Page 159 - 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. 159
Sabina Vidulin, THE “LISTENING TO AND MAKING MUSIC” APPROACH ...
Conclusion
In the paper, two models for better appreciation and understanding of musical works are
presented. The first one regards listening to music with previously defined tasks in
connection with musical components, and is a regular activity in Croatian schools. Before
listening to music, teachers give guidelines to pupils about the details they should pay
attention to. The tasks need to be precisely defined, because they guide pupils through the
listening of a composition and acquaint them with important characteristics of a musical
work. After having listened to the composition, it is necessary to talk about it, about the
pupils’ impressions, and primarily about the musical components which they have
noticed. This level should be upgraded with activities which lead to the next level –
operational one.
The second model, the LMM approach, links the theoretical music acknowledgement with
the demonstration of the musical elements through music making (composing). When
pupils recognize the musical components, they may show the level of their understanding
by using these components in the process of music making, creating new compositions
from well-known musical elements. For a better result it is necessary that pupils are
musically literate and that they can play an instrument. Thus, they can listen to what they
have created and decide how to improve the composition. For a good result we suggest
carrying out these activities either in the form of extracurricular activity with a smaller
group of pupils, or as a project in the regular music classes.
Linking the two activities, listening to music and music making, pupils will have the
chance to improve their musical skills, develop sensibility for music and be creative,
which will affect their whole emotional-value-cognitive being and raise their level of
appreciation and understanding of music.
References
Boardman, Eunice (2002). Dimensions of Musical Learning and Teaching: A Different
Kind of Classroom. USA: MENC.
Burnard, Pamela (2011). Educational Leadership, Musical Creativities and Digital
Technology in Education. Journal of Music, Technology and Education, 4 (2/3),
pp.151–171.
Burnard, Pamela (2012). Musical Creativities in Practice. Oxford: Oxford University
Press.
Deliége, Irene and Wiggins, Geraint A. (eds.) (2006), Musical Creativity:
Multidisciplinary Research in Theory and Practice. East Sussex: Psychology Press.
Dvoøak, Vlasta, Jelièiæ Špoljar, Margita, Kirchmayer Biliæ, Eva (2014). Allegro u
glazbenom svijetu 5 [Allegro in the Music World 5]. Zagreb: Školska knjiga.
159
Conclusion
In the paper, two models for better appreciation and understanding of musical works are
presented. The first one regards listening to music with previously defined tasks in
connection with musical components, and is a regular activity in Croatian schools. Before
listening to music, teachers give guidelines to pupils about the details they should pay
attention to. The tasks need to be precisely defined, because they guide pupils through the
listening of a composition and acquaint them with important characteristics of a musical
work. After having listened to the composition, it is necessary to talk about it, about the
pupils’ impressions, and primarily about the musical components which they have
noticed. This level should be upgraded with activities which lead to the next level –
operational one.
The second model, the LMM approach, links the theoretical music acknowledgement with
the demonstration of the musical elements through music making (composing). When
pupils recognize the musical components, they may show the level of their understanding
by using these components in the process of music making, creating new compositions
from well-known musical elements. For a better result it is necessary that pupils are
musically literate and that they can play an instrument. Thus, they can listen to what they
have created and decide how to improve the composition. For a good result we suggest
carrying out these activities either in the form of extracurricular activity with a smaller
group of pupils, or as a project in the regular music classes.
Linking the two activities, listening to music and music making, pupils will have the
chance to improve their musical skills, develop sensibility for music and be creative,
which will affect their whole emotional-value-cognitive being and raise their level of
appreciation and understanding of music.
References
Boardman, Eunice (2002). Dimensions of Musical Learning and Teaching: A Different
Kind of Classroom. USA: MENC.
Burnard, Pamela (2011). Educational Leadership, Musical Creativities and Digital
Technology in Education. Journal of Music, Technology and Education, 4 (2/3),
pp.151–171.
Burnard, Pamela (2012). Musical Creativities in Practice. Oxford: Oxford University
Press.
Deliége, Irene and Wiggins, Geraint A. (eds.) (2006), Musical Creativity:
Multidisciplinary Research in Theory and Practice. East Sussex: Psychology Press.
Dvoøak, Vlasta, Jelièiæ Špoljar, Margita, Kirchmayer Biliæ, Eva (2014). Allegro u
glazbenom svijetu 5 [Allegro in the Music World 5]. Zagreb: Školska knjiga.
159
