27. zvezek (2017) - tem. številka BREDA OBLAK - Utemeljiteljica didaktike glasbe na Slovenskem

Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani
The Journal of Music Education of the Academy of Music in Ljubljana 
27. zvezek (2017)

 

ISBN 978-961-6393-20-1 

 

Naročilnica je dostopna na spodnji povezavi: 

http://www.ag.uni-lj.si/e_files/content/NARO%C4%8CILNICA.%20GP%20zbornik%2027%20zvezek%20-%20Breda%20Oblak.%20Utemeljiteljica%20didaktike%20glasbe%20na%20Slovenskem.docx 

 

Branka Rotar Pance

AKTIVNO UČENJE GLASBE IN ZASNOVA SODOBNE DIDAKTIKE GLASBE PRI EKSPERIMENTALNEM POUKU BREDE OBLAK

Temelji sodobne slovenske didaktike glasbe so bili postavljeni pri eksperimentalnem pouku, ki je bil longitudinalno izveden v vseh osmih razredih osnovne šole. Začel se je v šolskem letu 1963/64 s ciljem korenite prenove glasbenega pouka in razvojem novih učnih metod. Eksperimentalni pouk je v celoti realizirala Breda Oblak, ki je v pisnih pripravah in z izvedbo učnih ur utemeljila koncept aktivnega učenja glasbe prek dejavnosti izvajanja, poslušanja in ustvarjanja. Na spremljajočih seminarjih za učitelje, ki so vključevali tudi hospitacije pri urah eksperimentalnega pouka, je nove metode glasbenega učenja prenašala v najširšo pedagoško prakso. Rezultate eksperimentalnega pouka je strnila in nadgradila v didaktičnih kompletih za vse razrede osnovne šole, izdanih v dveh zaporednih ciklih: najprej za osemletno in kasneje za devetletno osnovno šolo. Metodiko glasbene vzgoje jo preobrazila in nadgradila v sodobno glasbeno-didaktično teorijo in prakso.

Ključne besede: Breda Oblak, eksperimentalni pouk, osnovna šola, didaktika glasbe

 

Abstract

Breda Oblak's Experimental Music Education: Active Music Learning and Conception of Modern Music Teaching

The foundations of modern Slovene music teaching were laid in the experimental music education which was carried out as a longitudinal study in all eight grades of primary school. First introduced in the school year 1963/64, it aimed at thoroughly reforming music education and developing new teaching methods. The entire project was carried out by Breda Oblak who, in her written lesson plans and in the practical execution of lessons, developed the concept of active music learning, basing it on performing, listening and creating activities. At seminars for teachers, which included also observations of experimental lessons, she disseminated the new music teaching methods to the broadest pedagogic practice. She used the results of the study to develop didactic packs for all grades of primary schools. These materials were issued in two cycles: first for the eight-year and latter for the nine-year primary school. Breda Oblak transformed the music education teaching methods, upgrading them into modern music-teaching theory and practice.

Keywords: Breda Oblak, experimental music education, primary school, music didactics

 

Bogdana Borata

POGLED NA DIDAKTIČNE ZBIRKE ZA GLASBENO VZGOJO BREDE OBLAK Z DIAHRONE PERSPEKTIVE

Didaktične zbirke za glasbeno vzgojo Brede Oblak so prvo didaktično gradivo, oblikovano za celotno osnovnošolsko izobraževanje. So pomemben element sodobnega, inovativnega, fleksibilnega in interaktivnega učnega okolja za glasbo. V prispevku jih analiziramo skozi diahrono perspektivo, tako da predstavimo logiko snovanja didaktičnih zbirk v povezavi z nekaterimi dejavniki prenove osnovnošolskega izobraževanja in razvoja sodobnih pristopov učenja in poučevanja glasbe. Celotno obdobje snovanja didaktičnih zbirk razdelimo v dve kontinuiteti, ki časovno in vsebinsko sovpadata s prenovo učnih načrtov za 8- in 9-letno osnovno šolo. Primerjava med njima kaže na premik od učno-snovnega k procesno-razvojnemu modelu poučevanja. Iz analize gradiv in rezultatov preteklih znanstvenih obravnav didaktičnih zbirk ugotavljamo pomemben znanstveni doprinos znanstvenega in strokovnega dela Brede Oblak k razvoju didaktike glasbe in glasbene pedagogike na Slovenskem.

