Page 150 - 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. 150
SBENOPEDAGOŠKI ZBORNIK, 27. zvezek
known material which include the well-known musical elements and then create similar
and/or variated rhythmic-melodic structure. The process is led by an expert music teacher,
and the models which he/she proposes are related to: finding melodic motifs, rhythmical
motifs and phrases, inventing texts, adding melody to rhythm structure, melodic
replenishment, creating of different musical forms (AB, ABA, ABC, rondo, theme with
variation), creating instrumental accompaniment, adding another voice to the lead etc. At
the third level they can compose new rhythmic-melodic structures and find their original
style through the music making activity. The works can be similar or different from what
the pupils are familiar with. In this phase the pupils’ originality and musicality can be seen,
as well as their comprehension of music.
Examination of pupils’ works reveals that they use data and facts from music lessons and
spontaneously combine melodies, words or movements, while creating something new.
Often these are only modifications of known compositions, variations of melodies, text
addition. Rarely the musical expression is completely new.
Appendix 1: Three levels of creative pupils‘ work in the LMM approach
Understanding musical elements using the LMM approach
The main purpose of this paper is to present how pupils can compose and perform short
works after listening and music elaboration. The result of this work is the creation of new
musical pieces and a better understanding of the basic components of musical works and
music in general. Demonstrating the acquired knowledge, pupils actively participate in the
teaching process.
The goal of the process which starts with listening to music, continues with playing
instrument and concludes with music making is to affect the pupils’ understanding of
music (appendix 2).
150
known material which include the well-known musical elements and then create similar
and/or variated rhythmic-melodic structure. The process is led by an expert music teacher,
and the models which he/she proposes are related to: finding melodic motifs, rhythmical
motifs and phrases, inventing texts, adding melody to rhythm structure, melodic
replenishment, creating of different musical forms (AB, ABA, ABC, rondo, theme with
variation), creating instrumental accompaniment, adding another voice to the lead etc. At
the third level they can compose new rhythmic-melodic structures and find their original
style through the music making activity. The works can be similar or different from what
the pupils are familiar with. In this phase the pupils’ originality and musicality can be seen,
as well as their comprehension of music.
Examination of pupils’ works reveals that they use data and facts from music lessons and
spontaneously combine melodies, words or movements, while creating something new.
Often these are only modifications of known compositions, variations of melodies, text
addition. Rarely the musical expression is completely new.
Appendix 1: Three levels of creative pupils‘ work in the LMM approach
Understanding musical elements using the LMM approach
The main purpose of this paper is to present how pupils can compose and perform short
works after listening and music elaboration. The result of this work is the creation of new
musical pieces and a better understanding of the basic components of musical works and
music in general. Demonstrating the acquired knowledge, pupils actively participate in the
teaching process.
The goal of the process which starts with listening to music, continues with playing
instrument and concludes with music making is to affect the pupils’ understanding of
music (appendix 2).
150
