doktorska disertacija
Mirjana Horvat (Avtor), Darja Koter (Mentor)

Povzetek

Doktorska naloga se osredotoča na razvoj oblikovanja profila glasbenih učiteljev v osnovnih šolah na Hrvaškem in v Sloveniji, in sicer skozi zgodovinski razvoj do sedanjosti, ter ugotavlja razlike in podobnosti v profilu učiteljev v obeh državah. Poklic učiteljev glasbe se je na Hrvaškem in v Sloveniji skozi zgodovino razvijal počasi in oteženo, na njegovo oblikovanje pa so vplivali različni dejavniki, kot so splošne smernice poučevanja in posebnosti pouka glasbe, pedagoške teorije pomembnih evropskih pedagogov, (ne)primerne politične, družbene, izobraževalne in eksistencialne okoliščine, različni splošni in šolski zakoni idr. Na Hrvaškem in v Sloveniji so bili vse do 18. stoletja učitelji glasbe duhovniki (na Hrvaškem so posebej izpostavljeni popovi glagoljaši), ki so bili polivalentni oziroma (oz.) so hkrati opravljali več služb: duhovniško/župniško in/ali redovniško, lahko so bili tudi v notarski in sodniški službi ali pa so bili učitelji laiki. Učitelji, ki niso bili kleriki, so bili angažirani kot pevci v cerkvenih zborih, organisti, kantorji ali potujoči pevci in člani piskačev oz. deželnih trobentačev, kar je posebej značilno za Slovenijo. Konec 18. stoletja se na ozemlju obeh držav v večjem številu pojavijo učitelji laiki različnih poklicev, ki so poleg učiteljske službe opravljali tudi službo organistov in cerkovnikov. V 19. stoletju je na razvoj profila učitelja glasbe vplivala predvsem različna politična razdelitev, podoba osnovnošolskega učitelja oz. učitelja glasbe pa je bila na Slovenskem podobna kot na Hrvaškem v Vojni krajini. V tem obdobju so se pojavile večje zahteve po zmanjšanju vpliva Cerkve na šolstvo, pa tudi po ločitvi učiteljske službe od postranskih služb oz. od notarske, orglarske in cerkovniške. V obdobju Avstro-Ogrske je podoba učitelja glasbe v obeh državah postajala podobna. V 20. stoletju je bil profil učitelja pod vplivom različnih političnih ideologij, ki so posledično pripeljale do nazadovanja učiteljskega poklica. Zaradi različnih vplivov tudi učitelj glasbe ni mogel razviti kakovostnega glasbenega dela. Med II. svetovno vojno so se ideološki vplivi še stopnjevali (ustaški, fašistični, nacistični ali komunistični), zato je bilo celotno glasbeno delo učiteljev usmerjeno k le enemu cilju – vzgojiti človeka, ki bo poslušen določeni ideologiji. Po vojni je prišlo do delitve na razredne in predmetne učitelje, s čimer je postala polivalentnost vzporedna. Z reformo osnovnošolskega izobraževanja (1958) in izobraževanja učiteljev (1960) se je začelo novo obdobje pedagoške stroke in oblikovanja podobe učitelja glasbe, v katerem so še posebej poudarjali, da mora biti učitelj navdušen nad glasbo, ustvarjalen, da zna učence motivirati oz. spodbujati, sistematično razvijati posameznikove glasbene sposobnosti ter vzgajati za umetnost in za življenjski poklic učitelja glasbe. Po letu 1991 se je v obeh samostojnih državah profil učitelja glasbe oblikoval v podobne in različne lastnosti, kar je značilno še danes. Učitelji glasbe imajo v obeh državah vse več pravic in obveznosti, ki zahtevajo odgovornost pri delu in v odnosu z vsemi dejavniki vzgojno-izobraževalnega procesa v šoli in zunaj nje. Pedagoška naravnanost učitelja glasbe zahteva ustvarjalnost, vedno nova iskanja, predvsem pa razvijanje kompetenc (poklicnih, socialnih, osebnostnih ...), ki zagotavljajo boljše in kakovostnejše delo učiteljev glasbe in razvoj glasbene umetnosti v šoli in zunaj nje.

