Doživljaj narodne glazbe kod djece

Through everyday exposure to language and music, individuals within a nation become sensitive to the melodic and rhythmical structure of their folk musical culture. It represents improvisational abilities of individuals and groups as well. Despite all changes, it indisputably maintains all characteristics of music parameters as inheritance of past ages. Due to its social role, it appears throughout everyone’s life – and it also represents an important part of children’s life. In the study that was carried out with two groups of children between six and nine years of age, we were interested in determining how children experience music making with elements of folk music and how it is possible to create the circumstances which can provide the spontaneity of folk music within the structured environment (like primary school). The research was designed as a phenomenological case study. This method allowed us to gather data which provided a deeper insight into the ways in which participants are able to play using elements of folk music and the way they feel while using such material. The results show that, contrary to the basic fact of spontaneity in folk music, 6 and 7 year old participants were not able to use music parameters to play with and had yet to learn how symbolic play works out in musical language on the basis of communication. The most natural way to bridge the gap between “learning” songs and experiencing individual musical expression in a manner of folk music in children seems to be creative work with lyrics in Slovene language. We also found that children develop social competences of a great value, when they are involved in symbolic play with folk music elements in the improvisational mode.Velik je dio kulture svakog naroda narodna glazba koja predstavlja improvizacijske sposobnosti pojedinaca i grupa. Unatoč svim promjenama, ona nesporno održava sve karakteristike glazbenih parametara kao nasljeđivanje prošlih vremena. U studiji koja je provedena sa skupinama djece u dobi od šest do osam godina, zanimalo nas je kako se dječja igra može oblikovati folklorno-glazbenim elementima. Sposobnosti grupnoga glazbenog stvaralaštva proučavane su kroz aktivnosti holističkoga glazbenog obrazovanja, što uključuje – baš kao i dječju narodnu glazbu – pokret, pjevanje, sviranje dječjih instrumenata i aktivnosti kreativnoga rada s različitim glazbenim elementima. Istraživanje je osmišljeno kao fenomenološka studija. Ta nam je metoda omogućila prikupljanje podataka koji su pružili dublji uvid u način na koji se sudionici osjećaju dok koriste elemente narodne glazbe. Rezultati pokazuju da se djeca, u suprotnosti s osnovnom činjenicom spontanosti u narodnoj glazbi, tek trebaju naučiti igrati s elementima narodne glazbe u glazbenom jeziku. Ritam se činio najjasnijim glazbenim parametrom, unutar kojeg su sudionici prvi put osjetili velik improvizacijski potencijal. Također smo otkrili da u igranju s elementima narodne glazbe postoji velika vrijednost razvoja socijalnih kompetencija

Narrative and dialogical dimensions of »Orff-Schulwerk«

“Orff-Schulwerk” as elementary form of music-movement education, the implementation of which is conditioned by group work, enables not only progress in areas of musical development but also acquisition of music-language communication skills. Based on assertion that it originates deep in a person's inner experiencing, Orff (2002b) calls this music language “primeval music”. The aim of this doctoral thesis is to describe the influence of the narrative paradigm and the theory of dialogue to musical language as enabled by “Orff-Schulwerk”. The study involved a group of children from the first three grades of primary school. The lessons they attended were designed as extra-curricular activity. As the teacher of these children I took into account the fact, in line with the defined research questions, that “Orff-Schulwerk” takes place in interaction between myself and the participating children. In order to achieve the defined objectives within this relation, I envisaged my research as a phenomenological case study. This research method made it possible to collect data which enabled insight into experiencing of all participants and, in the next phase, through qualitative analysis, led to formation of adequate categories and learning about relations among them. In order to ensure the maximum objectivity of the phenomenological study, the research plan exceeded the boundaries of the Slovenian cultural environment. To this end, a multicultural qualitative study was conducted, involving foreign teachers practicing “Orff-Schulwerk”. Their contribution deepened the insight into the subject researched and highlighted those elements which do not depend on cultural environment. The result of the overall study is a grounded theory which explicates the narrative and dialogical processes of everyone taking part in the “Orff-Schulwerk” process. The findings show that the acquisition of musical language by engaging in quality interpersonal relationships is a lengthy procedure during which elements of narrativity and dialogicality constantly intertwine. Even though this music is elementary, analyses show that children have yet to learn it. This finding contradicts Orff’s supposition which describes “Orff-Schulwerk” as uniformity of speech, singing, movement and instrument playing which is the primeval state that stems from the child itself as part of the child’s being (Orff, 2002a). The research findings also indicate that learning is influenced by the attitude of teachers who with their anticipated expectations interfere with the “Orff-Schulwerk” pedagogical process. The results of the phenomenological case study, together with the results of the multicultural qualitative study, confirmed that differences between various cultural environments do not influence “Orff-Schulwerk” teachers’ attitude and do not cause differences in their activity as teachers, however they show presence of emphatic attitudes of teachers towards everybody in the group and uncovers the fact that “Orff-Schulwerk” teachers approach teaching with their own need to communicate. One important result of the study is also the finding that in the pedagogical process, working with instruments used by participants in “Orff-Schulwerk” serves to express personal musical feelings and as such allows individual influence in the process of communication. This doctoral thesis contributes to recognition that “Orff-Schulwerk” is an example of experiential music teaching and learning which, with a stimulating environment, enables promotion of creativity, innovation, and, in particular, acquisition of social competences and awareness of one’s own cultural heritage. It affirms musical language as a type of non-verbal communication in which participants develop critical thinking, problem-solving skills and the abilities to take on responsibility and to manage emotions

