Search results

1

Pojmowanie emocji i znaczenie działań muzycznych w ich rozwijaniu u dziecka w młodszym wieku szkolnym

100%

Kłysz-Sokalska N.

Studia Edukacyjne

|

2017

|

issue 44

347-361

EN

Emotional education in Poland is superficial,accidental and at times intuitive. Lack of emotional education classes and the governments’ low support of teachers have a negative effect on the treatment of emotional education as important in the development of a child in an early school age. Teachers, by trial and error, try to solve problems on the basis of their effect rather than cause, which often lies in the student’s emotions. Separating emotions from “rational” thinking is a pedagogical mistake. An adult’s awareness of the cognitive nature of emotion can affect not only the leveling up of emotional disorders, but also has impact on the child’s overall cognitive development. By using the most natural activities of music and movement, the student develops his emotionality with the verbalization of emotional experience. Awareness of the emotions experiences as well as their correct naming is the key to the success of emotional education for students.

2

Folklor w edukacji muzycznej – metoda projektów

100%

Andrys M.

Studia Edukacyjne

|

2018

|

issue 50

399-411

EN

In times of prevailing mass pop-culture there is almost no space for traditions and customs connected with folklore. Educationalists and music teachers continue to pursue progressive methods demonstrating the artistic values of folklore. Project-based learning is a method which can be the beginning of forming an attitude of respect and cultivation of national heritage. This method may not only can develop social abilities, teach self-reliance and organization, but also create an opportunity to find interest even among most difficult problematic issues. A recent project ‘Muzyczna Kawaleriada z Uśmiechem – Regiony kulturowe Polski’ has already created a possibility for researching if the above method can be applied for musical education for grades 4-6. Folk culture, especially songs and dances, has become a subject of observation for teachers and at the same time an evaluation for students. A questionnaire was used for that purpose. All three stages of the project, preparation, realization and presentation as well as the results of conducted research show that project-based learning is an attractive and effective method of music education. Certain values of the beauty of Polish folk songs and dances are also indicated.

3

The Art Music’s Road from a Closed System to Openness

93%

Lehtonen K., Juvonen A.

Signum Temporis

|

2011

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vol. 4

|

issue 1

46-61

EN

In this article we form a review-like vision of the development of Finnish music educational system. We use a philosophic-historic method combining the historical events into the educational theories and philosophical points of view. We use conceptions from music sociology and musicology combined in educational and partly historical point of view. The aim of the study is to find similar elements in the development of Finnish music education and positivistic and behaviouristic theories. The power structures and the ways of action are analyzed and estimated in spirit of discussion and opening new perspectives in the Finnish music education institutes which are struggling for survival in close future. Our findings show that old traditional ways of thinking and developing music education systems and organisations have come to the end of the road and new winds must start blowing. New research, the explosion-like development in music culture and music industry set new demands also to music education and institutions. The turtle defence no longer works and music culture must be seen as multidimensional many-sided part of every human being’s life.

4

ПРОБЛЕМИ СИНЕРГЕТИКИ В КОНТЕКСТІ СУЧАСНОЇ МУЗИЧНОЇ ОСВІТИ

93%

Полюга В.

Педагогічні науки: теорія, історія, інноваційні технології

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2015

|

issue 6(50)

17-24

EN

The article highlights some interpretations of synergetics problems constituting significance in understanding the concept of music education. Such key aspects of synergetics as dissipative structures (self-organization, self-development), musical consciousness, interdisciplinarity are analyzed. The methodology of modern music education is formed at the corner of phenomenological, existential and ontological approaches. Just such a methodology, where the goal lies in synergetic-methodological context, is the creative approach, which is experienced emotionally and combines philosophical, aesthetic and music-study understanding, and provides the opportunity to uncover the real phenomenon of musical existence. Accordingly, the result of musical creativity is the relationship of individual characteristics and universal laws. The most universal, system-wide in the musical works is subject to study of the synergetic method in music education. Modern methods in the theory of self-organization (synergetics) allows not only to take another look and explain known facts and regularities, but also to generate fundamentally new directions in the study of art associated with his perception, because music affects the evolution of consciousness of the individual. Nowadays music education is based on the understanding of musical art and characterized by multidimensionality, polivalence, multivariability. The principles of synergetics in music education coincide with the principle of self-actualization of humanistic pedagogy, when the synergetic approach to education and the person is understood as a holistic phenomenon. The main problems of synergetics in the context of music education are based on the following key concepts of musical consciousness, interdisciplinarity, self-organization, self-development. If the main points around which the system of music education is built, are the object (pupil, student), and the aim is the development of a harmonious personality, the analyzed main concepts of synergetics reveal fundamental features of personal development such as thinking, spiritual-philosophical, personal openness to the outside world. Accordingly, meaningful synergistic issues have a significant heuristic value in the field of music education, which is experiencing a period of transformation due to contemporary social and aesthetic challenges, information progress and computerization.