Ključne besede: didaktika glasbe, didaktične zbirke za glasbeno vzgojo, Breda Oblak.

 

Abstract

A View of Didactic Sets by Breda Oblak from a Diachronic Perspective

Didactic sets for music education by Breda Oblak are the first didactic material designed for the whole span of compulsory basic education. They are an important element of modern, innovative, flexible, and interactive environment for music. In the present paper they are analysed from a diachronic perspective so that the logic of designing the didactic sets is presented in relation to some factors of the renewal of basic education and of the development of modern approaches to learning and teaching music. The whole period of designing the didactic sets is divided into two continuities that both in terms of time and content coincide with the renewal of syllabi for 8- and 9-year basic school. Comparison between them indicates a shift from the model of planning and teaching based on learning matter to one focused on the development process. Based on the analysis of materials and of results of previous scientific discussions of the didactic sets we determine an important scientific contribution of Breda Oblak’s professional work to the development of didactics of music and of musical pedagogy in Slovenian space.

Keywords: didactics of music, didactic sets for musical education, Breda Oblak.   

 

Barbara Sicherl Kafol

SODOBNA RAZSEŽNOST KURIKULUMOV ZA GLASBENO VZGOJO BREDE OBLAK

Na vseh ravneh in smereh vzgojno-izobraževalnega dela je pomembno kakovostno načrtovanje, ki  uresničevanju pouka v praksi daje potrebno strokovno podlago. Zaslužna profesorica dr. Breda Oblak je temu spoznanju posvetila celotno obdobje svojega poklicnega delovanja, saj je pionirsko zasnovala vrsto učnih načrtov za glasbeno izobraževanje v splošnem in glasbenem šolstvu. V izhodišču je izpostavljena teza, da pionirsko delo avtorice na področju obravnavanih kurikulumov za glasbo pomembno določa sodobne izpeljave na tem področju. Rezultati analize spremljanih kurikularnih elementov kažejo, da je delo avtorice na tem področju pomembno vplivalo na sodobno načrtovanje, še zlasti z vidika strategij načrtovanja, učnih ciljev, metod, vsebin, evalvacije in medpredmetnega načrtovanja.

Ključne besede: Breda Oblak, kurikulum, glasba, splošno šolstvo, glasbeno šolstvo

 

Abstract

Modern Dimensions of Breda Oblak's Music Education Curricula

Quality planning is necessary at every level and direction of educational work, as it represents the necessary professional basis for the teaching practice. Distinguished Professor Breda Oblak dedicated her entire career to this idea. She was a pioneer in developing a series of curricula for music education in general and music schools. As the starting point, we present the thesis that Oblak’s pioneer work on the examined music education curricula had a determining influence on contemporary solutions in this area. Analysis of the monitored curriculum elements showed that her work in this area influenced considerably the contemporary curriculum planning, particularly in terms of planning strategies, learning objectives, methods, contents, evaluation and interdisciplinary connections.

Keywords: Breda Oblak, curriculum, music, general schools, music schools

 

Tina Bohak

BREDA OBLAK – SPIRITUS AGENS SEMINARSKEGA IZOBRAŽEVANJA GLASBENIH PEDAGOGOV »GLASBENI BOVEC«

Zgodovina razvoja permanentnega izobraževanja sega v leto 1988 z načrtno ustanovitvijo Posebne izobraževalne skupnosti za pedagoško usmeritev. Uraden pričetek izvajanja različnih programov permanentnega izobraževanja pa se je pričel leto kasneje. Določene oblike izobraževanj so se izvrševale pred letom 1989, saj so bili strokovni stiki Brede Oblak z učitelji tako rekoč prisotni skozi celotno obdobje njenega profesionalnega delovanja. Seminarsko izobraževanje z naslovom »Glasbeni Bovec« je bilo organizirano v Bovcu med leti 1989–1993 pod okriljem Akademije za glasbo Univerze v Ljubljani, Zavoda RS za šolstvo in šport ter Kulturnega doma Bovec. Glavna snovalka je bila Breda Oblak. V tem času je bilo izpeljanih šest programov. Bovško seminarsko izpopolnjevanje predstavlja temeljni premik v permanentnem izobraževanju glasbenih pedagogov na slovenskih tleh.

