Un posibil traseu al educaţiei muzicale în perioada prenotaţiei, din perspectivă interdisciplinară:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Iaşi
Ed. Artes
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. u. rumän. Sprache |
| Beschreibung: | 309 S. Ill., graph. Darst., Notenbeisp. |
| ISBN: | 9738271398 9789738271395 |
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Datensatz im Suchindex
| _version_ | 1804136828907814912 |
|---|---|
| adam_text | CUPRINS
Argument
________________________________________
pag.
10
I.
Evoluţia educaţiei muzicale
-
sisteme, concepţii metodice,
manuale
______________________________________
Pa§ 12
1.
Educaţia muzicală în diferite sisteme de învăţământ
.............................
pag.
13
2.
Educaţia muzicală în învăţământul românesc
........................................
pag.
23
3.
Scurt istoric al evoluţiei manualelor şi a metodicii predării educaţiei
muzicale
..................................................................................................
pag.34
4.
George
Breazul şi educaţia muzicală în şcoala generală
......................
pag.
47
II.
Particularităţile specifice perceperii, însuşirii şi
interpretării muzicii de către copiii din grădiniţă şi şcoala
generală
____________________________________________
pag.
66
1.
Particularităţile dezvoltării fizice şi psihice a copilului preşcolar şi
şcolar mic
...............................................................................................
pag.
67
2.
Auzul muzical şi vocea folosite în practica muzicală
.............................
pag.
77
3.
Cântarea vocală şi instrumentală în perioada prenotaţiei
.......................
pag.
86
III. Aspecte metodice privind formarea şi dezvoltarea
priceperilor, deprinderilor şi cunoştinţelor muzicale
____
pag.
95
1.
Priceperi, deprinderi şi cunoştinţe muzicale
..........................................
pag.
97
2.
însuşirea elementelor
ritmico
-
metrice
................................................
pag.
108
3.
însuşirea elementelor melodic
-
interpretative
......................................
pag.
118
IV.
Mijloace specifice de realizare a educaţiei muzicale în
perioada prenotaţiei
_________________________________
pag.
127
1.
Exerciţiile muzicale şi rolul lor în formarea deprinderilor muzicale
....
pag.
129
2.
Cântecul
-
principalul mijloc de familiarizare a copiilor cu limbajul
muzical
..................................................................................................
pag.
137
3.
Jocul muzical
-
modalitate complexă de educaţie artistică a copiilor
..
pag.
143
4.
Audiţia muzicală
-
formă de cultivare a gustului pentru valorile
muzicale
...............................................................................................
pag.
148
9
V.
Proiectarea interdisciplinară a educaţiei muzicale
______
pag.
157
1.
Deschiderea spre interdisciplinaritate a activităţilor muzicale
.............
pag.
160
2.
Abordarea proiectiv
-
interdisciplinară a educaţiei muzicale
..............
pag.
170
3.
Modalităţi de optimizare a demersului didactic
-
muzical
....................
pag.
192
VI.
Creaţia muzicală destinată copiilor, pentru perioada
prenotatici
__________________________________________
pag.
203
1.
Tradiţii folclorice
..................................................................................
pag.
204
2.
Creaţia vocală
........................................................................................
pag.
216
3.
Creaţia vocal
-
instrumentală
.................................................................
pag.
225
Concluzii
________________________________________
pag.
240
Rezumat
____________________________________________
Pa§-243
с
pag.
252
Summary
_______________________________________
Anexe
___________________________________________
PaS- 261
A. Planuri de învăţământ
...........................................................................
pag.
262
B. Proiecte didactice
.................................................................................
pag.
279
Bibliografie generală
_______________________________
pag.
291
1.
Studii teoretice şi articole
.....................................................................
pag.
292
2.
Lucrări muzicale şi artistice
.................................................................
pag.
303
3
Programe şi manuale şcolare pentru „muzică şi „educaţie muzicală pag.
306
252
SUMMARY
The musical art acquired forms of artistic thought through sounds, being
influenced by the fundamental aspects of man s material and spiritual life,
representing in the long run of time the evolution of his social and individual
consciousness. The oldest means of human sonorous communication is
considered by the experts, besides the oral one, the musical expression. The
sounds of the vocal music were the first means of realizing the
interhuman
relations. Through a continuous vocal and instrumental evolution and
improvement, man created a language of sounds, which is borderless, being
universal and understood with the same easiness all over the world.
Theme of actuality, for both the Romanian and international education, A
Possible Route of Musical Education During the Period of Prenotation,
From an Interdisciplinary Outlook, holds forth to analyze the educational
phenomenon in the context of post-modern evolution of human condition.
