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)

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)

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)

Svrha ovog rada bila je utvrditi učestalost sudjelovanja učitelja Glazbene kulture u različitim aktivnostima informalnog cjeloživotnog učenja te saznati njihovo mišljenje o važnosti i doprinosu navedenog razvoju vlastitih kompetencija potrebnih za poučavanje Glazbene kulture. Utvrđeno je da učitelji najviše sudjeluju u informalnim aktivnostima učenja koje ne zahtijevaju dodatno izdvajanje vremena te shodno tome rjeđe sudjeluju u aktivnostima koje zahtijevaju veću njihovu pažnju. Osjećaju se kompetentnima u izvođenju svih glazbenih aktivnosti koje se provode u nastavi Glazbene kulture. Nadalje, (...) vide doprinos i važnost sudjelovanja u aktivnostima informalnog učenja, no podijeljeni su u razmišljaju trebaju li posvetiti više dodatnog vremena aktivnostima informalnog učenja te kada razmišljaju o tome bi li njihova nastava bila jednako kvalitetna da ne primjenjuju nova znanja stečena informalnim učenjem. (shrink)

U radu je istražen utjecaj završenog srednjoškolskog obrazovanja i dobi/godine studije na interkulturalnu efikasnost studenata i njihove preferencije glazbi svijeta, zatim povezanost između interkulturalne efikasnosti i preferencija glazbi svijeta te utjecaj poznatosti na preferencije glazbenih ulomaka. Istraživanje je provedeno na uzorku studenata različitih fakulteta Sveučilišta u Splitu i Sveučilišta u Zagrebu, pomoću upitnika sastavljenog od tri dijela: Upitnik općih podataka, Upitnik interkulturalne efikasnosti te Upitnik za ispitivanje glazbenih preferencija. Rezultati ne potvrđuju utjecaj vrste završene srednje škole ni dobi/ (...) godine studija na razinu interkulturalne efikasnosti studenata, niti na njihove preferencije glazbi svijeta. Potvrđeno je postojanje povezanosti između razine interkulturalne efikasnosti i preferencija glazbi svijeta te između poznavanja glazbe i preferencija glazbenih ulomaka. Dobiveni rezultati imaju značajne glazbeno-pedagoške implikacije, posebno u kontekstu visokoškolskog obrazovanja. The paper explored the influence of high school education and age/year of study on students’ intercultural effectiveness and their world music preferences, the relationship between intercultural effectiveness and world music preferences, and the influence of familiarity of music on music preferences. The research was conducted on a sample of students from different faculties of the University of Split and the University of Zagreb, using a questionnaire composed of three parts: The Sociodemographic Questionnaire, The Intercultural Effectiveness Scale and The Music preferences Questionnaire. The results do not confirm the influence of the type of high school education or age/year of study on the level of the students’ intercultural effectiveness, nor on their world music preferences. The existence of a relationship between the level of students’ intercultural effectiveness, world music preferences and between familiarity of music and music preferences has been confirmed. The obtained results have significant implications for music pedagogy, especially in the context of higher education. (shrink)

The paper explored the influence of high school education and age/year of study on students’ intercultural effectiveness and their world music preferences, the relationship between intercultural effectiveness and world music preferences, and the influence of familiarity of music on music preferences. The research was conducted on a sample of students from different faculties of the University of Split and the University of Zagreb, using a questionnaire composed of three parts: The Sociodemographic Questionnaire, The Intercultural Effectiveness Scale and The Music preferences (...) Questionnaire. The results do not confirm the influence of the type of high school education or age/year of study on the level of the students’ intercultural effectiveness, nor on their world music preferences. The existence of a relationship between the level of students’ intercultural effectiveness, world music preferences and between familiarity of music and music preferences has been confirmed. The obtained results have significant implications for music pedagogy, especially in the context of higher education. (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)

