Search

Brojna su istraživanja potvrdila vezu između glazbenog obrazovanja i dobrobiti za opći razvoj djeteta. Glazbene aktivnosti koje stavljaju težište na ritam u nekim su se istraživanjima istakle kao sredstvo poticaja djetetovog razvoja u ne-glazbenim domenama. Rad se bavi ulogom temporalne dimenzije glazbe u glazbenom i općem razvoju djeteta. Iznose se dosadašnje spoznaje o percepciji, obradi i izvođenju glazbenog ritma, pulsa i metra te tijeku ritamskog razvoja djeteta. Daje se pregled istraživanja utjecaja glazbenih aktivnosti koje se temelje na ritmu na ne-glazbene domene razvoja te se preporuča rani rad na ritmu. Ističe se potreba provođenja eksperimentalnih istraživanja koja bi rasvijetlila ulogu ritma u razvoju djeteta i modeli rada na ritmu primjenjivi u institucijama koje se bave djecom, uključujući i terapijske te rehabilitacijske ustanove., Numerous studies have confirmed the correlation between music education and child development. In some studies, musical activities based on rhythm have been highlighted as a means of stimulating children’s development in non-music domains. The paper deals with the role of the temporal dimension of music for both the musical and general development of the child. The text presents knowledge about the perception, processing, and performance of music rhythm, pulse, and meter, as well as the course of the rhythmic development of the child. An overview is provided of the impact of rhythm-based music activities on non-music developmental domains together with recommendation for early work on rhythm. We emphasized the need to conduct experimental research to shed light on the role of rhythm in the development of the child and the rhythmic models applicable in child care institutions, including therapeutic and rehabilitation institutions.

Glasbene dejavnosti zelo pomembno vplivajo na otrokov celostni razvoj, in ker se otrok že zelo zgodaj v nosečnosti odziva na glasbo, je pomembno, da se ji intenzivno in ciljno posvečamo. Različna izbira glasbenih dejavnosti otroka dodatno motivira, sprošča, navdihuje in povečuje raziskovalnost ter ga hkrati spodbuja v razmišljanje in reševanje različnih situacij ali vprašanj. Diplomska naloga je razdeljena na teoretični in empirični del. Teoretični del zajema tri poglavja, ki smo jih razčlenili na podpoglavja, kjer smo ugotavljali, kakšen vpliv ima družina in okolje v otrokovem življenju na njegov razvoj. Predstavljen je glasbeni razvoj otroka. Opisane so različne glasbene dejavnosti, ki se jih lahko poslužujemo v lastnem in otrokovem življenju. V empiričnem delu je bila izvedena raziskava, v kateri smo ugotovili, da aktivnost staršev in njihovih otrok na področju glasbe z leti narašča, torej starejši je starš, več glasbenih dejavnosti izvaja s svojim otrokom. Na podlagi vodenega intervjuja pa ugotavljamo, da otroci izražajo velik interes za instrumentalno izvajanje, ker pa nimajo možnosti rokovanja s glasbili, se najpogosteje odločijo za dejavnosti iz poslušanja glasbe. Starši z višjo izobrazbo se zavedajo, kako ključnega pomena je vključevanja glasbe v otrokovo življenje, zato v svojo vzgojo vključujejo več različnih glasbenih dejavnosti, prav tako pa se tudi otroci poslužujejo boljših vzorcev za posnemanje od staršev in sorojencev, ki so tudi sami glasbeno aktivni. Music activity plays an extremely important role in the child's overall development. Because of the fact that the child’s brain is already responsive to music during pregnancy it is of crucial importance to intensively dedicate as much time to music as possible throughout our lives. Choosing different music activities additionally motivates children, relaxes and inspires them and gives them the opportunity to get involved in many new situations and get curious about the world around them. This thesis is divided into two parts, the theoretical and the empirical. The theoretical part includes three main chapters divided into subchapters. They closely present how family and the environment influence the development of a child. Next, the music development of children is presented. And finally, different music activities that can be used in everyday life of children and adults are provided. The empirical part explains the results of a survey. First, the results show that the older the parents are the more interest in music they themselves and their children have and thus practice. Second, children express huge interest in instrumental performance. Since they have no possibility to use the instruments they decide on listening activities. Third, because the parents with a higher degree of education understand the importance of inclusion of music into child’s life they incorporate many different music activities into their children’s lives. Last, children themselves develop better pattern to mirror their parents and siblings who are actively involved in music.