Chapter one goes over The Evolution of Musical Education-Systems,
Methodical Concepts, Textbooks, analyzing the development of the
pedagogical-musical thinking since ancient times to nowadays. The musical-
folklore tradition, as well as the religious one, represented in our country, the
basis of education until the 19th century, when the influences of European
musical culture entered all the educational systems. The 20th century is
characterized by the diversity of the obligatory general school, as well in the
special-musical, lay and religious education. In a conceptual plan the experts in
psycho-pedagogy and arts domains have pleaded for the music inclusion of
children and grown-ups in education. Music learning was realized orally until
the 19th century, through religious and popular songs and the European and
national music repertory (especially composed for children) joined by musical
alphabetizing, has become since the 19th century the coordinate of children s
253
musical education, even though the programmes and textbooks have been
different.
In the evolution of education we distinguish three fundamental types
bound to the Musical Education:
1.
the education concerning the formation of the shrine s subjects and the
enriching of the musical repertory necessary to religious worshipping;
2.
the general education destined to all children, mainly based on vocal singing
and less on the instrumental one;
3.
the lay education, with the goal of preparing the psalm-readers,
instrumentists and composers so that they could promote the art of music in a
particular and public frame, but also those who had the task to teach the
pupils from the musical point of view.
These aspects are treated separately
—
the Musical Education in different
teaching systems, Musical Education in the Romanian education, short history
of the textbooks evaluation and of the musical education teaching methods
-
a
fragment specially saved, referring to George
Breazul
as a prominent educator
in the Romanian education and his contribution to the musical education in the
middle school. All the statements are motivated with education plans (appendix
A, pages
262-278)
and a substantial bibliography made of school programmes
and textbooks (pages
306-309).
In the long ran of time, we realized that the aesthetic ideal influenced the
pedagogical ideal, that art had the part of a chief accountant of the human soul
and represented a fundamental means in the evolution of the social life. Music
was founded in Antiquity, retaining its goal in harmonious development of
human being. That s why we presented the most ardent upholders of the art s
sounds, as an educational subject, as well as their pedagogical concept:
Platon,
Aristotel,
Confucius, Comenius, Jean Jacques Rousseau,
Friederich
W.
Fröebel
(who initiated the foundation of kindergartens),
Emile
Jacques Dalcroze, Maria
Montessori, Carl Orff. It s also worth remembering the Romanian educators
contributions in the settlement and consolidation of the Music s position in the
254
education plans:
Spira Håret,
Constantin
Brăiloiu,
Tudor Vianu,
Ştefan
Bârsănescu,
George
Văideanu
and many others.
But the evolution of the musical didactics couldn t have been possible
without the constant contributions in the field, of those who devoted themselves
to education, offering their imagination and devotion, so that the students of
different ages could benefit from the positive influence of the art s sounds.
Among these, I mention: Sarah Glower, Hugo Riemann, Edgar
Willems,
Maurice Chevais, Maurice Martenot,
Zoltán Kodály
and Shinichi Suzuki.
Besides the above mentioned, numerous Romanian experts have come up with
genuine solutions for making the textbooks, the musical writing-reading
acquiring systems, using the didactic methods and means specific to the field. In
this sense, we remember: Gavriil
Galinescu, Mihail Gr.
Posluşnicu,
Ana-Motora
Ionescu, Ion Şerfezi,
Pavel Delion,
Ligia
Toma-Zoicaş
and Gabriela Munteanu.
In Chapter
Π
it is studied The Specific Features of Perceiving,
Acquiring and Interpreting the Music by Children in Kindergarten and
Middle School. To know how the children s impact upon the sonorous universe
should be realized, one has to know the specific features of the preschool or
primary pupil s physical and psychic development, the musical hearing and the
voice used in the musical practice, the vocal and instrumental singing during the
period of prenotation, all these needing to be frutified competently, because in
this period of time the real practising bases of music and its understanding are
founded.
The fundamental problem is that of knowing how the musical image can,
sonorously-sensorialy realized of elements which don t represent concrete
images from the surrounding reality, provoke artistic emotions. In this sense the
elements of the musical language can t be separated in the process of
communicating: the melody, the tempo, harmony, polyphony, colour, dynamics,
and agogics. It is important the auditory and the oral-instrumental development
of children as well as the means in which the correct and best formation of the
musical skills can be realized. In this study we propose to comment upon the
necessary modalities of this process didactic solving, resorting to contemporary
255
examples of folklore for children and as well as the academic creations destined
to them.
The psychological profile is a quantitative-qualitative reflection of the
entire components, processes and psychic features, as well as the interfunctional
relations that are created among these, specific to the levels of the children s
ontogenetic evolution. The psychic-sensorial, cognitive, affective and volitional
changes and reorganizations were analyzed mainly from an artistic
—
musical
point of view, having in view the development of the necessary skills
—
musical
hearing and memory voice and the rhythmic sense. The mechanism of audition
(physical, physiologic and psychic) was analyzed for understanding the
evolution means of the musical auditory sensibility (melodious and
harmonious), starting from the fact that voice represents the fundamental means
of expression and rendition.
