Page 76 - 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. 76
SBENOPEDAGOŠKI ZBORNIK, 31. zvezek
Evidently, to be a professional music theorist, possess good psychological and
pedagogical competences and be a good “manager”, with developed
organizational and social skills.
Must be consistent, systematic, but above all he must be a full personality. He must
have a good vision on the aspects of solfeggio teaching.
They should be able to motivate students to work and progress, with quality
professional and pedagogical competencies, of course
First of all, you need to be an expert in your field, and be patient, resourceful,
straightforward and clear.
After a brief discussion on the desirable competence profile of a solfeggio teacher,
teachers were asked about the problems they encounter in teaching solfeggio. General
inertia of younger generation is the most common problem mentioned in responses, while
other reasons include overloaded curriculum, lack of concentration in students, and
insufficient engagement of students due to numerous over-burdening school obligations.
Teachers also mentioned the difficulties they had at the beginning of their work
experience, which included administration and keeping daily log of class activities and
lessons, selection of effective teaching methods, and great differences in music abilities of
students.
In answering a question concerning the self-assessment of teaching competences in
solfeggio teaching, teachers solely emphasized the professional aspect of personal
competences. They highlight that they are very successful in teaching solfeggio, and as an
indicator of their success, they state that they fully achieve the curriculum objectives and
goals, and emphasize the large number of their students successfully passing the entrance
exam at the academy. Two teachers along with the high self-assessment of their
proficiency competencies emphasize that there is room for improvement and they are open
to development and improvement.
I suppose I am satisfied, but I generally have a high level of self-criticism. I believe
that I am improving and developing my teaching competences, but I am aware that
I still need a lot of work on my abilities.
Following the teachers’ responses to the previous question, in which they expressed their
focus on the professional dimension of teaching, they were asked about their vision of the
objectives of solfeggio classes. Responses were closely related to the professional aspect
of the classes. We highlight several responses, which confirm the orientation of teachers
towards the educational curriculum.
Lead the way to learning the music metalanguage. Exercise intonation skills and
theoretical knowledge.
To be able to sing the written music and write down the music we hear.
Writing, intonation, and managing in the sound space.
I’m mostly guided by the professional objective, the solfeggio content and my goal
is to teach students music literacy.
74
Evidently, to be a professional music theorist, possess good psychological and
pedagogical competences and be a good “manager”, with developed
organizational and social skills.
Must be consistent, systematic, but above all he must be a full personality. He must
have a good vision on the aspects of solfeggio teaching.
They should be able to motivate students to work and progress, with quality
professional and pedagogical competencies, of course
First of all, you need to be an expert in your field, and be patient, resourceful,
straightforward and clear.
After a brief discussion on the desirable competence profile of a solfeggio teacher,
teachers were asked about the problems they encounter in teaching solfeggio. General
inertia of younger generation is the most common problem mentioned in responses, while
other reasons include overloaded curriculum, lack of concentration in students, and
insufficient engagement of students due to numerous over-burdening school obligations.
Teachers also mentioned the difficulties they had at the beginning of their work
experience, which included administration and keeping daily log of class activities and
lessons, selection of effective teaching methods, and great differences in music abilities of
students.
In answering a question concerning the self-assessment of teaching competences in
solfeggio teaching, teachers solely emphasized the professional aspect of personal
competences. They highlight that they are very successful in teaching solfeggio, and as an
indicator of their success, they state that they fully achieve the curriculum objectives and
goals, and emphasize the large number of their students successfully passing the entrance
exam at the academy. Two teachers along with the high self-assessment of their
proficiency competencies emphasize that there is room for improvement and they are open
to development and improvement.
I suppose I am satisfied, but I generally have a high level of self-criticism. I believe
that I am improving and developing my teaching competences, but I am aware that
I still need a lot of work on my abilities.
Following the teachers’ responses to the previous question, in which they expressed their
focus on the professional dimension of teaching, they were asked about their vision of the
objectives of solfeggio classes. Responses were closely related to the professional aspect
of the classes. We highlight several responses, which confirm the orientation of teachers
towards the educational curriculum.
Lead the way to learning the music metalanguage. Exercise intonation skills and
theoretical knowledge.
To be able to sing the written music and write down the music we hear.
Writing, intonation, and managing in the sound space.
I’m mostly guided by the professional objective, the solfeggio content and my goal
is to teach students music literacy.
74