Ključne besede

glasbena vzgoja;osnovne šole;strokovno izpopolnjevanje;vseživljensko učenje;kompetence;zgodovinski pregledi;

Podatki

Jezik: Slovenski jezik
Leto izida:
Tipologija: 2.08 - Doktorska disertacija
Organizacija: UL AG - Akademija za glasbo
Založnik: [M. Horvat]
UDK: 78:37(091)(043.3)
COBISS: 2282375 Povezava se bo odprla v novem oknu
Št. ogledov: 393
Št. prenosov: 58
Ocena: 0 (0 glasov)
Metapodatki: JSON JSON-RDF JSON-LD TURTLE N-TRIPLES XML RDFA MICRODATA DC-XML DC-RDF RDF

Ostali podatki

Sekundarni jezik: Angleški jezik
Sekundarni povzetek: The doctoral thesis focuses on the development of the formation of the profile of music teachers in primary schools in Croatia and Slovenia, namely through the historical development until the present time, and establishes the differences and similarities in the teacher profile in both countries. Through history the profession of music teachers in Croatia and Slovenia developed slowly and with difficulty, its formation influenced by various factors, such as general teaching guidelines and the peculiarities of music lessons, the pedagogical theories of important European pedagogues, (in)appropriate political, social, educational and existential circumstances, various general and school laws etc. Until the 18th century the role of music teachers in Croatia and Slovenia was held by priests (in Croatia popovi glagoljaši are emphasised in particular), who were polyvalent or performed several functions simultaneously: a priest/parochial and/or monastic one; they could have also had a notarial or judicial function or were lay teachers. Teachers who were not clerics were employed as singers in church choirs, as organists, cantors or travelling singers and members of the pipers or provincial trumpeters, which is particularly characteristic of Slovenia. At the end of the 18th century, the territory of both countries witnessed an increased number of lay teachers of different professions, who, in addition to teaching, also performed the function of organist or sexton. In the 19th century the development of the music teacher profile was mostly influenced by the different political division, with the image of the primary school teacher or music teacher in Slovenia similar that of the Military Frontier in Croatia. This period experienced greater demands for reducing the influence of the Church on education and for separating the function of teacher from secondary occupations or from the notarial, organist, and sexton function. At the time of Austria-Hungary the image of the music teacher started to become similar in both countries. In the 20th century the profile of teacher was influenced by various political ideologies, which consequently led to a regression of the teaching profession. Due to various influences, the music teacher could not develop quality musical work. During World War II the ideological influences increased further (the Ustashi, Fascist, Nazi or Communist influences), which is why the entire musical work of teachers was directed towards one goal alone – educating a person who will be obedient to a particular ideology. After the war, teachers were divided into class teachers and subject teachers, which polyvalence has become parallel. With the reform of primary school education (1958) and teacher education (1960) began a new era of the pedagogical field and of the formation of the image of the music teacher, in which it was especially emphasised that the teacher must love music, be creative, must know how to motivate or encourage pupils, systematically develop the musical ability of individuals, and educate for art and for the life’s vocation of music teacher. After 1991 both independent states saw the formation of the music teacher profile into similar and different qualities, which is still characteristic today. In both countries music teachers have a growing number of rights and obligations, which demand responsibility in their work and in their interaction with all the factors of the educational process within the school and outside it. The pedagogical orientation of a music teacher demands creativity, the continuous searching for and, above all, developing of different types of competence (professional, social, personal ...) that ensure better and higher quality work of music teachers and the development of the art of music within the school and outside it.
Sekundarne ključne besede: Glasbena pedagogika;Disertacije;Učitelji glasbe;Slovenija;Hrvaška;
Vrsta dela (COBISS): Doktorska disertacija
Komentar na gradivo: Univ. v Ljubljani, Akademija za glasbo, Oddelek za glasbeno pedagogiko
Strani: 381 f.
ID: 12794563