The improvement of this one is made through a minute didactic approach,
analyzed and upheld with examples. On its turn, the instrumental music practice
completes the way of artistic expression, this one being analyzed by the two
components: the playthings accessible in the prenotation period, as well the
formation of the instrumental skills, with the goal of accompaniment and
rendition in instrumental groups.
Chapter
Ш
debates Methodical Aspects Concerning the Formation and
Development of Musical Skills, Abilities and Knowledge. The purpose of the
musical education consists in stimulating the ability of understanding the artistic
value, of creating and applying of it correctly. In family, the children come into
contact with different creations, from all the artistic domains (music, painting,
dance), more or less valuable and, that s why kindergarten and school have the
obligation of offering them the true values of the musical culture, activity which
requires: the formation of the skills, abilities and musical knowledge, conscious
acquiring of the rhythmic-metric elements and of the melodic-interpretative
elements. In these sense details regarding the didactic methods used there were
necessary, especially details on the exercise and didactic plaything.
256
The simulation through role game knows a multiple aspects for both the
process of learning {exercising game) and that of evaluation (competition,
recognizing, creation game). I resorted to these explanations because we often
find confusion between the didactic game and the musical one. At the same
time, details, upon the means of understanding and practising the musical speech
(rhythmic-metric or melodic-renditive), were necessary through the use of
original musical examples, in accordance with the age we address to.
The detailed analysis of the musical skills was necessary for the
development of a logical education, with well specified objectives, in such a
way so as the final products to be complete education, from a musical point of
view, we suggest sets of didactic games, necessary for the evaluation of the
children s musical evolution.
The study goes on with the analysis Specific Means of Realizing of
Musical Education in the Prenotation (chapter IV). The notational stage is
anticipated by
thé abc
period called in Musical Education prenotation .
There are several approaches regarding its division: into two (Maria Montessori,
Maurice Martenot, Ion
Şerfezi)
or three stages (Maurice Chevais, Carl Orff,
George
Breazul),
with responsive alike denominations. The coverage of Musical
Education in three stages corresponds to the purpose of education, taking into
account the
psychomoteur
features and the children s skills and harmonize the
three
curricular
cycles:
1 -
the stage of sensory fundamental acquisition
(kindergarten and primary grades I-II);
2 -
the stage of instrumental acquisitions
of development (grades
ПІ
-IV);
З
-
the stage of the values
-
attitudes
acquisitions of observing and orientation (grades
VII
- XII).
Because the
curricular
coordinates for pre-primary education haven t been
established, and they are established incompetely for primary education, we
realize that these don t cover the specific of the musical activities and the
continuity in the studying of all the aspects referred to in this field can t be
realized from their articulation. We consider that the frame objectives which
were suggested to be realized in the period of prenotation should synthesize the
direction pursued during the period and namely: a) the development of the
257
reception capacity of the musical message; b) the development of the rendition
abilities (vocal and instrumental); c) the knowledge and use of the musical
language elements in the music rendition and audition; d) the growing of
sensibility, imagination and of the spontaneous musical creativity.
It s necessary to be retained the fact that through the auditions realized
during the musical activities, children balance and relax at the same time, these
having a therapeutic effect too. hi this sense, the specific modalities of realizing
the musical education use specific creation: the musical exercises with the role
of forming the skills, the songs, which are the main means of familiarizing the
children with the language, the musical games which represent the most
complex form of artistic education of children and the musical auditions which
nurture the sense for the genuine values. We made in our study the
determination (as specific educational method and means) and the proper
classifications regarding the exercises, games, auditions and songs, as well the
didactic technology necessary to their approach. All those presented above are
sustained by examples suggested on age categories, drawn out from the works of
composers such as: Dan Voiculescu, Alexandra
Pascami,
Anton
Scornea,
Dumitru
D.
Stancu, Liviu
Comes,
Cristian Misievici
and with recommendations
of useful didactic materials (song books and musical games, tapes, audio disks,
also included in the musical
-
artistic bibliography).
The Interdisciplinary Projection of Musical Education represents the
fifth chapter in this work, in which it is presented a short history upon the
educators concerns In this field. The movement for the interdisciplinary
development book shapes staunchly in the second half of the 20th century in the
United States and Europe. UNESCO organized debates and preparing seminars
for the founders in this new educational field. Pursuant to the researches made
by the experts we observed the correlation among arts, as having unit, but also
specificity in this sense, and the educator George
Văideanu,
launched the idea of
the interdisciplinary education especially in the field of art, this approach
doesn t cancel the disciplinarity but holds forth to develop the disciplinary
connexions, putting out the borders established among the different fields.
