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Functional Music Pedagogy in Piano Learning

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Functional Music Pedagogy in Piano Learning UNIVERZA V LJUBLJANI AKADEMIJA ZA GLASBO ODDELEK ZA GLASBENO PEDAGOGIKO Doctoral Dissertation FUNCTIONAL MUSIC PEDAGOGY IN PIANO LEARNING Mentor: doc.dr. Branka Rotar Pance Author: Blaženka Bačlija Sušić Submentor: red.prof. Jakša Zlatar SAMOBOR, February 2012 Blaženka Bačlija Sušić.FMP in Piano Learning Doctoral Dissertation STATEMENT ON AUTHORING THE DOCTORAL DISSERTATION I, the undersigned Blaženka Bačlija Sušić, born on 3 February 1969 in Subotica, hereby state that I am the author of the doctoral dissertation entitled Functional Music Pedagogy in Piano Learning. My signature on this document attests that: the proposed doctoral dissertation is exclusively a result of my personal research, I made sure publications and opinions of other authors used in this dissertation are listed in the list of references, and quoted in accordance with international standards, the Act on Authorship and other applicable laws, the dissertation was translated and proofread by a qualified professional translator, the electronic version of the dissertation is identical to its printed form, and I consent to the publishing of this doctoral dissertation on the Academy of Music (University of Ljubljana) website. In the course of compiling empirical data, the code of ethics for research pertaining to children was fully complied with. The research was conducted pursuant to the approval of the Ministry of Science, Education and Sports of the Republic of Croatia. In Samobor_________________ Author's signature ____________________ 2 Blaženka Bačlija Sušić.FMP in Piano Learning Doctoral Dissertation ACKNOWLEDGEMENTS First of all, I want to thank all my sponsors who made my professional development and the acquisition of new knowledge possible. This work is a result of that. I want to specially thank my mentors, Assistant Professor, Dr. Branka Rotar Pance and Full Professor Jakša Zlatar for all their extensive advice and guidelines provided in the course of preparing this work. I particularly thank my mentor, Assistant Professor, Dr. Branka Rotar Pance for her exceptional effort, patience and support in resolving a number of linguistic, practical and other difficulties I had encountered in this process. I also want to thank my colleague, Radojka Sućeska Ligutić, for her generous help, who provided advice, support and constructive criticism throughout the empirical process. I also thank Dr. Gordan Črpić and Prof. Dr. Mirjana Kujundžić Tiljak for processing my statistical data. I am very thankful to my colleagues from the Elly Bašić Music School for their advice during our short breaks in the teacher's lounge. Finally, I want to thank my family for all their understanding and support during my studies for a PhD. 3 Blaženka Bačlija Sušić.FMP in Piano Learning Doctoral Dissertation ABSTRACT Functional Music Pedagogy (FMP) is a music pedagogy concept of a Croatian music pedagogue, teaching specialist and ethnomusicologist, Elly Bašić (1908-1998), the goal of which is not only acquisition of music education, but also an overall development of a child's personality through music. The above goal also lays down the basic concepts or principles of this music pedagogy concept: Not a certain child, but every child is entitled to music culture; every child has a musical ear; every child has rhythm; a musical ear is not identical to musicality, and every child has creative imagination. Based on these opinions and the principle that a child's creativity should not be evaluated, the selection of students enrolling in the music school was defined without selective entry exams. Likewise, the evaluation of student knowledge and skills does not include grading on the elementary-school level. The indicated FMP didactic principles are also influenced by the time period in which their author worked, encompassing the guiding principles of the general and music pedagogy concepts of authors from this period, like: M. Montesori, R.Steiner, J. E. Dalcroze, Z. Kodaly, S. Suzuki, C. Orff, E. Willems and others. The basic principles of FMP create a high level of individualization in the approach to teaching, and with it a specific formal structure and organization. The formal organization of teaching is implemented vertically, from preschool to high-school level. Instead of typical classes in individual instrument teaching, it has a specific program development in stages, with A and B program in the third stage, while specific, transitional solfeggio classes are designed for theory teaching. In addition to the functional method of solfeggio, which is a basic and unique trait of FMP with a specific didactic and methodological approach, this music pedagogy concept is also characterized by a whole range