Page 126 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana: Jakob Jež (1928-) Tokovi sodobne zborovske glasbe, leto 14, zvezek 29 / Year 14, Issue 29, 2018
P. 126
SBENOPEDAGOŠKI ZBORNIK, 29. zvezek
Competence Models in Music Pedagogy
Competence models in this work are defined as bundles of competence fields tailored to a
specific profession. They include general and personal competences as well as
subject-specific competences. In the course of the research project on the
professionalisation of children´s and youth choir directors, a total of five competence
models from the field of music pedagogy were used. Three of them (Losert 2015, Henning
2014 and Kraemer 2004) are, in the broadest sense, competence models of music teachers,
the other two (Hammerschmidt 2009 and Bastian & Fischer 2006) are competence models
for choir directors and conductors. In 2015, Martin Losert presented a competence model
for instrumental and vocal pedagogues with four main competence areas. The model starts
with “pedagogical conviction”, followed by the “artistic competence”, the “teacher-pupil
communication” and the “teaching and practicing competence”. Heike Henning´s model
was developed in the context of a research project on the quality of vocal pedagogy with
children at primary school age. She defines a total of five competences: “professional
competence”, “didactical competence”, “educational-psychological competence”,
“personal competence” and “ethical competence”. Especially the fifth competence, the
“ethical competence”, stands out in comparison with the other competence models.
Henning sees ethical-humane principles as important because vocal pedagogical practice
with children also includes ethical dimensions. (Henning 2014, p. 140 and p. 206) The
third teacher-competence model comes from Rudolf-Dieter Kraemer and is a classical
music teacher competence model. He identifies six fields of competence: “professional
and music-practical competence”, “pedagogical-didactic competence”, “media didactic
competence”, “personal competence”, “diagnostic, psychological and social competence”
as well as “academic, administrative and organisational competence”. The salient element
of this model is the “media didactic competence”. Especially in the 21st century, when
digitization has affected almost all areas of our society, this competence has to be
recognized as essential for pedagogical work. Among the two competence models for
conductors and choir directors is the competence model presented by Wilke Peter
Hammerschmidt in 2009. It comprises four competence fields for orchestra conductors.
This model explicitly mentions the “artistic competence” and the “conducting
competence” in addition to the “pedagogical-psychological competence”. As in the model
of Rudolf-Dieter Kraemer, the model of Hammerschmidt contains the field
“administrative competence”. Closely related to this competence field is the “knowledge
in cultural management” presented by Hans Günther Bastian & Wilfried Fischer (2006).
The model of these authors as well as that of Henning (2014) contains the “musical-artistic
competence” and the “pedagogic abilities”. It is completed by the competences “ability to
motivate”, the “function as a role model” and the “ability to initiate identification
processes”.
126
Competence Models in Music Pedagogy
Competence models in this work are defined as bundles of competence fields tailored to a
specific profession. They include general and personal competences as well as
subject-specific competences. In the course of the research project on the
professionalisation of children´s and youth choir directors, a total of five competence
models from the field of music pedagogy were used. Three of them (Losert 2015, Henning
2014 and Kraemer 2004) are, in the broadest sense, competence models of music teachers,
the other two (Hammerschmidt 2009 and Bastian & Fischer 2006) are competence models
for choir directors and conductors. In 2015, Martin Losert presented a competence model
for instrumental and vocal pedagogues with four main competence areas. The model starts
with “pedagogical conviction”, followed by the “artistic competence”, the “teacher-pupil
communication” and the “teaching and practicing competence”. Heike Henning´s model
was developed in the context of a research project on the quality of vocal pedagogy with
children at primary school age. She defines a total of five competences: “professional
competence”, “didactical competence”, “educational-psychological competence”,
“personal competence” and “ethical competence”. Especially the fifth competence, the
“ethical competence”, stands out in comparison with the other competence models.
Henning sees ethical-humane principles as important because vocal pedagogical practice
with children also includes ethical dimensions. (Henning 2014, p. 140 and p. 206) The
third teacher-competence model comes from Rudolf-Dieter Kraemer and is a classical
music teacher competence model. He identifies six fields of competence: “professional
and music-practical competence”, “pedagogical-didactic competence”, “media didactic
competence”, “personal competence”, “diagnostic, psychological and social competence”
as well as “academic, administrative and organisational competence”. The salient element
of this model is the “media didactic competence”. Especially in the 21st century, when
digitization has affected almost all areas of our society, this competence has to be
recognized as essential for pedagogical work. Among the two competence models for
conductors and choir directors is the competence model presented by Wilke Peter
Hammerschmidt in 2009. It comprises four competence fields for orchestra conductors.
This model explicitly mentions the “artistic competence” and the “conducting
competence” in addition to the “pedagogical-psychological competence”. As in the model
of Rudolf-Dieter Kraemer, the model of Hammerschmidt contains the field
“administrative competence”. Closely related to this competence field is the “knowledge
in cultural management” presented by Hans Günther Bastian & Wilfried Fischer (2006).
The model of these authors as well as that of Henning (2014) contains the “musical-artistic
competence” and the “pedagogic abilities”. It is completed by the competences “ability to
motivate”, the “function as a role model” and the “ability to initiate identification
processes”.
126
