Skoči na glavni sadržaj

Sadržaj predmeta

Seminar iz povijesti glazbene pedagogije

Opterećenje:
20(GL) + 10(S)
Izvođači:

doc. dr. sc. Nikolina Matoš (GL, S)

Opis predmeta:
Povijest glazbeno-pedagoške teorije i prakse (srednji vijek, 16.-19. stoljeće, 20. i 21. stoljeće); Djelatnost značajnih glazbenih pedagoga iz svijeta i Hrvatske; Značajni glazbeno-pedagoški pravci/pokreti; Razvoj glazbeno-teorijskih i glazbeno-pedagoških disciplina (solfeggio, harmonija, kontrapunkt itd.); Sustavi glazbenoga obrazovanja u svijetu i Hrvatskoj; Uloga kulturno-umjetničkih ustanova u promicanju i prenošenju (glazbene) umjetnosti; Uloga i značaj učenja glazbe u okviru općeg obveznog obrazovanja; Formalni, neformalni i informalni oblici učenja glazbe; Uloga međunarodnih udruga i inicijativa za promicanje umjetičkog/glazbenog odgoja. Interdisciplinarni pristupi proučavanju glazbe povezivanjem humanističkih, društvenih, prirodlosovnih i informacijskih znanosti).
Obavezna literatura:

1. U dogovoru s mentorom, jedan ili nekoliko dokumenata s popisa: Opća deklaracija o pravima čovjeka (1948). Paris (FR): UN General Assembly Konvencija o pravima djeteta (1989). New York (NY): UN Headquarters Weimar Declaration: Music Schools in Europe (1999). Berlin: European Music School Union Deklaracija o umjetničkom odgoju (2006). Lisabon: UNESCO (InSEA, IDEA, ISME) Smjernice za umjetnički odgoj. Oblikovanje stvaralačkih mogućnosti za 21. stoljeće (2006). Lisabon: UNESCO Ciljevi za razvoj umjetničkoga obrazovanja (2010). The Second World Conference on Arts Education. Seoul (Korea): UNESCO Bartle, G. (2000). International directory of music education: details of institutions and music education qualifications.Callaway: International Resource Centre for Music Education, The University of Western Australia EMU (2010). Music schools in Europe. Berlin: European Music School Union Polifonia (2007b). Pre-College Music Education in Europe. Brussels (Belgium): Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen (AEC)

Preporučena literatura:

