Page 66 - 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. 66
SBENOPEDAGOŠKI ZBORNIK, 31. zvezek
time and circumstances, then the performance of short inserts through singing and
playing, the use of multimedia and other non-musical elements. Particular attention is paid
to the general values and life situations by which students could conclude on the positive
characteristics of the human race, the strength an individual can find in himself / herself
and learn how to help others.
In the research of the cognitive-emotional approach to music listening in school in regard
to its musical-pedagogical context conducted by Vidulin and Plavšiæ from September
2018 to December 2018, as many as 15 music teachers and 557 fifth-grade students were
included. The research was conducted in 16 compulsory schools in Croatia. The results of
the study so far, comparing the standard and cognitive-emotional approach to listening to
music in music teaching, have shown several advantages of the cognitive-emotional
approach. Students’ perceptions of music teaching and the works presented are more
positive (Vidulin and Plavšiæ, forthcoming a). In regard to quantitative results, students
who were exposed to a cognitive-emotional approach generate a greater number of
answers to open-ended questions related to the cognitive and emotional experience of
music (Vidulin, Plavšiæ, auhar, forthcoming). Qualitative results show that these
students provided multiple answers related to the thoughts, feelings, and didactical
articulation of the lesson (Vidulin, Plavšiæ forthcoming b). The benefits of a
cognitive-emotional approach to the didactical articulation of a music lesson can be
attributed to the multi-contextual approach, musical and non-musical activities, increased
interaction and active participation of students in music classes (Vidulin, Plavšiæ and
auhar, forthcoming).
The results obtained by comparing two types of lesson plans, with two different didactical
approaches, show that the standard approach includes the analysis of cognitive elements,
while the cognitive-emotional approach is accompanied by the musical elaboration of
works and composers in the context of time and environment, as well as enriched through
musical and non-musical elements (Vidulin, 2019). It can be noticed that the tasks are
common in both approaches (tempo, dynamics, instruments), but while the musicological
context in the lesson plans for the control group is mostly absent, all the lesson plans for
the experimental group can be observed within the musical aspect (theoretical and
musicological), the socio-humanistic aspect (pedagogical, psychological, social and
ethical) and the aesthetic aspect.
Stage – English language – Music (SEM concept)
With the intention of expanding musical knowledge and skills and make an
interdisciplinary connection with the drama arts and English and Italian languages, in
2010 the SEM concept was created by professors of English language, drama and music,
within the Association for the encouragement of excellence in education „SEM“ (Udruga
za poticanje izvrsnosti u odgoju i obrazovanju „SEM“), from Pula.
“The SEM concept of music education proposes learning about and understanding artistic
music by listening to, analyzing musical works, singing and playing, in order to develop
their general and musical culture. The specificity that characterizes the SEM concept is the
64
time and circumstances, then the performance of short inserts through singing and
playing, the use of multimedia and other non-musical elements. Particular attention is paid
to the general values and life situations by which students could conclude on the positive
characteristics of the human race, the strength an individual can find in himself / herself
and learn how to help others.
In the research of the cognitive-emotional approach to music listening in school in regard
to its musical-pedagogical context conducted by Vidulin and Plavšiæ from September
2018 to December 2018, as many as 15 music teachers and 557 fifth-grade students were
included. The research was conducted in 16 compulsory schools in Croatia. The results of
the study so far, comparing the standard and cognitive-emotional approach to listening to
music in music teaching, have shown several advantages of the cognitive-emotional
approach. Students’ perceptions of music teaching and the works presented are more
positive (Vidulin and Plavšiæ, forthcoming a). In regard to quantitative results, students
who were exposed to a cognitive-emotional approach generate a greater number of
answers to open-ended questions related to the cognitive and emotional experience of
music (Vidulin, Plavšiæ, auhar, forthcoming). Qualitative results show that these
students provided multiple answers related to the thoughts, feelings, and didactical
articulation of the lesson (Vidulin, Plavšiæ forthcoming b). The benefits of a
cognitive-emotional approach to the didactical articulation of a music lesson can be
attributed to the multi-contextual approach, musical and non-musical activities, increased
interaction and active participation of students in music classes (Vidulin, Plavšiæ and
auhar, forthcoming).
The results obtained by comparing two types of lesson plans, with two different didactical
approaches, show that the standard approach includes the analysis of cognitive elements,
while the cognitive-emotional approach is accompanied by the musical elaboration of
works and composers in the context of time and environment, as well as enriched through
musical and non-musical elements (Vidulin, 2019). It can be noticed that the tasks are
common in both approaches (tempo, dynamics, instruments), but while the musicological
context in the lesson plans for the control group is mostly absent, all the lesson plans for
the experimental group can be observed within the musical aspect (theoretical and
musicological), the socio-humanistic aspect (pedagogical, psychological, social and
ethical) and the aesthetic aspect.
Stage – English language – Music (SEM concept)
With the intention of expanding musical knowledge and skills and make an
interdisciplinary connection with the drama arts and English and Italian languages, in
2010 the SEM concept was created by professors of English language, drama and music,
within the Association for the encouragement of excellence in education „SEM“ (Udruga
za poticanje izvrsnosti u odgoju i obrazovanju „SEM“), from Pula.
“The SEM concept of music education proposes learning about and understanding artistic
music by listening to, analyzing musical works, singing and playing, in order to develop
their general and musical culture. The specificity that characterizes the SEM concept is the
64