Glazbena djela skladateljica važan su, ali nedovoljno obrađen segment glazbeno-povijesne baštine te u nedovoljnoj mjeri zastupljen element suvremene glazbene kulture. Djeca se s djelima skladateljica u prvom redu upoznaju u okviru osnovnoškolske nastave glazbe. U radu je prikazano istraživanje kojemu je cilj bio utvrditi zastupljenost djela skladateljica namijenjenih za slušanje i pjevanje u udžbenicima za Glazbenu kulturu koji su u uporabi u Hrvatskoj, a posebno djela hrvatskih skladateljica. U istraživanju je analiziran 21 udžbenik triju hrvatskih nakladničkih kuća. Rezultati ukazuju (...) na to da su u udžbenicima najviše zastupljena djela skladatelja, potom tradicijske skladbe, dok su djela skladateljica zastupljena u bitno manjoj mjeri. Autori predlažu revidiranje popisa djela za slušanje i pjevanje u udžbenicima za Glazbenu kulturu kako bi se u njih u većoj mjeri uvrstilo stvaralaštvo domaćih i stranih skladateljica. The female composers’ musical pieces are an important but relatively unknown part of the musical and historical heritage. They are also underrepresented in the contemporary musical culture. Children are introduced to works of female composers mainly through the music curriculum in primary schools. This paper presents the research of the Music education textbooks that are in use in primary schools in Croatia. The main aim of the research was to establish the number of compositions by female music composers in the overall number of compositions listed for listening and singing in textbooks, especially the presence of pieces authored by Croatian female composers. We have analyzed 21 textbooks from three Croatian publishing houses. Results show that compositions by male compositors are most often, and then follow traditional compositions, while the compositions of female composers are significantly less present. We propose the revision of the compositions for listening and singing that are included in the Music education textbooks in a way that would enable greater participation of work by both Croatian and other female composers. (shrink)

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)

The female composers’ musical pieces are an important but relatively unknown part of the musical and historical heritage. They are also underrepresented in the contemporary musical culture. Children are introduced to works of female composers mainly through the music curriculum in primary schools. This paper presents the research of the Music education textbooks that are in use in primary schools in Croatia. The main aim of the research was to establish the number of compositions by female music composers in the (...) overall number of compositions listed for listening and singing in textbooks, especially the presence of pieces authored by Croatian female composers. We have analyzed 21 textbooks from three Croatian publishing houses. Results show that compositions by male compositors are most often, and then follow traditional compositions, while the compositions of female composers are significantly less present. We propose the revision of the compositions for listening and singing that are included in the Music education textbooks in a way that would enable greater participation of work by both Croatian and other female composers. (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)

This paper presents the results of empirical research conducted to examine the opinion of teachers of vocal, instrumental, and theoretical teaching at Croatian and Serbian music schools on distance learning. The survey was conducted during May 2020, at a time when all music schools have completely switched to a distance learning system due to the COVID-19 pandemic. The results showed that teachers, despite numerous problems, especially poor internet connections and poor sound quality obtained by electronic devices, have successfully coped with (...) the realization of distance music teaching. Statistically significant differences were found in teachers’ responses about distance learning regarding the type of classes led by teachers, so teachers who lead instrumental and vocal classes are better at performing distance learning compared to those who lead theoretical classes. Despite the belief of teachers that the transfer of complete knowledge is impossible through technology, most of them are open to the possibility of meaningful application of ICT. Therefore, the issue of professional development and continuous support to teachers by the competent institutions of Croatia and Serbia is intensifying. (shrink)

Stanoviste deliberativne demokratije jeste da se legitimnost demokratskih odluka zasniva na prethodnoj deliberaciji onih koji ucestvuju u procesu odlucivanja. Ovo znaci da se demokratske odluke ne mogu donositi samo na osnovu proste agregacije preferencija koje se izrazavaju prilikom glasanja. Kao rezultat promisljanja podstaknutih deliberativnom komunikacijom i uzimanjem u obzir stanovista drugih ljudi, gradjani mogu da promene svoje prvobitne stavove i preferencije. Cilj ovoga rada jeste da izlozi stanoviste deliberativne demokratije, kakvo zastupaju Ejmi Gatman i Denis Tompson, kao i da (...) iznese kritike koje nastaju kao rezultat razmisljanja o prakticnoj primeni takve zamisli. (shrink)

Stanoviste deliberativne demokratije jeste da se legitimnost demokratskih odluka zasniva na prethodnoj deliberaciji onih koji ucestvuju u procesu odlucivanja. Ovo znaci da se demokratske odluke ne mogu donositi samo na osnovu proste agregacije preferencija koje se izrazavaju prilikom glasanja. Kao rezultat promisljanja podstaknutih deliberativnom komunikacijom i uzimanjem u obzir stanovista drugih ljudi, gradjani mogu da promene svoje prvobitne stavove i preferencije. Cilj ovoga rada jeste da izlozi stanoviste deliberativne demokratije, kakvo zastupaju Ejmi Gatman i Denis Tompson, kao i da (...) iznese kritike koje nastaju kao rezultat razmisljanja o prakticnoj primeni takve zamisli. (shrink)