258
Because the entire educative process is coordinated by a single don, at the
pre-school and primary school level, the organization of the combined activities
bf or multidisciplinary is much easier to be realized because the necessary
conditions are relatively identical through the outer organization, the structure of
knowledge and the didactic strategy. The opening of towards interdisciplinarity
of the musical activities is obvious, the subject Music being a field of education,
in which are conveyed notions and aspects from different subjects, totalized in
the songs, texts, games and auditions. The correlation of the acquired knowledge
at different education subjects can provide a systematization of the information
specific to the different fields, the goal being the resumption of a unitary system
of knowledge. The selection of the education contents is an issue of a great
didactic responsibility, because one needs to work in such a way that one should
cover entirely the volume, structure and nature of the recommended information
in curriculum. The scientific moral, aesthetic and forming children,
corresponding to their psychic-physic possibilities can be better assumed in this
interdisciplinary context.
Even though the experts spread notions which define certain relations
among different subjects as multidisciplinarity, pluridisciplinarity,
transdisdplinarity, we noticed that these are in a relation of interdisciplinarity
and that the possible connections can be realized through associated
interdisciplinarity (for instance, the unreeling of the musical activity by using
some knowledge acquired from other different activities) and through integrated
interdisciplinarity (the conceiving and deployment of the musical activities
through the participation of several disciplines). In this sense we analyze in the
work the possible connexions, justified with examples regarding the projective-
interdisciplinary approach of musical education and of the optimization
modalities of the didactic-musical approach. For this we also realized an
experiment at a pre-school and primary school level, the results can be found in
the didactic projects in appendix
В
(pages
279-290)
offered as work model.
hi the end of the present work we stopped
át
the presentation and analysis
of some Musical Creations Destined to Children, for the Period of
259
Prenotation (chapter VI). The evolution of music as means of artistic
communication has always been in an interdetermination relation with the spirit
of the epochs which it has reflected with the evolution of sensibility and the
intellectual ability of man. The musical phenomenon refers to three great
entities: the creator (in the case of music and the interpreter as a co-author), the
artistic work and the audience as well as the dynamic relations among these.
The selection of an repertory adequate to the youngest, requires the
knowledge of the stages of children s musical evolution, and as well as the
acquiring possibilities of the musical works, in the
curricular
activities but
especially of those extracurricular optional, which can be directed towards the
interpretative practice prevalent vocal or vocal-instrumental. The rendition of
the vocal works is made by the vocal groups or choirs, and those of the vocal-
instrumental ones are realized by the group of musical games.
The folklore represents a part of the national culture of a people,
reflecting in the most direct way the spiritual profile and the artistic gift of a
nation. In this sense, the children s creation retains an ancient means of
communication and of artistic externalization, with ancient roots in the
collective life which preceedes the birth of spoken languages and of the musical
language. We used many examples taken out from folkloric books and the
studies made in
2000-2004,
upon the children s popular creations realized in
county
Vaslui
—
respectively the areas around
Vaslui
and
Pădureni - Huşi
and as
well as upon some Carols in Berezeni.
The children s folkloric traditions can represent
-
especially in the
countryside
-
the first step towards the knowledge of music, after which the
sonorous created universe can be explored by composers after the model of
children s folklore. The works, either folkloric, or academic are both vocal and
vocal-instrumental. The accompaniment is prevalent rhythmic, bodily (through
clapping hands, tapping feet or rhythmic walk to mark the time and rhythm), or
instrumental (with sonorous objects or the percussion which enrich the play
atmosphere in a sonorous way).The academic repertory, destined to children was
realized with examples from the works of the composers mentioned above. At
260
the same time we also propose possible alternatives for integrating the scores in
different interdisciplinary activities.
At the beginning, under a form of game and then as a form of lesson, the
Musical Education brings only benefits, joy and enthusiasm in the souls of
children, no matter the parallel or meridian he lies. It s important that the
scientific beginning, co-ordinate of the musical formation, should start from
what it seems familiar to them and namely their folkloric creations, so that they
could increase in the specific sonorous universe of the area to which they
belong. But this effort will not have a final product if it isn t anchored in the
immediate reality which imposes the interdiscipHnary correlation with all the
fields which the children explore in their cognitive way, towards the
understanding of the universe they live in.
|
| adam_txt |
CUPRINS
Argument
_
pag.
10
I.
Evoluţia educaţiei muzicale
-
sisteme, concepţii metodice,
manuale
'_
Pa§ 12
1.
Educaţia muzicală în diferite sisteme de învăţământ
.
pag.
13
2.
Educaţia muzicală în învăţământul românesc
.
pag.
23
3.
Scurt istoric al evoluţiei manualelor şi a metodicii predării educaţiei
muzicale
.
pag.34
4.
George
Breazul şi educaţia muzicală în şcoala generală
.
pag.
47
II.
Particularităţile specifice perceperii, însuşirii şi
interpretării muzicii de către copiii din grădiniţă şi şcoala
generală
_
pag.
66
1.
Particularităţile dezvoltării fizice şi psihice a copilului preşcolar şi
şcolar mic
.
pag.
