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Stališča Učiteljev in Učencev Do Vključevanja Sodobne Glasbe V Pouk Glasbene Umetnosti

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Stališča Učiteljev in Učencev Do Vključevanja Sodobne Glasbe V Pouk Glasbene Umetnosti UNIVERZA V LJUBLJANI PEDAGOŠKA FAKULTETA Poučevanje – Poučevanje na razredni stopnji Neža Zdešar STALIŠČA UČITELJEV IN UČENCEV DO VKLJUČEVANJA SODOBNE GLASBE V POUK GLASBENE UMETNOSTI Magistrsko delo Ljubljana, 2016 UNIVERZA V LJUBLJANI PEDAGOŠKA FAKULTETA Poučevanje – Poučevanje na razredni stopnji Neža Zdešar STALIŠČA UČITELJEV IN UČENCEV DO VKLJUČEVANJA SODOBNE GLASBE V POUK GLASBENE UMETNOSTI Magistrsko delo Mentorica: izr. prof. dr. Barbara Sicherl Kafol Somentor: izr. prof. dr. Janez Jerman Ljubljana, 2016 »Glasba je sestavni del kulture človeka. Brez glasbe ni popolnega razvoja osebnosti. Zato je samo po sebi razumljivo, da mora biti navzoča v vrtcih, šolah. Glasba ni skrivnostna magija. Čas, ki ga preživljamo z glasbo, nam oživi duha, da postanemo sprejemljivejši za različne aktivnosti.« (Kodaly) ZAHVALA Iskreno se zahvaljujem mentorici izr. prof. dr. Barbari Sicherl Kafol in somentorju izr. prof. dr. Janezu Jermanu za strokovno pomoč in svetovanje pri nastajanju mojega magistrskega dela. Zahvaljujem se skladateljici Brini Jež Brezavšček za nasvete pri izbiri slovenske in svetovne literature, vsebinsko in jezikovno pomoč ter za ves čas, ki mi ga je posvetila. Hvala »kokoškam«, ki so popestrile moje življenje. Z vami so bila študentska leta nepozabna. Hvala vsem domačim, ki so me med študijem podpirali in ves čas verjeli vame. Posebna zahvala gre mojemu možu Petru in hčerki Maji, ki sta me spodbujala in motivirala med nastajanjem magistrskega dela. Z mislijo na vaju je bilo vse veliko lažje. Rada vaju imam. IZVLEČEK Glasba je kulturni pojav in človekova potreba, saj obstaja v vsaki kulturi in v vseh časih. V sodobnem času smo izpostavljeni obilici glasbene ponudbe, ki prerašča v zasičenost zvočnega okolja, zato je pomembno, da znamo glasbo kritično izbirati za različne potrebe in priložnosti. V času osnovnošolskega izobraževanja so zato izpostavljeni cilji razvijanja estetske občutljivosti za umetniške vrednote in ekologijo zvočnega okolja ter aktivno in selektivno poslušanje glasbenih vsebin. V splošnem glasbenem izobraževanju je pomembno, da učitelj vključuje kakovostno glasbo različnih obdobij, zvrsti in žanrov. V tem okviru smo se v magistrskem delu osredotočili na sodobno glasbo, ki je opredeljena kot glasba sedanjosti in udejanja novejše umetnostne tokove. Temeljni namen magistrskega dela je bil raziskati, v kolikšni meri učitelji v osnovni šoli vključujejo sodobno glasbo v pouk glasbene umetnosti in kakšna so njihova stališča ter stališča učencev do vključevanja sodobne glasbe v pouk glasbene umetnosti. V ta namen smo zastavili raziskovalna vprašanja: kako učitelji ocenjujejo pomembnost sodobne glasbe in kako pogosto jo vključujejo v pouk glasbene umetnosti; ali se stališča učiteljev do vključevanja sodobne glasbe v pouk glasbene umetnosti razlikujejo glede na spol, starost, delovno dobo, stopnjo izobrazbe, vrsto izobrazbe, dodatno glasbeno izobraževanje ter uporabo določene vrste didaktičnih gradiv in kakšna so stališča učencev do vključevanja sodobne glasbe v pouk glasbene umetnosti. Raziskavo smo izvedli s kvantitativnim raziskovalnim pristopom ter pri tem uporabili deskriptivno in kavzalno neeksperimentalno metodo. V vzorec smo zajeli 123 učiteljev glasbene umetnosti iz različnih osnovnih šol ter 10 učencev, ki v okviru interesne dejavnosti obiskujejo pevski zbor v osnovni šoli Bežigrad. Podatke učiteljev smo zbrali z avtorsko oblikovanim anketnim vprašalnikom, podatke učencev pa z nestandardiziranim intervjujem. Pridobljeni rezultati so dali vpogled v stališča učiteljev in učencev do sodobne glasbe in dejavnike, ki so povezani z njenim vključevanjem v pouk glasbene umetnosti. Izsledki raziskave so pokazali, da imajo anketiranci na splošno pozitiven odnos do sodobne glasbe in da jo v veliki meri vključujejo v pouk. Njihova stališča do sodobne glasbe se v glavnem ne razlikujejo glede na spremenljivke, ki smo jih izpostavili (spol, starost, delovna doba, stopnja izobrazbe, vrsta izobrazbe, dodatno glasbeno izobraževanje, uporaba določene vrste didaktičnih gradiv). Stališča učencev do vključevanja sodobne glasbe v pouk glasbene umetnosti so prav tako kot stališča učiteljev na splošno pozitivno naravnana. Učencem se zdi sodobna glasba zanimiva, vendar drugačna. V šoli v glavnem poslušajo sodobno glasbo in jih učitelji k temu tudi spodbujajo, medtem ko jo doma poslušajo le redki. Večina je k poslušanju sodobne glasbe pripravljena spodbujati tudi druge. Če povzamemo celotno raziskavo, lahko sklenemo, da imajo osebe, vključene v raziskavo, pozitivna stališča do sodobne glasbe. V prihodnje bi bilo smiselno raziskati, kako sodobno glasbo približati tudi tistim, ki imajo do nje negativna stališča