Ključne besede: permanentno izobraževanje, Breda Oblak, »Glasbeni Bovec«, seminarji, glasbena pedagogika

 

Abstract

Breda Oblak – Spiritus Agens of the Seminar Education of Music Pedagogues, named "Glasbeni Bovec"

The history of the development of permanent education dates back to 1988, when the Ministry of Education and Sport and the Institute of Education and Sport of the Republic of Slovenia activated the area with the planned establishment of the Special Educational Community for Pedagogical Orientation. The official start of the implementation of various permanent education programs started the year later. Some forms of education had been implemented before 1989. Breda Oblak's professional contacts with teachers were thus practically present throughout the whole period of her professional work. Seminar education, entitled »Glasbeni Bovec«, was organized in Bovec between 1989 and 1993 under the auspices of the Academy of Music of the University of Ljubljana, the National Education and Sport Institute Slovenia and the Bovec Cultural Center. The main creator was Breda Oblak. During this period, six programs were conducted. The Bovec seminar upgrading is a fundamental shift in the permanent education of music pedagogues in Slovenia.

Keywords: permanent education, Breda Oblak, »Glasbeni Bovec«, seminars, music pedagogy

 

Katarina Habe

OSEBNOSTNE VRLINE IN OBČUTEK POSLANSTVA GLASBENIH PEDAGOGOV – TEMELJ USPEŠNE POKLICNE KARIERE GLASBENEGA PEDAGOGA

Namen prispevka je osvetliti jedrne kvalitete glasbenega pedagoga − osebnostne vrline in občutek poslanstva svojega poklica. Vsebinsko smo izhajali iz klasifikacijskega sistema Petersona in Seligmana (2004), ki podaja šest ključnih osebnostnih vrlin: človečnost, modrost, pravičnost, pogum, zmernost in transcendentnost. Pri raziskovanju smo uporabili kvalitativno metodo raziskovanja, izvedli smo polstrukturirane intervjuje. V raziskavi je sodelovalo trinajst udeležencev, 9 žensk in 4 moški, stari od 23 do 80 let, ki poučujejo ali so poučevali glasbo na različnih vzgojno-izobraževalnih stopnjah (od predšolske do univerzitetne stopnje). Kriterij za izbor intervjuvancev je bil, da vsi izbrani doživljajo glasbenopedagoški poklic kot svoje poslanstvo. Tematska analiza z oblikovanjem skupnih tem je pokazala, da sta najbolj izpostavljeni vrlini v poklicu glasbenega pedagoga človečnost in modrost. Večina intervjuvancev je izpostavila pomembnost prepletanja vseh osebnostnih vrlin za doseganje kakovosti v glasbenem vzgojno-izobraževalnem procesu. Občutek poslanstva svojega poklica so glasbeni pedagogi videli predvsem v vplivanju na razvoj celostne osebnosti posameznika, v izgradnji temeljev ljubezni do glasbe in hkrati širokega znanja in razgledanosti na glasbenem področju ter v poučevanju prepoznavanja globljih doživljajskih razsežnosti glasbe. V poklicu glasbenega pedagoga so prav vsi intervjuvanci prepoznavali veliko odgovornost in pomembno poslanstvo.

Ključne besede: osebnostne vrline, poklicno poslanstvo, glasbeni pedagog, poučevanje glasbe

 

Abstract

Character Virtues and Experiencing Profession as a Calling in Music Educators – A Core of Succesful Music Teaching

The purpose of this paper is to highlight the core characteristics of musical pedagogue-character virtues and experiencing the profession as a calling. Theoreticaly we derived from the classification system proposed by Peterson and Seligmana (2004), which provides six key character virtues (humanity, wisdom, justice, courage, temperance and transcendence). In the research, we have used qualitative research method. In the study there were thirteen participants, including 9 women and 4 men, 23 to 80 years old, who teach or have taught music at various stages of education and education verticals (from the pre-school level to university level). The criterion for interviews was to percieve their profession as a calling. According to the principles of phenomenological methodology, we analyzed the semi-structured interviews. The results show that the most important character strenghts for music pedagogues are humanity and wisdom. The majority of interviewees highlighted the importance of the intermingling of all personal virtues in order to achieve quality in education. The respondents reported that the most important criteria in experiencing their profession as a calling is primarily in influencing the development of an integrated personality of the individual, in the construction of the foundations of pupils love for music and in providing a wide range of knowledge. All the respondents emphasized the huge importance of music profession in building healthy and satisfied individuals through music education.

