scholarly journals Music teaching in regular class and extracurricular music activities in Croatia: State and perspectives

2020 ◽  
Vol 10 (2) ◽  
pp. 143-154
Author(s):  
Sabina Vidulin
Keyword(s):  
Classical Music ◽  
School Curriculum ◽  
Music Appreciation ◽  
Music Teaching ◽  
Musical Skills ◽  
Regular Class ◽  
Musical Activity ◽  
Compulsory Subject ◽  
Emotional Approach ◽  
Music Activities

AbstractIn the last 30 years Croatia has been involved in an intensive period of educational reforms. Music teaching, as a compulsory subject, underwent some positive and negative changes. The so-called open model and contents remake bring the possibility for teachers to be more creative and for students to be involved to a greater extent, but unfortunately, music lessons come to just 1 h per week. As a part of the Croatian school system, the extracurricular music activities are implemented in the school curriculum which affects the acquisition of new knowledge developing students’ musical skills. This paper aims to present the today’s situation of attending music classes in regular and extracurricular lessons in Croatia. Moreover, it discusses the international research project Schools@Concerts: Tuning up for the Music Experience which influences the idea how to carry out another kind of extracurricular musical activity which suits the worldwide environment. The intention is to familiarize students with (classical) music during the work in the extracurricular activity and by visiting to a concert. The author presents her own idea how to realize the extracurricular music activity Listening to Music with Concert Experience carried out by a cognitive – emotional approach to listening to music which contributes to the students’ music appreciation and preservation, transfer, renewal and dissemination of cultural heritage.

What to Listen For

2018 ◽  
pp. 69-84
Author(s):  
Kathleen McGowan
Keyword(s):  
Classical Music ◽  
Online Courses ◽  
Teaching Assistant ◽  
Music Appreciation ◽  
Musical Skills ◽  
Traditional Courses ◽  
Guest Lecturer ◽  
History Of ◽  
Ideal Student ◽  
Reflective Narrative

This chapter is a reflective narrative. When the author took music appreciation as an undergraduate music major, it was still taught in the “traditional” style: an overview of the rudiments of music, followed by a chronological mad-dash through as much of the history of classical music as could be crammed into a semester. In her later experiences as a teaching assistant and guest lecturer, the approach she chose was similar. Many online versions of music appreciation courses rely on this format. Such a course favors only the most ideal student. This chapter focuses on addressing the needs of typical students in music appreciation courses, and offers suggestions for making online, hybrid, and traditional courses more useful to both students and instructors. If future online courses hope to succeed in giving students a thorough background in academic musical skills, then they will need to address the digital divide as well as the musical divide between their resourced and under-resourced students.

Philosophical and Theoretical Foundations

2013 ◽  
Author(s):  
Jay Dorfman
Keyword(s):  
Music Education ◽  
Critical Role ◽  
Music Teaching ◽  
Graduate Degree ◽  
Philosophy Of Music ◽  
Musical Skills ◽  
Art Form ◽  
School Music ◽  
Broad Subject ◽  
Teaching Music

Many authors have explored the ideas of philosophy and educational theory and how those ideas can serve as a foundation for teaching practices. Philosophy is a broad subject, and it is not the purpose of this book to create a new philosophy of music teaching and learning; however, we can beneficially draw on philosophical and theoretical works of others to form some foundations. By necessity, a theory of technology-based music instruction begins with a theory of music education. To deviate from this would be to neglect the important theoretical work that forms the guiding foundation of teaching in our chosen art form. The critical role of theory in this new method of teaching is to help technology-based music instructors develop dispositions that make this type of teaching less forced, more natural than it might otherwise be. The most successful technology-based music teachers are those who recognize the capacities of their students to engage with technology, to be creative, and who are willing to modify some beliefs—possibly long-held ones—to allow their students the freedom to explore and construct their musical skills and knowledge. These are difficult dispositions to develop. Understanding some important theoretical and philosophical work can help in treading that path by helping teachers acknowledge findings that have come before, and by letting us make critical decisions about the ways we teach and our students learn. The teacher in the following Profile of Practice has developed trust in his students and himself, assurance that he can promote students’ creativity, and confidence in his TBMI abilities. He knows that students come to his classes with unique worldviews, and with experiences, both musical and otherwise, accumulated over each of their lifetimes. While he does not place great emphasis on theoretical models of creativity or on articulating his own music teaching philosophy, his teaching reflects some of the most important philosophical dispositions found in effective TBMI teachers. Mr. E teaches middle school music in a relatively affluent suburb. He is fortunate to have experiences teaching music at many levels and has a wealth of formal training in music technology from both his undergraduate and graduate degree work.

