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Сажеци И Биографије Аbstracts and Biographies САЖЕЦИ И БИОГРАФИЈЕ АBSTRACTS AND BIOGRAPHIES ПЛЕНАРНА ИЗЛАГАЊА/PLENARY SESSIONS .................................... 2 ВИРТУЕЛНИ ОКРУГЛИ СТО – ВЛАДО С. МИЛОШЕВИЋ VIRTUAL ROUND TABLE – VLADO S. MILOŠEVIĆ .............................. 9 СЕСИЈА A1 / SESSION A1 ........................................................................... 16 СЕСИЈА A2 / SESSION A2 ........................................................................... 21 СЕСИЈА A3 / SESSION A3 ........................................................................... 32 СЕСИЈА Б1 / SESSION B1 ............................................................................ 41 СЕСИЈА Б2 / SESSION B2 ............................................................................ 46 СЕСИЈА Б3 / SESSION B3 ............................................................................ 51 СЕСИЈА Б4 / SESSION B4 ............................................................................ 57 СЕСИЈА Б5 / SESSION B5 ........................................................................... 64 СЕСИЈА Б6 / SESSION B6 ............................................................................ 70 РАДИОНИЦА / WORKSHOP .................................................................... 75 ПЛЕНАРНА ИЗЛАГАЊА PLENARY SESSIONS SABINA VIDULIN (Hrvatska) Muzička akademija u Puli Metodička artikulacija sata glazbe prema spoznajno-emocionalnom slušanju glazbe Polazište spoznajno-emocionalnog slušanja glazbe u školi predstavlja djetetov doživljaj glazbe, njegovo opažanje i razumijevanje glazbenog djela, a u skladu s prethodnim iskustvom i znanjem. Spoznavanjem života skladatelja i društvenih okolnosti u kojima je živio, kao i teorijskih i muzikoloških sastavnica djela koje se uče uz glazbene i izvanglazbene poticaje, učenici doživljavaju i razumiju glazbu koja im se predočava, što vodi prema prihvaćanju glazbenog djela. Namjera je autorice ukazati na koji se način metodički artikulira nastava glazbe s ciljem boljeg razumijevanja umjetničke glazbe te istaknuti koje su sličnosti i specifičnosti spoznajno-emocionalnog slušanja glazbe u osnovnoj školi, gimnaziji i glazbenoj školi. Sličnosti se ogledaju u tome da se slušanje provodi na jednom nastavnom satu isključivo s jednim glazbenim djelom. Tri su razine slušanja, pri čemu dolazi do izražaja doživljajna sastavnica (početno slušanje), doživljajno-analitička (središnje, višestruko slušanje) te doživljajna-sintetička sastavnica (završno slušanje). U osnovnom i srednjem obrazovanju te u glazbenoj školi doživljaj glazbenog djela povezan je s elementima biografije skladatelja i sadržaja djela pri čemu je intenzivirana humanistička paradigma. Uz teorijska i muzikološka obilježja djela koja se produbljuju u srednjoj školi, u osnovnoj školi slušanje glazbe povezuje se i s pjevanjem, sviranjem, plesom, glumom, crtanjem, a u glazbenoj školi s glazbenim diktatom, pjevanjem po notama, svladavanjem melodijskih i ritamskih pojava, i sl. Uz opis triju nastavnih priprema za svaku odgojno-obrazovnu razinu predstavit će se način rada na djelima Beethovena, Slavenskoga i Dvořáka. Spoznajno-emocionalno slušanje predstavlja korist za učenika i učitelja: učenike vodi prema izražavanju vlastitih višerazinskih iskustava, oblikovanju mišljenja i stajališta, razvoju emocionalne inteligencije, razumijevanju i prihvaćanju umjetničke glazbe, a učitelju pokazuje put kako oblikovati kvalitetnu metodičku pripravu kojom će se poticati sveukupan razvoj učenika i glazbenu nastavu učiniti zanimljivom, zabavnom, poučnom i emocionalno bogatom. Ključne riječi: glazbena škola, nastava glazbe, osnovna škola, spoznajno-emocionalno slušanje glazbe, srednja škola. SABINA VIDULIN ([email protected]) je predstojnica Odsjeka za glazbenu pedagogiju i nositeljica glazbeno-pedagoških kolegija na Muzičkoj akademiji u Puli, u zvanju izvanredne profesorice. Utemeljiteljica je Međunarodnog simpozija glazbenih pedagoga i Međunarodnog foruma studenata glazbene pedagogije. Održala je više od stotinu pozvanih predavanja diljem Hrvatske i u inozemstvu te izlagala na značajnim glazbenim akademijama i fakultetima: od salzburškog Mozarteuma, bečkog 2 MDW-a, haškog Kraljevskog konzervatorija, na glazbenim akademijama i fakultetima u Njemačkoj (Rostock), Švedskoj (Malmö), Belgiji (Leuven), Poljskoj (Gdansk), Italiji (Milano), Litvi (Vilnius, Kalipeda), Latviji (Jelgava), Češkoj (Brno), Mađarskoj (Szeged), na Cipru (Nicosia), u Sloveniji (Ljubljana, Maribor), Crnoj Gori (Cetinje), Bosni i Hercegovini (Sarajevo, Banja Luka), Srbiji (Beograd, Novi Sad) te u SAD-a (New York). Napisala je pet knjiga (tri u koautorstvu), šesnaest poglavlja u knjigama, sedamdesetak znanstvenih radova objavljenih u Hrvatskoj, Bosni i Hercegovini, Crnoj