Socio-kulturološka dimenzija kreativnosti nezaobilazni je aspekt u teorijskim razmatranjima fenomena glazbene kreativnosti. Empirijska istraživanja i iskustva iz prakse dovela su do potrebe za rekonceptualizacijom i reinterpretacijom pojma glazbene kreativnosti u obrazovanju. Upravo se kroz socio-kulturološki kontekst razvio i pojam ‘kolaborativna kreativnost’. U školskoj praksi kolaborativna se kreativnost može ostvariti među učenicima, ali i među nastavnicima koji surađuju kroz realiziranje integrativne nastave, izvannastavnih aktivnosti i projektne nastave. U ovom radu predstavit će se neki oblici poticanja kolaborativne glazbene kreativnosti, (...) s posebnim osvrtom na iskustvo učenika i utjecaj koji su zajednički stvaralački procesi imali na njihovu socijalizaciju, motivaciju, ali i na praktičnu primjenu usvojenih znanja. Za metodološki okvir iskorišteno je akcijsko istraživanje provedeno u jednom odjeljenju petog razreda osnovne škole tijekom školske godine 2017./2018. Cilj rada je otvoriti pitanja o mogućnostima poticanja kolaborativne kreativnosti u redovitoj nastavi glazbe, ali i ukazati na objektivne poteškoće za realizaciju ovog oblika kreativnog procesa u školskim uvjetima. The socio-cultural dimension of creativity is an essential aspect of theoretical examinations of the phenomenon of musical creativity. Empirical research and practical experience have resulted in the need to reconceptualise and reinterpret the concept of musical creativity in education. The concept of collaborative creativity developed through the socio-cultural context itself. In school practice, collaborative creativity can be achieved among pupils, as well as among teachers who cooperate through integrative teaching, extracurricular activities, and project teaching. This paper will present some ways in which to encourage collaborative musical creativity, with a special view to student experiences and the influence that collaborative creative processes have on their socialisation, motivation, and the practical implementation of acquired knowledge. The action research methodological framework was implemented in a Year 5 elementary school class during the 2017/2018 school year. The goal of the paper is to examine the potential for encouraging collaborative creativity in regular music teaching, as well as to indicate objective difficulties in undertaking this type of creative process in schools. (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)

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)

Brojna su istraživanja potvrdila vezu između glazbenog obrazovanja i dobrobiti za opći razvoj djeteta. Glazbene aktivnosti koje stavljaju težište na ritam u nekim su se istraživanjima istakle kao sredstvo poticaja djetetovog razvoja u ne-glazbenim domenama. Rad se bavi ulogom temporalne dimenzije glazbe u glazbenom i općem razvoju djeteta. Iznose se dosadašnje spoznaje o percepciji, obradi i izvođenju glazbenog ritma, pulsa i metra te tijeku ritamskog razvoja djeteta. Daje se pregled istraživanja utjecaja glazbenih aktivnosti koje se temelje na ritmu na (...) ne-glazbene domene razvoja te se preporuča rani rad na ritmu. Ističe se potreba provođenja eksperimentalnih istraživanja koja bi rasvijetlila ulogu ritma u razvoju djeteta i modeli rada na ritmu primjenjivi u institucijama koje se bave djecom, uključujući i terapijske te rehabilitacijske ustanove. Numerous studies have confirmed the correlation between music education and child development. In some studies, musical activities based on rhythm have been highlighted as a means of stimulating children’s development in non-music domains. The paper deals with the role of the temporal dimension of music for both the musical and general development of the child. The text presents knowledge about the perception, processing, and performance of music rhythm, pulse, and meter, as well as the course of the rhythmic development of the child. An overview is provided of the impact of rhythm-based music activities on non-music developmental domains together with recommendation for early work on rhythm. We emphasized the need to conduct experimental research to shed light on the role of rhythm in the development of the child and the rhythmic models applicable in child care institutions, including therapeutic and rehabilitation institutions. (shrink)

