Sabina Vidulin
Univerza “Juraj Dobrila” Pula, Oddelek za glasbo
PLAYING INSTRUMENT IN THE MUSIC CULTURE
TEACHING: AN OPPORTUNITY OF ACTIVE
PERCEPTION AND UNDERSTANDING OF MUSIC
Abstract
In this article we focused on the relationship between pupils’ instrument
playing during music lessons in primary school and understanding of musical
works. The research question is whether playing an instrument helps in better
understanding of musical works. We presume that playing musical instruments
during music lessons contributes to understanding of particular musical
components such as rhythm, melody, tempo and dynamics. The aim is not only to
develop pupils’ music-playing skills, but also to contribute to their musical
development by understanding music.
The experimental study comprised fourth-grade primary school pupils
divided into two groups that included 25 ten-year-old pupils. Within the
experimental study, the initial state of both groups was determined first by
polling, and then a new variable (playing an instrument) was introduced to the
experimental group. One class (control group) had music lessons without using
instruments (synthesizers), and the other class (experimental group) with the use
of synthesizers. The results achieved by systematic observation, polling, audio
recording of performances and exams (final state) show that during one school
year the experimental group pupils learned to play simple compositions by
reading notes and were also better at perceiving, remembering and understanding
musical components: rhythm, melody, tempo and dynamics.
Key words: primary school, music education, playing instruments,
understanding music, research
Izvleèek
Igranje inštrumenta pri pouku glasbene kulture: prilonost za aktivno
zaznavanje in razumevanje glasbe
V prispevku obravnavamo povezavo med inštrumentalno igro uèencev pri
glasbenem pouku v osnovni šoli in razumevanjem glasbenih del. V raziskavi
ugotavljamo ali igranje na inštrument pripomore k boljšemu razumevanju
glasbenih del. Domnevamo, da igranje na inštrumente pri pouku glasbe prispeva
k razumevanju posameznih glasbenih komponent: ritma, melodije, tempa in
dinamike. Cilj dejavnosti ni le v razvoju vešèin igranja na inštrument, temveè
omogoèanje razumevanja glasbe in podpiranje glasbenega razvoja uèencev.
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Sabina Vidulin, Playing Instrument in the Music Culture Teaching…
V eksperimentalni študiji so sodelovali uèenci èetrtega razreda osnovne šole,
razdeljeni v dve skupini: v vsaki je bilo 25 desetletnih uèencev. V raziskavi je bilo
najprej preuèeno zaèetno stanje obeh skupin. V eksperimentalno skupino je bila
nato uvedena nova spremenljivka: igranje na inštrument. En razred (kontrolna
skupina) pri glasbenem pouku ni uporabljal inštrumenta (sintetizatorja), drugi
razred (eksperimentalna skupina) pa je pri pouku uporabljal sintetizator.
Rezultati, pridobljeni s sistematiènim opazovanjem, s testiranji, z avdio
snemanjem izvedb in zakljuènim preverjanjem, so pokazali, da se je v enem
šolskem letu eksperimentalna skupina uèencev nauèila izvajati preproste skladbe
po notnem zapisu in da so bili ti uèenci tudi uspešnejši pri zaznavanju, pomnjenju
in razumevanju glasbenih komponent: ritma, melodije, tempa in dinamike.
Kljuène besede: osnovna šola, glasbeni pouk, inštrumentalna igra,
razumevanje glasbe, raziskava
Music playing in music teaching
Music teaching in primary and secondary schools of the Republic of Croatia is
organized according to the teaching plans and programs1 that prescribe
fundamental principles of teaching, field of work and work activities. The fact
that music has been and still is part of the school program supports that art
education is an indispensable and important part of education and development of
pupils’ cultural identity2. Thompson, Schellenberg and Husain (2001) agree with
this and point out that school and music teaching are of crucial importance for
raising the level of music art in an individual and a society. However, although
music has always been included in teaching programs and school curricula,
quality of pupils’ music education can hardly be discussed. The reasons for this
can be found in a small number of music lessons (one lesson per week), large
groups of pupils in a class, non-use of modern teaching technology3, as well as in
the concept of music teaching itself, which has obviously not achieved relevant
results.
Because of this, and supported by the reform of primary education in Croatia4,
a new conceptual model known as the open model was introduced into music
teaching. This enabled a different view of music teaching contents (the contents
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GLASBENO-PEDAGOŠKI ZBORNIK, 19. zvezek
1 The Teaching Plan and Program from 2006 prescribes the field of work for the subject Music Culture
in primary schools, whereas the program from 1994 is valid for the subject Music Art in secondary
schools.