2. Abramson, R. M. (1980). Dalcroze-based Improvisation. Music Educators Journal, 66 (5), str. 62-68. Thousand Oaks (CA): Sage Publications, Inc. Ballanti, F.; Fiocchetta, G. (2012): NET Sounds Report on Good Practices and Methodologies for Music Education through ICT. Roma: Anicia Bennett, P. D. (1984). Sarah Glover: A Forgotten Pioneer in Music Education. Journal of Research in Music Education, 32 (1), str. 49-64. Thousand Oaks (CA): Sage Publications, Inc. / MENC: The National Association for Music Education Bowman, W. (2002). Re-Tooling Foundations to Address 21st Century Realities: Music Education Amidst Diversity, Plurality, and Change. Action, Criticism &Theory for Music Education, 2 (2), str. 1-32. MaydayGroup Bruner, J. (2000). Kultura obrazovanja. Zagreb: Educa Bullen, G. W. (1878). The Galin-Paris-Cheve Method of Teaching Considered as a Basis of Musical Education. Proceedings of the Musical Association, 1877/1878, str. 68-93. Abingdon: Taylor & Francis ltd. Calvin-Campbell, K. (1998). Supporting the Development of the Whole Child through Orff Schulwerk, Montessori and Multiple Intelligences. Report (non-journal), 1-36. Washington DC: US Department of Education, Office of Educational Research and Improvement. College Board (2011). International Arts Education Standards. New York (NY): The College Board for the National Coalition of Core Arts Standards Cross, I. (2008). Music as a communicative medium. Botha, R.; Knight, C. (ur.), The Prehistory of Language. Oxford: Oxford University Press Dobrota, S. (2009): Interkulturalno glazbeno obrazovanje. U: Ivon, H. (ur.) Djeca i mladež u svijetu umjetnosti, str. 157-169. Split : Centar za interdisciplinarne studije - Studia Mediterranea ; Filozofski fakultet Sveučilišta u Splitu ; Hrvatski pedagoško- književni zbor (ogranak Split) Dobrota, S. (2011): Primjena obrazovne tehnologije u glazbenoj nastavi. U: Vidulin-Orbanić, S. (ur.), Glazbena pedagogija u svjetlu sadašnjih i budućih promjena - Glazbena nastava i nastavna tehnologija: mogućnosti i ograničenja. Zbornik radova Drugog međunarodnog simpozija glazbenih pedagoga, str. 73-83. Pula: Sveučilište Jurja Dobrile u Puli, Odjel za glazbu Dobrota, S. (2012). Povijesni razvoj interkulturalnog glazbenog obrazovanja. U: Hrvatić, N., Klapan, A. (ur.) Pedagogija i kultura: teorijsko-metodološka određenja pedagogijske znanosti (znanstvena monografija), str. 133-141. Zagreb: Hrvatsko pedagogijsko društvo Dobszay, L. (1972). The Kodaly Method and Its Musical Basis. Studia Musicologica Academiae Scientiarum Hungaricae, 14 (1/4), str. 15-33. Budimpešta: Akademiai Kiado Eisner, E. W. (1959). The School as an Aesthetic Community. The Elementary School Journal, 60 (2), str. 84-87. Chicago (IL): The University of Chicago Press Eisner, E. W. (1991). What the Arts Taught Me about Education. Art Education, 44 (5), str. 10-19. Alexandria (VA): National Art Education Association EMU (2003). The Future of Music Schools in European Policy: A European Development Centre for Music Schools. Berlin: European Music School Union EMU (2004). The Future of Music Schools in European Policy: Importance, Legislation Issues, Stimulation of Quality. Berlin: European Music School Union EMU (2005). The Future of Music Schools in European Policy: Financing; Co-operating with regular schools. Berlin: European Music School Union Fend, M. i Noiray, M., ur. (2005): Musical Education in Europe (1770-1914). Compositional, Institutional, and Political Challenges. Berlin: Berliner Wissenschafts-Verlag. Fermanich, M. L. (2011): Money for Music Education: A District Analysis of the How, What, and Where of Spending for Music Education. Journal of education finance, 37 (2), str. 130-149. Champaign (IL): University of Illinois Press Finney, J. (2011): Music Education in England, 1950-2010: The Child-Centred Progressive Tradition. London: Routledge Folkestad, G. (2006). Formal and informal learning situations or practices vs formal and informal ways of learning. British Journal of Music Education, 23, str. 135-145. Cambridge (GB): Cambridge University Press Forero-Hordusky, K. (2012). Curwen hand signs and pitch accuracy in sight-reading in the secondary choral classroom (magistarski rad). Colorado Springs (CO): Colorado College Fournier, M. (2008): Boethius and the Consolation of the Quadrivium. Medievalia et Humanistica, 34, str. 1-21. Lanham (MD): Rowman & Littlefield Publishers Galinski, T. (2009) : A Personal Philosophy on the Importance of Music Education. Lethbridge Undergraduate Research Journal, 4 (1). Lethbridge (Alberta, Canada): University of Saskatchewan Göktürk-Cary, D. (2015). The evolution of music education in Turkey. UniRio - Debates, 13, str. 13 - 22. Rio de Janeiro: Potral de Periodicos de UniRio. Green, L. (2001). How popular musicians learn: A way ahead for music education. Aldershot: Ashgate. Green, L. (2004): What can music educators learn from popular musicians? U: Rodriguez, C. X. (ur.): Bridging the gap: popular music and music education, str. 225-241. Lanham (MD): Rowman & Littlefield Green, L. (2008): Music, Informal Learning and the School: A New Classroom Pedagogy. Farnham (UK): Ashgate Publishing, Ltd. Harris, P. (2011): Music Education in the Middle Ages and the Renaissance. Renaissance Quarterly, 64 (2), str. 612-614. New York (NY): The Renaissance Society of America Hebert, D. G. (2011). Originality and Institutionalization: Factors Engendering Resistance to Popular Music Pedagogy in the U.S.A. Music Education Research International, 5, 12-21. Tampa (FL): University of South Florida - School of Music. Heimonen, M. (2003): Music Education and Law: Regulation as an Instrument. Philosophy of Music Education Review, 11 (2), str. 170-184. Bloomington (IN): Indiana University Press Heimonen, M. (2006): Justifying the Right to Music Education. Philosophy of Music Education Review, 14 (2), str. 119-141. Bloomington (IN): Indiana University Press Heimonen, M. (2008): Nurturing Towards Wisdom Justifying Music in the Curriculum. Philosophy of Music Education Review, 16 (1), str. 61-78. Bloomington (IN): Indiana University Press Heimonen, M. (2012): Music Education and Global Ethics: Educating Citizens for the World. Action, Criticism &Theory for Music Education, 11 (1), str. 1-20. MaydayGroup Heneghan, F. (2002). Music Education National Debate (MEND)Report. Dublin: Dublin Institute of Technology Hoge Mead, V. (1996). More than Mere Movement: Dalcroze Eurhythmics. Music Educators Journal, 82 (4), str. 38-41. Thousand Oaks (CA): Sage Publications, Inc. Jaffurs, S. E. (2004). The impact of informal music learning practices in the classroom, or how I learned to teach from a garage band. International Journal of Music Education, 22 (3), 189-200. Thousand Oaks: Sage Publications Jorgensen, E. R. (2006): Reflections on Futures for Music Education Philosophy. Philosophy of Music Education Review, 14 (1), str. 15-22. Bloomington (IN): Indiana University Press Juntunen, M.-L., Hyvönen, L. (2004). Embodiment in musical knowing: how body movement facilitates learning within Dalcroze Eurhythmics. British Journal of Music Education, 21 (2), 1 - 16. Cambridge (UK): Cambridge University Press Kertz-Welzel, A. (2004). Didaktik of music: a German concept and its comparison to American music pedagogy. International Journal of Music Education, 22 (3), str. 277-286. Thousand Oaks: Sage Publications Kertz-Welzel, A. (2005). The Magic of Music: Archaic Dreams in Romantic Aesthetics and an Education in Aesthetics. Philosophy of Music Education Review, 13 (1), 77 - 94. Indiana University Press Kertz-Welzel, A. (2009):Philosophy of Music Education and the Burnout Syndrome: Female Viewpoints on a Male School World. Philosophy of Music Education Review, 17 (2), str. 144-161. Bloomington (IN): Indiana university press Larson, S. (1993). On Rudolf Arnheim's Contribution to Music Theory. Journal of Aesthetic Education, Special Issue: Essays in Honor of Rudolf Arnheim, 27 (4), str. 97-104. Champaign (IL): University of Illinois Press Leinster - Mackay, D. (1981). John Hullah, John Curwen and Sarah Glover: A Classic Case of 'Whiggery' in the History of Musical Education?British Journal of Educational Studies, 29 (2), str. 164-167. New York (NY): Taylor & Francis, Ltd. Lissa, Z., Tanska, E., Tarska, E. (1965). On the Evolution of Musical Perception. The Journal of Aesthetics and Art Criticism, 24 (2), str. 273-286. Hoboken (NJ): Wiley-Blackwell / The American Society for Aesthetics Livingston, C. (2004): Transforming Music Education. Philosophy of Music Education Review, 12 (2), str. 211-214. Bloomington (IN): Indiana University Press Mak, P. (2006). Learning music in formal, non-formal and informal contexts. Lifelong Learning in Music (research paper), str. 