67
2.
Auzul muzical şi vocea folosite în practica muzicală
.
pag.
77
3.
Cântarea vocală şi instrumentală în perioada prenotaţiei
.
pag.
86
III. Aspecte metodice privind formarea şi dezvoltarea
priceperilor, deprinderilor şi cunoştinţelor muzicale
_
pag.
95
1.
Priceperi, deprinderi şi cunoştinţe muzicale
.
pag.
97
2.
însuşirea elementelor
ritmico
-
metrice
.
pag.
108
3.
însuşirea elementelor melodic
-
interpretative
.
pag.
118
IV.
Mijloace specifice de realizare a educaţiei muzicale în
perioada prenotaţiei
_
pag.
127
1.
Exerciţiile muzicale şi rolul lor în formarea deprinderilor muzicale
.
pag.
129
2.
Cântecul
-
principalul mijloc de familiarizare a copiilor cu limbajul
muzical
.
pag.
137
3.
Jocul muzical
-
modalitate complexă de educaţie artistică a copiilor
.
pag.
143
4.
Audiţia muzicală
-
formă de cultivare a gustului pentru valorile
muzicale
.
pag.
148
9
V.
Proiectarea interdisciplinară a educaţiei muzicale
_
pag.
157
1.
Deschiderea spre interdisciplinaritate a activităţilor muzicale
.
pag.
160
2.
Abordarea proiectiv
-
interdisciplinară a educaţiei muzicale
.
pag.
170
3.
Modalităţi de optimizare a demersului didactic
-
muzical
.
pag.
192
VI.
Creaţia muzicală destinată copiilor, pentru perioada
prenotatici
_
pag.
203
1.
Tradiţii folclorice
.
pag.
204
2.
Creaţia vocală
.
pag.
216
3.
Creaţia vocal
-
instrumentală
.
pag.
225
Concluzii
_
pag.
240
Rezumat
_
Pa§-243
с
pag.
252
Summary
_
Anexe
_
PaS- 261
A. Planuri de învăţământ
.
pag.
262
B. Proiecte didactice
.
pag.
279
Bibliografie generală
_
pag.
291
1.
Studii teoretice şi articole
.
pag.
292
2.
Lucrări muzicale şi artistice
.
pag.
303
3
Programe şi manuale şcolare pentru „muzică" şi „educaţie muzicală" pag.
306
252
SUMMARY
The musical art acquired forms of artistic thought through sounds, being
influenced by the fundamental aspects of man's material and spiritual life,
representing in the long run of time the evolution of his social and individual
consciousness. The oldest means of human sonorous communication is
considered by the experts, besides the oral one, the musical expression. The
sounds of the vocal music were the first means of realizing the
interhuman
relations. Through a continuous vocal and instrumental evolution and
improvement, man created a language of sounds, which is borderless, being
universal and understood with the same easiness all over the world.
Theme of actuality, for both the Romanian and international education, A
Possible Route of Musical Education During the Period of Prenotation,
From an Interdisciplinary Outlook, holds forth to analyze the educational
phenomenon in the context of post-modern evolution of human condition.
Chapter one goes over The Evolution of Musical Education-Systems,
Methodical Concepts, Textbooks, analyzing the development of the
pedagogical-musical thinking since ancient times to nowadays. The musical-
folklore tradition, as well as the religious one, represented in our country, the
basis of education until the 19th century, when the influences of European
musical culture entered all the educational systems. The 20th century is
characterized by the diversity of the obligatory general school, as well in the
special-musical, lay and religious education. In a conceptual plan the experts in
psycho-pedagogy and arts domains have pleaded for the music inclusion of
children and grown-ups in education. Music learning was realized orally until
the 19th century, through religious and popular songs and the European and
national music repertory (especially composed for children) joined by musical
alphabetizing, has become since the 19th century the coordinate of children's
253
musical education, even though the programmes and textbooks have been
different.
In the evolution of education we distinguish three fundamental types
bound to the Musical Education:
1.
the education concerning the formation of the shrine's subjects and the
enriching of the musical repertory necessary to religious worshipping;
2.
the general education destined to all children, mainly based on vocal singing
and less on the instrumental one;
3.
the lay education, with the goal of preparing the psalm-readers,
instrumentists and composers so that they could promote the art of music in a
particular and public frame, but also those who had the task to teach the
pupils from the musical point of view.
These aspects are treated separately
—
the Musical Education in different
teaching systems, Musical Education in the Romanian education, short history
of the textbooks evaluation and of the musical education teaching methods
-
a
fragment specially saved, referring to George
Breazul
as a prominent educator
in the Romanian education and his contribution to the musical education in the
middle school. All the statements are motivated with education plans (appendix
A, pages
262-278)
and a substantial bibliography made of school programmes
and textbooks (pages
306-309).