5

Narodziny i rozwój polskiej teorii wychowania estetycznego

93%

Gogłuska-Jerzyna M.

Kwartalnik Pedagogiczny

|

2015

|

issue 3(237)

21-33

EN

The polish conception of aesthetic education began in the 1960s. The grounds of this theory were formulated by Bogdan Suchodolski, who recognised it as an integral part of general education. According to this theory, aesthetic education encompasses two areas: education for art, i.e. education for aesthetic sensibility and aesthetic culture, and education through art, i.e. development of full personality, also in the intellectual, moral, social, educational, imaginative and creative areas. Essential for the Polish theory of aesthetic education are the proposals and conclusions presented by Irena Wojnar, particularly her recognition of education through art as a creating an “open mind” attitude. A distinctive feature of Irena Wojnar’s pedagogical reflection on art is its interdisciplinary nature, which takes into account not only the educational one, but also the aesthetic, psychological and social perspective on the educational values and functions of art. The conceptions of visual art and musical education developed within the “general” theory of aesthetic education have been used in designing the music and visual arts curricula. The contemporary Polish theory of aesthetic education joined the stream of new educational thinking, in the perspective of cultural pluralism and new ethical and social obligations to individuals and to the world. The so perceived aesthetic education, recognised by UNESCO as an important part of education for culture, including the so-called human culture, deserves both the attention and interest of theorists as well as innovative practical solutions.

6

Słuch absolutny — symptomem zdolności muzycznych i poznawczych?

93%

Kozłowska-Lewna A.

Aspekty Muzyki

|

2013

|

vol. 3

59-82

EN

The aim of this paper is to present latest studies on absolute pitch conducted over the past ten years. The author respectively discusses: results of the research on the origins of absolute pitch, relationship between absolute pitch and musical skills, dependence of the development of absolute pitch on applied aural training methods, anatomical and neural foundations of this ability, as well as infl uence of absolute pitch on the progress of other cognitive abilities. In conclusion the author submits: the key causes for the development of absolute pitch ability lay in innate predispositions (either genetic or stimulated in the prenatal period) — which manifest themselves in the asymmetry between left and right planum temporale — as well as in skills acquired by early musical practice combined with absolute method of ear training. It appears that using tonal languages is benefi cial for the development of absolute pitch. It has been proven that the ability of absolute pitch correlates with profi ciency in performing musical tasks. Examining brains of people with absolute hearing abilities shows that they have better developed circumferential networks, grey matter, greater thickness of cerebral cortex and improved white matter connectivity, what results in more effi cient networking between various areas of brain, better „small-world” functional networking and memory. Ability of absolute pitch can be understood as a phenomenon of unique perceptual enhancement, useful for the examination of brain plasticity.

7

Associations between music education, intelligence, and spelling ability in elementary school

81%

Hille K., Gust K., Bitz U., Kammer T.

Advances in Cognitive Psychology

|

2011

|

vol. 7

1-6

EN

Musical education has a beneficial effect on higher cognitive functions, but questions arise whether associations between music lessons and cognitive abilities are specific to a domain or general. We tested 194 boys in Grade 3 by measuring reading and spelling performance, non verbal intelligence and asked parents about musical activities since preschool. Questionnaire data showed that 53% of the boys had learned to play a musical instrument. Intelligence was higher for boys playing an instrument (p< .001). To control for unspecific effects we excluded families without instruments. The effect on intelligence remained (p< .05). Furthermore, boys playing an instrument showed better performance in spelling compared to the boys who were not playing, despite family members with instruments (p< .01). This effect was observed independently of IQ. Our findings suggest an association between music education and general cognitive ability as well as a specific language link.

