The numerous factors affecting secondary school students’ musical preferences show how difficult the role of music educators is. Their task is to use competent, creative music teaching to lead students away from an emotional, connotative approach towards a syntactic strategy of listening, to develop analytical musicological processes, and to gradually develop their musical tastes with a highquality aesthetic value system. Research into the relationship between socio-demographic variables and musical preferences among students in year 1 and year 4 of gymnasiums and (...) vocational schools has affirmed differences in knowledge of and preferences in attested musical styles according to sex, type of school, age, and academic performance. The results of this research indicate the need to include music instruction in vocational schools, educational institutions that lack music programmes, as well as the need to increase the breadth of existing music programmes so that young people in their formative years, in addition to building a positive relationship towards artistic music, develop openness and tolerance towards various cultures and subcultural phenomena. (shrink)

Celem artykułu jest pokazanie, jak na łódzki folklor miejski i kulturę popularną wpływały głośne zbrodnie dwudziestolecia. Analiza tematu pokazuje, że chętnie sięgano i inspirowano się bieżącymi wydarzeniami, o których pisała łódzka prasa. W ten sposób do drukowanych na łamach miejscowych dzienników powieści popularnych i piosenek śpiewanych na łódzkich podwórkach docierały wątki nawiązujące m.in. do głośnych zbrodni czy skandali obyczajowych. Analiza tekstów piosenek dowodzi, że „przetwarzały” one materiał prasowy, czyniąc go dostępnym nawet dla niepiśmiennych mieszkańców. Omówione piosenki wpisują się w schemat (...) popularnych pieśni nowiniarskich, powtarzając charakterystyczne wzorce konstrukcyjne, sposoby kreacji bohaterów. Kanwą dla wyśpiewywanych treści były przestępstwa, którym towarzyszyły procesy sądowe, szczegółowo relacjonowane na łamach prasy i będące tematem rozmów łodzian. Stąd już tylko krok do tego, by Zajdlowa, Łaniucha czy Ślepy Maks stali się bohaterami piosenek śpiewanych na łódzkich podwórkach. (shrink)

Glazba ima važnu ulogu za adolescente jer se u tom životnom razdoblju oblikuju osobni i društveni identiteti, ali izgrađuju i glazbene preferencije. U okviru ovoga rada provedeno je online anketiranje koje je obuhvatilo 200 sudionika, odnosno učenika osnovnih općeobrazovnih škola iz pet hrvatskih županija u dobi od 13 i 14 godina. Cilj istraživanja bio je doznati glazbene preferencije učenika te utječu li sociodemografske varijable i nastava glazbe na njihove preferencije. Djevojčice su iskazale nešto veću sklonost prema svim ponuđenim vrstama (...) glazbe, a posebice prema popularnoj glazbi. Sudionici čiji se roditelji bave glazbom značajno su skloniji umjetničkoj i popularnoj glazbi. Kada je u pitanju mjesto življenja, značajne razlike uočene su kod sklonosti rock glazbi koja je značajno viša kod sudionika iz grada. Sudionici koji procjenjuju da postoji utjecaj nastave glazbe i oni koji kod kuće slušaju skladbe s nastave značajno češće izvještavaju o interesu za umjetničku glazbu. Rezultati istraživanja ukazuju na potrebu većeg angažmana učitelja glazbe i roditelja u stjecanju glazbenih preferencija djece, posebice prema kvalitetnoj glazbi. Music plays an important role for adolescents since personal and social identities are formed during this period of life, but they also build musical preferences. Within this paper, an online survey was conducted, which included 200 respondents, i.e. primary school students from five Croatian counties aged 13 and 14. The aim of the research was to find out the musical preferences of students and whether sociodemographic variables and music teaching influence their preferences. The girls showed a slightly greater preference for all types of music offered, and especially for popular music. Respondents whose parents are involved in music are significantly more inclined to artistic and popular music. When it comes to place of residence, significant differences were observed in the preference for rock music, which is significantly higher among respondents from the city. Respondents who estimate that there is an impact of music teaching and those who listen to compositions from classes at home report an interest in art music significantly more often. The results of the research indicate the need for greater involvement of music teachers and parents in acquiring children’s musical preferences, especially towards quality music. (shrink)