Keywords: character virtues, professional calling, music pedagogues, teaching music

 

Paul Crowther

MUSIC AS VIRTUAL EXPRESSION   

Abstract

It is argued that, through the tonal system, music projects possibilities of experience created by another person or persons. This virtual expression enables the audience to be, as it were, blended with the expressive dimension of the work in a way that is not possible through other art media. The education of feeling and imagination that this involves is constitutive of music’s uniqueness as a form of experience.

Keywords: virtual expression, meaning, education, feeling, imagination, experience, tonality

 

Izvleček

Glasba kot virtualna izraznost

Prispevek poudarja, da glasbena dela skozi tonski sistem omogočajo izkustva, ki jih je ustvarila druga oseba ali osebe. Ta navidezni izraz omogoča, da se poslušalci povežejo z izrazno dimenzijo na način, ki ni možen v drugih umetniških medijih. Vzgoja občutljivosti in predstavljivosti je temeljni del edinstvenosti glasbe kot oblike izkustva.

Ključne besede: virtualna izraznost, pomen, vzgoja, občutenje, predstavljivost, izkustvo, zvočnost

 

Darja Koter

VPLIV JURČETA VREŽETA NA RAZVOJ MLADINSKIH PEVSKIH ZBOROV NA ŠTAJERSKEM

Razprava se osredotoča na začetke mladinskega zborovskega petja na širšem območju Štajerske v času med obema vojnama in ugotavlja najpomembnejše akterje tega razvoja. Skladno z zakonodajo in predmetniki je bilo v prvi Jugoslaviji v osnovnih šolah razširjeno zgolj razredno petje in le redki učitelji so se zavedali, da le-to ne omogoča dovolj poglobljenega pevskega razvoja otrok. Za nestorja mladinskega zborovskega petja veljata tržaška Slovenca Srečko Kumar in Avgust Šuligoj, pričujoči prispevek pa osvetljuje življenje in delo učitelja in zborovodje Jurčeta Vrežeta, ki je delo svojih vzornikov med obema vojnama razširil na območje Štajerske ter bistveno pripomogel k ustanavljanju mladinskih pevskih zborov in zavedanju njihovega pomena za glasbeni razvoj osnovnošolske mladine in pevske kulture nasploh. Študija je zaokrožena z Vrežetovo vlogo pri začetku Mladinskega pevskega festivala v Celju.

Ključne besede: Jurče Vreže, mladinsko zborovsko petje, pevski festivali, zborovodski seminar, Makso Pirnik, Emil Ulaga, Boris Ferlinc, Egon Kunej

 

Abstract

The influence of Jurče Vreže on the development of youth choirs in Styria

The treatise focuses on the beginnings of youth choral singing in the wider Styrian region during the period between the two world wars and identifies the most important actors in its development. In accordance with the legislation and curricula within the first Yugoslavia, merely singing in the frame of classroom was taught in elementary schools and only a few teachers realized that this was not enough to further develop children’s singing ability. Slovenians from Trieste, Srečko Kumar and Avgust Šuligoj, are considered as fathers of youth choral singing and this contribution culminates in the life and work of teacher and choral conductor Jurče Vreže, who expanded the work of his role models in the time between the two world wars into the Styrian area and contributed significantly to the establishment of youth choirs and awareness of their importance for the music development of elementary school youth and singing culture in general. The study concludes with Vreže's role in the formation of the International Youth Choir Festival in Celje.

Keywords: Jurče Vreže, Youth Choirs, Choirs Festivals, Choirmaster's Seminar, Makso Pirnik, Emil Ulaga, Boris Ferlinc, Egon Kunej

 

Ivana Paula Gortan - Carlin, Lorena Lazarić

REGIONAL CULTURAL AWARENESS OF EDUCATIONAL SCIENCES STUDENTS WITH A SPECIAL REVIEW OF THE ISTRIAN REGIONAL MUSIC

Globalization incited thoughts about the need of preserving the patrimony and heritage from oblivion. Thus, the educators and classroom education teachers' competency is extremely important to raise awareness about the importance of creating personal identities through regional elements with children at an early age, which would also improve their mastering the necessary knowledge and skills linked to cultural heritage. This paper studies if students who use a dialect in their communication pay attention to the knowledge of cultural heritage and if they consider the introduction of the local idiom into the educational process as useful. Furthermore, the knowledge of the musical heritage of students who have the same homeland and of those who do not, at the end of their studies, was questioned. The results indicate the students' cultural awareness, but with insufficient knowledge and competencies.

