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Kurikulumski Pristup Oblikovanju Profesionalnoga Osnovnoga Glazbenog Obrazovanja

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Kurikulumski Pristup Oblikovanju Profesionalnoga Osnovnoga Glazbenog Obrazovanja FILOZOFSKI FAKULTET Nikolina Matoš, mag. mus. KURIKULUMSKI PRISTUP OBLIKOVANJU PROFESIONALNOGA OSNOVNOGA GLAZBENOG OBRAZOVANJA DOKTORSKI RAD Mentorica: izv. prof. dr. sc. Snježana Dobrota Zagreb, 2018. FACULTY OF HUMANITIES AND SOCIAL SCIENCES Nikolina Matoš, mag. mus. CURRICULAR APPROACH TO PROFESSIONAL ELEMENTARY MUSIC EDUCATION DESIGN DOCTORAL THESIS Supervisor: associate professor Snježana Dobrota, Ph. D. Zagreb, 2018. SADRŽAJ …………………………….……………………………………………………… I Zahvale ………………………………..………………………………………..…………… XI Životopis mentorice ………………….……………………………………………..……… XII Sažetak ……………………………………...……………………………………..……… XIV Summary …………………………………..……………………………………………… XVI 1. UVOD ……………………………………………………………………………..………. 1 2. PROFESIONALNO GLAZBENO OBRAZOVANJE ………………………….…… 13 2.1. Povijesno-komparativni pristup profesionalnom glazbenom obrazovanju …..… 14 2.2. Ključna obilježja suvremenih glazbenoobrazovnih sustava …………………… 29 2.2.1. Glazbenoobrazovni sustavi u Europi ………………………………… 42 2.2.2. Kraći pregled glazbenoga obrazovanja u SAD-u …………….……… 60 2.2.3. Glazbeno obrazovanje u Hrvatskoj ………………………..………… 61 2.2.3.1. Djelatnost glazbenih škola kao dio umjetničkoga obrazovanja ……………………………………………………………………….. 62 2.2.3.2. Organizacija glazbenoga odgojno-obrazovnoga procesa …... 67 2.2.3.3. Stjecanje stručnih kvalifikacija i kompetencije učitelja/nastavnika ……………………………………...…………… 76 2.2.3.4. Zakonska regulativa glazbenoga obrazovanja u Hrvatskoj .....79 2.3. Usporedba hrvatskog glazbenoobrazovnog sustava sa sustavima u Europi i SAD-u ……………………………………………………………………………………..… 88 3. ZNANJA I VJEŠTINE PROFESIONALNIH GLAZBENIKA S POSEBNIM OSVRTOM NA USVAJANJE GLAZBENOGA JEZIKA …………………...………… 92 3.1. Dimenzije kompetencije profesionalnoga glazbenika ……………………..…… 93 3.1.1. Znanja glazbe/o glazbi ………...……………………………………… 96 3.1.2. Vještine glazbenoga izvođenja ………………………………..……… 97 I 3.1.3. Sposobnost glazbenoga mišljenja …………………………………… 100 3.1.4. Glazbena pismenost ……………………………………………….… 103 3. 2. Osnovne značajke učenja glazbenoga jezika ………………………...………. 110 3.2.1. Razvoj glazbeno-perceptivnih sposobnosti ………………….……… 113 3.2.2. Solfeggio kao zasebna glazbenopedagoška disciplina ………….…… 117 3.2.3. Metode (sustavi) intonacije i njihova uloga u usvajanju glazbenoga jezika ……………………………………………………………..………… 125 3.2.4. Pregled empirijskih istraživanja povezanih s metodama intonacije i postupcima vježbanja u nastavi solfeggia …………………………….…… 132 3.2.5. Poučavanje i učenje glazbenoga jezika u hrvatskome glazbenoobrazovnom sustavu ……………………………………………… 140 3.3. Sadržajne, strukturne i organizacijske promjene poučavanja i učenja glazbenoga jezika u 21. stoljeću ……………………………………………………………...… 143 4. KURIKULUMSKI PRISTUP POUČAVANJU I UČENJU GLAZBE ……….….… 147 4.1. Pojmovna i teorijska pojašnjenja kurikulumskog pristupa ………………...… 147 4.1.1. Naglasci kurikulumskih teorija …...………………………………… 149 4.1.2. Koncepti, tipovi, vrste i dimenzije kurikuluma ……………..