Page 48 - 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. 48
SBENOPEDAGOŠKI ZBORNIK, 27. zvezek
Sicherl-Kafol, Barbara (2002). Procesno naèrtovanje didaktiènih gradiv za glasbeno
vzgojo v zaèetnem obdobju osnovne šole. Glasbeno-pedagoški zbornik Akademije za
glasbo v Ljubljani, zv. 4, str. 15–25.
Uèni naèrt za glasbeno vzgojo v osnovni šoli (1983). Ljubljana: Zavod RS za šolstvo.
Vospernik, Hedvika (1983). Didaktièni komplet Brede Oblak za 1. in 2. razred OŠ.
Grlica, let. XXV, št. 3-4, str. 59–61.
Vrbanèiè, Ivan (1979). Iz VI. kongresa glasbenih pedagogov Jugoslavije. Grlica, let.
XXI, št. 4-5, str. 26–28.
Za napredek glasbene vzgoje (b. a.) (1960). Grlica, let. VI, št. 1, str. 12–14.
Summary
Didactic sets for music education by Breda Oblak are the first didactic material designed
for the whole span of compulsory basic education. They are an important element of
modern, innovative, flexible, and interactive environment for music. In the present paper
they are analysed from a diachronic perspective so that the logic of designing the didactic
sets is presented in relation to some factors of the renewal of basic education and of the
development of modern approaches to learning and teaching music. The central purpose
of the outline of the circumstances and of evaluation of music-educational
approaches—as identified based on the didactic materials—is to define the scientific
contribution of the latter to the development of musical pedagogy and of basic school
didactics of music. The subject of the research are primarily written sources from Breda
Oblak’s archive. Causal relations and retrospection of events between 1983 and 2002 have
also been formed based on an interview with Breda Oblak.
The whole period of designing the didactic sets is divided into two continuities that both in
terms of time and content coincide with the renewal of syllabi for 8- and 9-year basic
school. Comparison between them indicates a shift from the model of planning and
teaching based on learning matter to one focused on the development process. Based on
the analysis of materials and of results of previous scientific discussions of the didactic
sets we determine an important scientific contribution of Breda Oblak’s professional work
to the development of didactics of music and of musical pedagogy in Slovenian space. In
this context we particularly highlight: the justification of educational areas of musical
activities, the definition of the complex design of musical activity and comprehensive
music education, activity-based approach to learning and teaching music, the method of
visualisation of musical contents, and the shaping of a musically rich supporting
environment, which shows in singing and listening programmes for the teaching of
musical education/the art of music across the whole vertical of basic education.
48
Sicherl-Kafol, Barbara (2002). Procesno naèrtovanje didaktiènih gradiv za glasbeno
vzgojo v zaèetnem obdobju osnovne šole. Glasbeno-pedagoški zbornik Akademije za
glasbo v Ljubljani, zv. 4, str. 15–25.
Uèni naèrt za glasbeno vzgojo v osnovni šoli (1983). Ljubljana: Zavod RS za šolstvo.
Vospernik, Hedvika (1983). Didaktièni komplet Brede Oblak za 1. in 2. razred OŠ.
Grlica, let. XXV, št. 3-4, str. 59–61.
Vrbanèiè, Ivan (1979). Iz VI. kongresa glasbenih pedagogov Jugoslavije. Grlica, let.
XXI, št. 4-5, str. 26–28.
Za napredek glasbene vzgoje (b. a.) (1960). Grlica, let. VI, št. 1, str. 12–14.
Summary
Didactic sets for music education by Breda Oblak are the first didactic material designed
for the whole span of compulsory basic education. They are an important element of
modern, innovative, flexible, and interactive environment for music. In the present paper
they are analysed from a diachronic perspective so that the logic of designing the didactic
sets is presented in relation to some factors of the renewal of basic education and of the
development of modern approaches to learning and teaching music. The central purpose
of the outline of the circumstances and of evaluation of music-educational
approaches—as identified based on the didactic materials—is to define the scientific
contribution of the latter to the development of musical pedagogy and of basic school
didactics of music. The subject of the research are primarily written sources from Breda
Oblak’s archive. Causal relations and retrospection of events between 1983 and 2002 have
also been formed based on an interview with Breda Oblak.
The whole period of designing the didactic sets is divided into two continuities that both in
terms of time and content coincide with the renewal of syllabi for 8- and 9-year basic
school. Comparison between them indicates a shift from the model of planning and
teaching based on learning matter to one focused on the development process. Based on
the analysis of materials and of results of previous scientific discussions of the didactic
sets we determine an important scientific contribution of Breda Oblak’s professional work
to the development of didactics of music and of musical pedagogy in Slovenian space. In
this context we particularly highlight: the justification of educational areas of musical
activities, the definition of the complex design of musical activity and comprehensive
music education, activity-based approach to learning and teaching music, the method of
visualisation of musical contents, and the shaping of a musically rich supporting
environment, which shows in singing and listening programmes for the teaching of
musical education/the art of music across the whole vertical of basic education.
48