Keywords: music culture, Istria, education, regional topics, traditional music

 

Izvleček

Regionalna kulturna ozaveščenost študentov edukacijskih ved s posebnim poudarkom na regionalni glasbi Istre

Globalizacija je spodbudila razmišljanja o potrebi po ohranjanju kulturne dediščine. Pri tem je zelo pomembna kompetentnost vzgojiteljev in učiteljev razrednega pouka, da otroke že v zgodnjih letih osveščajo o pomenu ustvarjanja osebne identitete s tradicijskimi elementi ljudske dediščine. To izboljša tudi njihovo obvladovanje znanj in veščin, povezanih s kulturno dediščino. Prispevek preučuje ali študenti, ki pri komunikaciji uporabljajo narečje, namenjajo pozornost kulturni dediščini ter ali menijo, da je uvajanje tradicijskega idioma v izobraževalni proces koristno. Pri študentih na koncu študija raziskuje tudi poznavanje glasbene dediščine, pri čemer so rezultati primerjani glede na kraj njihovega rojstva in študija. Rezultati dokazujejo kulturno ozaveščenost študentov in hkrati izkazujejo pomanjkljivost njihovih znanj in kompetenc.

Ključne besede: glasbena kultura, Istra, izobraževanje, regionalne teme, tradicijska glasba

 

Jelena Blašković, Tihomir Prša

EXPERIENCE AND ATTITUDE OF PRIMARY SCHOOL STUDENTS TOWARDS GREGORIAN SINGING

Gregorian singing is a part of liturgical tradition of Western-European Christianity. It is a special type of singing sprung from the Church of Roman ritual for the needs of church service. The specificity of Gregorian coral's music expression is entailed in modal monody which is inseparable from the text. With its overriding the ancient music practice (Greece, Jewish music) and alongside the influence of local specificities in the West, Gregorianics gave way to later vocal forms. In primary education, Gregorian singing isn't represented in the school subject Music according to the Teaching Curriculum prescribed by the Republic of Croatia's Ministry of Science, Education and Sports. The aim of the paper is to examine the experience and attitude of students in primary education towards Gregorian singing. The research used audio questionnaire with five music examples of Gregorian singing. It was implemented in the school year 2016/2017 on 110 students of primary school Galdovo (Sisak, Croatia). The results have shown that pupils express liking (positive attitude) towards the heard examples of Gregorian singing although most of them didn't hear Gregorian singing before. The subjects expressed the desire to get to know Gregorian singing more deeply during Music lessons. More than 80% of them considered Gregorian singing to be soothing and pleasant.

Keywords: music, Gregorian singing, primary education, students, standpoints

 

Izvleček

Izkušnje in odnos osnovnošolcev do gregorijanskega petja

Gregorijansko petje je del liturgične tradicije zahodnoevropskega krščanstva. Gre za posebno vrsto petja, ki je nastalo v Cerkvi rimskega obreda za potrebe bogoslužja. Posebnost glasbenega izraza gregorijanskega korala označuje modalna monodija, ki je neločljivo povezana z besedilom. Gregorijanika je bila s premoščanjem antične glasbene prakse (Grčija, judovska glasba) in ob vplivu krajevnih posebnosti na Zahodu glavni temelj zametkov kasnejših vokalnih oblik. V primarnem izobraževanju skladno z Učnim načrtom in programom za osnovno šolo Ministrstva za znanost, izobraževanje in šport Republike Hrvaške, gregorijansko petje ni vključeno v predmet Glasbena kultura. Namen prispevka je preučiti doživljanje in stališča osnovnošolcev do gregorijanskega petja. V raziskavi smo uporabili avditvni vprašalnik s petimi glasbenimi primeri gregorijanskega petja. Raziskava je bila izvedena v šolskem letu 2016/2017, v njej pa je sodelovalo 110 učencev iz Osnovne šole Galdovo (Sisak, Hrvaška). Izsledki so pokazali, da učenci izražajo naklonjenost (pozitiven odnos) do slišanih primerov gregorijanskega petja, čeprav ga večina še nikoli prej ni slišala. Udeleženci raziskave so izrazili željo po poglobljenem poznavanju gregorijanskega petja med urami Glasbene kulture. Več kot 80 % udeležencev gregorijansko petje namreč doživlja kot pomirjujoče in prijetno.

