni glasbeniki profesionalni plesalci konstruktivistična utemeljena teorija fenomenologija groove professional musicians professional dancers constructivist grounded theory phenomenology true false false T. Grm Slovenski jezik Angleški jezik Magistrsko delo/naloga 2026-09-17 08:30:25 2026-09-17 08:30:35 2026-09-18 12:26:35 0000-00-00 00:00:00 2026 0 Ljubljana 0 Ljubljana VII, 86 str. 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 165.62:78.071(043.2) 210657 291611139 53887.pdf 53887.pdf 1 689115EE2034103E8DE92D0D1CBB7AEE 713a2f03f00f1fd4c76bae9b241aa443c3fc81ce218ac55557dc078c5eecc445 447dd462-b261-11f1-8bc5-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=247832 Pedagoška fakulteta 0 0 0