Page 146 - 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. 146
SBENOPEDAGOŠKI ZBORNIK, 27. zvezek
features and functions, but also gave it different possibilities. The pupil-facing school was
advocated by alternative models, systems, plans such as: Plan Cousinet, Jena Plan, a
System of Individualized Teaching, Montessori Method, Waldorf Education, Freinet
Concept, etc. Varied activities, strategies and methods for stimulating the child’s
cognitive, affective and psychomotor development, directly influenced the design of
contemporary school. Since the middle of the 20th century, the school has abandoned
one-sided unification, standardization and normatization and turned to dynamic, open,
plural, creative and innovative forms and methods of working (Gudjons, 1994).
Today, the school is also part of intensive scientific, technological and socio-economic
changes. “Socio-political, economic, labour-technological and informational changes,
together with changes in the world of work and the ever more dynamic development of
science, imposed to the school the need for establishment of a new way of teaching and
learning” (Pejiæ Papak and Vidulin, 2016, p. 12).
The main task of the school was, and has remained, to affect pupils’ overall advancement,
to contribute to the development of active and responsible individuals, open for changes,
motivated and trained for lifelong learning. According to Pivac (2009), such a school,
which passes from the imitative-reproductive to the creative-innovative, becomes, as
Hentig (1997) points out, a school of new-way-thought. Its modernization is oriented to
broadening pupils’ competences, updating their knowledge and skills and straightening
out their innovativeness. Contemporary school should affect the development of pupils’
creative potential. It should be fostered in all educational subjects and fields.
Interdisciplinary studies which interpreted the musical creativity explain the phenomenon
from different views: psychological, sociological, pedagogical as well as from the point of
view of artificial intelligence, computer innovations, etc. (Deliége and Wiggins, 2006). In
the literature which encompasses the field of musical creativity, we can find different
models or creative components in the context of social, physical, psychological and
cultural environment (Burnard, 2012; Odena, 2012) or as a single elements of musical
creativity development (Boardman, 2002; Burnard, 2011; Elliott, 1999; Girdzijauskienh,
2012; Hopkins, 2015; Webster, 2012; in: Rimkuth - Jankuvienh, 2017).
Creativity implies the creation of new generalizations, knowledge and skills based on the
existing ground, as well as finding new solutions through experimentation and
improvisation. If they are encouraged to be creative, pupils learn to perceive things and
phenomena from another angle, find different solutions and alternatives, be innovative
(Vidulin - Orbaniæ, 2013). Regarding the above-mentioned, it is necessary to create
conditions, methods and contents that will meet pupils’ creativity. That way many positive
accomplishments can be achieved: students’ overall potential is increased, individual
skills are developed, positive self-perception and self-respect is established.
146
features and functions, but also gave it different possibilities. The pupil-facing school was
advocated by alternative models, systems, plans such as: Plan Cousinet, Jena Plan, a
System of Individualized Teaching, Montessori Method, Waldorf Education, Freinet
Concept, etc. Varied activities, strategies and methods for stimulating the child’s
cognitive, affective and psychomotor development, directly influenced the design of
contemporary school. Since the middle of the 20th century, the school has abandoned
one-sided unification, standardization and normatization and turned to dynamic, open,
plural, creative and innovative forms and methods of working (Gudjons, 1994).
Today, the school is also part of intensive scientific, technological and socio-economic
changes. “Socio-political, economic, labour-technological and informational changes,
together with changes in the world of work and the ever more dynamic development of
science, imposed to the school the need for establishment of a new way of teaching and
learning” (Pejiæ Papak and Vidulin, 2016, p. 12).
The main task of the school was, and has remained, to affect pupils’ overall advancement,
to contribute to the development of active and responsible individuals, open for changes,
motivated and trained for lifelong learning. According to Pivac (2009), such a school,
which passes from the imitative-reproductive to the creative-innovative, becomes, as
Hentig (1997) points out, a school of new-way-thought. Its modernization is oriented to
broadening pupils’ competences, updating their knowledge and skills and straightening
out their innovativeness. Contemporary school should affect the development of pupils’
creative potential. It should be fostered in all educational subjects and fields.
Interdisciplinary studies which interpreted the musical creativity explain the phenomenon
from different views: psychological, sociological, pedagogical as well as from the point of
view of artificial intelligence, computer innovations, etc. (Deliége and Wiggins, 2006). In
the literature which encompasses the field of musical creativity, we can find different
models or creative components in the context of social, physical, psychological and
cultural environment (Burnard, 2012; Odena, 2012) or as a single elements of musical
creativity development (Boardman, 2002; Burnard, 2011; Elliott, 1999; Girdzijauskienh,
2012; Hopkins, 2015; Webster, 2012; in: Rimkuth - Jankuvienh, 2017).
Creativity implies the creation of new generalizations, knowledge and skills based on the
existing ground, as well as finding new solutions through experimentation and
improvisation. If they are encouraged to be creative, pupils learn to perceive things and
phenomena from another angle, find different solutions and alternatives, be innovative
(Vidulin - Orbaniæ, 2013). Regarding the above-mentioned, it is necessary to create
conditions, methods and contents that will meet pupils’ creativity. That way many positive
accomplishments can be achieved: students’ overall potential is increased, individual
skills are developed, positive self-perception and self-respect is established.
146
