Page 65 - 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. 65
Sabina Vidulin, STRATEGIES FOR LISTENING TO MUSIC AND MUSIC APPRECIATION...
their cognitive system, in accordance to their previous experience and what they already
know about the musical works.” (Vidulin, 2017, 148)
The first step towards music making is listening to music and analyzing a piece of music.
In this way, students recognize and understand the musical components and get to know
the way in which the work is composed. In relation to the given frame for music making
(composing) that they find through listening to music, the students become able to create
some minor work. „By listening to music and learning about musical elements pupils
become aware of what music is made of. Listening to music, observing and analyzing
musical components such as rhythm, melody, dynamics, tempo, musical form,
instrumental and vocal ensemble, pupils get to know the compositions better.” (Vidulin,
2017, 149). The second step is that by discovering and comparing the relation between
tones, rhythm, forms, they create different rhythmical-melodic structures which can be
sung and played, even modified and upgraded. The last step is composing minor music
forms with all the elements a musical work is made of.
The specificity of the approach is that first music is introduced and then created, but the
conditions are musical in nature: listening to music and music making. Elementary music
literacy is one of the prerequisites for this activity, while it is also desirable that students
know how to play an instrument so that they can play and change the music lines.
Cognitive-emotional (CE) approach: musical-pedagogical context
Another alternative approach to listening to music also depends on the possibilities of
experiencing a music work and is a challenge for teachers, as their professional and
didactical preparation is a pre-condition for students to understand and accept a piece of
music. The initial idea was given by Vidulin and Radica (2017), after which Vidulin
elaborated the musical-pedagogical context of the above approach. The emotional
fragment of the approach was elaborated with psychologists Plavšiæ and auhar.
In considering a cognitive-emotional approach to listening to music, Vidulin and Radica
(ibid.) pay attention to student-centeredness; to the perception and understanding of a
music work through those components that have been filtered by the students’ cognitive
system, in accordance with what they already had as their previous experience and what
they know about the work. The original experience in regard to the music work also plays
a special role during the teaching process.
By learning about and distinguishing between the structural musical constituents of the
music work, the approach seeks to make students accept artistic music as their own.
Experiencing and understanding are important elements in this process since they lead to
accepting music. The first step is to choose valuable and quality music works that will
appeal to the children, which they will feel and on the basis of which they will express their
impressions.
In addition to standard analytical tasks, particular attention should be paid to the
introduction to listening with a multimodal character, which is an integral part of the
musical-pedagogical context of the cognitive-emotional approach. The approach includes
the theoretical analysis and musical elaboration of works and composers in the context of
63
their cognitive system, in accordance to their previous experience and what they already
know about the musical works.” (Vidulin, 2017, 148)
The first step towards music making is listening to music and analyzing a piece of music.
In this way, students recognize and understand the musical components and get to know
the way in which the work is composed. In relation to the given frame for music making
(composing) that they find through listening to music, the students become able to create
some minor work. „By listening to music and learning about musical elements pupils
become aware of what music is made of. Listening to music, observing and analyzing
musical components such as rhythm, melody, dynamics, tempo, musical form,
instrumental and vocal ensemble, pupils get to know the compositions better.” (Vidulin,
2017, 149). The second step is that by discovering and comparing the relation between
tones, rhythm, forms, they create different rhythmical-melodic structures which can be
sung and played, even modified and upgraded. The last step is composing minor music
forms with all the elements a musical work is made of.
The specificity of the approach is that first music is introduced and then created, but the
conditions are musical in nature: listening to music and music making. Elementary music
literacy is one of the prerequisites for this activity, while it is also desirable that students
know how to play an instrument so that they can play and change the music lines.
Cognitive-emotional (CE) approach: musical-pedagogical context
Another alternative approach to listening to music also depends on the possibilities of
experiencing a music work and is a challenge for teachers, as their professional and
didactical preparation is a pre-condition for students to understand and accept a piece of
music. The initial idea was given by Vidulin and Radica (2017), after which Vidulin
elaborated the musical-pedagogical context of the above approach. The emotional
fragment of the approach was elaborated with psychologists Plavšiæ and auhar.
In considering a cognitive-emotional approach to listening to music, Vidulin and Radica
(ibid.) pay attention to student-centeredness; to the perception and understanding of a
music work through those components that have been filtered by the students’ cognitive
system, in accordance with what they already had as their previous experience and what
they know about the work. The original experience in regard to the music work also plays
a special role during the teaching process.
By learning about and distinguishing between the structural musical constituents of the
music work, the approach seeks to make students accept artistic music as their own.
Experiencing and understanding are important elements in this process since they lead to
accepting music. The first step is to choose valuable and quality music works that will
appeal to the children, which they will feel and on the basis of which they will express their
impressions.
In addition to standard analytical tasks, particular attention should be paid to the
introduction to listening with a multimodal character, which is an integral part of the
musical-pedagogical context of the cognitive-emotional approach. The approach includes
the theoretical analysis and musical elaboration of works and composers in the context of
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