8

Rozwój muzyczny dzieci i młodzieży

81%

Panasiuk B.

Zamojskie Studia i Materiały – Seria Pedagogika

|

2012

|

vol. 14

141-153

EN

Effective shaping of musical attitudes is very often hindered by a lack of knowledge about the musical development of children and young people. Young learners are forced to sing songs not suitable for their voice scale and songs which are rhythmically and harmonically complicated and with wrong texts. A common mistake is encouraging students to imitate adults, singing with exaggerated expression, changing into screams, and performing exercises beyond their performing abilities. The main objective of teachers should be shaping the students’ positive attitude to music. According to the medical principle “primum non nocere”, every music education teacher should have at least some elementary knowledge about the process of students’ musical development.

9

Muzykowanie z fińskim akcentem. Edukacja muzyczna w nauczaniu początkowym w Finlandii

81%

Adamczewski J.

Studia Edukacyjne

|

2019

|

issue 55

259-270

PL

The article highlights the meaning of music activities in early childhood education. All the personalthoughts and information are mostly based on the Finnish educational system and the examples comingfrom my teaching practice at Vasa Övningsskola. Music education has an enormous impacton the child’s development at early school age. The way we teach and the teacher’s personality playa key role in the process of self-learning. This article contains both theoretical and practical aspects ofmusic education in Finnish primary schools. The conclusion is supported by personal experience andobservations from a Finnish primary school, which help to precisely describe music education in thisparticular system. The speaker will present activities and ideas used in the music education in earlyschool age based on the national curriculum from 2016.

10

A CONTRIBUTION TO MUSIC EDUCATIONAL WORK WITH CHILDREN OF AN EARLY SCHOOL AGE

81%

Jiřičková J.

Ars inter Culturas

|

2013

|

issue 2

139-145

EN

This article discusses the role of piano as a didactic aid in early education. The piano is a great aid to motivate, sparks creativity, and effectively engages children in the learning proces. A case study conducted by the author proposes different techniques of integrating the piano in the context of music lessons. The study contains a variety of musical activities and proposes specific teaching instructions to work with rhymes.

11

Narodziny i rozwój polskiej teorii wychowania estetycznego

81%

Gogłuska-Jerzyna M.

Kwartalnik Pedagogiczny

|

2015

|

vol. 60(3 (237))

21-33

PL

The polish conception of aesthetic education began in the 1960s. The grounds of this theory were formulated by Bogdan Suchodolski, who recognised it as an integral part of general education. According to this theory, aesthetic education encompasses two areas: education for art, i.e. education for aesthetic sensibility and aesthetic culture, and education through art, i.e. development of full personality, also in the intellectual, moral, social, educational, imaginative and creative areas. Essential for the Polish theory of aesthetic education are the proposals and conclusions presented by Irena Wojnar, particularly her recognition of education through art as a creating an “open mind” attitude. A distinctive feature of Irena Wojnar’s pedagogical reflection on art is its interdisciplinary nature, which takes into account not only the educational one, but also the aesthetic, psychological and social perspective on the educational values and functions of art. The conceptions of visual art and musical education developed within the “general” theory of aesthetic education have been used in designing the music and visual arts curricula. The contemporary Polish theory of aesthetic education joined the stream of new educational thinking, in the perspective of cultural pluralism and new ethical and social obligations to individuals and to the world. The so perceived aesthetic education, recognised by UNESCO as an important part of education for culture, including the so-called human culture, deserves both the attention and interest of theorists as well as innovative practical solutions.

12

AN OUTLINE OF A TEACHING AID FOR SLOVAK MUSIC PEDAGOGY

81%

Kočišová R.

