Page 142 - 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. 142
SBENOPEDAGOŠKI ZBORNIK, 27. zvezek
Students have stated that Gregorian singing acts soothing in highest percentage (82.7 %)
and that they felt pleased (80 %) during listening. They perceive Gregorian singing as
beautiful (79.1 %), interesting (70.9 %) and appealing (66.4 %). These results are a
consequence of Gregorian’s singing nature which is contemplative, inspired and sacred.
Martinjak (2005) considers that the aesthetics of Gregorian singing derives from synergy
of the inspired word and melody.
Conclusion
National teaching curriculum (2013) issues the instruction about getting to know all
musical styles, but Gregorian singing is not represented in the listening area when
teaching Music in the first four grades of primary school. As an activity, listening should
be the centre of musical education (Campbell, 2005; Rojko, 2012). Research by Šulentiæ,
Begiæ and Tomljanoviæ (2014) has showed that students in the first three forms of primary
school enjoy themselves and feel joy when listening to music.
Considering the structure of Gregorianics and its influence on musical forms of Western
European musical heritage (Korek, 2013), Gregorianics should have a place in Music
classes in the first four grades of primary school. Research subjects have shown a positive
attitude towards the chant, although Gregorian singing was something completely new to
most students. It has given them a pleasant and soothing feeling in the course of listening.
Unison, diatonic melodies of free rhythm based on the dynamics of spoken words give
Gregorian singing naturalness, spontaneity, festiveness and serenity (Martinjak, 1997;
2005).
The pilot research raised a question about the place of Gregorian singing as specific and
unique form of musical heritage. That is, it is upon us to examine students’ standpoints
about Gregorianics further through structural elements of the chorale. Koprek (2013)
stresses that Gregorian singing is in problematic position within the field and in a bad
position not only in relation to liturgical heritage, but also in musical programmes in
primary education.
Based on the research results and positive students’ relation to Gregorian singing and its
stated features, it should be represented in the listening component of music teaching in
primary school.
References
Borota, B. (2013). Glasbene dejavnosti in vsebine. Koper: Univerza na Primorskem,
Znanstveno-raziskovalno središèe, Univerzitetna zalo ba Annales.
Cakiæ, L., Šulentiæ Begiæ, J., A. Begiæ, A. (2015). Otvoreni model nastave glazbe u
razrednoj nastavi. Školski vjesnik, 64(1), pp. 112-130.
Campbell, P.S. (2005). Deep Listening to the Musical World. Music Educators Journal,
92(1), pp. 30-36.
142
Students have stated that Gregorian singing acts soothing in highest percentage (82.7 %)
and that they felt pleased (80 %) during listening. They perceive Gregorian singing as
beautiful (79.1 %), interesting (70.9 %) and appealing (66.4 %). These results are a
consequence of Gregorian’s singing nature which is contemplative, inspired and sacred.
Martinjak (2005) considers that the aesthetics of Gregorian singing derives from synergy
of the inspired word and melody.
Conclusion
National teaching curriculum (2013) issues the instruction about getting to know all
musical styles, but Gregorian singing is not represented in the listening area when
teaching Music in the first four grades of primary school. As an activity, listening should
be the centre of musical education (Campbell, 2005; Rojko, 2012). Research by Šulentiæ,
Begiæ and Tomljanoviæ (2014) has showed that students in the first three forms of primary
school enjoy themselves and feel joy when listening to music.
Considering the structure of Gregorianics and its influence on musical forms of Western
European musical heritage (Korek, 2013), Gregorianics should have a place in Music
classes in the first four grades of primary school. Research subjects have shown a positive
attitude towards the chant, although Gregorian singing was something completely new to
most students. It has given them a pleasant and soothing feeling in the course of listening.
Unison, diatonic melodies of free rhythm based on the dynamics of spoken words give
Gregorian singing naturalness, spontaneity, festiveness and serenity (Martinjak, 1997;
2005).
The pilot research raised a question about the place of Gregorian singing as specific and
unique form of musical heritage. That is, it is upon us to examine students’ standpoints
about Gregorianics further through structural elements of the chorale. Koprek (2013)
stresses that Gregorian singing is in problematic position within the field and in a bad
position not only in relation to liturgical heritage, but also in musical programmes in
primary education.
Based on the research results and positive students’ relation to Gregorian singing and its
stated features, it should be represented in the listening component of music teaching in
primary school.
References
Borota, B. (2013). Glasbene dejavnosti in vsebine. Koper: Univerza na Primorskem,
Znanstveno-raziskovalno središèe, Univerzitetna zalo ba Annales.
Cakiæ, L., Šulentiæ Begiæ, J., A. Begiæ, A. (2015). Otvoreni model nastave glazbe u
razrednoj nastavi. Školski vjesnik, 64(1), pp. 112-130.
Campbell, P.S. (2005). Deep Listening to the Musical World. Music Educators Journal,
92(1), pp. 30-36.
142
