Page 63 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana: Mostovi med formalnim in neformalnim glasbenim izobraževanjem, leto 15, zvezek 31 / Year 15, Issue 31, 2019
P. 63
Sabina Vidulin, STRATEGIES FOR LISTENING TO MUSIC AND MUSIC APPRECIATION...
works. Educational achievement for fifth grade students (Teaching plan and program,
2006, 73) relates to: “recognizing music works (according to students’ personal abilities);
knowing the name of the composer and composition; identifying instruments; capriccio,
elegy, prelude, instrumental ensembles names, tempo, dynamics, and the like - at the level
of recognition on specific musical examples.” There are two topics that are addressed:
Forming musical work and String instruments.
We can conclude that the contents of the new curriculum are identical as the previous one:
recognizing the names of works and composers, distinguishing string instruments and
musical forms, while the concepts of capriccio, elegy, prelude are omitted in the new
curriculum; singing voices are not systematized in the new curriculum and it introduces
plucked instruments. It can be noted that the new curriculum does not have a list of
suggested music works for a particular class, while the previous curriculum gives a list
that teachers may or may not have used to teach.
However, this standard didactical approach neglects the broader musical context because,
in order for a music piece to truly be adopted, the student needs to perceive its identity, and
it is impossible without knowing the identity of the individual composer, time, social
circumstances, environment, and the external characteristics of the work which influence
its final form.
The choice to select music works should not be left to the expected list of works, as it
directly affects the emotional, behavioral and aesthetic upbringing of the student,
therefore, special attention should be paid to this. Apart from the quality criteria, the
length of the work, the ability to show its own ideality and to relate the work to different
circumstances, attention should also be paid to the age of the student, his / her current
knowledge and ability to accept artistic music. Carefully selected works of art for students
should represent a special experience and can influence their cognitive and emotional
development.
Concepts and approaches of multimodal listening and music understanding in
Croatia
Contemporary education implies a new environment and an interdisciplinary approach to
learning, the multimodal one. Kress (2010) points out that the term multimodality
encompasses multichannel communication and interpretation. It encompasses, according
to Kne eviæ Floriæ and Ninkoviæ (2011), a combination of words and symbols, images,
sounds, etc. Multimodal learning uses multisensory and (inter)active approaches to
learning (Massaro, 2012; Fadel and Lemke, 2012), all maintained in a supportive school
environment.
“The multimodal school environment supports a number of cultural contacts and new
technologies, providing each student with resources to help them find their unique
learning path and guide them to numerous opportunities.” (Gazibara, 2016, 326) The
author (ibid.) points out that research has confirmed positive relationships between active
learning and a multimodal environment, emphasizing the greater importance of speaking
over written texts (Ginns, 2005) and greater student motivation (Parbuntari, Ikhsan,
2014).
61
works. Educational achievement for fifth grade students (Teaching plan and program,
2006, 73) relates to: “recognizing music works (according to students’ personal abilities);
knowing the name of the composer and composition; identifying instruments; capriccio,
elegy, prelude, instrumental ensembles names, tempo, dynamics, and the like - at the level
of recognition on specific musical examples.” There are two topics that are addressed:
Forming musical work and String instruments.
We can conclude that the contents of the new curriculum are identical as the previous one:
recognizing the names of works and composers, distinguishing string instruments and
musical forms, while the concepts of capriccio, elegy, prelude are omitted in the new
curriculum; singing voices are not systematized in the new curriculum and it introduces
plucked instruments. It can be noted that the new curriculum does not have a list of
suggested music works for a particular class, while the previous curriculum gives a list
that teachers may or may not have used to teach.
However, this standard didactical approach neglects the broader musical context because,
in order for a music piece to truly be adopted, the student needs to perceive its identity, and
it is impossible without knowing the identity of the individual composer, time, social
circumstances, environment, and the external characteristics of the work which influence
its final form.
The choice to select music works should not be left to the expected list of works, as it
directly affects the emotional, behavioral and aesthetic upbringing of the student,
therefore, special attention should be paid to this. Apart from the quality criteria, the
length of the work, the ability to show its own ideality and to relate the work to different
circumstances, attention should also be paid to the age of the student, his / her current
knowledge and ability to accept artistic music. Carefully selected works of art for students
should represent a special experience and can influence their cognitive and emotional
development.
Concepts and approaches of multimodal listening and music understanding in
Croatia
Contemporary education implies a new environment and an interdisciplinary approach to
learning, the multimodal one. Kress (2010) points out that the term multimodality
encompasses multichannel communication and interpretation. It encompasses, according
to Kne eviæ Floriæ and Ninkoviæ (2011), a combination of words and symbols, images,
sounds, etc. Multimodal learning uses multisensory and (inter)active approaches to
learning (Massaro, 2012; Fadel and Lemke, 2012), all maintained in a supportive school
environment.
“The multimodal school environment supports a number of cultural contacts and new
technologies, providing each student with resources to help them find their unique
learning path and guide them to numerous opportunities.” (Gazibara, 2016, 326) The
author (ibid.) points out that research has confirmed positive relationships between active
learning and a multimodal environment, emphasizing the greater importance of speaking
over written texts (Ginns, 2005) and greater student motivation (Parbuntari, Ikhsan,
2014).
61