Ars inter Culturas

|

2015

|

issue 4

63-76

EN

A mission of current as well as future generations of pedagogues is to search for a balance between supranational politico-economic interests and the presentation of national historic-artistic roots. Despite the many efforts by humanists, it is still true that historic memory and veneration of national values is not a strong aspect of Slovak society. Lifelong education through art could bring a shift in the quality of appreciating cultural accomplishments. Artists and their most significant masterpieces are examples which attract attention abroad as well as at home. In contemporary music education, such development in the dissemination of information which uses new technologies as well as playful and undemanding methods enriches the teaching process with a range of teaching aids and applies an individual approach to each student in the class is expected. An example for opening such a dialogue between a teacher and a student which would allow entrance into the operatic “world” of national schools are the works of such significant personalities as B. Smetana, S. Moniuszko, F. Erkel, E. Suchoň and others. National awakening, relating to traditions, the choice of literary bases, music script, or the composer’s synthetism of these central- European music personalities, are a source of continuous analyses, discussion topics, and educational activities. Opera as an exclusive form for the exacting, so-called gesamtkunstwerk, is, in the pedagogical process, a highly demonstrative form and it is necessary to treat it didactically in such a way so that it is intelligible for younger generations, musically or otherwise gifted. The contribution presents the possibility of introducing the opera “Katrena” – a piece from the period of Slovak musical modernism - with elements of verism, Brechtian and Janáček-esque theatre – swayed by political regulations into the primary school classroom. The teaching aid – a music presentation – comprises a chronologically organised audiovisual overview of the opera. It includes a workbook by means of which teachers obtains feedback about the creativity and knowledge of their students. In this way, the audio information is transferred and intensified by other sensory information, which might bring a memory trace of higher quality. The main objective of this study is to indicate how to involve a Slovak opera – or its audiovisual recording – in teaching music at our schools. The process of involving the matter is taking place within the framework of pedagogical interpretation of a specific opera work. The efforts of the author of the study have resulted in completing a DVD containing the crucial extracts of the opera and a workbook – both representing an interlinked teaching aid for the purposes in question.

13

DIGITAL MUSICIANSHIP IN THE LATE MODERN CULTURE OF MEDIATION: THEORIZING A NEW PRAXIS FOR MUSIC EDUCATION FROM A PRAGMATIST VIEWPOINT

81%

Väkevä L.

Signum Temporis

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2013

|

vol. 6

|

issue 1

38-47

EN

In this article, author examines how digital mediation may change the way musicianship is conceived in the late modernity. Author will discuss the theoretical implications of confronting this change in music education, suggesting that recognizing its creative potential may offer a renewed theoretical perspective in music education. Author will also argue that Deweyan pragmatism can offer a fruitful way to frame the central role of mediation in music education in the late modernity. The aim of this study is to discuss some ideas related to digital mediation and digital musicianship from the perspective of late modernity, as well as argue for a pragmatist theoretical approach for these issues. The article is philosophical; its main materials are literature of digital culture, mediation and music education.

14

Music Objectives Planning in Prevailing Psychomotor Domain

81%

Sicherl-Kafol B., Denac O., Denac J., Zalar K.

The New Educational Review

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2014

|

vol. 35

101-111

EN

The paper presents the results of a study in which we analysed planning of musical objectives in the psychomotor domain prepared by 372 Slovenian general education teachers. The research results showed high share of objectives pertaining to the taxonomy category of speech behaviours, which was followed by the categories of gross bodily movements, finely coordinated movements and non-verbal communication. The above facts confirm that music objectives can be classified in the prevailing psychomotor domain and show the utilization of a chosen taxonomy model. The research results also indicate that Slovenian general education teachers are aware of the need for active approaches to music teaching although they pay less attention to music objectives planning in the category of non-verbal communication which exceeds the mere use of words and represents the basis for contemporary approach of music teaching through musical doing and making.

15

Eliminacja lamerstwa. O społecznym użytkowaniu muzyki: Z Adamem Czechem rozmawia Anna Zawadzka [Eliminating cheesiness. The social use of music: Adam Czech interviewed by Anna Zawadzka]

81%

Zawadzka A.

