LIstening to music

U radu se apostrofira važnost auditivnoga pristupa u kontekstu glazbenoga obrazovanja te se ukazuje na mogućnosti spoznajno-emocionalnoga slušanja glazbe na nastavi solfeggia. Polazište slušanja predstavlja doživljaj glazbe te razumijevanje djela uz ciljane zadatke, ali i uz rasprave o doživljajima te o pobuđenim imaginacijama učenika. Glazbeni doživljaj, utvrđivanje i proširivanje znanja, kao i produbljivanje interesa za djelo, omogućuju se višemodalnim aktivnostima kojima učenici razvijaju muzikalno mišljenje, glazbene vještine, stječu teorijska i praktična znanja. Razvoj učenika s naglaskom na njegovu emocionalnu sastavnicu doprinijet će usmjeravanju unutarnjega senzibiliteta učenika na muzikalni doživljaj i kvalitetu muzikalnoga kazivanja, a time i izgradnju vlastitih estetskih kriterija, što može voditi prema boljemu razumijevanju i prihvaćanju umjetničke glazbe.

U radu se predstavlja novi pristup slušanju glazbe u osnovnoj školi orijentiran na cjelovito primanje, razumijevanje i prihvaćanje umjetničkog glazbenog djela. U spoznajno-emocionalnom pristupu, spoznajni dio obilježava upoznavanje i razlikovanje strukturnih glazbenih sastavnica djela, dok se emocionalnim dijelom teži prihvaćanju glazbe. Pri slušanju glazbe predlaže se zamjećivanje karakteristika prvog, drugog i trećeg stupnja, od (slušno) lakše do teže uočljivih glazbenih karakteristika. Osim navedenoga, autorice sistematiziraju četiri razine glazbenog doživljaja koje vode prema trajnom zadržavanju primjera u glazbenoj memoriji učenika. Suočavanje s glazbenim djelom kroz aktivno slušanje, pamćenje, razumijevanje i prihvaćanje skladbe omogućit će da učenikovo znanje postane operativno te utjecati na oblikovanje njegovog kulturno-vrijednosnog sustava. Ključne riječi: osnovna škola, pristup, razine doživljaja, slušanje glazbe, stupnjevanje glazbenih karakteristika.

It is normally taken for granted that popular music fans listen to recorded music, and that their preferences are mainly shaped by that activity. However, studying what happens while they are listening appears as a challenging task. In the last two decades music psychologists, social psychologists, sociologists and popular music scholars, among others, have proposed different qualitative research strategies to address the complexity of popular music fans’ everyday listening experiences.
While these methods are normally sensitive to the diversity of listening
contexts and subjective experiences, and even occasionally deal with situations where music listening happens alongside other actions (Lilliestam 2013; Kassabian 2013), they may also raise questions of representativeness, and do not always allow an understanding of the intersubjectivity of listening practices, and of the ways in which they may be related to musical structures. This paper reviews some of those empirical methods and aims to contribute to the design of useful research procedures.

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Glazba je dio djetetove svakodnevice. U obitelji i u predškolskim ustanovama njezina je funkcija različita u odnosu na školu. Nastavom glazbe u školi utječe se na cjelovit razvoj učenika, što se može sagledati iz pedagoške i umjetničke perspektive. Usmjerena je prema stjecanju znanja i razvoju umijeća učenika u umjetničkom području, potiče estetski odgoj, ali i očuvanje povijesno-kulturne baštine. Domena kojom se navedeno realizira u najvećoj mjeri je slušanje i upoznavanje glazbe. S namjerom približavanja umjetničke glazbe djeci i mladima, njezina intenzivnijeg doživljavanja i razumijevanja, u radu se ukazuje na potrebu interdisciplinarnog i korelativnog odnosa glazbe s drugim predmetima, ali i glazbenih aktivnosti međusobno. Budući da je namjera autorice ukazati i na važnost osmišljavanja novih metodičkih strategija za rad u nastavi glazbe, ukratko se opisuju koncepti Stage-English-Music, model Slušanje glazbe–skladanje i Spoznajno-emocionalni pristup slušanju glazbe. Navedene strategije za osuvremenjivanje slušanja glazbe u školi temelje se na interdisciplinarnom i intradisciplinarnom povezivanju sadržaja, ovisno o tome uključuju li u rad izvanglazbene aktivnosti (npr. engleski jezik i dramski odgoj) ili se rad provodi unutar glazbenih aktivnosti poput pjevanja, sviranja, plesa s muzikološkim, ali i humanistički orijentiranim ishodima. Praksa i istraživanja ukazuju na to da osim stjecanja glazbenih znanja i razvoja glazbenih umijeća, višemodalni pristupi utječu i na holistički razvoj učenika.

