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1

Jadwiga Szajna-Lewandowska for Children

100%
Machura A.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 2(37) Eng
177-190
EN
In the second half of the twentieth century, music for children was enriched by the works of Jadwiga Szajna-Lewandowska (1912–1994). The Wrocław’s pianist, composer and pedagogue wrote most of her pieces for the youngest and thus the most sensitive recipient. The vast majority of her works is stage music for children, mainly ballet. In this category, Szajna-Lewandowska has no equal. She is the one of the rare composers who devoted most of their works to children. Her music for the youngest comprises not only stage works, but also compositions written for children as performers or listeners. Among them, there are instrumental, vocal-instrumental and choral pieces. Therefore, it can be claimed that Jadwiga Szajna-Lewandowska is a composer who made a significant contribution to Polish children’s and young adult literature.
2

Jadwiga Szajna-Lewandowska dzieciom

100%
Machura A.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 2(37)
175-187
EN
In the second half of the twentieth century, music for children was enriched by the works of Jadwiga Szajna-Lewandowska (1912–1994). The Wrocław’s pianist, composer and pedagogue wrote most of her pieces for the youngest and thus the most sensitive recipient. The vast majority of her works is stage music for children, mainly ballet. In this category, Szajna-Lewandowska has no equal. She is the one of the rare composers who devoted most of their works to children. Her music for the youngest comprises not only stage works, but also compositions written for children as performers or listeners. Among them, there are instrumental, vocal- instrumental and choral pieces. Therefore, it can be claimed that Jadwiga Szajna-Lewandowska is a composer who made a significant contribution to Polish children’s and young adult literature.
3

Wychowanie muzyczne jako praktyka memetyczna

100%
Krajewska A.
Kwartalnik Młodych Muzykologów UJ
|
2019
|
issue 4(43)
77–102
EN
Memes as cultural transmission units or imitation units were first described by the British biologist Richard Dawkins. Being the equivalent of genes, they are able to undergo replication processes, spread “from brain to brain” and evolve. These catchy, attractive and easy to remember structures are also found in music. Based on the assumption that memetics is not a popular science among musicians, both practitioners and teachers, the analysis undertaken in this text is an attempt to reflect memetic practice in the methods of the musical education developed by Zoltan Kodály, Carl Orff, Émile Jaques-Dalcroze and Edwin Gordon. It is also an offer for educators who are looking for new inspiration to work with children, either in music or general education.
4

ПРОБЛЕМНІ АСПЕКТИ МЕТОДИКИ ПОЧАТКОВОЇ МУЗИЧНОЇ ОСВІТИ В ДИТЯЧИХ МУЗИЧНИХ ШКОЛАХ

88%
Костенкова А.
Педагогічні науки: теорія, історія, інноваційні технології
|
2014
|
issue 9(43)
33-40
EN
In the article the author analyzes the major problem areas of primary musical education methodology in children's schools and possible ways their leveling to ensure interoperability of spiritual, general cultural, and musical development of pupils. The author notes that the primary music education in Ukraine needs to be updated because it does not consider current trends in native education. The L. Barenboim approach on key components of a successful music education is described. Under this approach there are two main components: identifying natural abilities of pupils and identifying key learning objectives. The author chooses such main methods of identifying student’ creative potential: testing, psychological and pedagogical supervision. The method of testing the author defines as such that not adequately discloses the child’s creativity. A more efficient method, in opinion of the author, is the method of observation. However, observation requires the teacher’s considerable knowledge, skills as a musician and as a psychologist. Another important component of a successful primary music education is to determine the purpose for which training is provided. In modern pedagogy there are usually distinguished two main objectives of special musical education. The first goal is a general aesthetic education of children, forming their creativity, developing imagination and mastering any musical instrument playing skills. The second goal is training staff for working in the music field.According to the author, the purpose of special musical education is exceptionally aesthetic education. Just in case the student has a desire to obtain professional music education the major goal of musical course is professional preparation. The author emphasizes that in the music education preference should be given to the developmental education, not standard. In the construction of education methodology of the specific pupil teacher should consider his abilities and needs. Methodology should be directed at the formation of a fully developed personality – active and creative initiative. The author concludes that the primary music education in Ukraine should be focused on maximizing the creative abilities of students and their expression.
5
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Są jak „skrzydła” dla młodego muzyka. O utworach literackich Joanny Kulmowej w psychologiczno-pedagogicznym wsparciu ucznia podstawowej szkoły muzycznej