Vrednovanje i ocjenjivanje u nastavi Glazbene kulture važna je sastavnica odgojno-obrazovnog procesa koja sa sobom nosi razne poteškoće i subjektivnost. U nastavi Glazbene kulture realiziraju se različite glazbene aktivnosti i sadržaji, koji su više ili manje specifični te se navedeno odražava i na vrednovanje i ocjenjivanje. Navedene aktivnosti i sadržaji u okviru Kurikuluma nastavnog predmeta Glazbena kultura za osnovne škole i Glazbena umjetnost za gimnazije organizirane su u okviru tri domene/nastavna područja: Slušanje i upoznavanje glazbe, Izražavanje glazbom i uz glazbu (...) i Glazba u kontekstu. U radu je prikazano istraživanje provedeno tijekom 2019. godine, a koje je obuhvatilo 269 ispitanika, tj. 30 osnovnoškolskih učitelja Glazbene kulture i 239 učenika osmih razreda. Istraživanje je provedeno u Osječko-baranjskoj i Požeško-slavonskoj županiji te je obuhvatilo učitelje Glazbene kulture i učenike osmih razreda šest osnovnih škola od kojih se četiri nalaze u urbanom, a dvije u ruralnom području. Cilj ovog istraživanja bio je doznati stavove učenika i učitelja o vrednovanju i ocjenjivanju u nastavi Glazbene kulture, utvrditi moguću povezanost sociodemografskih varijabla i mišljenja učitelja i učenika te utvrditi na koji se način provodi ocjenjivanje u nastavi Glazbene kulture. Slušanje glazbe i pjevanje su aktivnosti koje se, prema mišljenju i učitelja i učenika, najčešće vrednuju i ocjenjuju u nastavi Glazbene kulture. Ujedno, učitelji u većoj mjeri smatraju da provode individualno i skupno ocjenjivanje nego li to smatraju učenici. Utvrđeno je da učitelji najčešće ocjenjivanje provode tako što tijekom svakog sata prate učenike, skloni su učenike ocijeniti odmah na satu i najčešće usmeno. Utvrđeno je da su učitelji i učenici mišljenja da učenik ne treba imati razvijene glazbene sposobnosti za ocjenu ‘odličan’ u predmetu Glazbena kultura. S obzirom na povezanost sociodemografskih varijabla i mišljenja ispitanika o vrednovanju i ocjenjivanju, pokazalo se kako su područje na kojemu se nalazi škola i spol značajni prediktori učeničkih stavova, dok se kod učitelja nijedna varijabla nije pokazala prediktorskom. Evaluation and grading in the teaching of Music Culture is an important component of the educational process that carries various difficulties and subjectivity with it. In the course of Music Culture, various music activities and contents are realized, which are more or less specific and also reflect on the evaluation and evaluation. The activities and contents of the Curriculum for the Elementary School Music Culture and High School Musical Arts curricula are organized within three domains/teaching areas: Listening and learning about music, Expressing music and with music, and Music in context. The research was conducted in 2019 and included 269 respondents, i.e. 30 elementary music teachers and 239 eighth grade students. The survey was conducted in Osijek-Baranja and Pozega-Slavonia counties and it included Music teachers and eighth grade students from six primary schools, four of whom are in urban and two in rural areas. The aim of this research was to find out students’ and teachers’ views on evaluation and assessment and to determine the possible correlation of sociodemographic variables and teachers’ and students’ opinions on evaluation and assessment in Music Culture teaching and to determine how the assessment is conducted in Music Culture teaching. Listening to music and singing are activities that, in the opinion of both teachers and students, are most commonly evaluated and graded in teaching Music Culture. At the same time, teachers are more likely to carry out individual and group assessments than students. Teachers usually conduct their assessment by monitoring students every class, they tend to evaluate students during class and most often orally. Teachers and students think that student should not have the developed musical skills to score excellently in Music Culture. Considering the correlation between sociodemographic variables and the respondents’ opinions on evaluation and grading, it was shown that the area in which school is located and gender are significant predictors of students’ attitudes, while in the teachers no variables proved to be predictive. (shrink)