of specific didactic and methodological processes and principles in teaching. Improvisation as one of the main and most significant forms of children's creative music production implies a simultaneous discovery and performance of music without previous, general preparation. While the main role of improvisation in classical music used to be expressed in performance, today it retained its pedagogic value, and represents a significant methodological resource in music education. There is an abundance of works on 4 Blaženka Bačlija Sušić.FMP in Piano Learning Doctoral Dissertation improvisation which stress the methodological and didactic significance of improvisation in music education (Regelski, 1986; Kartomi, 1991; Kratus,1991; Zentz, 1992; Azzara, 1999). Improvisation is the fundamental element in FMP teaching, implemented in all teaching areas as a methodical and well-defined program, starting in music preschool and the child's first encounter with an instrument. Spontaneous, intuitive or mechanical improvisations represent a child's free and unrestrained creative expression through music. The first spontaneous improvisations on the piano result from the child's active discovery and exploration of the instrument, usually accompanied by his expression in the form of a drawing, motor movement or possibly literary expression. A child's imagination and creativity are further developed through syncretism of different fields of art. Conscious improvisations occur when a child masters certain material so well, that this conscious behavior becomes spontaneous for him. In addition to encouraging the child's creativity, creative imagination, sensibility, freedom and his active response to tone, FMP improvisations helps in anticipating certain technical, agogic, musical and other interpretative elements through perception. On one hand, improvisation in the FMP educational process serves as a means of perception and awareness of music, and as a language of expression and communication on the other. Motivation as the driver, encouraging an individual to engage in specific activities, plays a crucial role and is significant in both general and music education. Achievement motivation is one of the most important types of motivation in music education, indicating the desire of an individual for achievement. Within his achievement motivation, Weiner's attribution theory is particularly significant, researching differences and consequences of different interpretations of success and failure (Weiner, 1992). According to him, interpreting the cause of success or failure of an individual in certain activities influences his behavior, opinion and relation to his other activities in the future. E. P. Asmus expanded the concept of the attribution theory, adapting it to music education, on the basis of which he formed a measuring instrument Measures of Motivation in Music, consisting of two different motivation scales: Motivating Factors and Magnitude of Motivation (1989). A whole range of research studies is based on these theories: Reimer, 5 Blaženka Bačlija Sušić.FMP in Piano Learning Doctoral Dissertation 1975; Asmus, 1985, 1986a, 1986b; Chandler et al., 1988; Austin, 1991; Austin & Vispoel, 1992; Legette, 1992; Bogunović, 1995, 2005a, 2005b, Austin et al., 2006, Schatt, 2011. Based on the mentioned theoretical roots, in the empirical section we present a research which consists of two parts: (1) Action research of improvisation in individual piano classes and (2) research of achievement motivation among piano students, taught according to different educational methods. In regards to the nature of the problem researched, the first part of the research is based on the causal, non-experimental method of pedagogic research where action research (AR) was applied in a case study to monitor how improvisation during piano classes influences students and their inventiveness, as well as their motivation to play. The research was conducted in the school year 2009/10. Thirteen piano students from the Elly Bašić Music School were active participants in the research, while their instructor was the action researcher in the research conducted. The semantic differential scale, based on which students expressed their opinions about the music school, piano playing and music creation through improvisation, showed a growth of all values after a regular application of improvisation in teaching. Other data gathering instruments were also used in research, including a reflection and research dairy kept by the instructor, action researcher, and audio recordings of student improvisations. Due to the flexible nature of AR, three rounds of research were conducted instead of two. The conclusion from the first AR round, focused on spontaneous improvisation, was that regardless of planned activities, in the selection of topics
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