In recent decades, cultural institutions in Western countries have developed educational services and supported community cultural projects. Through the rhetoric of social inclusion, the concert hall Casa da Música (CM) in Porto, Portugal, tries to reach marginalized people in deprived contexts. This study investigated 'Som da Rua' (" Sound of the Street "), a music ensemble of homeless adults created by the CM, who perform in rehearsals and concerts supported by professional musicians and social educators. It explores the role of community music while reflecting on its possible effects upon the participants' development, its significance in their lives and its potential to build resilience among disadvantaged adults. Special attention is given to the songs, as relevant elements in the construction of the group's identity. The method is designed as a qualitative interpretive case study, combining various approaches: an evaluation of the project's aims and implementation; a semi-structured interview with the music director; field notes of observations of the musical practice; and an analysis of the song repertoire. The results suggest positive effects of musical practice in building a sense of belonging and a group identity among disadvantaged adults. Through singing and playing, supported by professional musicians, participants develop good interpersonal relationships which may foster their self-confidence and social skills. Achieving good musical results and being warmly applauded by the audiences gives them a sense of accomplishment. The musical repertoire is unique to this group, and some songs were built from the participants' inputs. The repertoire is therefore a key element in the construction of a new musical and social identity. The emotional character of the songs and the lyrics (sadness, despair, but also hope and resilience) reflects participants' moods and life experiences, while helping them to cope with their harsh lives and build resilience against adversity.

Cilj je slušanja glazbe u školi oblikovati kulturno-umjetnički svjetonazor učenica i učenika te doprinijeti njihovom estetskom odgoju. U hrvatskim osnovnim školama realizira se prema tzv. standardnom modelu kojemu je težište na spoznajnoj dimenziji. Kako bi se povećali pozornost, motivacija, slušalačke navike i prihvaćanje umjetničke glazbe, predlaže se spoznajno-emocionalni pristup koji višemodalno povezuje glazbene i izvanglazbene sadržaje. Cilj istraživanja bio je usporediti utjecaje spoznajno-emocionalnog i standardnog pristupa u nastavi glazbene kulture na spoznajni i emocionalni aspekt slušanja glazbe. Sudjelovalo je 557 učenika i učenica iz 30 petih razreda. Slušali su Hačaturjanovu Maskaradu, Beethovenovu Wellingtonovu pobjedu, Rimski Korsakovljevu Šeherezadu i Fauréovu Pavanu te odgovarali na pitanja vezana za spoznajni i emocionalni aspekt slušanja glazbe. Petnaest razreda imalo je nastavu po standardnom, a 15 razreda po spoznajno emocionalnom pristupu. U spoznajnom aspekt...

The area of listening to music is extremely suitable for music understanding. In order to achieve the goal of listening, it is important to use a valid didactic approach. In this paper attention is paid to the standard and cognitive-emotional approach to music listening. Two types of lesson plans are compared, with two different didactical approaches. The standard approach includes the analysis of cognitive elements, while the cognitive-emotional approach is accompanied by the musical elaboration of works and composers in the context of time and environment, as well as enriched through musical and non-musical elements. Four musical themes (units) were realized: Masquerade (A. Khachaturian), Wellington’s Victory (L. van Beethoven), Scheherazade (N. Rimsky-Korsakov) and Pavane (G. Fauré). In the lesson plans regarding the standard approach, the theoretical aspect of the work elaboration is visible, while in the cognitive-emotional approach the musical aspect, socio-humanistic and aesthetics aspects of the art work elaboration can be observed. The lesson plans made as a part of the cognitive-emotional approach are suitable as a creative lesson plan for the teacher and to foster the overall students’ development.

Un joven quiso saber en una ocasión cómo clasificaría yo mi música. Le contesté que, a mi escucha, mis músicas eran demasiado distintas como para que yo me sintiera capaz de agruparlas todas bajo una misma rúbrica. Lo único que pude precisarle fue que, desde mi perspectiva, incompleta, por supuesto, lo que las unía entre ellas era que se trataba de las que yo quería hacer, las que deseaba hacer, aquéllas cuyo proceso de creación me hacía sentir libre y me permitía el planteamiento de una perspectiva de la composición como búsqueda de las utopías personales. Ahora sé que componer es, en mi, un pretender dar vida a una música ausente; un acto de voluntad.