Glazbenim aktivnostima u vrtiću pripada značajna uloga, s obzirom da bavljenje takvim aktivnostima pridonosi razvoju glazbenih sposobnosti, ali i intelektualnom, socijalnom, emocionalnom i tjelesnom razvoju djeteta. U radu su istraženi stavovi odgojitelja predškolske djece prema glazbenim aktivnostima u vrtiću te samoprocjena kompetentnosti za njihovu realizaciju. Rezultati potvrđuju da slušanje glazbe predstavlja značajnu aktivnost slobodnog vremena odgojitelja predškolske djece. Potvrđeno je da odgojitelji kojima se sviđa klasična glazba imaju pozitivnije stavove prema glazbenim aktivnostima u vrtiću. Nije uočena povezanost odlazaka na (...) koncerte klasične glazbe, pohađanja dodatne glazbene poduke, pjevanja u zboru ili klapi te godina radnoga staža sa stavovima prema glazbenim aktivnostima. Rezultati istraživanja ne potvrđuju ni povezanost godina radnoga staža sa samoprocjenom kompetencije za realizaciju glazbenih aktivnosti. I, konačno, većina odgojitelja zadovoljna je opremljenošću vrtića instrumentima za djecu te računalima i projektorima, ali ne i instrumentima za odgojitelje. Musical activities in kindergarten play an important role, especially since engaging in such activities contributes to the development of musical capabilities and intellectual, social, emotional, and physical child development. This research examines the opinions of kindergarten teachers towards musical activities, as well as a self-assessment of their competencies to perform them. The results affirm that listening to music is a significant free time activity for kindergarten teachers. It has also been affirmed that teachers who enjoy classical music have more positive opinions towards musical activities in kindergarten. No connection was noted between opinions towards musical activities and attending classical concerts, additional musical education, singing in choirs or traditional a cappella groups, or years of work experience. The results of this research also did not affirm a connection between years of work experience and self-assessments of competencies to perform musical activities. Finally, the majority of teachers were satisfied with their schools’ stock of children’s instruments, computers, and projectors, but not with instruments for teachers. (shrink)

Rasprava tematizira osnovne značajke ontologijskog prilaza umjetnosti u djelu Ivana Fochta, jednog od naših najvećih estetičara i ontologa umjetnosti. Problematskog je karaktera i obuhvaća četiri bitne teme njegova mišljenja: Istina i biće umjetnosti uvodi u središnju Fochtovu ˝pred-postavljenost˝, njegov ontologijski prosedê, pitanjem: Što je to biće umjetnosti?; Moderna umjetnost kao ontološki problem raspravlja problematiziranje ontoloških pitanja moderne umjetnosti i njezin promijenjeni status u bitku suvremenog svijeta: umjetnost više nije ˝Schein˝ nego ˝Sein˝ i spoznaje smisao bitka tako što ga pravi; Bit (...) književnosti ispituje ontološke pretpostavke književnog djela kao predmet specijalne ontologije umjetnosti : njezine ontološke ˝planove˝, mjesto među drugim umjetničkim vrstama i u modernoj umjetnosti; Bit glazbe suočava se s ˝tajnom glazbe˝: pitanje Što je glazba? jedno je od najtežih pitanja koja su se postavljala filozofiji umjetnosti; u glazbi, misli Focht, krije se odgovor na pitanje o tajni umjetnosti.The article places its interest on basic characteristics of ontological approach to artin the work of Ivan Focht, one of the greatest aestheticians and ontologists of art. Itconsists of four essential themes in his thought. The Truth and Being of art introducesus into central Focht’s »vor-stellung«, into his ontological procédé,with a question: ‘What is the being of art?’. Modern art as ontological problem discussesthe themes of ontological issues of modern art and its changed status in the Being of contemporary world; the artwork is no more Schein but Sein and it knows the meaning of Being by making it. TheEssence of Literature challenges ontological presuppositions of literary work , as an issue of special ontology of artwork – its ontological »landscapes«, its place amongother artistic forms and in modern art. The part Essence of Music confronts itselfwith »secret of music«; the question ‘What is Music?’ is one of the most complicatedquestions which were asked by philosophy of art. In the music, says Focht, is the hiddenanswer to the question on the secret of art itself. (shrink)

Recent scientific studies have shown that involving children in music activities influences their mental, emotional, and social development; music is, thus, being used increasingly for medical and therapeutic purposes. In order to discover whether some elements of particular methods of music therapy can be applied in music teaching in primary schools, we conducted a qualitative research in which the participants were third-year elementary school pupils in Osijek. To collect the data, we used a systematic observation procedure. Data analysis involved both (...) qualitative and quantitative analyses. The research results show that the introduction of elements of certain methods of music therapy is possible and that pupils are happy to participate in all the activities carried out. In doing so, pupils demonstrate imagination, creativity, independence at work, and willingness to cooperate. Novija znanstvena istraživanja pokazuju da uključivanje djece u glazbene aktivnosti utječe na njihov psihički, emocionalni i socijalni razvoj zbog čega se glazba sve više koristi i u medicinske, odnosno terapeutske svrhe. Kako bismo saznali je li moguće neke elemente iz pojedinih metoda glazboterapije primijeniti i u nastavi glazbe u osnovnoj općeobrazovnoj školi, proveli smo kvalitativno istraživanje u kojemu su sudionici bili učenici trećeg razreda jedne osnovne škole iz Osijeka. Za potrebe prikupljanja podataka koristili smo postupak sustavnog promatranja, a za analizu podataka kvalitativnu i kvantitativnu analizu. Rezultati istraživanja pokazali su da je uvođenje elemenata iz pojedinih metoda glazboterapije moguće te da učenici rado sudjeluju u svim provedenim aktivnostima. Pritom učenici iskazuju maštovitost, kreativnost, samostalnost u radu te spremnost na suradnju. (shrink)

