Page 306 - 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. 306
SBENOPEDAGOŠKI ZBORNIK, 25. zvezek
glasbenikom, ki bodo nadaljevali šolanje na srednji stopnji, kot tudi tistim, ki bodo postali del
izobra enega glasbenega obèinstva.
Kljuène besede: glasbena šola, uèni naèrt, Èrna gora, Slovenija, izobra evalna reforma
Introduction
In this work we will present certain characteristics of the ongoing reform of elementary
music education in Montenegro and of dilemmas one has to go through in the process,
along with the analysis of the curriculum for the nine year music school and the
comparative review of the curriculum1 for the elementary music schools in the Republic of
Slovenia. Even though the present system of music education has numerous advantages,
the issue of having a more intense correlation between the course Solfeggio with Theory
of Music and instrument courses should be addressed, as well as unburdening the existing
programs and greater implementation of the listening and creation activities in the
teaching practice. In carrying out a reform of music education, should we have spent more
time thinking of plans and programs that are more flexible, open and purposeful, that
would stimulate the averagely talented children too? There is also a question of which
competences and skills are acquired by students after graduating from the music school,
and how much are they being used? Why does a significant number of students give up on
music education? All questions are open for discussion with a view to creating a school
that will be a place of development of music abilities and skills in a way which will provide
the students with a higher degree of independence and music expression both in and out of
school.
Brief Historical Overview
If we briefly look at historical overview of important facts related to development of music
education on the territory of Montenegro as we know it today, we will notice that the first
influence dates from the nineteenth century, and from the time when Kotor Bay was under
Austrian jurisdiction.2 Military music was founded in that period in Kotor, and in 1839 the
first amateur singing society called Unity was established, which then forms an orchestra
three decades later, conducted by an organist and composer of church music Jeronim
Fiorelli (Jerkov, 2011). The education institution of a boarding school type for educating
younger female population, “Female Institute of Empress Marija” was founded in 1869 in
Cetinje, the Capital of the Principality of Montenegro, where a lot of attention was given to
music education: singing, music theory, violin and piano. Music educators were the
Montenegrin composer Špiro (Spiridon) Ognjenoviæ (1842–1914), Czech music
educators: Robert Tolinger (1859–1911) and Anton Šulc. The Institute operated under
patronage of Russian Empress Marija Alexandrovna (1853–1920). All classes were done
according to the plans and programs that were valid in similar institutes in Russia of that
period (Markoviæ, 2012).The Institute stopped working in 1913.
1 Izobra evalni program Glasba. Predmetnik. (2009).
2 More on development of music life in Kotor Bay in the bookMusic Themes and Portraits by M. Miloševiæ
(1983).
306
glasbenikom, ki bodo nadaljevali šolanje na srednji stopnji, kot tudi tistim, ki bodo postali del
izobra enega glasbenega obèinstva.
Kljuène besede: glasbena šola, uèni naèrt, Èrna gora, Slovenija, izobra evalna reforma
Introduction
In this work we will present certain characteristics of the ongoing reform of elementary
music education in Montenegro and of dilemmas one has to go through in the process,
along with the analysis of the curriculum for the nine year music school and the
comparative review of the curriculum1 for the elementary music schools in the Republic of
Slovenia. Even though the present system of music education has numerous advantages,
the issue of having a more intense correlation between the course Solfeggio with Theory
of Music and instrument courses should be addressed, as well as unburdening the existing
programs and greater implementation of the listening and creation activities in the
teaching practice. In carrying out a reform of music education, should we have spent more
time thinking of plans and programs that are more flexible, open and purposeful, that
would stimulate the averagely talented children too? There is also a question of which
competences and skills are acquired by students after graduating from the music school,
and how much are they being used? Why does a significant number of students give up on
music education? All questions are open for discussion with a view to creating a school
that will be a place of development of music abilities and skills in a way which will provide
the students with a higher degree of independence and music expression both in and out of
school.
Brief Historical Overview
If we briefly look at historical overview of important facts related to development of music
education on the territory of Montenegro as we know it today, we will notice that the first
influence dates from the nineteenth century, and from the time when Kotor Bay was under
Austrian jurisdiction.2 Military music was founded in that period in Kotor, and in 1839 the
first amateur singing society called Unity was established, which then forms an orchestra
three decades later, conducted by an organist and composer of church music Jeronim
Fiorelli (Jerkov, 2011). The education institution of a boarding school type for educating
younger female population, “Female Institute of Empress Marija” was founded in 1869 in
Cetinje, the Capital of the Principality of Montenegro, where a lot of attention was given to
music education: singing, music theory, violin and piano. Music educators were the
Montenegrin composer Špiro (Spiridon) Ognjenoviæ (1842–1914), Czech music
educators: Robert Tolinger (1859–1911) and Anton Šulc. The Institute operated under
patronage of Russian Empress Marija Alexandrovna (1853–1920). All classes were done
according to the plans and programs that were valid in similar institutes in Russia of that
period (Markoviæ, 2012).The Institute stopped working in 1913.
1 Izobra evalni program Glasba. Predmetnik. (2009).
2 More on development of music life in Kotor Bay in the bookMusic Themes and Portraits by M. Miloševiæ
(1983).
306