Ključne besede: glasbena kultura, gregorijansko petje, osnovna šola, učenci, stališča

 

Sabina Vidulin

THE "LISTENING TO AND MAKING MUSIC" APPROACH IN THE FUNCTION OF IMPROVING MUSICAL UNDERSTANDING

The intention of the author is to mark out the “Listening to and Making Music” approach (LMM) and explain how to improve pupils' musical understanding. The process starts with the activity of listening to music which encompasses identification of musical components and their theoretical explanation. By experiencing, observing, noticing, intellectually following and explaining the components like: rhythm, melody, dynamics, tempo and musical form, pupils show the level of their theoretical musical understanding. With the goal that pupils' knowledge becomes practical, the music making activity follows. Awareness of musical elements helps them in creating similar or new compositions, using well-known musical elements. The results of such work are active pupils' participation in the teaching process, practical demonstration of acquired knowledge, stimulation of creativity and a better understanding of musical elements and music in general.

Keywords: primary school, listening to music, LMM approach, music making, pupils, understanding music

 

Izvleček

Pristop “Poslušanje in ustvarjanje glasbe” v funkciji boljšega razumevanja glasbe

V prispevku avtorica predstavlja pristop »Poslušanje in ustvarjanje glasbe« (LMM) in pojasnjuje kako z njim pri učencih izboljša razumevanje glasbe. Gre za proces, ki se začne s poslušanjem glasbe, pri katerem pride do identifikacije glasbenih komponent in njihove teoretične razlage. Z izkušanjem, opazovanjem, beleženjem, intelektualnim spremljanjem in pojasnjevanjem komponent kot so: ritem, melodija, dinamika, tempo in glasbena oblika, učenci izkažejo stopnjo razumevanja glasbene teorije. Sledi ustvarjalna glasbena dejavnost s ciljem prenosa teoretičnih znanj v prakso. Učencem pri ustvarjanju novih skladb pomagata poznavanje in uporaba dobro znanih glasbenih elementov. Tovrstno delo rezultira aktivno sodelovanje učencev v učnem procesu, praktično demonstracijo usvojenega znanja, spodbujanje ustvarjalnosti in boljše splošno razumevanje glasbenih elementov.

Ključne besede: osnovna šola, poslušanje glasbe, LMM pristop, ustvarjanje glasbe, učenci, razumevanje glasbe

 

Olga Denac, Helena Vargazon

VPLIV INSTITUCIONALNE GLASBENE VZGOJE NA RAVEN RAZVITOSTI MELODIČNEGA IN RITMIČNEGA POSLUHA  5−6 LET STARIH OTROK

Na razvoj glasbenih sposobnosti v predšolskem obdobju otroka poleg družinskega okolja vpliva tudi sistematično organizirana glasbena vzgoja, ki se izvaja v vrtcih in glasbenih šolah.

V raziskavi, v katero smo vključili od 5 do 6 let stare otroke, smo ugotavljali vpliv različnih glasbenih programov (Predšolska glasbena vzgoja, Glasbeno uvajanje po Edgarju Willemsu in Kurikulum za vrtce) na razvoj elementarnih glasbenih sposobnosti. Rezultati raziskave kažejo, da imajo bolje razvit melodični in ritmični posluh tisti otroci, ki so obiskovali program Glasbeno uvajanje po Edgarju Willemsu, nato sledijo otroci, ki so ob vrtcu obiskovali program Predšolska glasbena vzgoja, nižja stopnja razvitosti melodičnega in ritmičnega  posluha pa se kaže pri otrocih, ki so obiskovali le vrtec.

Ključne besede: predšolska glasbena vzgoja, glasbeni programi, melodični posluh, ritmični posluh

 

Abstract

The Effects of Institutional Music Education on the Level of Melodic and Rhytmic Abilities Development in 5-6 Year Olds

Development of musical abilities in the early childhood period is conditioned, next to family environment, also by systematically organised music education in kindergartens or music schools.