Odczytywanie filozoficznego przedsięwzięcia Locke’a przede wszystkim jako krytyki kartezjańskiego natywizmu przysłania zwykle napięcia, jakimi obciążona jest myśl Anglika, oraz skutkuje przemilczeniem sporej części stojących za nią motywów. Choć nie zamierzam w prezentowanym tekście całkowicie zerwać z tą popularną wykładnią, chciałbym zaproponować ujęcie wolne od właściwych jej uproszczeń. Dzięki temu możliwe będzie ukazanie złożoności stosunku filozofii Locke’a do podstawowych idei natywizmu, wydobycie sprzecznych interesów, które Locke chciałby dzięki swojej refleksji pogodzić, oraz zasygnalizowanie w zakończeniu znaczenia wypracowanych przez niego rozwiązań dla późniejszych (...) form antropologicznego dyskursu. (shrink)

Artykuł jest szkicem odpowiedzi na pytanie: dlaczego etyka Tadeusza Kotarbińskiego, będąc w istocie typem do brze znanej filozofom etyki autonomicznej, a normatywnie bliska ideom chrześcijańskiego miłosierdzia, stała się popularna i żywo dyskutowana w Polsce drugiej połowy XX wieku. Autor omawia ówczesne dyskusje, wskazując na powody zainteresowania stanowiskiem etycznym Kotarbińskiego w kręgu polskich myślicieli chrześcijańskich. Jego źródeł upatruje w reakcji na program uniezależnienia postaw etycznych od sporów światopoglądowych. Jednocześnie zwraca uwagę, że w kręgu szkoły lwowsko–warszawskiej i jej wpływów etyka Kotarbińskiego (...) miała poparcie, ale i spotkała się z krytyką. Zastrzeżenia epistemologiczne wobec niej wysuwała Maria Ossowska. Po stronie Kotarbińskiego opowiedział się Tadeusz Czeżowski, występujący z bardziej precyzyjnie sformułowaną ideą etyki empirycznej, wykazując z czasem, że jest to etyka typu aksjomatyczno–dedukcyjnego, a nie indukcyjnego. Akceptując intuicjonizm jako epistemologiczny fundament etyki, do normatywnych idei Kotarbińskiego nawiązywali w sposób twórczy również Ija Lazari–Pawłowska i Marian Przełęcki. Autor przekonuje, że nie jest bezzasadnym przypuszczenie, że program uniwersalnej etyki, niezależnej od sporów światopoglądowych i religijnych, wpłynął także na Marka Fritzhanda interpretację etyki w marksizmie oraz korespondował z tendencjami do budowania etyki dialogu i odpowiedzialności w polskich dyskusjach etycznych w czasach dominacji etyki światopoglądowej. (shrink)

Novija znanstvena istraživanja pokazuju da uključivanje djece u glazbene aktivnosti utječe na njihov psihički, emocionalni i socijalni razvoj zbog čega se glazba sve više koristi i u medicinske, odnosno terapeutske svrhe. Kako bismo saznali je li moguće neke elemente iz pojedinih metoda glazboterapije primijeniti i u nastavi glazbe u osnovnoj općeobrazovnoj školi, proveli smo kvalitativno istraživanje u kojemu su sudionici bili učenici trećeg razreda jedne osnovne škole iz Osijeka. Za potrebe prikupljanja podataka koristili smo postupak sustavnog promatranja, a za (...) analizu podataka kvalitativnu i kvantitativnu analizu. Rezultati istraživanja pokazali su da je uvođenje elemenata iz pojedinih metoda glazboterapije moguće te da učenici rado sudjeluju u svim provedenim aktivnostima. Pritom učenici iskazuju maštovitost, kreativnost, samostalnost u radu te spremnost na suradnju. (shrink)