2 The field of art gained a special place also in the National Framework Curriculum (2011): it includes
Visual Arts and Design, Music Culture and Art, Film and Media Culture and Art, Drama Culture and
Art, and Movement and Dance Arts.
3 This refers to technology in a broader sense: from the use of methods, forms and strategies that do not
correspond to needs and interests of modern generations, to the lack of technical teaching aids.
4 The reform known as The Croatian National Educational Standard (CNES) has proposed different
ways of modernizing work in primary schools an experimental program was conducted from
2004-2005, and a year later after a positive evaluation by an independent institute (Ivo Pilar Institute
of Social Sciences) the program was implemented in all schools in the Republic of Croatia.
that hindered the process of music teaching through theory and verbalism, were
excluded) and music fields (an obligatory field was defined, and another field was
optional), with the final aim to educate competent listeners of music, as well as
active participants in local musical life. The field of listening to music and
introduction to music literature became dominant in music teaching, while other
fields (singing, playing, musical literacy, creativity, dance, computers in music)
can be selected with respect to pupils’ and teacher’s preferences. It is important to
mention that, besides listening to music and music analysis, only one additional
music field should be selected. Gembris (2006) noted that the development of
pupils’ musical skills is the aim of music teaching and that all the implemented
activities should pursue and support this aim.
In the following we will focus on active music playing during regular classes5,
which makes teaching interesting and close to pupils by using live music nature,
and allows their active participation in performing and creating music. Active
music engagement is exactly the most direct way of adopting musical skills and
acquiring knowledge related to music. Azzara (2002) and Reimer (2003) are of
the same opinion and argue that music teaching in primary schools should be
focused on the performance of musical works with understanding.
Analyzing music playing in the context of music history we concluded that
music education included also playing, as evidenced by the instruments like the
lyre, cithara and aulos, as well as by instrumental schools, which had great
importance in ancient Greece. Furthermore, the discipline of “singing artistry” in
the secular education of feudal lords, did not imply only singing but also playing
and creating lyrics and music. In the 17th century, instrumental teaching became a
sign of a new era.
The idea of primary school pupils playing music during lessons appeared in
the 18th century with philanthropists6, although music lessons began to be
conducted in the nineteenth and especially in the twentieth century. After World
War I music teaching gained new incentives, one of them being Jugend-
musikbewegung7, the movement that revoked many old instruments and folk
dances. In 1930s Carl Orff introduced a true reform of music teaching by his
Schulwerk, attaching among other things great importance to music playing and
improvisation.
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5 In Croatia, beside regular music lessons (35 lessons per year, from 1st to 8th primary school grade),
pupils can attend extracurricular musical activities (70 lessons per year for each activity) which can
positively influence the development of pupils’ musical skills. However our intention was to show
that the field of playing music can be presented also within regular lessons and thus influence the
development of pupils’ musical skills.
6 Philanthropism – the teaching of educators of the 18th century, arguing that man is good by nature
and that he needs help in development of his abilities in harmony with nature.
7 Jugendmusikbewegung – the movement of critical-minded young people in the early 20th century,
sometimes politically oriented, sometimes religious, or cultural-revolutionary, but always with a
common denominator – a song.
In Croatia, the organization of music teaching, as well as inclusion of playing
music into teaching, started in the second half of the 20th century and has been
best monitored through educational programs (Pogaj, 1988, Rojko, 1996).
Playing music was for the first time mentioned in the curriculum in 1958,
referring to playing of rhythm instruments. Playing was afterwards included in all
later versions of the curriculum. It was advocated that instruments contribute to a
faster, easier and more comprehensive understanding of music and influence
children’s creative activities. Pogaj (1988, 62) stressed that “playing, i.e.
accompaniment of already learned songs by children’s instruments (percussion),
folk and popular instruments, is necessary so that pupils who for whatever reason
are not able to sing, can actively participate in classroom playing”. The program
from 1972 proposed songs for playing for the first time. The choice of the
instruments offered for playing was also new: in addition to rhythm instruments,
tamburitza, mouth-piano, mouth-organ, guitar and mandolin were also proposed.
The teaching program from 2006 brought a different approach to playing
music, according to which it, as being the second field of the open model, has
specific opportunities for qualitative implementation. Accordingly, if playing is
part of a flexible concept of music education, and if pupils are interested and
motivated, and school meets all the requirements for conducting these activities,
the playing music in the classroom can successfully be realized.