The character of this article is theoretical and practice oriented, therefore offering educational implications for music educators and music psychologists. Its main objective is to give an overview of the most important musical and developmental changes of musically talented children and youth, at different stages of the three-level specialized music education. The theoretical background of the article refers to stage theories of development of gifted with the intention to point out correspondence between stages of development and the specificity of music education stages. Theoretical conceptions are used as a framework to synthesize and to interpret empirical data and practice-related professional experiences of psychologists in music schools in Poland and Serbia. Both countries, though culturally distinct in nature and in the character of traditional music, are characterized by a very similar system of specialized/professional music education. Further on, the article presents a review of the wide range of benefits/outcomes experienced by music school students, as a result of the highly simulative, systematic and supportive environment of music learning. The article begins with an introduction to the context of the specialized music education system in Poland and Serbia and then presents how a particular system of education for the gifted contributes to the development in the field of acquiring musical knowledge and skills, as well as to benefits/outcomes of the education system for the personal, social and professional development of the musically gifted, indicating a wide range of positive experiences.

Treball de Final de Grau en Mestre o Mestra d'Educació Primària. Codi: MP1040. Curs acadèmic 2015-2016 Este trabajo analiza los diversos autores que han hablado sobre el desarrollo musical de los niños relacionándolo con desarrollo evolutivo de los niños durante la etapa de educación primaria. Esta investigación es precisa para establecer la media en el desarrollo musical y así poder detectar en las aulas de primaria aquellos alumnos que tienen potencial, actitud, capacidad…para la música. El objetivo es enmendar la poca información que poseen los maestros generalistas y en algunos casos los especialistas de música sobre este tema. Después de una revisión teórica, se crea una serie de indicaciones para verificar si existen o no tales condiciones y en el caso que sea positivo se ejecutarán unas pautas para derivarlo al lugar correspondiente con la finalidad de desarrollar dichas facultades This work analyses different authors that talk about the children’s musical development related to child’s development during the primary school. This research is necessary to set an average in the musical development and be able to find in the classrooms those children who have the potential, attitude and ability to make music. The aim is to amend the insufficient information that teachers and some music specialists have about the issue. After a theoretical review, a series of indicators are created to check whether such conditions exist or not. If so, some guidelines will be executed in order to send the children to the best place for develop those abilities

Mestrado em Ensino da Educação Musical no Ensino Básico A criatividade tem sido um tema largamente debatido na área da educação musical, refletindo problemáticas que se relacionam com o contexto, a ação pedagógica do professor, os processos de aprendizagem dos estudantes e a avaliação dos produtos criativos. O presente trabalho descreve e analisa o projeto educativo e o projeto de investigação no campo da criatividade em contexto educativo, evidenciando conceitos emergentes como: ensino para a criatividade e aprendizagem criativa. O objetivo da investigação visa compreender como a criatividade se incorpora à microcultura da sala de aula através das relações estabelecidas entre a criação artístico-musical, o professor e a comunidade de sala de aula, defendendo-se a estratégia de ensino para a criatividade e o trabalho colaborativo como fatores que potenciam o desenvolvimento de aprendizagens nas crianças. A investigação é de natureza qualitativa e socorreu-se da estratégia de investigação-ação, decorrendo da implementação de um projeto educativo. O projeto educativo teve como finalidade a criação e apresentação de um espetáculo músico-teatral partindo de uma rima infantil. Os processos de trabalho envolveram a composição musical de canções e outras criações nos domínios da poesia, do texto narrativo, da dança e da expressão dramática. O quadro teórico foi elaborado levando em consideração dois eixos de análise: um baseado na teoria construtivista de Piaget e nas teorias socioconstrutivistas de Vygotsky e Swanwick, compreendendo a perspetiva das crianças sobre as relações que estabelecem com a música; outro que contempla as interações entre os estudantes e o professor de música em atividades de criação artístico-musical, partindo das perspetivas do professor de música, dos estudantes e dos professores que acompanharam de perto o projeto educativo, apoiando-se no modelo sistémico da criatividade de Csikszentmihalyi. There has been a wide debate around the topic of creativity within musical education, wich reflects a concern about the contexts, the pedagogical action of the teacher, the students learning processes and evaluation of creative products. The present work describes and analyses the educational project and the research project in the field of creativity in an educational context, highlighting emerging concepts as: teaching for creativity and creative learning. The goal of this research is to understand how creativity is incorporated into the classroom microculture. This will be evaluated through the relations established between the artistic-musical creation, the professor and the classroom community, arguing for the strategy of teaching for creativity and the collaborative work as factors that potentiate the development of learning in children. The nature of the research is qualitative and positions itself in the field of action research, encompassing the implementation of an educational project. The purpose of educational project was the creation and presentation of a musical-theatrical performance, taking a nursery rhyme as an inductor. The processes of the work involved the musical composition of songs and other creations in domains as poetry, narrative text, dance and dramatic expression. The theoretical framework was elaborated departing from two axes of analysis. The first axis of analysis was based on constructivist theory of Piaget and socioconstructivist theories of Vygotsky and Swanwick, taking into account the children’s perspective on their relationship with music. The second axis of analysis attempts to capture the interrelationship between students and the music teacher in the school context, relying on the systemic model of creativity by Csikszentmihalyi and considering the perspectives of the music teacher, the students and the teachers who closely followed the educational project.

