Page 201 - 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. 201
Katarina Zadnik, NAUK O GLASBI IN SOLFEGGIO KOT POVEZOVALNA ÈLENA ...
Zakon o glasbenih šolah (2000). ).
http://www.uradni-list.si/1/objava.jsp?urlid=200681&stevilka=3536 (8. 11. 2016)
Zrimšek, Tanja, 1983. Metodika klavirskega pouka in klavirske igre I. in II. Ljubljana:
Akademija za glasbo.
Summary
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 and
self-listening are the basic point of contact of the both subject fields. In the individual
instrument lessons, the described activities will lead to the final performance of music on
an instrument. Singing as an elementary activity encourages a deeper experience of music
and helps with a more deep-felt interpretation in 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. The simultaneity of
acquiring music skills and knowledge in the both fields is not necessary, as the use of
agreed methodical approaches creates patterns and memory traces, which can be
reactivated in the form of associative recalls of stored information, when stimulated
properly. 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.
201
Zakon o glasbenih šolah (2000). ).
http://www.uradni-list.si/1/objava.jsp?urlid=200681&stevilka=3536 (8. 11. 2016)
Zrimšek, Tanja, 1983. Metodika klavirskega pouka in klavirske igre I. in II. Ljubljana:
Akademija za glasbo.
Summary
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 and
self-listening are the basic point of contact of the both subject fields. In the individual
instrument lessons, the described activities will lead to the final performance of music on
an instrument. Singing as an elementary activity encourages a deeper experience of music
and helps with a more deep-felt interpretation in 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. The simultaneity of
acquiring music skills and knowledge in the both fields is not necessary, as the use of
agreed methodical approaches creates patterns and memory traces, which can be
reactivated in the form of associative recalls of stored information, when stimulated
properly. 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.
201