……… 151 4.1.3. Metodologija izrade i razvojni procesi oblikovanja kurikuluma …… 156 4.2. Opće odrednice kurikulumskog pristupa glazbenom obrazovanju …………… 164 4.2.1. Kurikulumske teorije i pristupi poučavanju i učenju glazbe …...…… 166 4.2.2. Etape u oblikovanju kurikuluma glazbenog obrazovanja ……...…… 173 4.3. Kurikulumski pristup glazbenom obrazovanju u Hrvatskoj u svjetlu europskih glazbenoobrazovnih promjena ………………………………………………..…… 179 4.3.1. Ključni pojmovi pri izradi kurikuluma glazbenoga obrazovanja …… 179 4.3.2. Hrvatski glazbenoobrazovni sustav iz kurikulumske perspektive …... 182 4.4. Zaključci teorijskoga dijela istraživanja ……………………………………… 192 II 5. EMPIRIJSKA PROVJERA KURIKULUMSKOG PRISTUPA PROFESIONALNOM GLAZBENOM OBRAZOVANJU U HRVATSKOJ ……………………………...…… 195 5.1. Prvi dio istraživanja: Analiza nastavnih planova i programa …………….…… 200 5.1.1. Cilj i zadatci ………………………………………………………… 200 5.1.2. Postupak i instrumenti ……………………………………………… 201 5.1.3. Rezultati ………………………………………………………….… 203 5.1.3.1. Terminološka analiza dokumenata …………...……...…… 208 5.1.3.2. Obilježja programa iz kurikulumske perspektive …….…… 209 5.1.3.3. Metodologija izrade nastavnih programa ………………… 211 5.1.3.4. Usklađenost s ostalim dokumentima ………………...…… 213 5.1.3.5. Sadržaj dokumenata …………………………………….… 214 5.1.3.6. Analiza nastavnih programa za predmet Solfeggio u osnovnoj glazbenoj školi …………………………………………………..… 216 5.2. Drugi dio istraživanja: Analiza stavova učitelja/nastavnika i studenata glazbe …………………………………………………………………………………….... 228 5.2.1. Cilj i zadatci ………………………………………………………… 228 5.2.2. Uzorak ……………………………………………………………… 229 5.2.3. Postupak i instrumenti ……………………………………………… 231 5.2.4. Rezultati …………………………………………………………...… 236 5.2.4.1. Uvjeti upisa u osnovnu glazbenu školu …………………… 238 5.2.4.2. Status predmeta Zbor/Orkestar i Teorija glazbe ……...…… 240 5.2.4.3. Satnica nastave solfeggia i nastave glazbala …………...… 241 5.2.4.4. Povezanost nastave solfeggia i nastave glazbala ……….… 244 5.2.4.5. Stečene kompetencije učenika po završetku osnovne glazbene škole ……………………………………………………………...… 245 5.2.4.6. Kurikulumska filozofija glazbenoga obrazovanja na osnovnoškolskoj razini ……………………………………..……… 251 5.2.4.7. Kurikulumski pristup glazbenom obrazovanju na osnovnoškolskoj razini ……………………………………..……… 256 III 5.3. Treći dio istraživanja: Analiza rezultata eksperimenta u početnom učenju glazbenoga jezika ……………………………………………………………..…… 265 5.3.1. Cilj i zadatci ………………………………………………….……… 265 5.3.2. Uzorak ……………………………………………………….……… 266 5.3.3. Postupak i instrumenti …………………………………….………… 267 5.3.4. Rezultati …………………………………………………...………… 279 5.3.4.1. Zapis glazbenoga diktata ………………………..………… 286 5.3.4.2. Pjevanje s lista ………………………………………..…… 287 5.3.4.3. Čitanje i razumijevanje notnoga teksta ………….………… 288 5.3.4.4. Usvajanje glazbenih (slušnih) pojmova i učenje glazbenih obrazaca ………………………………………………………….… 289 5.3.4.5. Poznavanje glazbenoteorijskih činjenica ………………..… 291 5.3.4.6. Dodatni zaključci opažanja odgojno-obrazovnoga procesa …………………………………………...…………………………. 292 6. RASPRAVA …………………………………………………………………………… 294 6.1. Zaključci iz provedene analize nastavnih planova i programa …………..…… 294 6.2. Zaključci provedenoga ispitivanja stavova o kurikulumskom pristupu profesionalnom osnovnom glazbenom obrazovanju ………………………………. 299 6.3. Zaključci o eksperimentalnoj usporedbi relativne i apsolutne metode intonacije u početnom učenju glazbenoga jezika ……………………………………………..