Studia Litteraria et Historica

|

2017

|

issue 6

EN

Eliminating cheesiness. The social use of music: Adam Czech interviewed by Anna ZawadzkaThe interview with Doctor Adam Czech deals with various forms of distinctions made with the use of music, in the circles of both its authors and recipients. The conversation addresses, among other things, the current status of contemporary classical, folk, and popular music in Poland, and the status of different manners of music consumption. Another issue under discussion concerns the prevailing artistic categories of music evaluations, such as being original and abstract, and the ways of validating and delegitimizing different musical genres. Eliminacja lamerstwa. O społecznym użytkowaniu muzyki: Z Adamem Czechem rozmawia Anna ZawadzkaWywiad z dr. Adamem Czechem dotyczy różnych form dystynkcji dokonywanych za pomocą muzyki zarówno w środowisku jej twórców/twórczyń, jak i odbiorców/odbiorczyń. Przedmiotem rozmowy jest m.in. obecny status muzyki poważnej, muzyki ludowej i muzyki popularnej w Polsce, jak również status poszczególnych sposobów muzycznej konsumpcji, czyli słuchania. Rozmowa dotyczy także dominujących w sztuce kategorii oceniania muzyki, takich jak oryginalność i abstrakcyjność, oraz sposobów uprawomocniania i delegitymizacji poszczególnych gatunków muzycznych.

16

Rozśpiewane przedszkole. O potrzebie zajęć umuzykalniających w codziennym wychowaniu przedszkolnym

80%

Adamczewski J.

Studia Edukacyjne

|

2020

|

issue 58

329-340

EN

The article presents the educational aspects of the music education in everyday preschool activities. The main idea is to widely describe the role of the music activities dedicated to the youngest. Based on the literature, I tried to connect the theory with the examples of everyday teaching practice. Each part was supported with free and accessible sources of educational materials. The role of the catholic preschool teacher was stressed as well, which is crucial for the future of Polish music education.

17

Music Education as a Key Factor in the Full Development of a Child

80%

Kłysz-Sokalska N.

Studia Edukacyjne

|

2016

|

issue 42

263-272

EN

Music education is a field of pedagogy dedicated to the development of the individual through artistic action, which is manifested in various forms and activities. Properly conducted music education has a beneficial effect on the right development of child. Research shows that music education stimulates the competence of child's language and mathematical skills, affect the development of creative child's personality and its socialization. Neurodidactics points to the significance of playing the instruments to neurogenesis and the development of skills of concentration, memory and attention. Movement to music, however, is developing spatial and mobility coordination, involves sight and hearing, which has a beneficial effect on the mastery of the whole body – muscles and nervous system. Unfortunately, despite the enormity of the positive aspects, music education is treated superficially, which shows a small amount of hours music lessons at school and inadequate preparation and attitude of teachers for music education. The difficulty with which collides every day music education is also a contemporary musical culture. The low level of the presented music content being the only "marketing product" makes that music education becoming too elitist activity, or is forced to follow along with system.

18

Złote czasy radia. Edukacyjne i wychowawcze funkcje radiowych audycji umuzykalniających

80%

Forecka-Waśko K.

Kultura-Społeczeństwo-Edukacja

|

2016

|

vol. 10

|

issue 2

215-230

EN

The article attempts to present the specificity of radio music broadcasts as a form of didactic method used while teaching children about music. The Polish Radio music broadcasts created by Maria Wieman from 1946 to 1976 were used as a research material. The author shows the historical background in which educational radio programmes were made in Poland. The state of kindergarten education after the war and the methodology of music education is also adressed. The paper attempts to present the reconstruction of the formation of music broadcasts for children based on the literature dedicated to the subject, recordings of the broadcasts, and radio documents. The author also wanted to present the profile of Maria Wieman, the brodcast creator. Her methodological and didactic achievements played a key role in forming the modern way of thinking about music education in kindergarten.

19

Developing Tomorrow's Drumming by Studying the Past

70%

Kayser T.

Signum Temporis

|

2010

|

vol. 3

|

issue 1

28-33

EN

Introduction. The master thesis Transmissions of Paradiddles in Jazz and Rock Drumming, A Historical Study (Kayser, 2009) concluded that several paradiddles (specific combinations of single and double strokes) used in military drumming in the 18th and 19th centuries are still in use by today's jazz and rock drummers, though applied in new ways to the drum set.The Aim of the Study. The purposes of this article is to uncover connections between old military drumming of European-American heritage and drum set playing, and to see if learning from centuries of drumming heritage could also be a way to move ahead and develop the art of drumset playing.Materials and Methods. In the present article three drum beats, played by three world famous drummers, have been analyzed using the paradiddle and Baton Mesle drum rudiments as analyzing tools.Results. Gene Krupa used paradiddles derived from military drumming in his basic drumbeat for ‘Sing, Sing, Sing’. Steve Gadd used variations of the Single Paradiddle in his drumbeat for ‘Late in the Evening’. Drummer Virgil Donati developed the art of drumset playing further by playing two different paradiddle patterns of different lengths simultaneously.Conclusions. The three drummers of choice for the present article have all used sticking patterns of European-American military drumming heritage as building blocks to create new and original rhythmic patterns on the drumset. Studying older drumming patterns and practices could be one methodical approach to contemporary music pedagogy in the field of drumming, and a way to achieve a sustainable development of the art of drumset playing.