The focus of our research survey which involved children between five and six years of age was the effects of various musical programmes (Preschool music Education, Edgar Willem's Musical Introduction, and the Curriculum for Kindergartens) on the development of elementary musical abilities. The results of our research survey show that children attending the Edgar Willem's Musical Introduction programme developed better abilities for melody and rhythm, followed by the children attending Preschool music education, while the lowest level of melodic and rhythmic abilities development was identified in children who attended the kindergarten alone.

Keywords: preschool music education, musical programmes, melodic abilities, rhythmic abilities

 

Katarina Zadnik, Danaja Koren

MONTESSORI PEDAGOGIKA IN NJENA VLOGA PRI NAUKU O GLASBI V GLASBENI ŠOLI

Koncept montessori pedagogike, ki v svoje središče postavlja otroka, temelji na triangulaciji dejavnikov spodbudnega okolja, predhodno pripravljenih materialov in učitelja, ki se pojavlja v vlogi opazovalca in usmerjevalca dejavnosti. Rezultati 5-mesečnega projekta, ki je vključeval koncept montessori pedagogike in uporabe montessori materialov pri pouku nauk o glasbi, v 2., 4. in 5. razredu, so pokazali pozitivne učinke zlasti na razvoj ritmičnih sposobnosti in glasbene pismenosti. Individualna opazovanja so pokazala, da so bili pripravljeni materiali mikavni za učence, zvišali motivacijo za učenje ter spodbudili samostojnost in suverenost na poti posameznikovega osebnostnega razvoja.

Ključne besede: montessori pedagogika, montessori materiali, glasbena šola, nauk o glasbi, projekt

 

Abstract

Montessori Pedagogy and Its Role in Music Theory in Music School

The concept of the Montessori pedagogy, which emphasizes a child-center educational approach, is based on the triangulation of the factors of a supportive environment, thoughtfully prepared learning materials and a teacher, which appears as an observer and a moderator of activity. Results of the five-months project, which involved the concept of the Montessory pedagogy and the use of its materials within the subject Music theory in music school, in the 2nd, 4th and 5th grade, showed its postitive effects especially in the development of rhythmically abilities and musical literacy. Individual observations have shown that the pre-prepared learning materials were attractive to pupils, increased motivation for learning, and encouraged independence and sovereignty in the individual's personal development.

Keywords: Montessori pedagogy, Montessori learning materials, music school, Music theory, project

 

Anja Ivec

POMEN MOTIVACIJE V PROJEKTU »DIJAKI KOMPONISTI« KONSERVATORIJA MARIBOR

Konservatorij za glasbo in balet Maribor od leta 2007 v okviru oddelka strokovnoteoretičnih predmetov izvaja projekt »dijaki komponisti«, s katerim mlade glasbenike motivira k celostni umetniški samouresničitvi, saj združuje tako ustvarjalni kot poustvarjalni pristop. V njem lahko sodelujejo dijaki umetniških in glasbeno-teoretičnih smeri. Mentorji se opirajo na različne oblike in metode dela ter dijake uvajajo v svet iskanja in oblikovanja glasbenih idej. Končni cilj je aktivno vključevanje sodelujočih v procese nastajanja skladbe vse do njene izvedbe in predstavitve na odru. Delo poteka v skupini, s čimer dijaki usvajajo socialne veščine, se učijo vrednot spoštovanja, strpnosti in solidarnosti. Projekt je primer dobre prakse spodbujanja notranje in zunanje motivacije, negovanja vzajemne podpore in medvrstniških odnosov. Mladim umetnikom nudi uvid v možnosti za poklicno pot ter jih motivira za nadaljnja umetniška snovanja.

Ključne besede: motivacija, dijaki-komponisti, kompozicija, soustvarjanje, poustvarjanje

 

Abstract

The meaning of Motivation in the Student Composer Project at Conservatory Maribor

Since 2007, the Conservatorium for Music and Ballet Maribor has been carrying out the Student Composer Project in cooperation with the Department for Expert and Theoretical Subjects. It motivates young musicians to strive for an integrated artistic self-realisation by combining the creative and recreative approach. Students of art and music theory studies may participate in the project. Mentors apply different forms and methods of work to introduce their students to the world of seeking and creating musical ideas. The final objective is the active inclusion of the participants into the composing process – from writing a composition to its performance and presentation on stage. The work is carried out in a group, which helps the students to develop their social skills and learn tolerance, solidarity and respect for each other. The project is an example of the good practice of encouraging the inner and outer motivation of students as well as nurturing mutual support and peer relations. It helps young artists to gain insight into the possibilities of their future professional path and motivates them towards further artistic pursuits.

