Page 21 - 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. 21
nka Rotar Pance, AKTIVNO UÈENJE GLASBE IN ZASNOVA SODOBNE DIDAKTIKE GLASBE ...
The new concept of music education was first written about in the Manual for music
education in lower grades of primary school (Priroènik za glasbeno vzgojo na ni ji stopnji
osnovnih šol) (1966), published in co-authorship of Breda Bidovec - Oblak and Janez
Bole. Between 1983 and 2000, Oblak published an upgraded manual in the form of
didactic packs for all eight grades of primary school. The packs, which included a pupil’s
workbook, a teacher’s manual and a collection of recordings (first on tapes and later on
CDs), set the standards for music education learning materials and served as an example
for other subject areas. With the introduction of a nine-year primary school, Oblak
updated the music education didactic packs again and published them between 1999 and
2004. Teacher’s manuals show how she upgraded the former music education teaching
methods, developing them into didactics of music. Later, when her professional path led
her to the area of higher education, she shared her knowledge with numerous generations
of future music education teachers. As the first to obtain a doctoral degree in music
didactics and later as the designer and implementer of the doctoral study in music
education as well as mentor to MA and PhD students, she raised the Slovene music
didactics to scientific level.
Experience and results obtained in the experimental music education also guided Breda
Oblak in her development of music education curricula, first for the eight-year and later
for the nine-year primary school, where she always put authentic learning through
intertwining activities and contents, attainment of musical objectives while introducing
interdisciplinarity, the use of new technologies and observance of the principles of
individualisation and differentiation to the forefront. All the following reforms of music
education curricula, for primary schools as well as for music schools (pre-school music
education, music preparatory, music theory and solfeggio) have been based on the results
of her work. Therefore, analysis and interpretation of Breda Oblak’s experimental music
education achievements surpass the dimensions of the past contributions to the
development of music didactics, opening it up also towards the future.
21
The new concept of music education was first written about in the Manual for music
education in lower grades of primary school (Priroènik za glasbeno vzgojo na ni ji stopnji
osnovnih šol) (1966), published in co-authorship of Breda Bidovec - Oblak and Janez
Bole. Between 1983 and 2000, Oblak published an upgraded manual in the form of
didactic packs for all eight grades of primary school. The packs, which included a pupil’s
workbook, a teacher’s manual and a collection of recordings (first on tapes and later on
CDs), set the standards for music education learning materials and served as an example
for other subject areas. With the introduction of a nine-year primary school, Oblak
updated the music education didactic packs again and published them between 1999 and
2004. Teacher’s manuals show how she upgraded the former music education teaching
methods, developing them into didactics of music. Later, when her professional path led
her to the area of higher education, she shared her knowledge with numerous generations
of future music education teachers. As the first to obtain a doctoral degree in music
didactics and later as the designer and implementer of the doctoral study in music
education as well as mentor to MA and PhD students, she raised the Slovene music
didactics to scientific level.
Experience and results obtained in the experimental music education also guided Breda
Oblak in her development of music education curricula, first for the eight-year and later
for the nine-year primary school, where she always put authentic learning through
intertwining activities and contents, attainment of musical objectives while introducing
interdisciplinarity, the use of new technologies and observance of the principles of
individualisation and differentiation to the forefront. All the following reforms of music
education curricula, for primary schools as well as for music schools (pre-school music
education, music preparatory, music theory and solfeggio) have been based on the results
of her work. Therefore, analysis and interpretation of Breda Oblak’s experimental music
education achievements surpass the dimensions of the past contributions to the
development of music didactics, opening it up also towards the future.
21