20

AESTHETICS EDUCATION AND ITS POSITION IN THE 21ST-CENTURY DEMOCRATIC SOCIETY

70%

Kopčáková S.

Ars inter Culturas

|

2018

|

vol. 7

249-262

EN

In the paper, the author considers philosophical, aesthetic and pedagogical concepts explaining the specific position of aesthetics education in the education system and its importance in developing the ability to express authentic attitudes not only in the assessment of the arts but also in social processes of a democratic society. A historical account is part of this consideration, as it gives us an overview of cultural epochs in which emphasis on the aesthetics education of a young person became a national interest or, on the contrary, it stood partly on the edge of interest. Through the ideas of important thinkers of the 20th and 21st centuries (John Dewey, Paul G. Woodford, etc.), I try to emphasize the potential of musical, artistic, literary, dramatic education in the development of critical thinking as a fundamental attribute in the education of an authentic, free- and democratically- minded person. Active reception of art and the evaluation of artistic expressions occupy an important place in the awareness of one’s position in a society that faces many civilization and political challenges, such as poverty, migration, change of cultural mechanisms, and reception habits. All this requires reflection at the level of the philosophy of education in co-operation with its related disciplines, like pedagogy, aesthetics, cultural studies, and their applied educational disciplines. The definitive recognition of a dignified status for aesthetics education is one of the ways of coping with the civilization challenges of the 21st century and of flexible re-evaluation of the changing trends in the technologyoriented society structure and the one-sided general education

Refine search results

Pojmowanie emocji i znaczenie działań muzycznych w ich rozwijaniu u dziecka w młodszym wieku szkolnym

Folklor w edukacji muzycznej – metoda projektów

The Art Music’s Road from a Closed System to Openness

ПРОБЛЕМИ СИНЕРГЕТИКИ В КОНТЕКСТІ СУЧАСНОЇ МУЗИЧНОЇ ОСВІТИ

Narodziny i rozwój polskiej teorii wychowania estetycznego

Słuch absolutny — symptomem zdolności muzycznych i poznawczych?

Associations between music education, intelligence, and spelling ability in elementary school

Rozwój muzyczny dzieci i młodzieży

Muzykowanie z fińskim akcentem. Edukacja muzyczna w nauczaniu początkowym w Finlandii

A CONTRIBUTION TO MUSIC EDUCATIONAL WORK WITH CHILDREN OF AN EARLY SCHOOL AGE

Narodziny i rozwój polskiej teorii wychowania estetycznego

AN OUTLINE OF A TEACHING AID FOR SLOVAK MUSIC PEDAGOGY

DIGITAL MUSICIANSHIP IN THE LATE MODERN CULTURE OF MEDIATION: THEORIZING A NEW PRAXIS FOR MUSIC EDUCATION FROM A PRAGMATIST VIEWPOINT

Music Objectives Planning in Prevailing Psychomotor Domain

Eliminacja lamerstwa. O społecznym użytkowaniu muzyki: Z Adamem Czechem rozmawia Anna Zawadzka [Eliminating cheesiness. The social use of music: Adam Czech interviewed by Anna Zawadzka]

Rozśpiewane przedszkole. O potrzebie zajęć umuzykalniających w codziennym wychowaniu przedszkolnym

Music Education as a Key Factor in the Full Development of a Child

Złote czasy radia. Edukacyjne i wychowawcze funkcje radiowych audycji umuzykalniających

Developing Tomorrow's Drumming by Studying the Past

AESTHETICS EDUCATION AND ITS POSITION IN THE 21ST-CENTURY DEMOCRATIC SOCIETY