63%
Sławińska A.
Konteksty Pedagogiczne
|
2023
|
vol. 1
|
issue 20
101-113
EN
Alongside many benefits, education in a primary music school comes with potential risks, as young musicians often exhibit symptoms of anxiety, stress, and a fear of stage performance. The reason is that students experience frequent social exposure in the form of individual musical public performances – exams, competitions, concerts – during which they are subject to formal evaluation. Bearing in mind that such students constitute a group highly sensitive to the beauty of visual arts, literature, and music, it should be assumed that they require psychological and pedagogical support tailored to their specific needs. For this purpose, the school psychologist, school counselor, as well as other adults significant in a student’s life, can apply non-standard therapeutic methods, communicating with students through the language of art, being the closest to children educated in music. The author, therefore, proposes it to be the language of Joanna Kulmowa. The works of the mentioned poetess have therapeutic functions beneficial for the psyche of young musicians, somewhat fitting into the goals of fairy tale therapy and they introduce students to the world of spiritual and aesthetic values. The article is the first part of a series devoted to the use of Joanna Kulmowa’s creative work in music education. Its purpose is to present and analyze the volume titled “Fairy Tales” in terms of the function it can play in the psychological and pedagogical support of students in a primary music school.
PL
Obok wielu korzyści, edukacja w podstawowej szkole muzycznej wiąże się z czynnikami ryzyka, ponieważ wśród dziecięcych muzyków występują objawy lękowe, stres i trema. Powodem tego jest fakt, że uczniowie doświadczają częstej ekspozycji społecznej w formie indywidualnych muzycznych występów publicznych – egzaminów, konkursów, koncertów, podczas których zostają oni poddani mniej lub bardziej formalnej ocenie oraz rywalizacji. Pamiętając, że uczniowie ci stanowią grupę wysoko wrażliwą na piękno plastyki, literatury, muzyki, przyjąć należy, iż potrzebują oni wsparcia psychologiczno-pedagogicznego dopasowanego do ich szczególnych potrzeb. W tym celu psycholog i pedagog szkolny, a także inne dorosłe osoby, znaczące w życiu ucznia, mogą zastosować niestandardowe metody terapeutyczne, czyli zwrócić się do uczniów językiem sztuki, bo taki dzieciom kształconym muzycznie jest przecież najbliższy. Autorka proponuje zatem, aby był to język poezji Joanny Kulmowej. Utwory wspomnianej poetki posiadają funkcje terapeutyczne, korzystne dla psychiki młodego muzyka, wpisujące się niejako w cele bajkoterapii, oraz wprowadzają one uczniów w świat wartości duchowych i estetycznych. Artykuł jest pierwszą częścią cyklu poświęconego wykorzystaniu twórczości Joanny Kulmowej w szkolnictwie muzycznym. Jego celem jest przedstawienie oraz analiza tomu Bajki skrzydlate pod kątem funkcji, jaką może on pełnić w psychologiczno-pedagogicznym wsparciu uczniów podstawowej szkoły muzycznej.
6
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Content available

Studies in historical improvisation: from Cantare super librum do Partimenti, red. Massimiliano Guido, Abingdon-New York 2017 Routledge, ss. 219. ISBN 978-1-4724-7327-1

63%
Wysocki M.
Muzyka
|
2018
|
vol. 63
|
issue 1
131-136
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