Narativne in dialoške razsežnosti "Orff-Schulwerka"

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Language:	Slovenian
Year of publishing:	2014
Source:	Ljubljana
Typology:	2.08 - Doctoral Dissertation
Organization:	UL PEF - Faculty of Education
Publisher:	[K. Zalar]
UDC:	78.01:373.3(043.3)
COBISS:	10009161
Views:	1149
Downloads:	244
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Secondary language:	English
Secondary title:	Narrative and dialogical dimensions of »Orff-Schulwerk«
Secondary abstract:	“Orff-Schulwerk” as elementary form of music-movement education, the implementation of which is conditioned by group work, enables not only progress in areas of musical development but also acquisition of music-language communication skills. Based on assertion that it originates deep in a person's inner experiencing, Orff (2002b) calls this music language “primeval music”. The aim of this doctoral thesis is to describe the influence of the narrative paradigm and the theory of dialogue to musical language as enabled by “Orff-Schulwerk”. The study involved a group of children from the first three grades of primary school. The lessons they attended were designed as extra-curricular activity. As the teacher of these children I took into account the fact, in line with the defined research questions, that “Orff-Schulwerk” takes place in interaction between myself and the participating children. In order to achieve the defined objectives within this relation, I envisaged my research as a phenomenological case study. This research method made it possible to collect data which enabled insight into experiencing of all participants and, in the next phase, through qualitative analysis, led to formation of adequate categories and learning about relations among them. In order to ensure the maximum objectivity of the phenomenological study, the research plan exceeded the boundaries of the Slovenian cultural environment. To this end, a multicultural qualitative study was conducted, involving foreign teachers practicing “Orff-Schulwerk”. Their contribution deepened the insight into the subject researched and highlighted those elements which do not depend on cultural environment. The result of the overall study is a grounded theory which explicates the narrative and dialogical processes of everyone taking part in the “Orff-Schulwerk” process. The findings show that the acquisition of musical language by engaging in quality interpersonal relationships is a lengthy procedure during which elements of narrativity and dialogicality constantly intertwine. Even though this music is elementary, analyses show that children have yet to learn it. This finding contradicts Orff’s supposition which describes “Orff-Schulwerk” as uniformity of speech, singing, movement and instrument playing which is the primeval state that stems from the child itself as part of the child’s being (Orff, 2002a). The research findings also indicate that learning is influenced by the attitude of teachers who with their anticipated expectations interfere with the “Orff-Schulwerk” pedagogical process. The results of the phenomenological case study, together with the results of the multicultural qualitative study, confirmed that differences between various cultural environments do not influence “Orff-Schulwerk” teachers’ attitude and do not cause differences in their activity as teachers, however they show presence of emphatic attitudes of teachers towards everybody in the group and uncovers the fact that “Orff-Schulwerk” teachers approach teaching with their own need to communicate. One important result of the study is also the finding that in the pedagogical process, working with instruments used by participants in “Orff-Schulwerk” serves to express personal musical feelings and as such allows individual influence in the process of communication. This doctoral thesis contributes to recognition that “Orff-Schulwerk” is an example of experiential music teaching and learning which, with a stimulating environment, enables promotion of creativity, innovation, and, in particular, acquisition of social competences and awareness of one’s own cultural heritage. It affirms musical language as a type of non-verbal communication in which participants develop critical thinking, problem-solving skills and the abilities to take on responsibility and to manage emotions.
Secondary keywords:	music education;primary school;glasbena vzgoja;osnovna šola;
File type:	application/pdf
Type (COBISS):	Dissertation
Thesis comment:	Univ. v Ljubljani, Pedagoška fak.
Pages:	XIX, 229 str.
Type (ePrints):	thesis
Title (ePrints):	Narativne in dialoške razsežnosti "Orff-Schulwerka"
Keywords (ePrints):	»Orff-Schulwerk«
Keywords (ePrints, secondary language):	“Orff-Schulwerk”
Abstract (ePrints):	»Orff-Schulwerk« kot elementarna oblika glasbeno-gibne vzgoje, katere izvajanje je pogojeno z delom v skupini, poleg napredka na področjih glasbenega razvoja omogoča tudi pridobivanje veščin komuniciranja z glasbenim jezikom. Orff (2002b) ga na osnovi trditve, da izhaja globoko iz človekovih notranjih doživljanj, imenuje »praglasba«. Cilj doktorskega dela je opisati vpliv narativne paradigme in teorije dialoga na glasbeni jezik, kot ga omogoča »Orff-Schulwerk«. V raziskavo je bila vključena skupina otrok prvega triletja osnovne šole, s katerimi smo oblikovali učne ure v obliki interesne dejavnosti. Kot učiteljica teh otrok sem v skladu s postavljenimi raziskovalnimi vprašanji upoštevala, da se »Orff-Schulwerk« odvija v pedagoškem procesu v interakciji med menoj in udeleženimi otroki. Da bi znotraj tega odnosa dosegla zastavljene cilje, sem raziskavo zasnovala kot fenomenološko študijo primera. Ta način raziskovanja je pripeljal do podatkov, ki so omogočili vpogled v doživljanje vseh udeležencev in v nadaljevanju skozi kvalitativno analizo do oblikovanja ustreznih kategorij in spoznavanja odnosov med njimi. Zaradi zagotavljanja čim večje objektivnosti fenomenološke študije je načrt raziskave prestopil okvir slovenskega kulturnega okolja. V ta namen je bila izpeljana multikulturna kvalitativna študija z vključitvijo