Page 64 - 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. 64
SBENOPEDAGOŠKI ZBORNIK, 27. zvezek
Summary
The present paper, which describes the key milestones in Breda Oblak’s curricular path, is
based on the main hypothesis that her pioneer and visionary work has significantly
determined the present music education curricula for general and music schools. This
hypothesis is examined through a chronological overview and comparative analysis of
Breda Oblak’s curricula in comparison with contemporary curricular elements, including:
planning strategies, music activities, anthropological, systematic and continuous bases,
activity-based approach, learning objectives, methods and contents, evaluation,
interdisciplinarity and teaching recommendations. The curricula for music education at
various levels of general and music schools are presented with the support of documents
from Oblak’s personal archives.
In Oblak’s vast curriculum-related work her focus on anthropological, activity-based and
process-oriented concept of music education stands out. In the structure of curricula for
music education in general and music schools, she highlights the anthropological premise
that music is a human need in all environments and periods of their life. Thus the human
need for sound communication, creativity and aesthetic values requires a music education
which enables direct musical experience through performing, listening and creating
activities, in accordance with the foundations of musical culture and its areas of
production, reproduction and reception. Apart from the basic anthropological premise, the
author also consistently follows the activity-based and process-oriented approach which
she plans through communication in musical language. Analysis of Breda Oblak’s
curriculum-related work shows that the concept of activity-based music education is in
fact the milestone representing her historical and visionary contribution to the
development of music didactics. Today, numerous concepts of music education share the
opinion that quality music education is realised through active and authentic music
communication. She connected activity-based music education with the principles of
process-oriented planning strategy which is particularly evident in the selection of
learning topics, objectives, methods and teaching recommendations. She encapsulated the
process-oriented nature of music education in the motto “from musical experience to
musical knowledge”.
Breda Oblak’s curriculum-related work and her pioneer work in experimental music
education classes resulted also in the creation of didactic materials for music education in
general schools. Experts agree that these materials represent an example of excellence,
consistency and systematicness. They are process- creativity- and activity-based, allowing
teachers to autonomously carry out authentic music education. Thus, they represent a rare
example of professional thoroughness, not only in Slovenia but also internationally.
For all monitored didactic elements, comparable analysis of music education curricula for
general and music schools demonstrated an inestimable contribution of Breda Oblak to the
development of music didactics in Slovene and international environment, indicating the
path of further development in this area.
64
Summary
The present paper, which describes the key milestones in Breda Oblak’s curricular path, is
based on the main hypothesis that her pioneer and visionary work has significantly
determined the present music education curricula for general and music schools. This
hypothesis is examined through a chronological overview and comparative analysis of
Breda Oblak’s curricula in comparison with contemporary curricular elements, including:
planning strategies, music activities, anthropological, systematic and continuous bases,
activity-based approach, learning objectives, methods and contents, evaluation,
interdisciplinarity and teaching recommendations. The curricula for music education at
various levels of general and music schools are presented with the support of documents
from Oblak’s personal archives.
In Oblak’s vast curriculum-related work her focus on anthropological, activity-based and
process-oriented concept of music education stands out. In the structure of curricula for
music education in general and music schools, she highlights the anthropological premise
that music is a human need in all environments and periods of their life. Thus the human
need for sound communication, creativity and aesthetic values requires a music education
which enables direct musical experience through performing, listening and creating
activities, in accordance with the foundations of musical culture and its areas of
production, reproduction and reception. Apart from the basic anthropological premise, the
author also consistently follows the activity-based and process-oriented approach which
she plans through communication in musical language. Analysis of Breda Oblak’s
curriculum-related work shows that the concept of activity-based music education is in
fact the milestone representing her historical and visionary contribution to the
development of music didactics. Today, numerous concepts of music education share the
opinion that quality music education is realised through active and authentic music
communication. She connected activity-based music education with the principles of
process-oriented planning strategy which is particularly evident in the selection of
learning topics, objectives, methods and teaching recommendations. She encapsulated the
process-oriented nature of music education in the motto “from musical experience to
musical knowledge”.
Breda Oblak’s curriculum-related work and her pioneer work in experimental music
education classes resulted also in the creation of didactic materials for music education in
general schools. Experts agree that these materials represent an example of excellence,
consistency and systematicness. They are process- creativity- and activity-based, allowing
teachers to autonomously carry out authentic music education. Thus, they represent a rare
example of professional thoroughness, not only in Slovenia but also internationally.
For all monitored didactic elements, comparable analysis of music education curricula for
general and music schools demonstrated an inestimable contribution of Breda Oblak to the
development of music didactics in Slovene and international environment, indicating the
path of further development in this area.
64
