Page 54 - 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. 54
sbenopedagoški zbornik ◆ letnik 16 ◆ številka 33 of works of vocal and instrumental literature, creation and supplementing of
musical contents, which are based, also, on the use of improvisation and exper-
imenting with sound, creatively express musical experience through other arts.
Both programmes enable improvisation by the use of the acquired knowledge.
Composing as a term is absent from both Slovenian and Montenegrin pro-
grammes. The phrase “creative shaping” (SI) implies activities by which a new
material is created and generated on the basis of the existing knowledge. Play-
ing and improvisation on folk and improvised instruments (SI) is not specified
in the programme (ME), which mentions only the instruments of Orff’s in-
strumentarium. Didactic recommendations of both programmes do not spec-
ify steps of preparation, performance and evaluation of musical creativity. The
purpose of these documents is not to provide detailed didactic instructions
and ready solutions, which can be counter-productive if they limit teachers in
their own inventiveness.
The above analysis of the course programmes for Music culture/Music ed-
ucation in two distinct school systems demonstrates numerous parallels and
similarities, leading to the conclusion that music creativity is present through
operational goals and activities (SI) and learning outcomes and activities (ME).
The Slovenian programme (SI) specifies these activities more precisely, in-
troducing, with a greater progression, a wide spectrum of creative processes
in music. In the Montenegrin system (ME), they are mentioned as creation
of rhythmical, melodic-rhythmical units, musical continuations, but they are
not precisely defined. As activities are mutually interactive (ME), the teacher
should link them with the development of new knowledge and development
of skills, according to pupils’ abilities and in accordance with the overall peda-
gogical-educational outcomes at the level of each school grade or cycle.
conclusion
The presence of musical creativity in the programmes of music education of
both countries shows that there is a continuous tendency towards a holistic ap-
proach to music education, which corresponds to the way primary school pu-
pils acquire musical knowledge (Wiggins, 2002), and that they are given the
opportunity of their own creative music experience. Bearing in mind that, in
other segments whose activities include performing and listening to music,
the programmes are extensive, the question arises, especially in the Montene-
grin system with a smaller number of lessons, whether it is possible to achieve
planned goals and learning outcomes in which creativity is continuously real-
ised. Although it is difficult to give universal didactic instructions for musical
creativity, due to the heterogeneous nature of creative processes (Odena and
Welch, 2009), one gets the impression that they are more specifically listed in
the Slovenian programme.
54
musical contents, which are based, also, on the use of improvisation and exper-
imenting with sound, creatively express musical experience through other arts.
Both programmes enable improvisation by the use of the acquired knowledge.
Composing as a term is absent from both Slovenian and Montenegrin pro-
grammes. The phrase “creative shaping” (SI) implies activities by which a new
material is created and generated on the basis of the existing knowledge. Play-
ing and improvisation on folk and improvised instruments (SI) is not specified
in the programme (ME), which mentions only the instruments of Orff’s in-
strumentarium. Didactic recommendations of both programmes do not spec-
ify steps of preparation, performance and evaluation of musical creativity. The
purpose of these documents is not to provide detailed didactic instructions
and ready solutions, which can be counter-productive if they limit teachers in
their own inventiveness.
The above analysis of the course programmes for Music culture/Music ed-
ucation in two distinct school systems demonstrates numerous parallels and
similarities, leading to the conclusion that music creativity is present through
operational goals and activities (SI) and learning outcomes and activities (ME).
The Slovenian programme (SI) specifies these activities more precisely, in-
troducing, with a greater progression, a wide spectrum of creative processes
in music. In the Montenegrin system (ME), they are mentioned as creation
of rhythmical, melodic-rhythmical units, musical continuations, but they are
not precisely defined. As activities are mutually interactive (ME), the teacher
should link them with the development of new knowledge and development
of skills, according to pupils’ abilities and in accordance with the overall peda-
gogical-educational outcomes at the level of each school grade or cycle.
conclusion
The presence of musical creativity in the programmes of music education of
both countries shows that there is a continuous tendency towards a holistic ap-
proach to music education, which corresponds to the way primary school pu-
pils acquire musical knowledge (Wiggins, 2002), and that they are given the
opportunity of their own creative music experience. Bearing in mind that, in
other segments whose activities include performing and listening to music,
the programmes are extensive, the question arises, especially in the Montene-
grin system with a smaller number of lessons, whether it is possible to achieve
planned goals and learning outcomes in which creativity is continuously real-
ised. Although it is difficult to give universal didactic instructions for musical
creativity, due to the heterogeneous nature of creative processes (Odena and
Welch, 2009), one gets the impression that they are more specifically listed in
the Slovenian programme.
54
