V nenehno spreminjajoči se družbi moramo v procesu vzgoje in izobraževanja iskati nove poti, ki bodo mladim omogočale graditev kakovostnega znanja. Ena izmed težav, s katerimi se danes spoprijema osnovnošolsko izobraževanje, je nepovezano znanje, ki ga učenci pridobijo na podlagi tradicionalno ločenih šolskih predmetov. S primernim načrtovanjem in z izvedbo didaktičnega pristopa medpredmetnega povezovanja lahko učencem pomagamo pri odkrivanju smiselnih povezav med predmeti, kar omogoča poglobljeno in trajnejše znanje. Pri tem se je treba zavedati, da moramo v vzgojno-izobraževalnem procesu zagotavljati tudi pristope, ki bodo mladim nudili pomoč pri osebnostni rasti, pri čemer bodo imeli možnost odkrivati svoje lastne ustvarjalne potenciale. Te lahko razvijamo skozi kulturno-umetnostno vzgojo, katere bistvo se odraža prav v njeni interdisciplinarnosti.
Namen doktorske disertacije je bil zasnovati in preizkusiti učinke eksperimentalnega programa, ki temelji na medpredmetnem povezovanju glasbene vzgoje in zgodovine ter vključuje cilje in načela kulturno-umetnostne vzgoje. V raziskavo je bilo vključenih 76 učencev 9. razreda osnovne šole, ki so bili del primerjalnih skupin. V kontrolni skupini je pouk potekal na podlagi tradicionalnega pristopa, v eksperimentalni skupini pa na didaktičnem pristopu medpredmetnega povezovanja. Pri raziskovanju smo uporabili eksperimentalno metodo empirično-analitičnega pedagoškega raziskovanja.
Izsledki raziskave so potrdili pozitivne učinke programa na stopnjo interesa do klasične glasbe, samoiniciativnost poslušanja klasične glasbe, pomembnost izbranih vrednot (kultura, umetnost, ustvarjalnost, znanje), priljubljenost predmetov glasbena vzgoja in zgodovina, uspešnost učencev pri preizkusih znanj iz glasbene vzgoje in zgodovine ter na mnenje učencev o koristnosti medpredmetnega povezovanja in sodelovanju s skladateljico. Pozitivni učinki programa se prav tako odražajo v izraženih stališčih do glasbene kulture. Učenci eksperimentalne skupine so glede na učence kontrolne skupine višje soglašali s trditvami, da jih klasična glasba sproščada glasbena industrija spodbuja množično porabništvoda iskanje finančnega dobička v glasbi hromi kulturo in umetnostda naj bo glasbenik glasbeno izobraženda glasbena izobrazba poslušalca pripomore k boljšemu razumevanju glasbe in da jim je klasična glasba 20. stoletja všeč. Nižjo stopnjo soglašanja pa so učenci eksperimentalne skupine izrazili do trditev, da naj bo glasbenik tisti, ki rad poje, pleše in je privlačen ter da je klasično glasbo 20. stoletja težko razumeti.In a constantly changing society, the education process must seek new ways to enable young people to build quality knowledge. One of the challenges that primary school education is faced with, is unconnected knowledge which is a result of the traditional division between school subjects. Appropriate planning and implementation of cross-curricular approach to teaching can help students discover meaningful connections between subjects, which enables a more in-depth and long-lasting knowledge. Also, it is necessary to provide approaches within the education process that will help young people in their personal growth and exploitation of their creative potentials. The latter can be developed in arts and cultural education which is interdisciplinary in its essence.
The purpose of the doctoral thesis was to design and test the effects of an experimental programme based on interdisciplinarity of music education and history which includes goals and principles of culture and arts education. The study involved 76 ninth class primary school students which formed comparator groups. The lessons in the control group were based on the traditional approach to teaching, while in the experimental group, the interdisciplinary approach was adopted. The research method used was the experimental method of empirical-analytical research.
The research results confirmed positive effects of the programme on the level of interest in classical music, self-initiative in listening to classical music, importance of selected values (culture, arts, creativity, knowledge), popularity of music education and history, students’ performance in music education and history examinations, and their opinion about usefulness of interdisciplinarity and cooperation with a composer. Positive effects of the programme are also reflected in the opinions expressed about musical culture. Compared to the students of the control group, students in the experimental group agreed to a higher extent with the following statements: that classical music relaxes them, that musical industry encourages mass consumptionthat the strive for financial profit in music paralyses culture and artsthat a musician should have a certain musical trainingthat musical training of a listener enables a better understanding of musicand that they liked 20th century classical music. The students of the experimental group expressed less agreement with the statements that a musician should be somebody who likes to sing and dance and is attractive, and that 20th century classical music is difficult to understand
