Page 44 - Glasbenopedagoški zbornik Akademije za glasbo, letnik 16, zvezek 33 ◆ The Journal of Music Education of the Academy of Music in Ljubljana, year 16, issue 33
P. 44
sbenopedagoški zbornik ◆ letnik 16 ◆ številka 33 tov in za jasnejšo opredelitev, kaj pomeni glasbena ustvarjalnost pri poučevanju glasbe v
osnovnih šolah v obeh izobraževalnih sistemih.
Ključne besede: glasbena vzgoja, osnovna šola, glasbena ustvarjalnost, učni načrti, Črna
gora, Slovenija
Representation of musical creativity is one of the main strategies of mod-
ern music pedagogy in achieving the goal of supplementing the para-
digm of music education, which mainly relies on performing and listen-
ing to music. Kratus (1990, p. 34) points out that in creating curricula for music
education that promote creative learning, goals and objectives need to be clear-
ly articulated. Goals should contain three important components: the compo-
nent of the person (student’s attitudes and predispositions), the component of the
process (the way of engaging in these activities) and the component of the prod-
uct (understanding of the musical components and “the ways music works” in
these activities). Creation (sl. ustvarjanje; cnr. stvaranje) represented as an ac-
tivity in curricula for music education in Montenegro and Slovenia, demands
of pupils to create small musical units, musical dialogues, sound images, to im-
provise the given melody, create a melody to a given text and vice versa, create
an accompaniment, complement an already started melody etc. Creation re-
fers, also, to an expression of a musical experience visually, verbally or by move-
ment/dance. These two types of musical creativity Oblak (1987; 2001) defined
as creativity in music and creativity with music. According to Borota (2013), cre-
ativity in music is an active form of learning, in which the pupils, trough dif-
ferent forms of work, and diverse tools of expression, use musical knowledge
and spontaneously create musical units. This also implies the principles of con-
structivist theory, according to which learning is realised by discoveries, under-
standing and acquiring knowledge in a new context (Webster, 2011; Wiggins,
1999; 2002). Creation also represents an activity in which a creative product is
valued according to the individual progress made by the pupil, who produces
something new for himself/herself, and this represents development of “little
c” and “mini c” creativities in education (Kaufman and Bagetto, 2009). A good
solution, therefore, are open-ended tasks, which have no set limitations, aim-
ing at being challenging, but not too demanding (Wiggins, 2002). The teach-
er should thoughtfully come up with steps in which these activities are inter-
twined. The lesson duration of 45 min and a high number of pupils in one
class, should present some obstacles, but in such cases, group work and stimu-
lation of collaborative creativity could be one of the ways to overcome difficul-
ties and enable all pupils to be engaged in creative processes. The presence of
musical creativity in all nine grades is the starting point for implementing cre-
ative tasks in teaching practice, which keeps pace with strategies in contempo-
rary music pedagogy, which seeks to encourage the expression of creative po-
tential of each pupil in the music classroom context.
44
osnovnih šolah v obeh izobraževalnih sistemih.
Ključne besede: glasbena vzgoja, osnovna šola, glasbena ustvarjalnost, učni načrti, Črna
gora, Slovenija
Representation of musical creativity is one of the main strategies of mod-
ern music pedagogy in achieving the goal of supplementing the para-
digm of music education, which mainly relies on performing and listen-
ing to music. Kratus (1990, p. 34) points out that in creating curricula for music
education that promote creative learning, goals and objectives need to be clear-
ly articulated. Goals should contain three important components: the compo-
nent of the person (student’s attitudes and predispositions), the component of the
process (the way of engaging in these activities) and the component of the prod-
uct (understanding of the musical components and “the ways music works” in
these activities). Creation (sl. ustvarjanje; cnr. stvaranje) represented as an ac-
tivity in curricula for music education in Montenegro and Slovenia, demands
of pupils to create small musical units, musical dialogues, sound images, to im-
provise the given melody, create a melody to a given text and vice versa, create
an accompaniment, complement an already started melody etc. Creation re-
fers, also, to an expression of a musical experience visually, verbally or by move-
ment/dance. These two types of musical creativity Oblak (1987; 2001) defined
as creativity in music and creativity with music. According to Borota (2013), cre-
ativity in music is an active form of learning, in which the pupils, trough dif-
ferent forms of work, and diverse tools of expression, use musical knowledge
and spontaneously create musical units. This also implies the principles of con-
structivist theory, according to which learning is realised by discoveries, under-
standing and acquiring knowledge in a new context (Webster, 2011; Wiggins,
1999; 2002). Creation also represents an activity in which a creative product is
valued according to the individual progress made by the pupil, who produces
something new for himself/herself, and this represents development of “little
c” and “mini c” creativities in education (Kaufman and Bagetto, 2009). A good
solution, therefore, are open-ended tasks, which have no set limitations, aim-
ing at being challenging, but not too demanding (Wiggins, 2002). The teach-
er should thoughtfully come up with steps in which these activities are inter-
twined. The lesson duration of 45 min and a high number of pupils in one
class, should present some obstacles, but in such cases, group work and stimu-
lation of collaborative creativity could be one of the ways to overcome difficul-
ties and enable all pupils to be engaged in creative processes. The presence of
musical creativity in all nine grades is the starting point for implementing cre-
ative tasks in teaching practice, which keeps pace with strategies in contempo-
rary music pedagogy, which seeks to encourage the expression of creative po-
tential of each pupil in the music classroom context.
44