In the long ran of time, we realized that the aesthetic ideal influenced the
pedagogical ideal, that art had the part of a chief accountant of the human soul
and represented a fundamental means in the evolution of the social life. Music
was founded in Antiquity, retaining its goal in harmonious development of
human being. That's why we presented the most ardent upholders of the art's
sounds, as an educational subject, as well as their pedagogical concept:
Platon,
Aristotel,
Confucius, Comenius, Jean Jacques Rousseau,
Friederich
W.
Fröebel
(who initiated the foundation of kindergartens),
Emile
Jacques Dalcroze, Maria
Montessori, Carl Orff. It's also worth remembering the Romanian educators'
contributions in the settlement and consolidation of the Music's position in the
254
education plans:
Spira Håret,
Constantin
Brăiloiu,
Tudor Vianu,
Ştefan
Bârsănescu,
George
Văideanu
and many others.
But the evolution of the musical didactics couldn't have been possible
without the constant contributions in the field, of those who devoted themselves
to education, offering their imagination and devotion, so that the students of
different ages could benefit from the positive influence of the art's sounds.
Among these, I mention: Sarah Glower, Hugo Riemann, Edgar
Willems,
Maurice Chevais, Maurice Martenot,
Zoltán Kodály
and Shinichi Suzuki.
Besides the above mentioned, numerous Romanian experts have come up with
genuine solutions for making the textbooks, the musical writing-reading
acquiring systems, using the didactic methods and means specific to the field. In
this sense, we remember: Gavriil
Galinescu, Mihail Gr.
Posluşnicu,
Ana-Motora
Ionescu, Ion Şerfezi,
Pavel Delion,
Ligia
Toma-Zoicaş
and Gabriela Munteanu.
In Chapter
Π
it is studied The Specific Features of Perceiving,
Acquiring and Interpreting the Music by Children in Kindergarten and
Middle School. To know how the children's impact upon the sonorous universe
should be realized, one has to know the specific features of the preschool or
primary pupil's physical and psychic development, the musical hearing and the
voice used in the musical practice, the vocal and instrumental singing during the
period of prenotation, all these needing to be frutified competently, because in
this period of time the real practising bases of music and its understanding are
founded.
The fundamental problem is that of knowing how the musical image can,
sonorously-sensorialy realized of elements which don't represent concrete
images from the surrounding reality, provoke artistic emotions. In this sense the
elements of the musical language can't be separated in the process of
communicating: the melody, the tempo, harmony, polyphony, colour, dynamics,
and agogics. It is important the auditory and the oral-instrumental development
of children as well as the means in which the correct and best formation of the
musical skills can be realized. In this study we propose to comment upon the
necessary modalities of this process didactic solving, resorting to contemporary
255
examples of folklore for children and as well as the academic creations destined
to them.
The psychological profile is a quantitative-qualitative reflection of the
entire components, processes and psychic features, as well as the interfunctional
relations that are created among these, specific to the levels of the children's
ontogenetic evolution. The psychic-sensorial, cognitive, affective and volitional
changes and reorganizations were analyzed mainly from an artistic
—
musical
point of view, having in view the development of the necessary skills
—
musical
hearing and memory voice and the rhythmic sense. The mechanism of audition
(physical, physiologic and psychic) was analyzed for understanding the
evolution means of the musical auditory sensibility (melodious and
harmonious), starting from the fact that voice represents the fundamental means
of expression and rendition.
The improvement of this one is made through a minute didactic approach,
analyzed and upheld with examples. On its turn, the instrumental music practice
completes the way of artistic expression, this one being analyzed by the two
components: the playthings accessible in the prenotation period, as well the
formation of the instrumental skills, with the goal of accompaniment and
rendition in instrumental groups.
Chapter
Ш
debates Methodical Aspects Concerning the Formation and
Development of Musical Skills, Abilities and Knowledge. The purpose of the
musical education consists in stimulating the ability of understanding the artistic
value, of creating and applying of it correctly. In family, the children come into
contact with different creations, from all the artistic domains (music, painting,
dance), more or less valuable and, that's why kindergarten and school have the
obligation of offering them the true values of the musical culture, activity which
requires: the formation of the skills, abilities and musical knowledge, conscious
acquiring of the rhythmic-metric elements and of the melodic-interpretative
elements. In these sense details regarding the didactic methods used there were
necessary, especially details on the exercise and didactic plaything.
256
The simulation through role game knows a multiple aspects for both the
process of learning {exercising game) and that of evaluation (competition,
recognizing, creation game). I resorted to these explanations because we often
find confusion between the didactic game and the musical one. At the same
time, details, upon the means of understanding and practising the musical speech
(rhythmic-metric or melodic-renditive), were necessary through the use of
original musical examples, in accordance with the age we address to.
The detailed analysis of the musical skills was necessary for the
development of a logical education, with well specified objectives, in such a
way so as the final products to be complete education, from a musical point of
view, we suggest sets of didactic games, necessary for the evaluation of the
children's musical evolution.