Keywords: motivation, student composers, composition, co-creation, interpretation

 

Marina Bizjak

PEDAGOŠKI PRISTOPI PRI POUČEVANJU PETJA V ČASU GLASOVNIH SPREMEMB

Pri delu z razrednimi, šolskimi ali drugimi zbori, ki vključujejo pevsko populacijo v dobi adolescence, se učitelji in zborovodje srečujejo s težavami, ki jih zaradi premajhnega znanja glede fizioloških sprememb grla in njihovega vpliva na glas najraje spregledajo ter tako enostavno prepustijo vokalno tehniko t.i. "skupinskemu upevanju", ki pa ne more prinesti kakovostnih rezultatov večini posameznikov. Vsak mlad človek ima svoj glasovni inštrument in je kot tak upravičen do individualne obravnave.  Razvoj glasu pri vsakem posamezniku poteka nekoliko drugače, zato se ga ne sme obravnavati šablonsko. Za zdrav glas skozi glasovne spremembe mora učitelj zelo dobro poznati delovanje glasovnega aparata, značilnosti glasu skozi posamezne glasovne (razvojne) faze, znati posredovati informacije o glasovnih spremembah in glasovni higieni ter uporabiti primerne pedagoške pristope za delo z glasovi v razvoju.

Ključne besede: glasovne spremembe, glasovne faze, glasovna higiena, pedagoški pristopi

 

Abstract

Pedagogical Approaches for Teaching Singing at the Time of Voice Change

When working with class, school or other choirs, which include a singing population in the age of adolescence, teachers and conductors encounter problems, which due to insufficient knowledge about the physiological changes of the throat and their influence on the voice preferably overlook and simply leave the vocal technique, so-called "group vocal warm-ups", which cannot bring quality results to most individuals. Every young person has his own vocal instrument and is, as such, deserves individual treatment. The development of a voice in each individual is done differently, so it should not be considered the same. For a healthy voice through a voice change, the teacher need to know the functioning of the voice very well, the characteristics of the voice through the individual voice (development) stages, the ability to provide informations about voice change and voice hygiene, and to use appropriate pedagogical approaches for work with voices in development.

Keywords: voice change, stages of voice development, voice hygiene, pedagogical approaches

 

Vildana Repše

VPRAŠANJE IZBIRE UČNEGA GRADIVA ZA VIOLINO V NIŽJIH RAZREDIH GLASBENE ŠOLE

prašanje izbire učnega gradiva je tesno povezano s poznavanjem ustrezne literature z vidika glasbene umetnosti in didaktičnih postopkov. Pri svojem delu z učenci ter z mladimi učitelji pripravniki ugotavljamo, da na trgu ni učbenikov za violino, skladnih z učnimi načrti in standardi znanja, ki bi ponujali dovolj pregleden in uporaben repetitorij za delo v razredu. V prispevku bomo nakazali na prednosti in šibkosti v obstoječih učnih gradivih na ravni nižjih razredov. Predstavili bomo nekatere rešitve in prizadevanja novih avtorjev, da na tem občutljivem področju sledijo trajnim vrednotam v vzgoji in izobraževanju, preizkušenim tradicionalnim metodam in obenem sodobnim dognanjem edukativnih strok ter medpredmetnim povezavam.

Ključne besede: učbeniki, violina, glasbena šola 

 

Abstract

The Question of Choice of Learning Material for Violin in Lower Grades of Music Schools

The question of choice of teaching material is closely related to the knowledge presented in relevant literature from both, a musical perspective and didactical methods. In our work with pupils and young trainee teachers, we concluded that there are no violin textbooks in line with curriculum and standards of knowledge that would offer a sufficiently transparent and useful repetition for the work in the classroom. In this article, we will identify the strengths and weaknesses in existing teaching materials available for teaching at lower level grades. We will present some solutions and efforts of new authors in their attempt to follow, in this sensitive field, permanent values ​​in education and training, tested with traditional methods and with modern knowledge of educational professions and cross-curricular links.

Keywords: textbooks, violin, music school

 

 

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