… 309 6.3.1. Primjena relativne metode intonacije ………………………..……… 310 6.3.2. Primjena apsolutne metode intonacije …………………………….… 312 6.3.3. Primjena različitih metoda intonacije iz perspektive kurikuluma poučavanja ……………………………………………………………….… 313 6.3.4. Primjena različitih metoda intonacije iz perspektive formalnoga kurikuluma ……………………………………………………………….… 314 6.3.5. Zaključna razmatranja o eksperimentu ……………………………… 315 6.4. Nedostatci i ograničenja istraživanja kurikulumskoga pristupa profesionalnom glazbenom obrazovanju u Hrvatskoj …………………………………………….… 317 IV 7. ZAKLJUČAK ……………………………………………………………………….… 319 8. LITERATURA …………………...…………………………………………………… 323 9. PRILOZI ………………………………………………………………………….…… 362 Prilog 1: Glazbene škole u Hrvatskoj ……………………………………………...……… 362 Prilog 2: Evidencijske liste za analizu nastavnih planova i programa ……………….…… 364 Prilog 3: Anketni upitnik za učitelje/nastavnike osnovnih i srednjih glazbenih škola ….… 376 Prilog 4: Anketni upitnik za studente Muzičke akademije Sveučilišta u Zagrebu ……...… 382 Prilog 5: Evaluacijski listić za sudionike fokus-grupa ………………………………….… 388 Prilog 6: Prikaz pojedinih nastavnih jedinica u okviru provedbe eksperimenta ……...…… 390 Prilog 7: Planiranje nastave za predmet Solfeggio u prvom razredu osnovne glazbene škole ……………………………………………………………………………………………… 409 Prilog 8: Planiranje nastave za predmet Solfeggio u drugom razredu osnovne glazbene škole ……………………………………………………………………………………………… 430 Prilog 9: Imenovanje glazbenih pojmova ……………………………………………….… 443 Prilog 10: Pojmovnik ……………………………………………………………………… 444 Prilog 11: Životopis autorice ……………………………………………………….……… 449 362-450 V POPIS TABLICA Tablica 1: Struktura doktorske disertacije ………………………………………..………… 12 Tablica 2: Razine glazbenoga obrazovanja ……………………………………….………… 37 Tablica 3: Umjetničke škole u Hrvatskoj …………………………………………………… 62 Tablica 4: Broj glazbenih škola po županijama ………………………..…………………… 63 Tablica 5: Nastavni plan za osnovne glazbene škole ………………………………..……… 69 Tablica 6: Nastavni plan za pripremne razrede …………………………………...………… 70 Tablica 7: Glazbenoteorijski predmeti u srednjoj glazbenoj školi ……………..…………… 71 Tablica 8: Glazbenoizvođački predmeti u srednjoj glazbenoj školi …………...…………… 72 Tablica 9: Studiji glazbe u Hrvatskoj …………………………………………………..…… 74 Tablica 10: Studijski programi glazbe u Hrvatskoj na preddiplomskoj, diplomskoj i poslijediplomskoj razini …………………………………………………..………………… 75 Tablica 11: Organizacija odgojno-obrazovnoga procesa prema Državnom pedagoškom standardu …………………………………………………………………………….……… 83 Tablica 12: Usporedba glazbenoobrazovnih sustava u Hrvatskoj i inozemstvu: opće odrednice sustava …………………………………………………………………………….………… 88 Tablica 13: Usporedba glazbenoobrazovnih sustava u Hrvatskoj i inozemstvu: učenje glazbe …………………………………………………………………………………………..…… 91 Tablica 14: Proces stjecanja umijeća sviranja …………………………………….………… 97 Tablica 15: Sustavi glazbene notacije i njihova primjena ……………………...……..…… 106 Tablica 16: Analogija između procesa učenja jezika i učenja glazbe …………….…..…… 111 Tablica 17: Komponente glazbenoga sluha….………………………………………...……116 Tablica 18: Kategorije glazbenoga diktata ………………………………………………… 120 Tablica
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