tujih pedagogov »Orff-Schulwerka«. Z njihovim prispevkom se uvid v raziskovano področje še poglobi in izpostavi tiste elemente, ki niso odvisni od kulturnega okolja. Rezultat celotne raziskave je utemeljena teorija, ki eksplicira narativne in dialoške doživljajske procese vseh udeležencev v procesu »Orff-Schulwerk«. Izsledki kažejo, da je spoznavanje glasbenega jezika z vstopanjem v kakovostne medsebojne odnose dolgotrajen postopek, v katerem se neprestano prepletajo elementi narativnosti in dialoškosti. Čeprav gre za elementarno glasbo, analize kažejo, da se je morajo udeleženi otroci šele učiti. Ta izsledek je v nasprotju z Orffovo postavko, ki »Orff-Schulwerk« opisuje kot enovitost govora, petja, giba in igre na glasbila kot prvobitno stanje, ki izhaja iz samega otroka kot del njegovega bitja (Orff, 2002a). Izsledki raziskave pokažejo tudi, da na učenje vpliva drža učiteljev, ki s svojimi vnaprejšnjimi pričakovanji posegajo v pedagoški proces »Orff-Schulwerk«. Rezultati fenomenološke študije primera skupaj z rezultati multikulturne kvalitativne študije potrjujejo, da različnost kulturnih okolij ne vpliva na držo učiteljev »Orff-Schulwerka« in ne povzroča razlik v pedagoškem delovanju, izkaže pa prisotnost empatičnih odnosov s strani pedagogov do vseh udeležencev v skupini in razkrije dejstvo, da učitelji »Orff-Schulwerka« k poučevanju pristopajo z lastno potrebo po komuniciranju. Pomemben rezultat raziskave je tudi ugotovitev, da je delo z glasbili, ki jih uporabljajo udeleženci pri delu po »Orff-Schulwerku«, v pedagoškem procesu povezano z izražanjem osebnih glasbenih čutenj in kot tako omogoča individualen vpliv posameznika na komuniciranje. Doktorsko delo pripomore k spoznanju, da je »Orff-Schulwerk« primer izrazitega izkustvenega poučevanja in učenja glasbe, ki s stimulativnim okoljem omogoča spodbujanje ustvarjalnosti, inovativnosti in še predvsem učenja socialnih kompetenc ter zavedanja lastnega kulturnega izročila. Potrjuje glasbeni jezik kot nebesedni način komuniciranja, v katerem udeleženci razvijajo kritično mišljenje, zmožnosti reševanja problemov, prevzemanja odgovornosti in tudi upravljanja s čustvi.
Abstract (ePrints, secondary language):	“Orff-Schulwerk” as elementary form of music-movement education, the implementation of which is conditioned by group work, enables not only progress in areas of musical development but also acquisition of music-language communication skills. Based on assertion that it originates deep in a person's inner experiencing, Orff (2002b) calls this music language “primeval music”. The aim of this doctoral thesis is to describe the influence of the narrative paradigm and the theory of dialogue to musical language as enabled by “Orff-Schulwerk”. The study involved a group of children from the first three grades of primary school. The lessons they attended were designed as extra-curricular activity. As the teacher of these children I took into account the fact, in line with the defined research questions, that “Orff-Schulwerk” takes place in interaction between myself and the participating children. In order to achieve the defined objectives within this relation, I envisaged my research as a phenomenological case study. This research method made it possible to collect data which enabled insight into experiencing of all participants and, in the next phase, through qualitative analysis, led to formation of adequate categories and learning about relations among them. In order to ensure the maximum objectivity of the phenomenological study, the research plan exceeded the boundaries of the Slovenian cultural environment. To this end, a multicultural qualitative study was conducted, involving foreign teachers practicing “Orff-Schulwerk”. Their contribution deepened the insight into the subject researched and highlighted those elements which do not depend on cultural environment. The result of the overall study is a grounded theory which explicates the narrative and dialogical processes of everyone taking part in the “Orff-Schulwerk” process. The findings show that the acquisition of musical language by engaging in quality interpersonal relationships is a lengthy procedure during which elements of narrativity and dialogicality constantly intertwine. Even though this music is elementary, analyses show that children have yet to learn it. This finding contradicts Orff’s supposition which describes “Orff-Schulwerk” as uniformity of speech, singing, movement and instrument playing which is the primeval state that stems from the child itself as part of the child’s being (Orff, 2002a). The research findings also indicate that learning is influenced by the attitude of teachers who with their anticipated expectations interfere with the “Orff-Schulwerk” pedagogical process. The results of the phenomenological case study, together with the results of the multicultural qualitative study, confirmed that differences between various cultural environments do not influence “Orff-Schulwerk” teachers’ attitude and do not cause differences in their activity as teachers, however they show presence of emphatic attitudes of teachers towards everybody in the group and uncovers the fact that “Orff-Schulwerk” teachers approach teaching with their own need to communicate. One important result of the study is also the finding that in the pedagogical process, working with instruments used by participants in “Orff-Schulwerk” serves to express personal musical feelings and as such allows individual influence in the process of communication. This doctoral thesis contributes to recognition that “Orff-Schulwerk” is an example of experiential music teaching and learning which, with a stimulating environment, enables promotion of creativity, innovation, and, in particular, acquisition of social competences and awareness of one’s own cultural heritage. It affirms musical language as a type of non-verbal communication in which participants develop critical thinking, problem-solving skills and the abilities to take on responsibility and to manage emotions.
Keywords (ePrints, secondary language):	“Orff-Schulwerk”
ID:	8327956