1-7. Brussels (Belgium): Association Europeenne des Conservatoires, Academies de Musique et Musikhochschulen (AEC); European Forum for Music Education and Training (EFMET) Mark, M. L., Gary, C. L. (2007): A History of American Music Education. Lanham (MA): Rowman & Littlefield Publishing Group. Mark, M. L., ur. (2013): Music Education: Source Readings from Ancient Greece to Today. London: Routledge Matoš, N. (2011.). Koncept skrivenoga kurikuluma s osvrtom na glazbeno obrazovanje. Tonovi, 58, str. 92-112. Zagreb: HDGPP. Matoš, N. (2013): Kulturna transmisija kroz umjetničko područje kurikuluma. U: Posavec, K.; Sablić, M. (ur.) Pedagogija i kultura (svezak 3), Znanstvena monografija Drugoga kongresa pedagoga Hrvatske Interkulturalna pedagogija: prema novim razvojima znanosti o odgoju, str. 233-243. Zagreb: Hrvatsko pedagogijsko društvo Matoš, N. (2017). Kurikulumski pristup glazbenom obrazovanju u Hrvatskoj. Napredak: časopis za pedagogijsku teoriju i praksu, 158 (1/2), 143-164. Zagreb: Hrvatski pedagoško-književni zbor McCarthy, M. (2002). Music education philosophy: Changing times. Music Educators Journal, 89 (1), str. 19 - 26. Thousand Oaks (CA): Sage Publications, Inc. McLaren, P. (2011): Radical Negativity: Music Education for Social Justice. Action, Criticism &Theory for Music Education, 10 (1), str. 1-18. MaydayGroup Miessner, W. O. (1938). Absolute and Relative Tonal Systems. Music Educators Journal, 24 (4), str. 15+66-70. Thousand Oaks (CA): Sage Publications, Inc. Music Network (2003). A National System of Local Music Education Services. Report of a Feasibility Study. Dublin: Music Network MZOŠ (2005). Vodič kroz Hrvatski Nacionalni Obrazovni Standard za osnovnu školu. Zagreb: Ministarstvo znanosti, obrazovanja i športa MZOŠ (2010).Nacionalni okvirni kurikulum za predškolski odgoj i obrazovanje te opće obvezno i srednjoškolsko obrazovanje. Zagreb: Ministarstvo znanosti, obrazovanja i športa NASM (2014). Handbook 2014-2015. Reston (VA): National Association of Schools of Music NASM (2015). Handbook 2015-2016. Reston (VA): National Association of Schools of Music Nedelcut, N.; Pop, C. G. (2011). Multimedia Educational Resources Used in the Music Education System. Proceedings of the 12th WSEAS international conference on Mathematics and computers in biology, business and acoustics, str. 39-44. Stevens Point (WN): Worls Scientific and Engineering Academy and Society. Nielsen, F. V. (2005). Didactology as a Field of Theory and Research in Music Education. Philosophy of Music Education Review, 13 (1), 5-19. Bloomington (IN): Indiana University Press Opća deklaracija o pravima čovjeka (1948). Pariz: United Nations General Assembly Palmer, A. J. (2004): Music Education for the Twenty-first Century: A Philosophical View of the General Education Core. Philosophy of Music Education Review, 12 (2), str. 126-138. Bloomington (IN): Indiana University Press Pazdnikov, M., Hončarova, E. (2009). Profiled Music Education in the Republic of Belarus. Signum Temporis, 2 (1), 77 - 84. Prag: Academy of Sciences Penderel, S. (2007): Music Education for the New Millennium: Theory and Practice Futures for Music Teaching and Learning. Journal of Aesthetic Education, 41 (4), str. 117-121. Champaign (IL): University of Illinois Press Polifonia (2005). Is early music education necessary in order to reach a professional level? Utrecht: Instituut Kunstgeschiedenis en Muziekwetenschap, Universiteit Utrecht

Ishodi učenja:

1. naučiti samostalno oblikovati tekst na zadanu temu uz pravilno navođenje korištenih izvora

2. spoznati ulogu i značaj glazbene pedagogije u različitim povijesnim, društvenim i kulturnim kontekstima

3. steći potrebne kompetencije za uspješno praćenje ostalih glazbeno-pedagoških kolegija te realizaciju različitih teorijskih i praktičnih zadataka

4. steći temelje za samostalno istraživanje područja glazbene pedagogije

5. upoznati razvoj glazbene pedagogije tijekom povijesti

6. moći opisati i usporediti značajne glazbene pedagoge i glazbeno-pedagoške pravce

7. steći znanja o glazbeno-obrazovnim sustavima u Europi i ostatku svijeta

8. upoznati različite oblike formalnog, neformalnog i informalnog učenja glazbe;

9. upoznati sadržaj važnih konvencija, deklaracija i ostalih obrazovno-političkih dokumenata vezanih uz umjetničko/ glazbeno obrazovanje

Legenda

  • S - Seminar
  • GL - Ostale glazbene vježbe