The NBC Music Appreciation Hour: Radio Broadcasts of Walter Damrosch, 1928–1942

2003 ◽  
Vol 51 (1) ◽  
pp. 64-77 ◽  
Author(s):  
Sondra Wieland Howe
Keyword(s):  
Classical Music ◽  
Age Groups ◽  
Music Appreciation ◽  
The Past ◽  
Relevant Today ◽  
Repertoire Selection ◽  
Use Of Technology ◽  
Technology Changes ◽  
School Programs ◽  
Audience Development

Walter Damrosch, a pioneer in the early days of radio, introduced American and Canadian children to classical music through the radio broadcasts of the NBC Music Appreciation Hour, 1928–1942. This article contains a description of the format of the programs and instructional manuals. It includes a discussion of the programs sponsorship, Damroschs collaboration with MENC, and the national impact of the broadcasts. The Music Appreciation Hour broadcast four series of programs for four different age-groups, and various authors prepared instructors manuals and student notebooks. The successful programs were promoted as a supplement for school programs, and students were encouraged to expand the experience with other musical activities. The broadcasts were discontinued in 1942 for financial and personal reasons. The Music Appreciation Hour and other music programs of the past can be used as models for contemporary projects as educators explore the creative use of technology in music teaching. Although technology changes, many issues of the past (audience development, repertoire selection, finances, sponsorship) are still relevant today.

scholarly journals Attitudes of primary school teachers in Croatia toward Music as a school subject / Stališča osnovnošolskih učiteljev na Hrvaškem do glasbe kot šolskega predmeta

2021 ◽  
Vol 17 (34) ◽  
pp. 13-27
Author(s):  
Snježana Dobrota ◽  
Antonija Vrančić ◽  
Ivana Križanac
Keyword(s):  
Music Education ◽  
Primary School ◽  
Primary Education ◽  
Work Experience ◽  
Leisure Time ◽  
Classical Music ◽  
School Teachers ◽  
School Subject ◽  
Primary School Teachers ◽  
Music Activities

The paper explores the influence of years of work experience, professional qualifications, additional music education, engaging in music activities in leisure time, and going to the theatre/classical music concerts on the attitudes of primary school teachers toward the school subject Music. The research was conducted on a sample of primary education teachers from all Croatian counties (N = 233), using a questionnaire composed of two parts: The General Data Questionnaire and Attitudes Toward Music as a School Subject. The results confirm that primary school teachers with fewer years of work experience have more positive attitudes toward the Curriculum of Music Education for Primary Schools and for Grammar Schools in the Republic of Croatia, while in other aspects of attitudes no difference was found. Furthermore, no differences were found in the attitudes of primary school teachers toward the subject Music with regard to their professional qualifications. Primary education teachers who have attended additional music classes, who engage in music activities in leisure time and who often attend theatre/classical music concerts, consider Music to be an important school subject that relaxes the students, and consider themselves more competent to teach music. The obtained results have significant implications in terms of music pedagogy, with regard to organizing the music education of preservice primary teachers and their lifelong learning.

scholarly journals On the distinctive educational value of philosophy

2018 ◽  
Vol 5 (1) ◽  
Author(s):  
Michael Hand
Keyword(s):  
School Curriculum ◽  
Academic Disciplines ◽  
Intellectual Virtues ◽  
Educational Value ◽  
School Subjects ◽  
Compulsory Subject

Should philosophy be a compulsory subject in schools? I take it as read that philosophy has general educational value: like other academic disciplines, it cultivates a range of intellectual virtues in those who study it. But that may not be a good enough reason to add it to the roster of established school subjects. The claim I defend in this article is that philosophy also has distinctive educational value: there are philosophical problems that feature prominently and pressingly in ordinary human lives and that all children should be equipped by their education to tackle. Among these are the problems of justifying subscription to moral, political and religious standards. The significance of these problems for everyone is sufficient to warrant the inclusion of philosophy in the school curriculum.

