Page 83 - Glasbenopedagoški zbornik Akademije za glasbo, letnik 16, zvezek 32 ◆ The Journal of Music Education of the Academy of Music in Ljubljana, year 16, issue 32
P. 83
roaches to teaching and became more flexible. Three-quarters of the teach- andreja marčun kompan ◆ glasbeno izobraževanje učencev s posebnimi potrebami
ers with this kind of teaching experience reported that they had problems with
SEN students in musical teaching; they observed the most common problems
with reading the notation, unwillingness and poor concentration, weaker mo-
tor skills, poorer understanding of music content, and poorer understanding
of the teacher’s instructions. However, according to the assessment of the per-
formance of SEN students, we can conclude that teachers were quite good at
solving these problems, as only just over a tenth of the teachers reported that
the SEN students were not successful at all. The self-assessment of the teachers’
SEN students teaching skills is surprising as well, as only half of them think
that they are not qualified to teach SEN students, and two-fifths of them re-
port that they are qualified to teach some groups of SEN students. It is espe-
cially striking to note that, according to the teachers’ assessment, the teach-
er’s willingness to teach SEN students is the most important in the process
of music education of SEN students, followed by the knowledge in the field
of special didactics and the teacher’s qualitative pedagogical and andragogi-
cal qualifications. In particular, it should be emphasized that more than two
thirds of teachers are convinced that additional professional training would
influence the willingness to teach SEN students. It is surprising, however,
that almost half of the teachers agreed with the assertion that SEN students
can also be included in public music schools or schools with concession, al-
though it has often been perceived that curriculum design can pose a problem
when integrating SEN students. Of particular importance are the findings of
the qualitative part of the research which, based on interviews with students,
reveal that most of them feel good at MS, however, a good student-teacher rela-
tionship and the teacher’s ability to adapt his pedagogical work obviously con-
tribute significantly to the wellbeing at MS. Teachers report that the methods
used when teaching SEN students are not significantly different from those
used in teaching students who do not have special needs, and the difficulties
of the three SEN students included in the study did not differ significantly
from those identified by teachers in teaching students who do not have special
needs. With regards to music education, parents expect teachers to have clear-
ly defined expectations from their children and to be able to motivate them,
while the goals of music education, according to them, primarily include the
development of general knowledge, personal development, and the formation
of work ethic. Another crucial finding is the fact that, according to the teach-
ers’ experience, the development of musical skills is primarily dependent upon
the students’ work ethic and motivation.
Key words: students with special needs, musical art, music education, concept
of inclusiveness, teaching strategies
83
ers with this kind of teaching experience reported that they had problems with
SEN students in musical teaching; they observed the most common problems
with reading the notation, unwillingness and poor concentration, weaker mo-
tor skills, poorer understanding of music content, and poorer understanding
of the teacher’s instructions. However, according to the assessment of the per-
formance of SEN students, we can conclude that teachers were quite good at
solving these problems, as only just over a tenth of the teachers reported that
the SEN students were not successful at all. The self-assessment of the teachers’
SEN students teaching skills is surprising as well, as only half of them think
that they are not qualified to teach SEN students, and two-fifths of them re-
port that they are qualified to teach some groups of SEN students. It is espe-
cially striking to note that, according to the teachers’ assessment, the teach-
er’s willingness to teach SEN students is the most important in the process
of music education of SEN students, followed by the knowledge in the field
of special didactics and the teacher’s qualitative pedagogical and andragogi-
cal qualifications. In particular, it should be emphasized that more than two
thirds of teachers are convinced that additional professional training would
influence the willingness to teach SEN students. It is surprising, however,
that almost half of the teachers agreed with the assertion that SEN students
can also be included in public music schools or schools with concession, al-
though it has often been perceived that curriculum design can pose a problem
when integrating SEN students. Of particular importance are the findings of
the qualitative part of the research which, based on interviews with students,
reveal that most of them feel good at MS, however, a good student-teacher rela-
tionship and the teacher’s ability to adapt his pedagogical work obviously con-
tribute significantly to the wellbeing at MS. Teachers report that the methods
used when teaching SEN students are not significantly different from those
used in teaching students who do not have special needs, and the difficulties
of the three SEN students included in the study did not differ significantly
from those identified by teachers in teaching students who do not have special
needs. With regards to music education, parents expect teachers to have clear-
ly defined expectations from their children and to be able to motivate them,
while the goals of music education, according to them, primarily include the
development of general knowledge, personal development, and the formation
of work ethic. Another crucial finding is the fact that, according to the teach-
ers’ experience, the development of musical skills is primarily dependent upon
the students’ work ethic and motivation.
Key words: students with special needs, musical art, music education, concept
of inclusiveness, teaching strategies
83
