magistrsko delo
Maruša Traven (Author), Barbara Sicherl-Kafol (Mentor)

Abstract

V magistrskem delu smo obravnavali zastopanost glasbene dejavnosti ustvarjanja skozi vertikalo osnovnošolskega izobraževanja. V teoretičnem delu smo opredelili pojem ustvarjalnost, ki smo ga predstavili z vidika lastnosti posameznika, procesa in dosežka. Prav tako smo opredelili pojem glasbena ustvarjalnost in podrobneje raziskali glasbeno ustvarjalnost v šoli ter učiteljevo vlogo pri spodbujanju glasbene ustvarjalnosti učencev. Osredinili smo se na poučevanje z glasbeno dejavnostjo ustvarjanja in s pomočjo učnega načrta za glasbeno umetnost ugotovili zastopanost dejavnosti za osnovno šolo. V analizi učnih gradiv za glasbeno umetnost smo za posamezno vzgojno-izobraževalno obdobje izpostavili izbor praktičnih primerov glasbene dejavnosti po razredih, ki se izvajajo z glasbeno dejavnostjo ustvarjanja. V zadnjem poglavju teoretičnega dela smo opredelili glasbeni razvoj otrok, v katerem smo podrobneje opisali predvsem razvoj glasbene ustvarjalnosti. V empiričnem delu smo s pomočjo spletnega anketnega vprašalnika in opazovanja z neudeležbo v razredu raziskali zastopanost glasbene dejavnosti ustvarjanja pri pouku glasbene umetnosti v osnovni šoli. Na podlagi pridobljenih podatkov smo ugotovili, kako pogosto osnovnošolski učitelji pri pouku glasbene umetnosti izvajajo glasbeno dejavnost ustvarjanja, katere ustvarjalne metode poučevanja in učenja pri tem uporabljajo in kakšno stališče imajo do glasbene dejavnosti ustvarjanja. Raziskovali smo, ali se pridobljeni podatki razlikujejo glede na vzgojno-izobraževalno obdobje poučevanja, vrsto in stopnjo izobrazbe, delovno dobo na področju vzgoje in izobraževanja in pogostost udeleževanja na dodatnih izobraževanjih na glasbenih seminarjih. Rezultati so pokazali, da osnovnošolski učitelji od glasbenih dejavnosti najredkeje izvajajo glasbeno dejavnost ustvarjanja. Najpogosteje se od glasbenih dejavnosti ustvarjanja izvaja gibalno in likovno ustvarjanje ob glasbi (predvsem v prvem vzgojno-izobraževalnem obdobju), poustvarjalno petje (predvsem v tretjem vzgojno-izobraževalnem obdobju) in ritmizacijo besedila, najredkeje pa glasbene dejavnosti izmišljanja. Metodo razvijanja glasbene ustvarjalnosti je v zadnjo uro poučevane glasbene umetnosti vključilo nekoliko manj kot polovica osnovnošolskih učiteljev. S strukturiranim opazovanjem smo ugotovili, da je metodo razvijanja glasbene ustvarjalnosti uporabilo največ učiteljev prvega vzgojno-izobraževalnega obdobja. Največ učiteljev je vključilo metodo gibalnega in likovnega ustvarjanje ob glasbi, metodo poustvarjalnega petja in metodo ritmizacije besedila. Poustvarjalno petje in melodično dopolnjevanje je vključilo največ učiteljev iz tretjega vzgojno-izobraževalnega obdobja. Metodo gibalnega ustvarjanja ob glasbi je vključilo največ učiteljev iz prvega vzgojno-izobraževalnega obdobja. Metodo melodičnega dopolnjevanja je vključilo največ učiteljev, ki se je izobraževalo na glasbeno-pedagoškem področju. Metodo poustvarjalnega petja je vključilo več tistih učiteljev, ki se dodatnih glasbenih izobraževanj na glasbenih seminarjih udeležijo vsaj enkrat letno. Z analizo stališč učiteljev do glasbene dejavnosti ustvarjanja smo ugotovili, da se osnovnošolski učitelji, ki poučujejo glasbeno umetnost, najbolj strinjajo s trditvami, da je vključenost glasbene dejavnosti ustvarjanja nujna za kakovosten pouk glasbene umetnosti, da morajo biti vse glasbene dejavnosti enakovredno vključene v pouk in da ima učitelj pomembno vlogo pri razvijanju otrokove glasbene ustvarjalnosti.

Keywords

glasbena umetnost;ustvarjalnost;glasbena dejavnost ustvarjanja;ustvarjalne metode poučevanja in učenja;

Data

Language: Slovenian
Year of publishing:
Typology: 2.09 - Master's Thesis
Organization: UL PEF - Faculty of Education
Publisher: [M. Traven]
UDC: 78:373.3(043.2)
COBISS: 12523081 Link will open in a new window
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Downloads: 85
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Other data

Secondary language: English
Secondary title: Creative musical activities in music classes across the primary education vertical
Secondary abstract: The subject matter of my master's thesis is creative musical activities in music classes across the primary education vertical. In theoretical part we explained the concept of creativity, which we presented from the perspective of individual's characteristics, process and achievement. We also explained the concept of musical creativity, wherefrom we primarily focused on musical creativity in school and teacher's role in promoting the musical creativity of pupils. We focused on teaching with creative musical activities and with the help of curriculum for music education, we discovered inclusion of activities in primary education. With analysis of teaching materials for music education, we made a selection of practical examples of musical activities by Years, which are performed by creative musical activities. In the last chapter of the theoretical part we described musical development of children, in which we primarily focused on the development of musical creativity. In the empirical part we researched the representation of creative musical activities in music education in primary school, with the help of an online questionnaire and a naturalistic observation of the music education. Based on the obtained data, we discovered, how often primary school teachers perform creative musical activities in music education, which creative methods of teaching and learning they use and what is their attitude towards creative musical activities. We studied whether their answers differ according to Years they are teaching in, their profession and level of education, according to their years of teaching in education and according to their frequency of participation in additional education in musical seminars. The results showed, that creative musical activities are most rarely used out of all musical activities by primary school teachers. Most commonly represented creative musical activities are creative musical activities through movement and visual art (especially in Years 1-3), interpretive singing (especially in Years 7-9) and text rhythmization; most rarely represented are creative musical activities of invention. Creative methods of teaching and learning in music education were used by a little less than half of the primary school teachers. Through structural observation it was discovered that most of those teachers were teaching in Years 1-3. Most used methods were musical creativity through movement and visual art methods, interpretive singing method and text rhythmization method. Interpretive singing method and melody completion method were mostly represented by teachers educating in Years 7-9. Musical creativity through movement method was mostly represented by teachers educating in Years 1-3. Melody completion method was used mostly by teachers with music pedagogy education. Interpretive singing method was used mostly by teachers who are participating in additional education in musical seminars at least once per year. By analysing teachers’ attitudes towards creative musical activities, we discovered, that primary school teachers who are teaching music education, most agree with statements, that creative musical activities are necessary for quality music education, that all musical activities have to be equally represented and that teacher plays an important role in development of a child’s musical creativity.
Secondary keywords: music education;primary education;glasbena vzgoja;osnovnošolski pouk;
File type: application/pdf
Type (COBISS): Master's thesis/paper
Thesis comment: Univ. v Ljubljani, Pedagoška fak., Poučevanje, Poučevanje na razredni stopnji
Pages: 79 str.
ID: 11188651