The study goes on with the analysis Specific Means of Realizing of
Musical Education in the Prenotation (chapter IV). The notational stage is
anticipated by
thé "abc"
period called in Musical Education "prenotation".
There are several approaches regarding its division: into two (Maria Montessori,
Maurice Martenot, Ion
Şerfezi)
or three stages (Maurice Chevais, Carl Orff,
George
Breazul),
with responsive alike denominations. The coverage of Musical
Education in three stages corresponds to the purpose of education, taking into
account the
psychomoteur
features and the children's skills and harmonize the
three
curricular
cycles:
1 -
the stage of sensory fundamental acquisition
(kindergarten and primary grades I-II);
2 -
the stage of instrumental acquisitions
of development (grades
ПІ
-IV);
З
-
the stage of the values
-
attitudes
acquisitions of observing and orientation (grades
VII
- XII).
Because the
curricular
coordinates for pre-primary education haven't been
established, and they are established incompetely for primary education, we
realize that these don't cover the specific of the musical activities and the
continuity in the studying of all the aspects referred to in this field can't be
realized from their articulation. We consider that the frame objectives which
were suggested to be realized in the period of prenotation should synthesize the
direction pursued during the period and namely: a) the development of the
257
reception capacity of the musical message; b) the development of the rendition
abilities (vocal and instrumental); c) the knowledge and use of the musical
language elements in the music rendition and audition; d) the growing of
sensibility, imagination and of the spontaneous musical creativity.
It's necessary to be retained the fact that through the auditions realized
during the musical activities, children balance and relax at the same time, these
having a therapeutic effect too. hi this sense, the specific modalities of realizing
the musical education use specific creation: the musical exercises with the role
of forming the skills, the songs, which are the main means of familiarizing the
children with the language, the musical games which represent the most
complex form of artistic education of children and the musical auditions which
nurture the sense for the genuine values. We made in our study the
determination (as specific educational method and means) and the proper
classifications regarding the exercises, games, auditions and songs, as well the
didactic technology necessary to their approach. All those presented above are
sustained by examples suggested on age categories, drawn out from the works of
composers such as: Dan Voiculescu, Alexandra
Pascami,
Anton
Scornea,
Dumitru
D.
Stancu, Liviu
Comes,
Cristian Misievici
and with recommendations
of useful didactic materials (song books and musical games, tapes, audio disks,
also included in the musical
-
artistic bibliography).
The Interdisciplinary Projection of Musical Education represents the
fifth chapter in this work, in which it is presented a short history upon the
educators' concerns In this field. The movement for the interdisciplinary
development book shapes staunchly in the second half of the 20th century in the
United States and Europe. UNESCO organized debates and preparing seminars
for the founders in this new educational field. Pursuant to the researches made
by the experts we observed the correlation among arts, as having unit, but also
specificity in this sense, and the educator George
Văideanu,
launched the idea of
the interdisciplinary education especially in the field of art, this approach
doesn't cancel the disciplinarity but holds forth to develop the disciplinary
connexions, putting out the borders established among the different fields.
258
Because the entire educative process is coordinated by a single don, at the
pre-school and primary school level, the organization of the combined activities
"bf or "multidisciplinary" is much easier to be realized because the necessary
conditions are relatively identical through the outer organization, the structure of
knowledge and the didactic strategy. The opening of towards interdisciplinarity
of the musical activities is obvious, the subject Music being a field of education,
in which are conveyed notions and aspects from different subjects, totalized in
the songs, texts, games and auditions. The correlation of the acquired knowledge
at different education subjects can provide a systematization of the information
specific to the different fields, the goal being the resumption of a unitary system
of knowledge. The selection of the education contents is an issue of a great
didactic responsibility, because one needs to work in such a way that one should
cover entirely the volume, structure and nature of the recommended information
in curriculum. The scientific moral, aesthetic and forming children,
corresponding to their psychic-physic possibilities can be better assumed in this
interdisciplinary context.
Even though the experts spread notions which define certain relations
among different subjects as multidisciplinarity, pluridisciplinarity,
transdisdplinarity, we noticed that these are in a relation of interdisciplinarity
and that the possible connections can be realized through associated
interdisciplinarity (for instance, the unreeling of the musical activity by using
some knowledge acquired from other different activities) and through integrated
interdisciplinarity (the conceiving and deployment of the musical activities
through the participation of several disciplines). In this sense we analyze in the
work the possible connexions, justified with examples regarding the projective-
interdisciplinary approach of musical education and of the optimization
modalities of the didactic-musical approach. For this we also realized an
experiment at a pre-school and primary school level, the results can be found in
the didactic projects in appendix
В
(pages
279-290)
offered as work model.
hi the end of the present work we stopped
át
the presentation and analysis
of some Musical Creations Destined to Children, for the Period of
259
Prenotation (chapter VI). The evolution of music as means of artistic
communication has always been in an interdetermination relation with the spirit
of the epochs which it has reflected with the evolution of sensibility and the
intellectual ability of man. The musical phenomenon refers to three great
entities: the creator (in the case of music and the interpreter as a co-author), the
artistic work and the audience as well as the dynamic relations among these.
