Page 186 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana, leto 12, zvezek 25 / Year 12, Issue 25, 2016
P. 186
SBENOPEDAGOŠKI ZBORNIK, 25. zvezek
Stosiè, Katarina. 1997. Hinko Druzoviè, diplomska naloga, Univerza v Ljubljani,
Akademija za glasbo, Ljubljana.
Torniè Milharèiè, Brigita, Širca Constantini, Karmen, Širca Pavèiè, Mojca. 2007,
2008, 2009. Mali glasbeniki 1 – 6. Samozalo ba. Postojna.
Širca Pavèiè, Mojca. 2014, 2016. Solfeggio I, II.Samozalo ba. Postojna.
Winkler Kuret, Luèka. 2006. Zdaj je nauka zlati èas. Nova Gorica: Educa Melior.
Summary
Throughout the history of education, the textbook has been the fundamental learning tool
at all levels of education. It is written within the framework of the curriculum, but it has to
be structured in a way that encourages students to activate mental, sensory, reproductive
and productive fields. Even though the first public music school in the Ljubljana normal
school offered piano, violin, figured bass and also singing lessons, the first textbooks on
the basics of music theory and solfege appeared much later. The first example was Kamilo
Mašek’s Kinder-Gesangschulle. Anton Nedvfd and Anton Foerster included a method for
sight-singing, thereby laying the foundations for solfege. Hinko Druzoviè was not directly
connected with the music theory class in music school; yet, his progressive views certainly
had some influence on the subject. His songbooks systematically taught students to
sight-sing. Ivanka Negro Hrast wrote the first textbook for music schools based on a
foreign model. Her method and textbook, however, were unfortunately not widely used in
the classroom. Even after World War II, when the network of music schools grew and
there was a lack of music theory material and textbooks, it was not used. Maks Jurca
managed to partly solve the issue of the continuous lack of teaching tools with his
textbook Solfeggio for first three years of music school. Even Toma Habe with his
textbooks Nauk o glasbi 1–4 (“Music Theory 1–4”), in the 1990s, failed to create a
complete vertical coherence in the music theory class. It was a group of teachers from the
music school of Postojna, who wrote a series of practice books combined with elements of
textbooks, that successfully achieved the vertical coherence.
186
Stosiè, Katarina. 1997. Hinko Druzoviè, diplomska naloga, Univerza v Ljubljani,
Akademija za glasbo, Ljubljana.
Torniè Milharèiè, Brigita, Širca Constantini, Karmen, Širca Pavèiè, Mojca. 2007,
2008, 2009. Mali glasbeniki 1 – 6. Samozalo ba. Postojna.
Širca Pavèiè, Mojca. 2014, 2016. Solfeggio I, II.Samozalo ba. Postojna.
Winkler Kuret, Luèka. 2006. Zdaj je nauka zlati èas. Nova Gorica: Educa Melior.
Summary
Throughout the history of education, the textbook has been the fundamental learning tool
at all levels of education. It is written within the framework of the curriculum, but it has to
be structured in a way that encourages students to activate mental, sensory, reproductive
and productive fields. Even though the first public music school in the Ljubljana normal
school offered piano, violin, figured bass and also singing lessons, the first textbooks on
the basics of music theory and solfege appeared much later. The first example was Kamilo
Mašek’s Kinder-Gesangschulle. Anton Nedvfd and Anton Foerster included a method for
sight-singing, thereby laying the foundations for solfege. Hinko Druzoviè was not directly
connected with the music theory class in music school; yet, his progressive views certainly
had some influence on the subject. His songbooks systematically taught students to
sight-sing. Ivanka Negro Hrast wrote the first textbook for music schools based on a
foreign model. Her method and textbook, however, were unfortunately not widely used in
the classroom. Even after World War II, when the network of music schools grew and
there was a lack of music theory material and textbooks, it was not used. Maks Jurca
managed to partly solve the issue of the continuous lack of teaching tools with his
textbook Solfeggio for first three years of music school. Even Toma Habe with his
textbooks Nauk o glasbi 1–4 (“Music Theory 1–4”), in the 1990s, failed to create a
complete vertical coherence in the music theory class. It was a group of teachers from the
music school of Postojna, who wrote a series of practice books combined with elements of
textbooks, that successfully achieved the vertical coherence.
186