Maks Veber je smatrao da je zapadno društvo karakteristično po tendenciji ka ekstremnoj racionalizaciji. Definisana kao proces progresivne intelektualizacije, racionalizacija je smatrana očiglednom u svim aspektima društvenog života. Međutim, Veber je tvrdio da je ovaj proces najočigledniji u muzici, te je „tezu o racionalizaciji” primenio na sve aspekte muzike – melodiju, harmoniju, polifoniju, sisteme štimovanja i lestvica, kao i instrumentalnu tehnologiju. Iako su fragmenti Veberove studije o muzici (započete u periodu između 1910. i 1913. godine) objavljeni 1921. godine, studiju retko razmatraju i muzikolozi i sociolozi. U ovoj studiji, Veber je ukazao na postojanje procesa racionalizacije u sposobnosti kompozitora da upotrebljavaju sve kompleksnija muzička sredstva, što je vodilo unapređenju ljudskog uma i sve većem bogaćenju muzičkog jezika. Nadalje, on je objasnio proces racionalizacije kao sredstvo u borbi protiv izvesnih iracionalnih „pretnji” koje bi mogle da zaustave razvoj muzike. U ovoj disertaciji analiziram Veberovu „tezu o racionalizaciji” kao amalgam socioloških i muzikoloških uticaja, te posebno izdvajam elemente koji ukazuju na prisustvo i načine inkorporiranja evolucionističke paradigme (karakteristične za muzikološki diskurs 19. veka) u autorovu sociološkomuzičku teoriju. Najpre ukazujem na važna pitanja koja se tiču same paradigme evolucionizma, kako u diskursima prirodnih nauka, tako i u diskursima o muzici. Potom se fokusiram na formiranje evolucionističkog modela u Veberovoj sociologiji muzike tako što predstavljam model kao posledicu kombinacije evolucionističkog i istoricističkog uticaja. Premda se o Veberu redovno diskutuje kao o protivniku evolucionističkih tendencija u sociologiji, ja ovde pokazujem da se paradigma evolucionizma pokazuje kao jedna od značajnijih teorijskih platformi kada je reč o Veberovoj studiji o muzici. Konačno, rad završavam izvesnim razmatranjima mogućih implikacija Veberove analize. Max Weber argued that Western society is characterized by a tendency towards extreme rationalization. Having been defined as a process of progressive intellectualization, rationalization was supposed to be evident in all aspects of social life. However, Weber advocated that this process was nowhere more conspicuous than in music, and he applied the “rationalization thesis” on the analysis of all music aspects – melody, harmony, polyphony, tuning and scale systems, instrument technology. Even thought the fragmentary drafts of Weber’s study on music (which originated in the 1910 to 1913 period) were published in 1921, the study has been scarcely discussed by both musicologists and sociologists. In this study, Weber pointed to the process of rationalization as being obvious in composers’ ability to use progressively complex musical agents, which led to the enhancing of human reason and to the increasing abundance of musical language. Furthermore, he explicated the rationalization process as a means in the fight against certain irrational “threats” that could stop music development. In this dissertation I survey Weber’s “rationalization thesis” as an amalgam of the influences of both sociology and musicology, and I focus on the elements that indicate the presence of the evolutionist paradigm (which was characteristic for the 19thcentury musicology) and the ways of its incorporation in author’s socio-musical theory. Firstly, I point to the pertinent questions considering the very paradigm of evolutionism in the natural science discourses, as well as in the discourses on music. Then, I analyze the formation of the evolutionistic model in Weber’s sociology of music by presenting the model as a consequence of both evolutionistic and historical influences. Although Weber is regularly discussed as an opponent of the evolutionistic tendencies in sociology, I show how the evolutionistic paradigm seems to be one of the relevant theoretical backgrounds when the analysis of Weber’s study on music is discussed. Finally, I conclude the paper with some observations on possible implications of Weber’s analysis.

One of the aims of the present revision of the Course of Study for Elementary School is the education of children's ability of acting and expressing themselves creatively based on their own thinking and judgements. That ability is essential for children to have a positive attitude in life. This thesis explores how to organize a learning process in which early stage elementary school children can actively engage in music with their creativity in full use. Specifically we propose a leaning method consisting of Playing, Searching, and Creating. Playing should include rediscovering a variety of sounds