Suvremeni pristup oblikovanju glazbenog ukusa učenika u nastavi glazbene umjetnosti

Abstract

Glazbeni ukus slušatelja dio je opće kulture koji se dugoročno oblikuje estetskim odgojem u nastavi glazbe i interakcijom brojnih utjecajnih čimbenika od kojih se najčešće ističu karakteristike glazbe, kontekst slušanja te individualne osobine slušatelja. Na razini srednjoškolskog općeg obrazovanja suvremena glazbena pedagogija naglašava potrebu za intenziviranjem psihološko-sociološkog pristupa u poučavanju, a s ciljem da se kroz estetsku percepciju glazbe i kritičko mišljenje formiraju stavovi učenika o glazbi koju slušaju te njihova potreba za vrijednim glazbenim postignućima u svakodnevnom životu. Takvim se pristupom uočava razlika između „znanja o glazbi“ i „glazbenog znanja“, odnosno razlika između postavki postojećeg dijakronijskog modela u nastavi Glazbene umjetnosti i suvremenih modela poučavanja. U radu će se prikazati jednogodišnji eksperimentalni nastavni program Glazbene umjetnosti koji svoje ishodište nalazi u modelu glazbenih preferencija – Modelu recipročnog odgovora (Hargreaves, MacDonald i Miell, 2005). Prikazat će se i rezultati istraživanja provedenog u školskoj godini 2015./16. u Gimnaziji dr. Ivana Kranjčeva u Đurđevcu, a koji ukazuju na pozitivan utjecaj eksperimentalnog modela poučavanja na glazbeni ukus učenika.

Listening to music with the aim of developing high-school students’ musical culture

“…It was found that 46% of the students listen to music more than eight hours a week, 36% about eight hours and only 18% less than eight hours. e data are in line with previous research (Senjan, 2018b), but it is also evident that increasingly more students listen to music for more than an hour a week, which shows the fact that the need for music is an ever-present phenomenon and that students have an increasing need to listen to music during their many everyday activities. e importance of music in the lives of adolescents is also indicated by the results of research by North, Hargreaves and O'Neill (2000) which state that English adolescents listen to music on average 2.45 hours a day.…”

“…Such a way of listening to songs from personal playlists certainly saves the time searching for individual artists and songs on the Internet. e Internet is also the most common medium for listening to music (Senjan, 2018b), but it is also full of poor performances and advertising content that the listener, if not critically aware, loses time on.…”

“…Students associate art music listening exclusively with music class, while in their free time they listen to their favorite composition only once or do not listen to such a musical expression at all. e reason for that is that students do not associate art music with their personality, feelings and mood, which have been proven to be the most in uential factors in choosing to listen to music (Senjan, 2018b). Dobrota cites research whose results indicate that students in school search for music similar to the one they listen to outside of school and that students do not see a connection between "real world" music and school music and therefore try to exclude themselves from school music (Ericsson, 2002;Green, 2008;Hanley, Roberts, 2003; as cited in Dobrota, 2016).…”

Music Listening Culture and Musical Preferences of Students in Final Grades of Primary General Education and Music School / Kultura slušanja i glazbene preferencije učenika završnih razreda osnovne općeobrazovne i glazbene škole

“…Music taste of an individual is part of the general culture and in the long run, it is shaped by aesthetic education in music teaching. Music teaching requires the implementation of psychological and sociological approach with the aim of forming attitudes about music and the need for valuable music achievements in everyday life through aesthetic appreciation of music and critical thinking (Senjan, 2018). Aesthetic experience is an integrated cognitive-affective-evaluative process inherent in each individual (Brattico et al, 2013).…”

“…Glazbeni ukus pojedinca dio je opće kulture koji se dugoročno oblikuje estetskim odgojem u nastavi glazbe. U nastavi glazbe potreban je psihološko-sociološki pristup poučavanju s ciljem da se estetskom percepcijom glazbe i kritičkim mišljenjem formiraju stavovi o glazbi te potreba za vrijednim glazbenim postignućima u svakodnevnom životu (Senjan, 2018). Estetsko iskustvo integrirani je kognitivno-afektivno-prosudbeni proces svojstven svakom pojedincu (Brattico i sur., 2013).…”