Page 77 - 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. 77
Tihana Škojo, Renata Jukiæ, THE ASSESSMENT OF PEDAGOGICAL COMPETENCES...
The primary goal would be to master dictation.
Ensure the correlation of teaching the instrument and solfeggio.
We followed up those answers with an additional question: “Do you teach solfeggio in the
same way you were taught?” Most teachers answered they teach in a similar way. More
experienced teachers emphasized they are aware of the need to change the way they work
and enrich the content, but nevertheless they choose safe, already proven methods.
The next question concerned students’ participation in planning and achieving the
objectives of the classes. Teachers, in most cases, report they only occasionally allow
students to choose music pieces or activities during classes, but do not allow them to
deviate from the professional objective:
I do not allow a lot of deviations, because I plan the lesson!
Students do not participate in content planning, but I respect their proposals for
choices, for example, of the kind of dictation they will write and the like.
Students can’t persuade me to do anything beyond the teaching content, but if I
notice they haven’t mastered something, I will change the course of the lesson to
achieve the best results and master the content.
I’m just not that prone to it. They can only participate in planning the lessons if
they haven’t mastered something and we need to take a step back to that part of the
content.
I do not allow students to plan the lesson, because we, the teachers, are those who
organize a lesson. I appreciate the suggestions if there is time and the proposal is
in line with the lesson.
Sometimes I let them choose an activity during the lesson, but not when new
material is being processed.
There are times when I let them choose, but I never deviate from a professional
objective.
Sometimes they have the freedom to choose music samples during the lesson, but
we don’t deviate from the professional objectives.
In research question: Do you believe that you have acquired sufficient competences and
practices for challenges of the solfeggio teacher profession? the teachers discussed the
acquisition of professional and pedagogic competences at the academy and the
experiences they encountered after the employment as teachers of theoretical music
subjects. In their responses, teachers emphasize the problems that arise in seeking
employment due to the low number of hours of pedagogical practice in music schools
during the studies and point out the ability to overcome those obstacles by attending
additional training programs.
As far as the Academy is concerned, I think it was good introduction to
professional knowledge, but we lacked practice lessons at music schools. As for my
work, I have learned the most in the “attempt-error” manner. I regularly attend
75
The primary goal would be to master dictation.
Ensure the correlation of teaching the instrument and solfeggio.
We followed up those answers with an additional question: “Do you teach solfeggio in the
same way you were taught?” Most teachers answered they teach in a similar way. More
experienced teachers emphasized they are aware of the need to change the way they work
and enrich the content, but nevertheless they choose safe, already proven methods.
The next question concerned students’ participation in planning and achieving the
objectives of the classes. Teachers, in most cases, report they only occasionally allow
students to choose music pieces or activities during classes, but do not allow them to
deviate from the professional objective:
I do not allow a lot of deviations, because I plan the lesson!
Students do not participate in content planning, but I respect their proposals for
choices, for example, of the kind of dictation they will write and the like.
Students can’t persuade me to do anything beyond the teaching content, but if I
notice they haven’t mastered something, I will change the course of the lesson to
achieve the best results and master the content.
I’m just not that prone to it. They can only participate in planning the lessons if
they haven’t mastered something and we need to take a step back to that part of the
content.
I do not allow students to plan the lesson, because we, the teachers, are those who
organize a lesson. I appreciate the suggestions if there is time and the proposal is
in line with the lesson.
Sometimes I let them choose an activity during the lesson, but not when new
material is being processed.
There are times when I let them choose, but I never deviate from a professional
objective.
Sometimes they have the freedom to choose music samples during the lesson, but
we don’t deviate from the professional objectives.
In research question: Do you believe that you have acquired sufficient competences and
practices for challenges of the solfeggio teacher profession? the teachers discussed the
acquisition of professional and pedagogic competences at the academy and the
experiences they encountered after the employment as teachers of theoretical music
subjects. In their responses, teachers emphasize the problems that arise in seeking
employment due to the low number of hours of pedagogical practice in music schools
during the studies and point out the ability to overcome those obstacles by attending
additional training programs.
As far as the Academy is concerned, I think it was good introduction to
professional knowledge, but we lacked practice lessons at music schools. As for my
work, I have learned the most in the “attempt-error” manner. I regularly attend
75
