PRESCHOOL CHILDREN: EXPRESSION OF CREATIVITY

Creativity is considered to be an exceptional personal skill determining one’s success in the competitive world in the 21st century. The phenomenon of creativity has been analyzed as the process and result of the creativity, a personal quality and a thinking skill during the most recent decades. Such variety of the attitudes towards creativity is typical to the pre-school education process as well. In order to recognize creativity in the early educational environment, it is necessary to have a broad and democratic conception in accordance with which each child has creative potential which must be developed by focusing more on the process and less on the assessment of the quality of the products. On the basis of the research outcomes, the article discloses the characteristics of preschool children's creative expression. The summary of empiric research proves that identifying the traits of creative child, the educators primarily emphasized their personal traits: self-confidence, imagination, self-dependence, and independence, versatile interests, artistic inclinations, and the ability to generate ideas and to implement them. Among other important traits, the educators named original thinking, flexibility, the ability to promptly respond to creative impulses and to find unconventional ways of problem solution. KEY WORDS: creativity, expression, prie-school children.   DOI: http://dx.doi.org/10.15181//atee.v1i0.1320  

KŪRYBIŠKUMO SAMPRATA IR JO UGDYMAS DARŽELYJE: IKIMOKYKLINIO AUKLĖJIMO PEDAGOGŲ POZICIJA

The conception of creativity is introduced and the specifics of development thereof at pre-school age are discussed in the article. It is argued that the pedagogues play a decisive role at this stage when organizing the educational process focused on the development of children’s creativity. A research aimed at revealing the peculiarities of the pedagogues’, who are employed in a pre-school institution, conception of creativity and development thereof in the kindergarten is presented in the article. A questionnaire survey was chosen in order to achieve this objective; 174 pre-school pedagogues took part in this survey. The content analysis method and the descriptive statistics method were applied in order to process the data obtained.KEY WORDS: conception of creativity, development of creativity, pedagogues, pre-school education.DOI: http://dx.doi.org/10.15181/tbb.v66i1.78

Auklėjamoji etninės muzikos reikšmė būsimųjų mokytojų profesiniam pasirengimui

The article analyses the importance of ethnic culture in the development of the teacher's personality. The author presents the ideas of prominent Lithuanian educators – S. Šalkauskis, A Maceina, Vydūnas, etc. – on ethnic music. The role of the teacher of music in national education is pointed out. The article describes a survey which was completed in Klaipėda University and was aimed at clarifying the students' outlook towards ethnic music.Straipsnyje analizuojama etninės kultūros svarba mokytojo asmenybės raidai. Autorė pristato žymių Lietuvos pedagogų ir tautinės savimonės formuotojų – Šalkausio, Maceinos, Vydūno ir kt. – mintis apie etninę muziką. Pabrėžiamas muzikos mokytojo vaidmenį tautiniame auklėjime. Pristatomi tyrimo, kuriuo buvo siekiama nustatyti studentų požiūrį į muziką apskritai ir į etninę muziką bei įvertinti studentų žinių apie etninę muziką lygį, metodai ir rezultatai. Tyrime dalyvavo 520 Klaipėdos universiteto pedagogikos fakulteto studentų, iš jų – 410 pedagogikos-psichologijos ir 110 muzikos specializacijos. Mūsų vykdyto tyrimo rezultatų analizė parodė, kad būsimiesiems pedagogams būdingas intelektinis ir emocinis pasyvumas etninės muzikos ir visos etninės kultūros atžvilgiu. Norint pakeisti šią bendrą studentų - būsimų pedagogų nuostatą etninės muzikos atžvilgiu, mūsų nuomone, būtina plačiau ir giliau studijuoti etninę muziką ir visą etninę kultūrą, į studijų planus įtraukti etnokultūros, etninės muzikos pagrindų kursus ir tinkamai juos praktiškai taikyti darbui su vaikais

Studentų – būsimųjų pedagogų požiūrio į etninę muziką kaitos ypatumai

The article deal with the change of students attitude to ethnic music during a decade (1992-2002). The main role in bringing ethnic culture back to schools is played by the teacher and this role makes great demands on the teacher's personality. Our long time observations proved that it is really important for students – prospective teachers to understand the significance of ethnic music for the development of the child and the child’s national self-consciousness. Analysis of the results of our experiment in 1992 and 2002 years brings us to the conclusion that an inadequate interest of students to ethnic music is determined by their scanty and episodic knowledge of national music, by their poor knowledge of the volume of folk songs. Comparative analysis disclosed, that although students seldom perform folk songs, their attitude towards ethnic music remains positive. Prospective teachers perceive the significance of teaching folk songs to children. That is why the majority of students chose folk songs, as a dominating element in their music lessons.Straipsnyje atskleidžiama studentų, būsimų pedagogų, požiūrio į etninę muziką kaita dešimties metų laikotarpiu (1992-2002 m.). Gretinamas studentų požiūris į įvairius muzikos žanrus, jų žinios apie liaudies muziką, pomėgis dainuoti ir žinomų liaudies dainų kiekis. Taip pat etnomuzikiniu aspektu apžvelgiamas studentų darbas pedagoginės praktikos metu

