Page 136 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana, leto 13, zvezek 27 / Year 13, Issue 27, 2017
P. 136
SBENOPEDAGOŠKI ZBORNIK, 27. zvezek
According to testimony of John Deacon, Pope Gregory I composed the antiphonary, the
collection of texts from chants sang in Mass, and founded Scholae cantorum whose goal
was to disseminate new Gregorian chants through cantors educated in Rome (Chailley,
2006). However, more recent research speak in favour of the fact that the oldest liturgical
books from which people sang were edited as late as after Pope Gregory and that the
concept of ‘Gregorian’ derives from the manuscript so called due to the holiday texts in
accordance with the ‘Gregorian’ calendar of church holidays from the eight century
(Koprek, 2013).
The repertory of liturgical singing of Western Church was standardised and almost finally
defined with the reform of Gregorian singing which lasted more than 200 years, as long as
until the ninth century (Chailley, 2006).
Listening in the school subject Music
Listening area is the youngest dimension of school subject Music because it is closely
linked to technology and media’s development (Rojko, 2012). According to the National
teaching curriculum of Ministry of Science, Education and Sport of the Republic of
Croatia (2013), the tasks of listening include getting to know all forms of music ranging
from artistic music, folk music (domestic and foreign), to jazz and popular genres of all
kinds. Listening focus is based on the development of listening concentration and ability
to analyse a music work. This leads to forming basic aesthetic criteria for music’s
evaluation.
Alongside the artistic, music listening also has an educational role. This role is directed
towards listening perception ability’s development and perceiving musical expressive
components of the composition. This implies determining the character, tempo,
performers, and dynamics. Musical form of the piece is also identified in the third grade of
primary school. The stated suggests that music listening requires students’ active listening
approach (Dobrota, 2012). Listening in itself is based on experience for which previous
musical knowledge is not needed. McAnally (2007) considers teacher’s lead in the
listening process necessary for students’ music listening. Rojko (2012) states it is possible
to train all teachers for leading the listening activity, regardless of their musical ability.
Primary educational degree does not require strict expert-musical approach.
Oblak (2001) stresses that guided listening is experiential-analytic listening. According to
Denac (2010), such listening includes emotion and cognition. The combination of
experiences in the shape of emotional reaction and analyticity, through analysis of certain
musical elements, are the foundation for systematic and active music listening and
understanding.
Gregorian singing as a specific musical form is not represented in the listening component
of the school subject Music in primary education in the first four forms. Considering the
cultural significance of Gregorianics, as the basis of a great part of the later musical and
136
According to testimony of John Deacon, Pope Gregory I composed the antiphonary, the
collection of texts from chants sang in Mass, and founded Scholae cantorum whose goal
was to disseminate new Gregorian chants through cantors educated in Rome (Chailley,
2006). However, more recent research speak in favour of the fact that the oldest liturgical
books from which people sang were edited as late as after Pope Gregory and that the
concept of ‘Gregorian’ derives from the manuscript so called due to the holiday texts in
accordance with the ‘Gregorian’ calendar of church holidays from the eight century
(Koprek, 2013).
The repertory of liturgical singing of Western Church was standardised and almost finally
defined with the reform of Gregorian singing which lasted more than 200 years, as long as
until the ninth century (Chailley, 2006).
Listening in the school subject Music
Listening area is the youngest dimension of school subject Music because it is closely
linked to technology and media’s development (Rojko, 2012). According to the National
teaching curriculum of Ministry of Science, Education and Sport of the Republic of
Croatia (2013), the tasks of listening include getting to know all forms of music ranging
from artistic music, folk music (domestic and foreign), to jazz and popular genres of all
kinds. Listening focus is based on the development of listening concentration and ability
to analyse a music work. This leads to forming basic aesthetic criteria for music’s
evaluation.
Alongside the artistic, music listening also has an educational role. This role is directed
towards listening perception ability’s development and perceiving musical expressive
components of the composition. This implies determining the character, tempo,
performers, and dynamics. Musical form of the piece is also identified in the third grade of
primary school. The stated suggests that music listening requires students’ active listening
approach (Dobrota, 2012). Listening in itself is based on experience for which previous
musical knowledge is not needed. McAnally (2007) considers teacher’s lead in the
listening process necessary for students’ music listening. Rojko (2012) states it is possible
to train all teachers for leading the listening activity, regardless of their musical ability.
Primary educational degree does not require strict expert-musical approach.
Oblak (2001) stresses that guided listening is experiential-analytic listening. According to
Denac (2010), such listening includes emotion and cognition. The combination of
experiences in the shape of emotional reaction and analyticity, through analysis of certain
musical elements, are the foundation for systematic and active music listening and
understanding.
Gregorian singing as a specific musical form is not represented in the listening component
of the school subject Music in primary education in the first four forms. Considering the
cultural significance of Gregorianics, as the basis of a great part of the later musical and
136