Non-verbal communication in music lessons

AbstractIn our study, which we carried out with a group of primary-school children aged between six and nine, we were interested in how musical language is shaped through group improvisations. Narrative dimensions of improvisation were studied through activities of Orff-Schulwerk, the specific music-movement education approach which, apart from music activities, puts great emphasis on development of social competences. The research was designed as a phenomenological case study. The findings show that, contrary to Orff-Schulwerk premises, children had yet to learn musical language and how to use it. It also turned out that teacher's expectations regarding the use of non-verbal communication are inversely proportional to the successful use of musical language. In line with Orff-Schulwerk's principles, rhythm proved to be the primary musical language parameter, as it was through rhythm that children first reached the sensations of others and reflectively depicted events from everyday life

The role of children\u27s musical instruments in communication with musical language

AbstractThe study, in which we looked into the role of children's musical instruments in holistic music education, was conducted among children in the initial phase of primary schooling. Based on a theory of dialogue, we observed how children engaged in communication in musical language with respect of their own choice and inventive use of children's musical instruments. The research was conceived as a phenomenological case study. With this method we obtained data which enabled a deeper understanding of what the participants experienced when using musical instruments and insight into their social competences in using musical language. Having used qualitative data analysis, we established in the final grounded theory the following three conclusions: a) working with musical instruments functions as an area where the only possible realisation seems to be in line with the presumption that a person with an instrument personally identify themselves with the sound of the chosen instrument, b) the use of children's instruments cannot be effective outside the framework of dialogical dimensions of musical language, c) by using children's musical instruments, children apprehend the basic principles of group performance

Music objectives planning in prevailing psychomotor domain

Th e paper presents the results of a study in which we analysed planning of musical objectives in the psychomotor domain prepared by 372 Slovenian general education teachers. Th e research results showed high share of objectives pertaining to the taxonomy category of speech behaviours, which was followed by the categories of gross bodily movements, fi nely coordinated movements and non-verbal communication. Th e above facts confi rm that music objectives can be classifi ed in the prevailing psychomotor domain and show the utilization of a chosen taxonomy model. Th e research results also indicate that Slovenian general education teachers are aware of the need for active approaches to music teaching although they pay less attention to music objectives planning in the category of non-verbal communication which exceeds the mere use of words and represents the basis for contemporary approach of music teaching through musical doing and making

Načrtovanje ciljev glasbene vzgoje na učnih področjih

V sodobni družbi smo vedno bolj izpostavljeni vprašanjem, kako se orientirati v mnoštvu informacij, katere vrednote in kakšno znanje omogočajo preživetje in višjo kakovost življenja ter kako to dosegati. Namesto vprašanja, kaj poučevati, se zato danes pogosteje sprašujemo, kakšno znanje in čemu