Doživljaj narodne glazbe kod djece

Abstract

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