Page 20 - 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. 20
SBENOPEDAGOŠKI ZBORNIK, 27. zvezek
Rotar Pance, Branka (2002a). Vizualizacija v Glasbenih slikanicah Brede Oblak.
Glasbeno-pedagoški zbornik Akademije za glasbo v Ljubljani. Zv.4, str. 26-32.
Rotar Pance, Branka (2002b). Bibliografija Brede Oblak. Glasbeno-pedagoški zbornik
Akademije za glasbo v Ljubljani. Zv.4. str. 99-108.
Smole, Branka (2015). Dr. Breda Oblak, èastna obèanka Jesenic. Notko. Let.6. št. 6.
str. 2-4.
Turel, Mirjana (1968). Vzorni nastopi. Grlica. Let. XII, št. 2, str. 24-28.
Winkler Kuret, Luèka (2006). Zdaj je nauka zlati èas. Glasbeni uèbeniki na Slovenskem
od srede 19. stoletja do sedemdesetih let 20. stoletja. Nova Gorica: Educa, Melior.
Summary
The modern Slovene music didactics and the concept of active learning in the framework
of primary-school music education originate in Breda Oblak’s experimental music
education. It started in the school year 1963/64 as a longitudinal project which connected
music schools with general education. The aim of the project was to radically reform
primary school music education and to develop a new concept of music education lessons
and teaching methods. The initial project group which consisted of two teachers, Breda
Oblak and Tea Budna, and two advisers, Pavle Kalan and Janez Bole, planned to carry out
experimental lessons in eight primary schools in Ljubljana. Breda Oblak covered four of
them: the Pre ihov Voranc Primary School, the Tone Èufar Primary School, the Majda
Vrhovnik Primary school and the Ledina Primary School. Due to changes in the
organisation, brought about by a reduction in the number of the project group members as
well as the introduction of higher grades with every school year, only Breda Oblak carried
out the project in all eight grades of primary school. She concluded with the project in the
school year 1970/71 at the Tone Èufar Primary School and received the Educational
Community Award, the highest award in the field of education at the time. Right from the
beginning of the experimental education project, Breda Oblak was in charge of lesson
planning. Her meticulously written lesson plans enable a full reconstruction of the lessons
even today. The lessons are based on experiential learning which occurs through a
sensible intertwinement of performing, listening and creating activities. Careful selection
of musical contents shows that the author took into consideration holistic approach to
music education, pupils’ musical developmental characteristics and the need of a quality
cross-curricular teaching. The concepts of lessons, as designed in lesson plans, were tested
in practice by the author herself. Her lessons were always open to visiting groups of
teachers, future teachers, but also other experts, including writers and composers, as well
as the interested parents. The preserved documentation demonstrates that hundreds
visited her experimental lessons in the course of the project. Regular teachers of the
classes included in the experimental education wrote reports stating that Breda Oblak’s
music education had been inspiring for pupils who had enjoyed it and had learned a lot.
20
Rotar Pance, Branka (2002a). Vizualizacija v Glasbenih slikanicah Brede Oblak.
Glasbeno-pedagoški zbornik Akademije za glasbo v Ljubljani. Zv.4, str. 26-32.
Rotar Pance, Branka (2002b). Bibliografija Brede Oblak. Glasbeno-pedagoški zbornik
Akademije za glasbo v Ljubljani. Zv.4. str. 99-108.
Smole, Branka (2015). Dr. Breda Oblak, èastna obèanka Jesenic. Notko. Let.6. št. 6.
str. 2-4.
Turel, Mirjana (1968). Vzorni nastopi. Grlica. Let. XII, št. 2, str. 24-28.
Winkler Kuret, Luèka (2006). Zdaj je nauka zlati èas. Glasbeni uèbeniki na Slovenskem
od srede 19. stoletja do sedemdesetih let 20. stoletja. Nova Gorica: Educa, Melior.
Summary
The modern Slovene music didactics and the concept of active learning in the framework
of primary-school music education originate in Breda Oblak’s experimental music
education. It started in the school year 1963/64 as a longitudinal project which connected
music schools with general education. The aim of the project was to radically reform
primary school music education and to develop a new concept of music education lessons
and teaching methods. The initial project group which consisted of two teachers, Breda
Oblak and Tea Budna, and two advisers, Pavle Kalan and Janez Bole, planned to carry out
experimental lessons in eight primary schools in Ljubljana. Breda Oblak covered four of
them: the Pre ihov Voranc Primary School, the Tone Èufar Primary School, the Majda
Vrhovnik Primary school and the Ledina Primary School. Due to changes in the
organisation, brought about by a reduction in the number of the project group members as
well as the introduction of higher grades with every school year, only Breda Oblak carried
out the project in all eight grades of primary school. She concluded with the project in the
school year 1970/71 at the Tone Èufar Primary School and received the Educational
Community Award, the highest award in the field of education at the time. Right from the
beginning of the experimental education project, Breda Oblak was in charge of lesson
planning. Her meticulously written lesson plans enable a full reconstruction of the lessons
even today. The lessons are based on experiential learning which occurs through a
sensible intertwinement of performing, listening and creating activities. Careful selection
of musical contents shows that the author took into consideration holistic approach to
music education, pupils’ musical developmental characteristics and the need of a quality
cross-curricular teaching. The concepts of lessons, as designed in lesson plans, were tested
in practice by the author herself. Her lessons were always open to visiting groups of
teachers, future teachers, but also other experts, including writers and composers, as well
as the interested parents. The preserved documentation demonstrates that hundreds
visited her experimental lessons in the course of the project. Regular teachers of the
classes included in the experimental education wrote reports stating that Breda Oblak’s
music education had been inspiring for pupils who had enjoyed it and had learned a lot.
20