Gori, Srbiji, Sloveniji, Italiji, Austriji, Češkoj, Slovačkoj, Mađarskoj, Poljskoj, Litvi i u SAD-a. Urednica je pjesmarice, sedam zbornika i dvije monografije. Članica je uredničkih odbora u šest međunarodnih znanstvenih časopisa i članica izdavačkog odbora izdavača Helbling (Innsbruck-Esslingen-Bern-Belp). U European Association for Music in Schools (EAS) obnašala je ulogu nacionalne koordinatorice deset godina. Sudjeluje u organizaciji međunarodnih simpozija u Hrvatskoj i inozemstvu kao članica znanstvenih odbora. Recenzirala je knjige, udžbenike za nastavu Glazbene kulture, nastavne programe i znanstvene/stručne radove. Dobitnica je Državne nagrade Ivan Filipović i Nagrade Hrvatskog društva glazbenih i plesnih pedagoga. Didactical articulation of music lesson according to cognitive-emotional listening to music The starting point of the cognitive-emotional listening to music in school is the child's experience of music, and his/her perception and understanding of the musical piece in accordance with previous experience and knowledge. By understanding the composer’s life and the social circumstances in which he/she lived, as well as learning about the theoretical and musicological components of the piece by musical and non-musical stimuli, students experience and understand the presented composition, which leads to its acceptance. The author's intention is to show how music lessons can be didactically articulated with the aim of understanding classical music better. Another objective is to highlight the similarities and specifics of the cognitive-emotional listening to music in compulsory schools, gymnasiums and music schools. The similarities are reflected in the fact that listening is carried out in one lesson and exclusively with one piece of music. There are three levels of listening to music. During the initial listening, the experiential component comes to the fore, in the central, multiple listening the experiential-analytical component is key, while in the final listening the experiential-synthetic component becomes most important. In compulsory school, gymnasiums, and in music schools, the experience of a musical piece is connected with the elements of the composer's biography and the content of the piece, while the humanistic paradigm is intensified. In addition to the theoretical and musicological features of the piece that are taught into more depth in gymnasiums, in compulsory school listening to music is associated with singing, playing, dancing, acting and drawing, whereas in music schools emphasis is on musical dictation, singing by notes, understanding various melodic and rhythmic phenomena, etc. Besides describing three lesson plans for each educational level, the method of work with Beethoven, Slavenski and Dvořák's pieces will be introduced. Cognitive- emotional listening presents a benefit for students and teachers. It leads students to express their own multilevel experiences, form their opinions and attitudes, develop emotional intelligence, as well as to understand and accept classical music. Cognitive-emotional listening to music shows to the teacher how to design quality music lessons that will encourage the overall student development and make music lessons interesting, fun, instructive, and emotionally rich. 3 Keywords: cognitive-emotional listening to music, compulsory school, high school, music school, music teaching. SABINA VIDULIN ([email protected]) is the Head of the Department of Music Pedagogy and leader of musical-pedagogical courses (Music Pedagogy, Didactics of Music) at the Academy of Music in Pula. She is the founder of the International Symposium of Music Pedagogues and the International Forum of Music Pedagogy Students. She has held numerous lectures and participate at many conferences throughout Croatia and abroad at recognized music academies: from the Salzburg’s Mozarteum, Vienna’s MDW, the Royal Conservatory in The Hague, to music academies in Germany, Belgium, Poland, Italy, Lithuania, Latvia, Czech Republic, Hungary, Cyprus, Sweden, Slovenia, Bosnia and Herzegovina, Monte Negro, Serbia and in the USA. She wrote five books, fifteen chapters in books, about seventy scientific papers published in Croatia, Austria, Bosnia and Herzegovina, Serbia, Monte Negro, Slovenia, Italy, Czech Republic, Slovakia, Sweden, Hungary, Poland, Lithuania and in the USA. She is the editor of a songbook, seven symposia proceedings and two monographs. Vidulin is a member of editorial boards in six international scientific journals, member of the publishing committee of the publisher Helbling (Innsbruck-Esslingen-Bern-Belp) and was the national coordinator for the European Association for Music in Schools for ten years. She is involved in the organization of international symposia in Croatia and abroad as a member of scientific committees.
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