Page 53 - 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. 53
e pupils are expected to use the already acquired knowledge and skills in j. martinović bogojević ◆ musical creativity in primary school programmes for music education in montenegro and slovenia
their creative activities. At this phase, pupils are expected to be introduced
to the process of improvisation. In the Montenegrin programme, creativi-
ty is mentioned only in activities and learning outcomes, while the Slovenian
programme highlights activities and, therefore, specific goals related to them.
Hence, creativity in the programme in Slovenia is given a greater significance,
with a higher number of goals, which are precisely defined.
didactic recommendations in the programmes
Didactic recommendations (ME) highlight the significance of “auditory im-
agination”, “creative expression” verbally, visually, by movement or by various
forms of didactic musical games (p. 59). Didactic recommendations (SI) for
the first cycle for the field of creation suggests that creativity is a natural and
necessary part of arts and musical development. The processes and forms of
creation in the first cycle comprise: performance of musical contents, musical
production by invention and supplementing of musical contents, creative ex-
pression of musical experiences and images through movement, visually or ver-
bally. One of the recommendations is encouragement and creation of musical
notation.
The second cycle (ME) highlights the aesthetic expression by singing and
playing, while manifestation of musical experiences remains linked to move-
ment, dance, visual or verbal expression. As performance skills improve, the
tasks related to creativity in music are expected to be performed at a higher lev-
el, while informative knowledge is advanced by practical application through
creative tasks (musical dialogues, sound images, rhythmical improvisations).
In the second cycle (SI), creation refers to: “supplementing of musical
phrases” (by the principle question-answer), shaping of accompaniment (ost-
inato, bordun, etc.), creation of short musical units, shaped on the basis of ex-
periences and knowledge of foundational regularities of characteristics of mu-
sical forms (song, rondo, variation)“ Source: Program osnovna šola glasbena
umetnost. Učni načrt (2011, p. 11). An important recommendation concerns
evaluation of achievements in the realm of creativity, which should be defined
according to the music-developmental characteristics of pupils. The creative
product should, primarily, be a reason for conversations, stimulus, exchange of
ideas, and respect of music.
The third cycle (ME) emphasises the reception of music through becom-
ing acquainted with musical styles and genres. The teacher should be percep-
tive with regard to a pupils’ individual abilities and encourage, at this stage, the
development of improvisation. The third cycle (SI) specifies that creativity is
not only an active form of learning, but that it also enables the use of the exist-
ing knowledge in new musical situations. This implies a creative performance
53
their creative activities. At this phase, pupils are expected to be introduced
to the process of improvisation. In the Montenegrin programme, creativi-
ty is mentioned only in activities and learning outcomes, while the Slovenian
programme highlights activities and, therefore, specific goals related to them.
Hence, creativity in the programme in Slovenia is given a greater significance,
with a higher number of goals, which are precisely defined.
didactic recommendations in the programmes
Didactic recommendations (ME) highlight the significance of “auditory im-
agination”, “creative expression” verbally, visually, by movement or by various
forms of didactic musical games (p. 59). Didactic recommendations (SI) for
the first cycle for the field of creation suggests that creativity is a natural and
necessary part of arts and musical development. The processes and forms of
creation in the first cycle comprise: performance of musical contents, musical
production by invention and supplementing of musical contents, creative ex-
pression of musical experiences and images through movement, visually or ver-
bally. One of the recommendations is encouragement and creation of musical
notation.
The second cycle (ME) highlights the aesthetic expression by singing and
playing, while manifestation of musical experiences remains linked to move-
ment, dance, visual or verbal expression. As performance skills improve, the
tasks related to creativity in music are expected to be performed at a higher lev-
el, while informative knowledge is advanced by practical application through
creative tasks (musical dialogues, sound images, rhythmical improvisations).
In the second cycle (SI), creation refers to: “supplementing of musical
phrases” (by the principle question-answer), shaping of accompaniment (ost-
inato, bordun, etc.), creation of short musical units, shaped on the basis of ex-
periences and knowledge of foundational regularities of characteristics of mu-
sical forms (song, rondo, variation)“ Source: Program osnovna šola glasbena
umetnost. Učni načrt (2011, p. 11). An important recommendation concerns
evaluation of achievements in the realm of creativity, which should be defined
according to the music-developmental characteristics of pupils. The creative
product should, primarily, be a reason for conversations, stimulus, exchange of
ideas, and respect of music.
The third cycle (ME) emphasises the reception of music through becom-
ing acquainted with musical styles and genres. The teacher should be percep-
tive with regard to a pupils’ individual abilities and encourage, at this stage, the
development of improvisation. The third cycle (SI) specifies that creativity is
not only an active form of learning, but that it also enables the use of the exist-
ing knowledge in new musical situations. This implies a creative performance
53
