Page 313 - 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. 313
Jelena Martinoviæ Bogojeviæ, VIEWS ON THE ELEMENTARY MUSIC EDUCATION ...
improvise, play songs by the ear and other elements of what is describes in the program as
creativity? The realistic picture would be the one where the teachers practice the program
with students, and playing an instrument is the only activity that takes place in the class.
Conclusion
Music education in the countries of Eastern Europe is more focused on professional music
education. Even though a proportionately small number of students enroll in secondary
music schools, this concept is maintained as very strict. While giving suggestions for
writing curricula and programs, Prof. Pavel Rojko from Zagreb Music Academy is
considering the situation in Croatia, comparing it to some European countries, notably
Austria and Germany, and he asks the question: “Has the time come to abandon the rigid
concept of students enrolling in the whole system, and is an alternative program possible
with facilitating ways to learn” (Rojko, 2006, p. 49). The example he gives is Music
School Elly Bašiæ in Zagreb where they had the so called double track - A and B program,
one intended for gifted children with strong music dispositions, and the other for those of
modest capabilities who are, in this way, able to meet slightly lower criteria, but will still
go through music training, they will learn to play an instrument at a certain level, and after
completion of school they could potentially become an educated music audience. Should
these changes be considered as realistic solutions? A question that also emerges is the one
concerning the motivation of students to enroll in music schools, which is not sufficiently
present due to a rather traditional approach in teaching music, an approach primarily
focused on development of performing abilities, without enough presence of creativity in
teaching. All of these issues are worth serious consideration when creating new course
programs.
Different needs of students emerge with the modern age and those should be placed at the
center of all reform processes of a certain educational system. A repertoire performed in
schools comes from Western European classical music tradition and standout students are
performing it at a high interpretative level (Music Schools in Europe, 2010). Schools are
funded by the state (in Slovenia state’s share is 80%, while in Montenegro it is 100%)
which indicates that they are important for national policy of development of education
and culture. However, the question is how much are schools productive and how much is
love for music art developed in students at schools, as well as the creative potential and the
possibility of different music art manifestations, to include improvising and composing in
elementary music schools. For students that want to gain an elementary music education
and learn to play an instrument, a ‘double track’ could be considered. The advantages of
this system in Montenegro, should be a good start for effective and justified innovations.
313
improvise, play songs by the ear and other elements of what is describes in the program as
creativity? The realistic picture would be the one where the teachers practice the program
with students, and playing an instrument is the only activity that takes place in the class.
Conclusion
Music education in the countries of Eastern Europe is more focused on professional music
education. Even though a proportionately small number of students enroll in secondary
music schools, this concept is maintained as very strict. While giving suggestions for
writing curricula and programs, Prof. Pavel Rojko from Zagreb Music Academy is
considering the situation in Croatia, comparing it to some European countries, notably
Austria and Germany, and he asks the question: “Has the time come to abandon the rigid
concept of students enrolling in the whole system, and is an alternative program possible
with facilitating ways to learn” (Rojko, 2006, p. 49). The example he gives is Music
School Elly Bašiæ in Zagreb where they had the so called double track - A and B program,
one intended for gifted children with strong music dispositions, and the other for those of
modest capabilities who are, in this way, able to meet slightly lower criteria, but will still
go through music training, they will learn to play an instrument at a certain level, and after
completion of school they could potentially become an educated music audience. Should
these changes be considered as realistic solutions? A question that also emerges is the one
concerning the motivation of students to enroll in music schools, which is not sufficiently
present due to a rather traditional approach in teaching music, an approach primarily
focused on development of performing abilities, without enough presence of creativity in
teaching. All of these issues are worth serious consideration when creating new course
programs.
Different needs of students emerge with the modern age and those should be placed at the
center of all reform processes of a certain educational system. A repertoire performed in
schools comes from Western European classical music tradition and standout students are
performing it at a high interpretative level (Music Schools in Europe, 2010). Schools are
funded by the state (in Slovenia state’s share is 80%, while in Montenegro it is 100%)
which indicates that they are important for national policy of development of education
and culture. However, the question is how much are schools productive and how much is
love for music art developed in students at schools, as well as the creative potential and the
possibility of different music art manifestations, to include improvising and composing in
elementary music schools. For students that want to gain an elementary music education
and learn to play an instrument, a ‘double track’ could be considered. The advantages of
this system in Montenegro, should be a good start for effective and justified innovations.
313
