| Abstract | U ovome radu cilj je bio obraditi pojam entrainmenta u njegovim terminološkim i psihološkim aspektima. Pojam sam susrela u literaturi iz psihologije glazbe, ali bez valjanog prijevoda na hrvatski jezik. Tijekom definiranja naslova rada, termin smo prevele kao „usklađivanje ritma”. Međutim, s obzirom na kompleksnost i širinu njegova značenja i primjene, ostaje nedoumica treba li ga uopće prevoditi ili ostaviti na engleskome jeziku kao specifičan terminus technicus u različitim područjima primjene. Kako su u vrijeme određivanja teme rada bile na snazi različite mjere vezane uz borbu s minulom pandemijom, odlučile smo se za pregledni rad umjesto empirijskog istraživanja jer bi osim navedenih ograničenja došlo i do ograničenja u vezi uporabe specifične neuroznanstvene aparature. Međutim, različita su istraživanja poduzeta i poduzimana u različitim specijaliziranim institutima diljem svijeta, i to ne samo unazad tri godine, već unazad dva do tri desetljeća. U brojnoj literaturi određen je članak Martina Claytona i suradnika iz 2005. godine kao ishodišna točka za definiciju pojma entrainmenta i metodologiju njegova istraživanja. Pokušava se prikazati u kojim se smjerovima otišlo u istraživanju entrainmenta u glazbi nakon ovoga članka. Osobito u posljednjem desetljeću tehnološki napredak omogućuje eksplozivan rast i razvoj neuroznanosti koja inter- i transdisciplinarno povezuje najrazličitija područja pa tako i muzikološka istraživanja, istraživanja pokreta i plesa, a sve temeljeno i pomognuto snažnim mogućnostima matematičkih i računalnih analiza. |
| Abstract (english) | This thesis aims to present the notion of entrainment in its terminological and psychological aspects. Initially, I was introduced to it while reading the literature on the psychology of music, but it did not have a viable equivalent in the Croatian language. When we were defining the title of the thesis, we translated it as „rhythm coordination.” Nevertheless, considering the complexity and width of its meaning and application, the dilemma remains over whether this term should even be translated into Croatian or remain in its present English form as a specific technical term with different application areas. Furthermore, as various anti-pandemic measures have been in effect in Croatia during the process of defining the subject of the thesis, we have decided to settle on a review paper instead of an empirical investigation since our constraints would be twofold; on the one hand, we would have had the anti-pandemic measures and on the other, severe lack of the opportunity to use specific neuroscientific apparatus. Despite our constraints, different research has been conducted across various specialized institutes worldwide, not only during the last three years but also during the past couple of decades. In the vast literature I have encountered during the research, I have decided to take the article from 2005 by Martin Clayton and collaborators as a seminal point for the definition of entrainment and the subsequent methodology for its investigation. Following that decision, the thesis concept has been conceived of as an attempt to present the directions that rhythmic entrainment research has taken after this seminal article. We are witnesses to the explosive growth and development of neuroscience, especially during the past decade, and we see that both through the inter- and transdisciplinary approach, it connects the most differing areas, including the musicological research, movement and dance research, and all of that based and facilitated by powerful mathematical and computational analysis. |