The selection of an repertory adequate to the youngest, requires the
knowledge of the stages of children's musical evolution, and as well as the
acquiring possibilities of the musical works, in the
curricular
activities but
especially of those extracurricular optional, which can be directed towards the
interpretative practice prevalent vocal or vocal-instrumental. The rendition of
the vocal works is made by the vocal groups or choirs, and those of the vocal-
instrumental ones are realized by the group of musical games.
The folklore represents a part of the national culture of a people,
reflecting in the most direct way the spiritual profile and the artistic gift of a
nation. In this sense, the children's creation retains an ancient means of
communication and of artistic externalization, with ancient roots in the
collective life which preceedes the birth of spoken languages and of the musical
language. We used many examples taken out from folkloric books and the
studies made in
2000-2004,
upon the children's popular creations realized in
county
Vaslui
—
respectively the areas around
Vaslui
and
Pădureni - Huşi
and as
well as upon some Carols in Berezeni.
The children's folkloric traditions can represent
-
especially in the
countryside
-
the first step towards the knowledge of music, after which the
sonorous created universe can be explored by composers after the model of
children's folklore. The works, either folkloric, or academic are both vocal and
vocal-instrumental. The accompaniment is prevalent rhythmic, bodily (through
clapping hands, tapping feet or rhythmic walk to mark the time and rhythm), or
instrumental (with sonorous objects or the percussion which enrich the play
atmosphere in a sonorous way).The academic repertory, destined to children was
realized with examples from the works of the composers mentioned above. At
260
the same time we also propose possible alternatives for integrating the scores in
different interdisciplinary activities.
At the beginning, under a form of game and then as a form of lesson, the
Musical Education brings only benefits, joy and enthusiasm in the souls of
children, no matter the parallel or meridian he lies. It's important that the
scientific beginning, co-ordinate of the musical formation, should start from
what it seems familiar to them and namely their folkloric creations, so that they
could increase in the specific sonorous universe of the area to which they
belong. But this effort will not have a final product if it isn't anchored in the
immediate reality which imposes the interdiscipHnary correlation with all the
fields which the children explore in their cognitive way, towards the
understanding of the universe they live in. |
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| illustrated | Illustrated |
| index_date | 2024-07-02T18:21:46Z |
| indexdate | 2024-07-09T21:02:36Z |
| institution | BVB |
| isbn | 9738271398 9789738271395 |
| language | Romanian |
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| spelling | Paşca, Eugenia-Maria Verfasser aut Un posibil traseu al educaţiei muzicale în perioada prenotaţiei, din perspectivă interdisciplinară Eugenia Maria-Paşca Iaşi Ed. Artes 2006 309 S. Ill., graph. Darst., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. u. rumän. Sprache Musikerziehung (DE-588)4040843-7 gnd rswk-swf Musikerziehung (DE-588)4040843-7 s DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015857430&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015857430&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Paşca, Eugenia-Maria Un posibil traseu al educaţiei muzicale în perioada prenotaţiei, din perspectivă interdisciplinară Musikerziehung (DE-588)4040843-7 gnd |
| subject_GND | (DE-588)4040843-7 |
| title | Un posibil traseu al educaţiei muzicale în perioada prenotaţiei, din perspectivă interdisciplinară |
| title_auth | Un posibil traseu al educaţiei muzicale în perioada prenotaţiei, din perspectivă interdisciplinară |
| title_exact_search | Un posibil traseu al educaţiei muzicale în perioada prenotaţiei, din perspectivă interdisciplinară |
| title_exact_search_txtP | Un posibil traseu al educaţiei muzicale în perioada prenotaţiei, din perspectivă interdisciplinară |
| title_full | Un posibil traseu al educaţiei muzicale în perioada prenotaţiei, din perspectivă interdisciplinară Eugenia Maria-Paşca |
| title_fullStr | Un posibil traseu al educaţiei muzicale în perioada prenotaţiei, din perspectivă interdisciplinară Eugenia Maria-Paşca |
| title_full_unstemmed | Un posibil traseu al educaţiei muzicale în perioada prenotaţiei, din perspectivă interdisciplinară Eugenia Maria-Paşca |
| title_short | Un posibil traseu al educaţiei muzicale în perioada prenotaţiei, din perspectivă interdisciplinară |
| title_sort | un posibil traseu al educatiei muzicale in perioada prenotatiei din perspectiva interdisciplinara |
| topic | Musikerziehung (DE-588)4040843-7 gnd |
| topic_facet | Musikerziehung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015857430&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015857430&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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