Page 72 - 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. 72
SBENOPEDAGOŠKI ZBORNIK, 31. zvezek
Introduction
Music education in Croatia formally extends through the elementary and secondary music
schools and the Academy of music (art). Music education differs from all the other art
braches specifically because of the separate education system, established with the aim to
educate professional musicians of various profiles (Nastavni plan i program za osnovnu
glazbenu školu, 2006). Throughout the education, from the first and until the final year,
solfeggio is distinguished as a subject for acquiring musical competences which may
continuously be improved and perfected. Solfeggio is a fundamental theoretical musical
subject within which intonation and rhythmic knowledge and skills are rooted and
developed, enabling the understanding of the tone space in its time (rhythmic) and
sound-space dimension (melody, harmony) (Rojko, 2012). Students acquire knowledge
and develop skills they can then employ in the active use of music scripts for singing,
writing and understanding music (Rojko, 2005; Ban & Svalina, 2013). The content of
solfeggio as well as the teaching methods used in solfeggio classes are highly specialized
and cannot be compared to any other musical-theoretical subject. The knowledge and
skills acquired are of the individual nature and are not manual and tangible, as are those
used in playing an instrument; rather they refer to specialized mental combinatorial skills
expressed during prima vista singing and writing music dictates (Radica, 2015).
Due to the importance and complexity of this subject, in order to achieve quality and
productive teaching, the competences of the teacher are of the crucial importance, as he is
the expert with the range of abilities needed to successfully fulfill complex requirements
and tasks of solfeggio classes. The term competences has been accepted and used in
education practice for the past fifteen years, and numerous authors interpret it in various
ways (Madsen & Cassidy, 2005; Hrvatiæ & Piršl, 2007; Ljubetiæ & Kostoviæ Vranješ,
2008; Lonèariæ & Pejiæ Papak, 2009; Vizek Vidoviæ, 2009). This concept, from the
pedagogical perspective, most often highlights the teacher’s competences (Aniæ, 2003;
Jurèiæ, 2012), which refer to a combination of teacher’s knowledge, skills, abilities,
attitudes, personal characteristics and experiences (Pastuoviæ, 1999; Hrvatiæ &
Bartuloviæ, 2007; Matijeviæ, 2011). Teacher competences can be seen through the
professional, pedagogical, organizational and communicative-reflective areas (Brust
Nemet & Velki, 2016). The contemporary approach to competences emphasizes the need
for multidisciplinary observation for the purpose of constructing a “holistic model of
professional competences”. In this regard, Cheetham & Chivers (1996) demonstrated a
model with four core components of professional competences: functional competence,
personal or behavioral competence, knowledge/cognitive and values/ethical competence.
“Knowledge/cognitive competence” has been defined by the authors as: ... the possession
of appropriate work-related knowledge and the ability to put this into effective use.
“Functional competence” is defined as: …the ability to perform a range of work-based
tasks effectively to produce specific outcomes. “Personal or behavioral competence” is:
…the ability to adopt appropriate, observable behaviors in work-related situations.
“Values/ethical competence” is defined as: …the possession of appropriate personal and
professional values and the ability to make sound judgments based upon these in
work-related situations. Each of the given competences is structured of elements which in
more detail define aspects of performance (Figure 1).
70
Introduction
Music education in Croatia formally extends through the elementary and secondary music
schools and the Academy of music (art). Music education differs from all the other art
braches specifically because of the separate education system, established with the aim to
educate professional musicians of various profiles (Nastavni plan i program za osnovnu
glazbenu školu, 2006). Throughout the education, from the first and until the final year,
solfeggio is distinguished as a subject for acquiring musical competences which may
continuously be improved and perfected. Solfeggio is a fundamental theoretical musical
subject within which intonation and rhythmic knowledge and skills are rooted and
developed, enabling the understanding of the tone space in its time (rhythmic) and
sound-space dimension (melody, harmony) (Rojko, 2012). Students acquire knowledge
and develop skills they can then employ in the active use of music scripts for singing,
writing and understanding music (Rojko, 2005; Ban & Svalina, 2013). The content of
solfeggio as well as the teaching methods used in solfeggio classes are highly specialized
and cannot be compared to any other musical-theoretical subject. The knowledge and
skills acquired are of the individual nature and are not manual and tangible, as are those
used in playing an instrument; rather they refer to specialized mental combinatorial skills
expressed during prima vista singing and writing music dictates (Radica, 2015).
Due to the importance and complexity of this subject, in order to achieve quality and
productive teaching, the competences of the teacher are of the crucial importance, as he is
the expert with the range of abilities needed to successfully fulfill complex requirements
and tasks of solfeggio classes. The term competences has been accepted and used in
education practice for the past fifteen years, and numerous authors interpret it in various
ways (Madsen & Cassidy, 2005; Hrvatiæ & Piršl, 2007; Ljubetiæ & Kostoviæ Vranješ,
2008; Lonèariæ & Pejiæ Papak, 2009; Vizek Vidoviæ, 2009). This concept, from the
pedagogical perspective, most often highlights the teacher’s competences (Aniæ, 2003;
Jurèiæ, 2012), which refer to a combination of teacher’s knowledge, skills, abilities,
attitudes, personal characteristics and experiences (Pastuoviæ, 1999; Hrvatiæ &
Bartuloviæ, 2007; Matijeviæ, 2011). Teacher competences can be seen through the
professional, pedagogical, organizational and communicative-reflective areas (Brust
Nemet & Velki, 2016). The contemporary approach to competences emphasizes the need
for multidisciplinary observation for the purpose of constructing a “holistic model of
professional competences”. In this regard, Cheetham & Chivers (1996) demonstrated a
model with four core components of professional competences: functional competence,
personal or behavioral competence, knowledge/cognitive and values/ethical competence.
“Knowledge/cognitive competence” has been defined by the authors as: ... the possession
of appropriate work-related knowledge and the ability to put this into effective use.
“Functional competence” is defined as: …the ability to perform a range of work-based
tasks effectively to produce specific outcomes. “Personal or behavioral competence” is:
…the ability to adopt appropriate, observable behaviors in work-related situations.
“Values/ethical competence” is defined as: …the possession of appropriate personal and
professional values and the ability to make sound judgments based upon these in
work-related situations. Each of the given competences is structured of elements which in
more detail define aspects of performance (Figure 1).
70