Współcześnie próby systematyzowania sztuki na podstawie jej wartości zastępują raczej teorie opisowe, które stronią od jej ocen. Co więcej, refleksja postmodernistyczna, zmieniając swój stosunek do sztuki niskiej, skutecznie zatarła różnice w hierarchizacji walentnych treści sztuki. Wzmocnienie głoszonych w awangardzie programowych tez zmierzających do unieważnienia dotychczasowych kryteriów postaw oceniających wartość sztuki przyszło wraz z tzw. filozofią postmodernizmu. Założenia postmodernizmu ukazują wizję sztuki współczesnej, która osiągnęła kres swoich możliwości twórczych, innymi słowy nie ma współczesnej możliwości powiedzenia w sztuce czegoś nowego, co nie (...) będzie tylko cytatem, powtórzeniem, rekapitulacją tego, co już w sztuce było. Tego rodzaju hipoteza zakłada, że wyobraźnia ludzka jest zbiorem skończonych możliwości, a w procesie rozwoju kultury doszliśmy w czasach współczesnych do punktu, w którym wszystkie możliwe kombinacje zostały już wykorzystane. W tej sytuacji możemy albo przyjąć postawę zniechęcenia, albo sięgnąć do czasów minionych i wyselekcjonować poszczególne elementy, zestawiając je w eklektycznej kombinacji tak, aby nosiły znamiona nowości. Ale, aby przeprowadzić ten eklektyzm, który ma spełniać pozory nowości, trzeba wyjść od zwątpienia w kategorię racjonalnego rozumu, czyli braku wiary w naturalny porządek świata. Tylko wtedy głównym operatywem na gruncie kultury pozostanie wszechobecna ironia. I w tym duchu, zgodnie z założeniami postmodernizmu, należy czytać tzw. wielkie narracje historyczne, czyli systemy filozoficzne, religie, projekty społeczne czy też teorię sztuki. Obecne w historii narracje należy traktować jak wielkie literackie opowieści, które, być może, mają ciekawą fabułę, ale nie są prawdziwe i nie wychodzą poza zdawkowy komentarz. Katalog często stawianych hipotez wybranych i omówionych w artykule wskazuje na ich niejasną i często wadliwą konstrukcję. Nie oznacza to jednak niemożności stawiania pytań o wartościowanie na gruncie estetyki. Należy pamiętać, że pewne kwestie pozostają niezmienne w ocenie sztuki. Kryterium oceny dzieła sztuki uzyskane na podstawie cech empirycznych pozostaje niezmienne, a zatem to, co nazywamy kwestiami warsztatowymi, może przejść jako pierwsza przesłanka uznania, bądź nie, dzieła sztuki za wartościowe. Podobnie na bazie pewnej fikcji wizualnej urzeczywistniane są wartości, które nie są dostępne w świecie realnym, tym samym nie pełnią funkcji czystej repetycji doświadczenia ze świata realnego, więc mogą zaistnieć w świecie sztuki. Tym samym wartość sztuki może być mierzona skalą wprowadzenia do doświadczenia podmiotu poznającego czegoś, czego dotąd podmiot nie doświadczył. (shrink)

The article analyzes textbooks and offers an insight into the didactical manuals written in early socialism. Textbooks of modest volume, published at the end of the forties and in the fifties of the last century, reflected the basic requirements of educational policy. The main goal of music education was to educate students to sing by notes. The publications were conceived as theoretical instructions for musical literacy. The first didactical manual written by Joža Požgaj was published, which in its revised version (...) was used in music teaching for many years. Textbooks written in the first half of the 1960s, after the educational reform, were adapted to children’s age, while didactical manuals focused on enriching the lessons with songs, literary examples, games, stories, the use of school instruments etc. The attention shifted from music literacy to singing as dominant activity in music teaching, but again with the aim of acquiring basic musical vocabulary. (shrink)

The aim of this research was to see if there is a difference in the psychological resilience and quality of life of pupils attending elementary school and pupils attending both elementary school and elementary music school. The research also examined the potential gender differences in the results with respect to the school the pupils attended. The research included pupils of comparable age – those in the final years of elementary school and in the final years of elementary music school. The (...) convenience sample consisted of a total of 218 pupils. Ungar’s Child and Youth Resilience Measure was used, as well as the Croatian version of the Kidscreen Questionaire-52. The results are presented through descriptive statistics and processed by a two-way analysis of variance. The results show that pupils who attend both elementary school and elementary music school are more resilient with better life adjustment than pupils who attend only elementary school. There were no gender differences with respect to the school that the pupils attended. The results of the research show engagement in music as a potential protective factor in the development of psychological resilience and life adjustment in children. (shrink)