The Pecularities of primary school pupil's musical culture education in family

The article looks at peculiarities of musical culture education of primary pupils in families. Aesthetical education starts in childhood. A family is the first stage in the process that has great possibilities for aesthetical and artistic education. It is exactly in childhood that the first aesthetical skills of a child start forming as well as child’s aesthetical position. A family acts as intermediary between a child and the public culture. The culture of parents and all other surrounding educators—their aesthetical taste, artistic perception, and moral views—determine the success of education and leaning in the area of aesthetics. Educators pass on values to children. In order to ensure that a child would have a good artistic taste, the surrounding environment should be enriched with truly valuable musical pieces, into which children could fully emerge. The research provides that such traditions as plying music at home are perishing away, and most families do not value music at all as it is only perceived as entertainment. Child’s interest in music is greatly impacted by promotion through mass means of communication that mostly air pop music and this way formulate primitive artistic taste. Due to mass media, a problem pertaining to the surplus of artistic impressions emerged. Such satiation or insufficient attention impact on superficial perception and assessment of a musical piece as well as makes the entertaining aspect absolute. When there are more artistic impressions than a child requires, the quality of choice reduces as well as creativity of perception. Parents do not try to impact on musical taste of a child and formation of musical culture. Within a family this process is most frequently left to drift according to individual interests and needs of children

Ikimokyklinio amžiaus vaikų kūrybiškumo raiška

Creativity is considered to be an exceptional personal skill determining one’s success in the competitive world in the 21st century. The phenomenon of creativity has been analyzed as the process and result of the creativity, a personal quality and a thinking skill during the most recent decades. Such variety of the attitudes towards creativity is typical to the pre-school education process as well. In order to recognize creativity in the early educational environment, it is necessary to have a broad and democratic conception in accordance with which each child has creative potential which must be developed by focusing more on the process and less on the assessment of the quality of the products. On the basis of the research outcomes, the article discloses the characteristics of preschool children's creative expression. The summary of empiric research proves that identifying the traits of creative child, the educators primarily emphasized their personal traits: self-confidence, imagination, self-dependence, and independence, versatile interests, artistic inclinations, and the ability to generate ideas and to implement them. Among other important traits, the educators named original thinking, flexibility, the ability to promptly respond to creative impulses and to find unconventional ways of problem solution

Concept and development of creativity in the kindergarten: the position of pre-school pedagogues

The conception of creativity is introduced and the specifics of development thereof at pre-school age are discussed in the article. It is argued that the pedagogues play a decisive role at this stage when organizing the educational process focused on the development of children’s creativity. A research aimed at revealing the peculiarities of the pedagogues’, who are employed in a pre-school institution, conception of creativity and development thereof in the kindergarten is presented in the article. A questionnaire survey was chosen in order to achieve this objective; 174 pre-school pedagogues took part in this survey. The content analysis method and the descriptive statistics method were applied in order to process the data obtained

On peculiarities of musical education in junior classes

Straipsnyje atskleidžiama muzikinio ugdymo svarba jaunesniajame mokykliniame amžiuje bei muzikinio ugdymo ypatumai. Iškeliama pradinių klasių mokytojo muzikinės kompetencijos problema. Aprašomas tyrimas, kuriuo siekiama išsiaiškinti pradinių klasių mokytojų požiūrį į muzikos pamokas bei mokytojų muzikinį pasirengimą ir galimybes vesti muzikos pamokas.Pre-school and junior school age is favourable to the development of musical abilities. Untrained musical abilities at that age become stable, and further teaching of music becomes difficult. The syllabi of musical education at primary school present high requirements: the education has to be complex, well-balanced and consistent, it has to ensure the pupils' participation in the school's musical life, to provide them with necessary musical training and to meet their inborn need to create and to learn. The diagnostic survey shows that music at primary school is often taught by primary school teachers without special musical training. The analysis of their knowledge of the subject and the methods of its teaching, as well as their attitude to music, showed that these teachers feel a shortage of knowledge of music theory, do not play music instruments or can poorly play one instrument. All this determines a limited range of musical activities employed in music lessons, a negative attitude to music lessons, even attempts to substitute other activities for them. Such an attitude of teachers to music lessons (and to music at large) is fast adopted by pupils. On the basis of the results of our research, the attitude of pupils to music changes for the worse already in the third form. Music lessons do not appeal to the pupils any longer, and musical activities do not bring any joy. Having summarised the results of our experiment, we think music lessons at primary school should be taught by teachers with special musical education. The teacher's creativity, his personal qualities, a positive attitude towards music is the best way to bring pupils closer to the values of music

Changes in the Content of Music Education in Primary Schools

After the restoration of Lithuania’s independence and the declaration of the Lithuanian school reform idea, a goal was set to restructure the Soviet content of education and make universal human values the foundation of the process of education, with due regard to principles of national identity, integration, differentiation, and creativity. This article focuses on the changes in teaching music in primary schools during education reform in Lithuania when two weekly lessons of music were introduced, two alternate syllabi were developed, and new textbooks were published. This study analyses the changes in the content and methodology of music education, based on fostering pupils’ creative abilities and skills of artistic expression as well as on education of the individual as a cultured user of artistic values