Page 64 - 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. 64
SBENOPEDAGOŠKI ZBORNIK, 31. zvezek
Today’s multimodal teaching experience is one of the contemporary models of working in
school, regardless of the subjects or fields. It is not new to music teaching in the European
and American regions, although the number of professional and scientific descriptions,
practical models and researches are rare. There are, we assume, a greater number of
individual attempts and examples of good practice, but it is not sufficiently documented
and there is a lack of research in this direction.
In music teaching, multimodal learning is possible because the primary medium of music
is music itself, which is available through technology, audio and video devices or live
performances. Besides music and speech, pictures, movies and radio programs, computer
programs, quizzes and other multimedia tools that affect the psychological, cognitive,
social and emotional aspects of learning are used in teaching. Higher levels of learning are
achieved by engaging and activating different senses and stimuli: auditory, tactile and
kinesthetic.
All music fields, from singing, playing, music making to listening to music, can be
multimodal. Listening to music is an example of this. „Listening to art music can be
accompanied by a stage play, artistic expression or language elements. Stage plays may be
associated with wider musical and non-musical connotations of the work, especially with
the works of programmatic nature, in other words, with works that have a content which
may be affected and positioned through drama. (…) The linguistic context can be seen
through the recitation of verses appropriate to a particular piece of music, reading poetry
or content with an emphasis on interpretation. Vocal and vocal-instrumental works can be
studied, of course to the extent that this is possible for compulsory school pupils, in the
language in which the work was written, in its original form (Vidulin, 2016, 356).
Proclaiming music teaching in the last twenty years as interdisciplinary and multimodal,
Vidulin (2007, 2013, 2016, 2017, 2019), through school musicals, composition activities,
recordings with original songs made by compulsory school students created at composing
extracurricular classes, then by establishing the SEM concept (Stage – English language –
Music), the LMM2 model (listen to music with music making activity), as well as the CE3
approach (cognitive-emotional) music-pedagogical oriented, introduced novelty into
regular and extracurricular lessons based on scientific research and practical experience
made with students in compulsory schools. Concepts, models and approaches were
created primarily to promote art music, better understanding and acceptation by students.
However, this does not mean that the approaches are intended solely for the purpose of
introducing art music; they can serve to introduce any musical genres. While the LMM
model is intradisciplinary because it looks at music through / with music, the SEM and CE
approaches are interdisciplinary oriented.
Listen to music with music making activity (LMM model)
The LMM model is based on listening to music and linked to music making. „Pupils
perceive and understand musical works over those musical elements which are filtered by
2 Original: Slušanje glazbe i stvaralaštvo (SGS)
3 Original: Spoznajno-emocionalni pristup (SEP)
62
Today’s multimodal teaching experience is one of the contemporary models of working in
school, regardless of the subjects or fields. It is not new to music teaching in the European
and American regions, although the number of professional and scientific descriptions,
practical models and researches are rare. There are, we assume, a greater number of
individual attempts and examples of good practice, but it is not sufficiently documented
and there is a lack of research in this direction.
In music teaching, multimodal learning is possible because the primary medium of music
is music itself, which is available through technology, audio and video devices or live
performances. Besides music and speech, pictures, movies and radio programs, computer
programs, quizzes and other multimedia tools that affect the psychological, cognitive,
social and emotional aspects of learning are used in teaching. Higher levels of learning are
achieved by engaging and activating different senses and stimuli: auditory, tactile and
kinesthetic.
All music fields, from singing, playing, music making to listening to music, can be
multimodal. Listening to music is an example of this. „Listening to art music can be
accompanied by a stage play, artistic expression or language elements. Stage plays may be
associated with wider musical and non-musical connotations of the work, especially with
the works of programmatic nature, in other words, with works that have a content which
may be affected and positioned through drama. (…) The linguistic context can be seen
through the recitation of verses appropriate to a particular piece of music, reading poetry
or content with an emphasis on interpretation. Vocal and vocal-instrumental works can be
studied, of course to the extent that this is possible for compulsory school pupils, in the
language in which the work was written, in its original form (Vidulin, 2016, 356).
Proclaiming music teaching in the last twenty years as interdisciplinary and multimodal,
Vidulin (2007, 2013, 2016, 2017, 2019), through school musicals, composition activities,
recordings with original songs made by compulsory school students created at composing
extracurricular classes, then by establishing the SEM concept (Stage – English language –
Music), the LMM2 model (listen to music with music making activity), as well as the CE3
approach (cognitive-emotional) music-pedagogical oriented, introduced novelty into
regular and extracurricular lessons based on scientific research and practical experience
made with students in compulsory schools. Concepts, models and approaches were
created primarily to promote art music, better understanding and acceptation by students.
However, this does not mean that the approaches are intended solely for the purpose of
introducing art music; they can serve to introduce any musical genres. While the LMM
model is intradisciplinary because it looks at music through / with music, the SEM and CE
approaches are interdisciplinary oriented.
Listen to music with music making activity (LMM model)
The LMM model is based on listening to music and linked to music making. „Pupils
perceive and understand musical works over those musical elements which are filtered by
2 Original: Slušanje glazbe i stvaralaštvo (SGS)
3 Original: Spoznajno-emocionalni pristup (SEP)
62