in so pri vključevanju sodobne glasbe v vzgojno-izobraževalni proces zadržani. Smiselno bi bilo preveriti znanje pedagoškega osebja s področja sodobne glasbe in ob morebitni ugotovljeni slabi strokovni usposobljenosti poiskati rešitve za napredovanje na tem področju. KLJUČNE BESEDE: sodobna glasba, pouk glasbene umetnosti, ustvarjalnost, stališča ABSTRACT Music is a cultural phenomenon and a human need, which has existed throughout time and in every culture. Modern times offer a broad palette of music, which is outgrowing this oversaturated environment of sound, therefore it is important to be able to critically choose the appropriate type of music for a variety of particular needs and situations. During primary education, emphasis is placed on the objectives of developing aesthetic sensitivity towards artistic values and the ecology of the environment of sound and how to actively and selectively listen to music content. It is important that the teacher includes quality music of different periods, styles and genres in general music education. Within this context, the focus of our thesis is on contemporary music, which is defined as music of the present and helps realise the currents of contemporary art. The primary purpose of our master’s thesis was to investigate to what extent do primary school teachers include contemporary music in teaching music education and what their attitude as well as the attitude of their students is towards the integration of contemporary music in the teaching of music education. To this end, we asked the following research questions: how teachers assess the importance of modern music, and how often they engage in teaching it; do teachers' attitudes to the integration of contemporary music in the teaching of music education differ according to gender, age, seniority, length of employment, level of education, type of education, extended music education and the use of certain types of didactic materials, and what opinions do students hold regarding the integration of contemporary music in the teaching of music education. The research was carried out by means of a quantitative research approach, using a descriptive and causal non-experimental method. The sample included 123 teachers of music education from different primary schools and 10 students, who as part of their extracurricular activities sing in the Bežigrad primary school choir. Data on teachers was collected via an authorial questionnaire, while data on students was collected by means of a non-standardized interview. The obtained results have given us an insight into the attitudes teachers and students have towards contemporary music, as well as into the factors related to the latter’s inclusion in the teaching of music education. Results of the research showed that respondents generally have a positive attitude towards contemporary music and that they incorporate it in teaching to a large degree. Their views on contemporary music do not generally differ depending on the variables that we exposed (gender, age, seniority, length of employment, level of education, type of education, extended music education and the use of certain types of didactic materials). Students’ attitudes to the integration of contemporary music in the teaching of music education as well as teachers' attitudes are generally positive. Students seem to find contemporary music interesting, yet different. They mainly listen to contemporary music at school, a practice encouraged by the teachers, while very few students listen to it at home. Most are willing to encourage others to listen to contemporary music. To summarize the research, it can be concluded that the persons included in this research possess a positive attitude towards contemporary music. Therefore, it would be a logical next step to explore how to bring contemporary music closer to those who have a negative attitude towards it and are more sceptical in incorporating contemporary music in the educational process. It would be sensible to test the skills of pedagogues working in the field of contemporary music and in the event of discovering the existence of poor professional competence find solutions to boost progress in this field. KEY WORDS: contemporary music, teaching music education, creativity, attitudes KAZALO VSEBINE 1 UVOD ..................................................................................................................................... 1 2 O GLASBI ............................................................................................................................... 2 2.1 Sodobna glasba ................................................................................................................. 4 2.2 Kompozicijske usmeritve v sodobni glasbi ...................................................................... 5 2.2.1 Sodobna glasba v didaktičnih gradivih Brede Oblak
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