In recent decades, cultural institutions in Western countries have developed educational services and supported community cultural projects. Through the rhetoric of social inclusion, the concert hall Casa da Música (CM) in Porto, Portugal, tries to reach marginalized people in deprived contexts. This study investigated 'Som da Rua' (" Sound of the Street "), a music ensemble of homeless adults created by the CM, who perform in rehearsals and concerts supported by professional musicians and social educators. It explores the role of community music while reflecting on its possible effects upon the participants' development, its significance in their lives and its potential to build resilience among disadvantaged adults. Special attention is given to the songs, as relevant elements in the construction of the group's identity. The method is designed as a qualitative interpretive case study, combining various approaches: an evaluation of the project's aims a...

In recent decades, cultural institutions in Western countries have developed educational services and supported community cultural projects. Through the rhetoric of social inclusion, the concert hall Casa da Musica (CM) in Porto, Portugal, tries to reach marginalized people in deprived contexts. This study investigated ‘Som da Rua’ (“Sound of the Street”), a music ensemble of homeless adults created by the CM, who perform in rehearsals and concerts supported by professional musicians and social educators. It explores the role of community music while reflecting on its possible effects upon the participants’ development, its significance in their lives and its potential to build resilience among disadvantaged adults. Special attention is given to the songs, as relevant elements in the construction of the group’s identity. The method is designed as a qualitative interpretive case study, combining various approaches: an evaluation of the project’s aims and implementation; a semi-struct...

In recent decades, cultural institutions in Western countries have developed educational services and supported community cultural projects. Through the rhetoric of social inclusion, the concert hall Casa da Música (CM) in Porto, Portugal, tries to reach marginalized people in deprived contexts. This study investigated 'Som da Rua' ("Sound of the Street"), a music ensemble of homeless adults created by the CM, who perform in rehearsals and concerts supported by professional musicians and social educators. It explores the role of community music while reflecting on its possible effects upon the participants' development, its significance in their lives and its potential to build resilience among disadvantaged adults. Special attention is given to the songs, as relevant elements in the construction of the group's identity. The method is designed as a qualitative interpretive case study, combining various approaches: an evaluation of the project's aims and...

The intention of the author is to mark out the " Listening to and Making Music " approach (LMM) and explain how to improve pupils' musical understanding. The process starts with the activity of listening to music which encompasses identification of musical components and their theoretical explanation. By experiencing, observing, noticing, intellectually following and explaining the components like: rhythm, melody, dynamics, tempo and musical form, pupils show the level of their theoretical musical understanding. With the goal that pupils' knowledge becomes practical, the music making activity follows. Awareness of musical elements helps them in creating similar or new compositions, using well-known musical elements. The results of such work are active pupils' participation in the teaching process, practical demonstration of acquired knowledge, stimulation of creativity and a better understanding of musical elements and music in general. Izvleèek Pristop " Poslušanje in ustvarjanje glasbe " v funkciji boljšega razumevanja glasbe V prispevku avtorica predstavlja pristop »Poslušanje in ustvarjanje glasbe« (LMM) in pojasnjuje kako z njim pri uèencih izboljša razumevanje glasbe. Gre za proces, ki se zaène s poslušanjem glasbe, pri katerem pride do identifikacije glasbenih komponent in njihove teoretiène razlage. Z izkušanjem, opazovanjem, beleeenjem, intelektualnim spremljanjem in pojasnjevanjem komponent kot so: ritem, melodija, dinamika, tempo in glasbena oblika, uèenci izkaaejo stopnjo razumevanja glasbene teorije. Sledi ustvarjalna glasbena dejavnost s ciljem prenosa teoretiènih znanj v prakso. Uèencem pri ustvarjanju novih skladb pomagata poznavanje in uporaba dobro znanih glasbenih elementov. Tovrstno delo rezultira aktivno sodelovanje uèencev v uènem procesu, praktièno demonstracijo usvojenega znanja, spodbujanje ustvarjalnosti in boljše splošno razumevanje glasbenih elementov. Kljuène besede: osnovna šola, poslušanje glasbe, LMM pristop, ustvarjanje glasbe, uèenci, razumevanje glasbe