Cilj je slušanja glazbe u školi oblikovati kulturno-umjetnički svjetonazor učenica i učenika te doprinijeti njihovom estetskom odgoju. U hrvatskim osnovnim školama realizira se prema tzv. standardnom modelu kojemu je težište na spoznajnoj dimenziji. Kako bi se povećali pozornost, motivacija, slušalačke navike i prihvaćanje umjetničke glazbe, predlaže se spoznajno-emocionalni pristup koji višemodalno povezuje glazbene i izvanglazbene sadržaje. Cilj istraživanja bio je usporediti utjecaje spoznajno-emocionalnog i standardnog pristupa u nastavi glazbene kulture na spoznajni i emocionalni aspekt slušanja glazbe. Sudjelovalo je (...) 557 učenika i učenica iz 30 petih razreda. Slušali su Hačaturjanovu Maskaradu, Beethovenovu Wellingtonovu pobjedu, Rimski Korsakovljevu Šeherezadu i Fauréovu Pavanu te odgovarali na pitanja vezana za spoznajni i emocionalni aspekt slušanja glazbe. Petnaest razreda imalo je nastavu po standardnom, a 15 razreda po spoznajno emocionalnom pristupu. U spoznajnom aspektu odgovori učenika i učenica uglavnom se nisu razlikovali. U emocionalnom aspektu, u Šeherezadi i Pavani nešto su intenzivnije doživljavane dominantne emocije kada je bio primijenjen spoznajno-emocionalni pristup. The purpose of music listening in school is to shape students’ world view regarding culture and arts, as well as to contribute to their aesthetic education. Croatian elementary schools use the ‘standard model’, which focuses on the cognitive dimension. In order to increase attention, motivation, listening habits, and acceptance of artistic music, a cognitive-emotional approach is suggested that connects musical and extra-musical content in multiple modalities. The goal of the research is to compare the effects of the cognitive-emotional approach versus the standard approach to music teaching on the cognitive and emotional aspects of music listening. 557 year 5 students from 30 classes participated in the research. They listened to Khachaturian’s Masquerade, Beethoven’s Wellington’s Victory, Rimsky- Korsakov’s Scheherazade, and Fauré’s Pavane, as well as answering questions related to the cognitive and emotional aspects of music listening. Fifteen classrooms used the standard approach, while the other fifteen used the cognitive-emotional approach. Student responses generally did not differ in the cognitive aspect. In the emotional aspect, Scheherazade and Pavane engendered somewhat more intense dominant emotions when the cognitive-emotional approach was used. (shrink)

Opće i glazbeno obrazovanje u situaciji pandemije u potpunosti je prešlo na model učenja na daljinu. Istraživanjem se željelo ustanoviti koje su didaktičke pristupe primjenjivali učitelji i učenici u slovenskim glazbenim školama tijekom asinkronog učenja na daljinu. Na uzorku od 9 aktivnih učitelja i 16 učenika analiziran je 31 interaktivni nastavni materijal kako bi se odredili inovativni didaktički pristupi u korištenju digitalne tehnologije s ciljem ostvarenja ishoda učenja na nastavi Glazbene teorije i Solfeggia. Primjenom kvalitativnih i kvantitativnih metoda došlo (...) se do rezultata koji ukazuju na nisku zastupljenost didaktičkih pristupa koji koriste digitalne tehnologije. Iako su rezultati pokazali visoku učestalost korištenja digitalne tehnologije među učenicima, istaknuta je i prisutnost materijala za e-učenje te tradicionalnih nastavnih pristupa, poput onih korištenih u klasičnom tipu učioničke nastave. (shrink)

Brojni čimbenici koji utječu na oblikovanje glazbenih preferencija srednjoškolaca upućuju na zahtjevnu ulogu glazbenih pedagoga. Njihov je zadatak da kompetentnim i kreativnim glazbenim poučavanjem navedu učenike da s emocionalno konotacijskog pristupa započnu primjenjivati sintaktičku strategiju slušanja, s razvijenim analitičkim muzikološkim procesima, te postupno razviju glazbeni ukus s kvalitetnim estetskim sustavom vrijednosti. Istražujući odnos sociodemografskih varijabli i glazbenih preferencija učenika prvih i četvrtih razreda gimnazije i strukovne srednje škole potvrđene su razlike u poznavanju i preferencijama utvrđenih glazbenih stilova s obzirom na (...) spol, vrstu škole, dob i školski uspjeh. Kroz dobivene rezultate istraživanja aktualizirana je potreba za uvrštavanjem glazbene poduke u strukovnim školama, obrazovnim institucijama u kojima takvi sadržaji nisu zastupljeni, ali i potreba za programskim proširenjima kako bi mladi u svojoj formativnoj fazi uz izgradnju pozitivnog odnosa prema umjetničkoj glazbi razvijali i otvorenost te toleranciju prema različitim kulturama i supkulturnim fenomenima. 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)