The Problem of the Non-Specialist Student of Latin

1963 ◽  
Vol 10 (1) ◽  
pp. 63-70
Author(s):  
Constance Bullock-Davies
Keyword(s):  
School Curriculum ◽  
Proper Function ◽  
Subsequent Growth ◽  
Long Time ◽  
Compulsory Subject

The non-specialist student of Latin has been with us for a long time, but he has become a somewhat imposing problem nowadays. When Latin was a compulsory subject for matriculation, he partook of the nature of the seed which fell by the wayside or on stony ground, and his subsequent growth frequently proved to be as chancy as his habitat; but now more interest is being taken in him and his particular needs, perhaps because Latin has once more the opportunity of becoming a subject in its own right. The pride of place which it has lost in the school curriculum ought not to be regretted, for it was based on false values. Tradition, in its loosest and worst sense, may be said to have kept Latin alive; and, paradoxically, tradition, in terms of methods and convictions, has very nearly strangled it. Now that it has been freed from its unenviable position, the time is ripe for a reconsideration of its proper function.

Music in the school curriculum: why bother?

2002 ◽  
Vol 19 (3) ◽  
pp. 215-226 ◽  
Author(s):  
John Paynter
Keyword(s):  
General Education ◽  
School Curriculum ◽  
Music Teaching ◽  
Musical Education

In spite of centuries of experience and experiment, the practicalities and benefits of general education (schooling) remain uncertain. Can we sustain the spread of subjects that now make up the curriculum? In particular, can we justify time spent on music, which to many would appear to be a specialised study for the talented? The evidence of past practice suggests that the content of classroom music teaching has not done much to help the majority of people to understand music. Yet making music is manifestly an important feature of our humanity. Are there principles at work deep in the nature of music which explain this, and can those features be exploited as the basis of a musical education which will have value for everyone?

scholarly journals Students' music preferences towards classical music

2021 ◽  
Vol 15 (2 (29)) ◽  
pp. 5-23
Author(s):  
Antonella Mendiković Đukić ◽  
Marlena Plavšić ◽  
Sabina Vidulin
Keyword(s):  
Negative Correlation ◽  
Classical Music ◽  
Strong Support ◽  
Female Students ◽  
Music Students ◽  
Music Preference ◽  
Music Preferences ◽  
Moderate Negative Correlation ◽  
Historical Periods ◽  
Music Activities

Music preferences can be related to many groups of factors, as LeBlanc’s Interactive theory of music preference suggests. In this research four factors from the model were explored in relation to students’ preference towards classical music: students' age, their gender, their attendance of extracurricular music activities and familiarity of music pieces. Fifteen excerpts of classical music pieces from different musical-historical periods were presented to a sample of 516 students, 7 to 18 years old. Results reveal moderate negative correlation between age and preference towards classical music. Higher preference was found in female students and for familiar pieces. Students that attended extracurricular music activities preferred only some excerpts more. Findings provide strong support to LeBlanc’s model. Implications for teaching are proposed.

scholarly journals THE THREE KEYS TO A MUSICAL TREASURE

2021 ◽  
pp. 173-182
Keyword(s):  
Classical Music ◽  
Music Teachers ◽  
Art Music ◽  
Music Listening ◽  
Music Culture ◽  
Musical Activity ◽  
Musical Perception ◽  
Musical Taste ◽  
Musical Heritage

The role of music in the upbringing of a harmoniously developed generation is invaluable. Unlike other forms of art, music is a miraculous tool capable of activating a person’s most delicate feelings, emotions, and rich emotional reserves in a person. This article presents the pedagogical aspects of the formation of personality in the lessons of music culture, suggestions on the use of national melodies, the opportunities of our musical heritage, and suggestions on the use of Uzbek classical music in the development of artistic taste of future music teachers. The three aspects of musical activity, namely the ability to listen to music, musical taste, and musical sensitivity, are analyzed as factors that determine the extent to which a music listener or performer’s overall artistic taste has developed. Keywords: music, sound, aesthetic education, piece of music, listening to music, musical taste, musical perception, rhythm, timbre, artistic taste.

A Hopeful Tone

2019 ◽  
pp. 488-516
Author(s):  
Bryan J. Parkhurst
Keyword(s):  
Classical Music ◽  
Music Appreciation ◽  
The Political ◽  
Political Project ◽  
Musical Listening ◽  
Western Classical Music

Bryan J. Parkhurst uses contemporary analytic normativist aesthetics as a lens through which to view Leftist/Marxian normative aesthetics of music appreciation. In order to do this, Parkhurst situates the key theses of Ernst Bloch’s theory of utopian musical listening within the framework of Kendall Walton’s theories of musical fictionality and emotionality. The aim of this task is to make Bloch’s fundamental position perspicuous enough that it can be assessed and evaluated. Parkhurst concludes that Bloch’s contention that music should be heard as a utopian allegory, and that the distinguished office of (Western classical) music is to contribute to the political project of the imagining of a better, more humane world (a “regnum humanum”), faces difficult objections.

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