Page 187 - 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. 187
Katarina Zadnik, NAUK O GLASBI IN SOLFEGGIO KOT POVEZOVALNA ÈLENA ...
Katarina Zadnik
Univerza v Ljubljani, Akademija za glasbo
NAUK O GLASBI IN SOLFEGGIO KOT POVEZOVALNA ÈLENA V
GLASBENI ŠOLI
Izvleèek
Predmetni podroèji Nauk o glasbi in Solfeggio, ki sta spreminjali svoj polo aj in vlogo skozi
zgodovino glasbenega šolstva na Slovenskem, sta v sodobnem nacionalnem predmetniku in
naèrtovanju umešèeni kot samostojni enakovredni in obvezni podroèji izobra evanja v glasbeni
šoli. V preteklosti je bil Nauk o glasbi prete no v podporni funkciji inštrumentalnega pouka,
pojmovali so ga z vidika verbalno-vizualnega usvajanja glasbenoteoretiènih pojmov in zakonitosti v
glasbenem zapisu brez potrebe po njegovem glasbenem ozvoèenju. Temeljni cilj sodobnega
skupinskega in individualnega inštrumentalnega pouka je razviti funkcionalno glasbeno pismenost
kot temeljno vez med glasbeno ustvarjalnostjo in poustvarjalnostjo. Na obeh predmetnih podroèjih
je centralna glasbena dejavnost v razvoju te kompetence solfeggio. Razumevanje glasbenega
zapisa, njegovo predhodno notranje slišanje ter povezava pevske/inštrumentalne dejavnosti s
procesom samoposlušanja predstavljajo temeljno stièišèe obeh predmetnih podroèij. Tako je
upoštevan procesno-ciljni vidik medpredmetnih povezav, ki je neobhodno vkljuèen v sleherno uèno
enoto skupinskega in individualnega inštrumentalnega pouka. Na poti glasbenega uèenja bo tako
ustvarjen transfer razliènih uènih postopkov in strategij, na temelju notranjega glasbenega slišanja
in samoposlušanja, ki sta podstat v razvoju vrednotenja in kritiène refleksije lastnih izvedb kot
izhodišèe v procesu glasbenega uèenja in na poti vse ivljenjskega (glasbenega) uèenja.
Kljuène besede: glasbena šola, Nauk o glasbi, Solfeggio, individualni inštrumentalni pouk, razvoj
predmetov
Abstract
Music Theory and Solfeggio as Connective Fields in Music School Education
The subject fields of Music theory and Solfeggio, whose position and role changed throughout the
history of music education in Slovenia, are equal and obligatory fields of education in music
schools, according to the current national curriculum. In the past, music theory’s main role was to
support the instrument class and was understood as a verbal and visual method of learning new
music theoretical notions and rules of writing music, without the need to hear them in practice. The
main objective of today’s group and individual instrument lessons is to develop functional music
literacy as the basic connection between music composition and performance. In both subject fields,
the central music activity for developing these competences is solfeggio. The understanding of
music notation, the inner hearing of music and the connection of singing/instrumental playing and
self-listening are the basic point of contact of the both subject fields. In this way, the aspect of the
process and aim of intersubject connections is considered, which is essential for every learning unit
of group or individual instrument lessons. Therefore, the music learning process will facilitate the
transfer of various learning processes and strategies based on inner hearing and self-listening, which
are fundamental in the development of the evaluation and critical reflexion of one’s own
performances as the source of the music learning and life-long (music) learning processes.
Keywords: music school, Music theory, Solfeggio, individual instrumental classes, historical
development
187
Katarina Zadnik
Univerza v Ljubljani, Akademija za glasbo
NAUK O GLASBI IN SOLFEGGIO KOT POVEZOVALNA ÈLENA V
GLASBENI ŠOLI
Izvleèek
Predmetni podroèji Nauk o glasbi in Solfeggio, ki sta spreminjali svoj polo aj in vlogo skozi
zgodovino glasbenega šolstva na Slovenskem, sta v sodobnem nacionalnem predmetniku in
naèrtovanju umešèeni kot samostojni enakovredni in obvezni podroèji izobra evanja v glasbeni
šoli. V preteklosti je bil Nauk o glasbi prete no v podporni funkciji inštrumentalnega pouka,
pojmovali so ga z vidika verbalno-vizualnega usvajanja glasbenoteoretiènih pojmov in zakonitosti v
glasbenem zapisu brez potrebe po njegovem glasbenem ozvoèenju. Temeljni cilj sodobnega
skupinskega in individualnega inštrumentalnega pouka je razviti funkcionalno glasbeno pismenost
kot temeljno vez med glasbeno ustvarjalnostjo in poustvarjalnostjo. Na obeh predmetnih podroèjih
je centralna glasbena dejavnost v razvoju te kompetence solfeggio. Razumevanje glasbenega
zapisa, njegovo predhodno notranje slišanje ter povezava pevske/inštrumentalne dejavnosti s
procesom samoposlušanja predstavljajo temeljno stièišèe obeh predmetnih podroèij. Tako je
upoštevan procesno-ciljni vidik medpredmetnih povezav, ki je neobhodno vkljuèen v sleherno uèno
enoto skupinskega in individualnega inštrumentalnega pouka. Na poti glasbenega uèenja bo tako
ustvarjen transfer razliènih uènih postopkov in strategij, na temelju notranjega glasbenega slišanja
in samoposlušanja, ki sta podstat v razvoju vrednotenja in kritiène refleksije lastnih izvedb kot
izhodišèe v procesu glasbenega uèenja in na poti vse ivljenjskega (glasbenega) uèenja.
Kljuène besede: glasbena šola, Nauk o glasbi, Solfeggio, individualni inštrumentalni pouk, razvoj
predmetov
Abstract
Music Theory and Solfeggio as Connective Fields in Music School Education
The subject fields of Music theory and Solfeggio, whose position and role changed throughout the
history of music education in Slovenia, are equal and obligatory fields of education in music
schools, according to the current national curriculum. In the past, music theory’s main role was to
support the instrument class and was understood as a verbal and visual method of learning new
music theoretical notions and rules of writing music, without the need to hear them in practice. The
main objective of today’s group and individual instrument lessons is to develop functional music
literacy as the basic connection between music composition and performance. In both subject fields,
the central music activity for developing these competences is solfeggio. The understanding of
music notation, the inner hearing of music and the connection of singing/instrumental playing and
self-listening are the basic point of contact of the both subject fields. In this way, the aspect of the
process and aim of intersubject connections is considered, which is essential for every learning unit
of group or individual instrument lessons. Therefore, the music learning process will facilitate the
transfer of various learning processes and strategies based on inner hearing and self-listening, which
are fundamental in the development of the evaluation and critical reflexion of one’s own
performances as the source of the music learning and life-long (music) learning processes.
Keywords: music school, Music theory, Solfeggio, individual instrumental classes, historical
development
187