Ovaj rad predstavlja rezultate empirijskog istraživanja provedenog radi ispitivanja mišljenja učitelja vokalno-instrumentalne i teorijske nastave pri hrvatskim i srpskim glazbenim školama o učenju na daljinu. Istraživanje je provedeno tijekom svibnja 2020., u vrijeme kad su sve glazbene škole zbog pandemije COVID-19 u potpunosti prešle na sustav učenja na daljinu. Rezultati pokazuju da su se učitelji, usprkos brojnim problemima, osobito lošim internetskim vezama i lošom kvalitetom zvuka dobivenim elektroničkim uređajima, uspješno nosili s realizacijom nastave glazbe na daljinu. Pronađene su statistički (...) značajne razlike u odgovorima nastavnika o učenju na daljinu s obzirom na vrstu nastave koju vode, pa su učitelji koji izvode instrumentalnu i vokalnu nastavu bili bolji u izvođenju učenja na daljinu u odnosu na one koji vode teorijsku nastavu. Usprkos vjerovanju nastavnika da je prijenos potpunog znanja nemoguć putem tehnologije, većina njih otvorena je za mogućnost smislene primjene IKT-a. Stoga se intenzivira pitanje profesionalnog usavršavanja i kontinuirane podrške učiteljima od strane nadležnih institucija Hrvatske i Srbije. This paper presents the results of empirical research conducted to examine the opinion of teachers of vocal, instrumental, and theoretical teaching at Croatian and Serbian music schools on distance learning. The survey was conducted during May 2020, at a time when all music schools have completely switched to a distance learning system due to the COVID-19 pandemic. The results showed that teachers, despite numerous problems, especially poor internet connections and poor sound quality obtained by electronic devices, have successfully coped with the realization of distance music teaching. Statistically significant differences were found in teachers’ responses about distance learning regarding the type of classes led by teachers, so teachers who lead instrumental and vocal classes are better at performing distance learning compared to those who lead theoretical classes. Despite the belief of teachers that the transfer of complete knowledge is impossible through technology, most of them are open to the possibility of meaningful application of ICT. Therefore, the issue of professional development and continuous support to teachers by the competent institutions of Croatia and Serbia is intensifying. (shrink)

With the outbreak of the pandemic, general and music education shifted completely to remote learning as the only possible form. The research looks into didactic approaches using digital technology adopted by active teachers and students in the Slovenian music school in asynchronous distance learning. On a sample of 9 active teachers and 16 students, the research study examined 31 interactive learning materials in order to identify innovative didactic approaches using digital tools which were applied to achieve learning objectives within musical (...) activities of the Music Theory and Solfeggio. Based on qualitative-quantitative approach, the research showed a low presence of didactic approaches using digital tools. Even though the results show a higher level of use of digital technology among students, the research focused much more on the presence of e-learning materials as well as predominantly traditional teaching approaches, similar to the classical type of classroom teaching. Opće i glazbeno obrazovanje u situaciji pandemije u potpunosti je prešlo na model učenja na daljinu. Istraživanjem se željelo ustanoviti koje su didaktičke pristupe primjenjivali učitelji i učenici u slovenskim glazbenim školama tijekom asinkronog učenja na daljinu. Na uzorku od 9 aktivnih učitelja i 16 učenika analiziran je 31 interaktivni nastavni materijal kako bi se odredili inovativni didaktički pristupi u korištenju digitalne tehnologije s ciljem ostvarenja ishoda učenja na nastavi Glazbene teorije i Solfeggia. Primjenom kvalitativnih i kvantitativnih metoda došlo se do rezultata koji ukazuju na nisku zastupljenost didaktičkih pristupa koji koriste digitalne tehnologije. Iako su rezultati pokazali visoku učestalost korištenja digitalne tehnologije među učenicima, istaknuta je i prisutnost materijala za e-učenje te tradicionalnih nastavnih pristupa, poput onih korištenih u klasičnom tipu učioničke nastave. (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)

The purpose of music listening in school is to shape students’ world view regarding culture and arts, as well as to contribute to their aesthetic education. Croatian elementary schools use the ‘standard model’, which focuses on the cognitive dimension. In order to increase attention, motivation, listening habits, and acceptance of artistic music, a cognitive-emotional approach is suggested that connects musical and extra-musical content in multiple modalities. The goal of the research is to compare the effects of the cognitive-emotional approach versus (...) the standard approach to music teaching on the cognitive and emotional aspects of music listening. 557 year 5 students from 30 classes participated in the research. They listened to Khachaturian’s Masquerade, Beethoven’s Wellington’s Victory, Rimsky- Korsakov’s Scheherazade, and Fauré’s Pavane, as well as answering questions related to the cognitive and emotional aspects of music listening. Fifteen classrooms used the standard approach, while the other fifteen used the cognitive-emotional approach. Student responses generally did not differ in the cognitive aspect. In the emotional aspect, Scheherazade and Pavane engendered somewhat more intense dominant emotions when the cognitive-emotional approach was used. (shrink)

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)