The reasons for the introduction of playing music in classroom teaching are as
follows: it is natural for a child to be active, playing can enable learning about
music, and it is a pleasant activity. Mitchell (1994) also agrees that playing
instruments helps in better understanding of a musical work and its elements.
Namely, by playing music a child learns, adopts and practically demonstrates the
elements of music such as melody, rhythm, tempo, and dynamics. Zanutto (1997)
stresses that the outcome is not only a good performance of certain musical
works, but also expansion of pupils’ knowledge and skills in the field of rhythm
and intonation. Playing introduces them directly into the abstract world of music
and directly involves them in the creation of music, whereby pupils develop their
performing, but also social skills.
Playing music in the classroom has its advantages and limitations. Reich
(1963) stated several arguments in favor of this activity, of which we emphasize
the following: children want to be active, playing creates work habits, children
can understand the essence of music more easily. Regner (1980) points out that it
would be hard to imagine music teaching without musical instruments, since it is
not possible to learn music without one’s own activity.
On the other hand, there are also limitations in execution of playing activities,
primarily in connection with poor quality and availability of instruments for
classroom music playing. Rojko (1996, 122) argues that playing music at school
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has no artistic value, due to three reasons: “available instruments, their poor
quality and lack of time to exercise”.
Taking into account the strengths and limitations, we nevertheless believe that
playing music in the classroom has more advantages than disadvantages. The
goal of playing music in the classroom is not to teach pupils to play an instrument
faultlessly8, but to make them active participants in the teaching process, to help
them in better understanding of musical works by making them aware of musical
elements, and to make music teaching more interesting. Smith (1984) points out
that by playing an instrument, pupils are directly involved in a musical work.
When playing they perceive errors ‘by hearing’ that they correct immediately,
trying to find the right sound and the right note.
Although playing music in the classroom has no artistic value, it nevertheless
represents satisfaction for pupils and increases the desire for a better
understanding of music. Pogaj (1988, 17) points out that a child’s pleasure in
playing an instrument “is a sufficient reason for considering playing as an option,
and that this activity is justified”. It should be noted that pupils themselves are
often motivated to play music and want to learn to play.
Research
The operative aspect of the study is associated with finding a teaching method
that will give the best results in understanding of musical work by active music
playing, and with respect to pupils’ age and their abilities. The fundamental
aspect of the study includes monitoring the principles of acquiring knowledge by
the proposed method.
The study is developmental and the method of action research has been used.
Namely, novelties in educational activities are introduced, based on their
scientific verification. Researchers were engaged in teaching processes, and they
simultaneously examined direct teaching work. The study project was flexible,
which means that certain contents were modified when required by the
circumstances of the study, and other contents were introduced.
The problem of this study was to establish whether playing of musical works
impacts on a better understanding of music. The aim was to develop basic music
playing skills by note identification, with understanding of musical works.
Hypothesis
Musical elements like rhythm, melody, tempo and dynamics will be
recognized and understood more easily, quickly, simply, directly and precisely.
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8 It is possible to acquire advanced playing skills in state-owned music schools as well as private
courses conducted by music associations.
Method
The study was conducted as an experiment with two groups. The experiment
with parallel groups allowed simultaneous monitoring of the influence of
different factors. The control group worked according to the open model, which
consisted of listening and analysis of musical works and singing (grade 4a), while
in the experimental group an experimental factor was introduced instead of
singing (playing, grade 4b).
Participants
The study was conducted in a primary school in Istria in 2010. The study
sample consisted of the fourth grade pupils, 25 10-year-olds.
Procedure
The work began by determination of the initial state, then an experimental
factor was introduced and the final state determined with pupils of the control and
experimental group.
Initial state
The initial state established pupils’ musical preferences and predispositions.
Pupils from the 1st-3rd primary school grade sang “by ear” during music lessons,
they knew neither notation nor how to play a melodic instrument, and their
culture of knowing musical works was questionable.
As the study instrument three questionnaires with different type of questions
were designed and used. The questionnaire was distributed to pupils during music
lessons. This was followed by the instructions for solving the questionnaire and a
more detailed explanation of the questions. The pupils wrote their answers, and
provided a vocal answer where needed. The study lasted for three lessons, each
questionnaire one lesson.
The first questionnaire was based on the vocal realization of rhythm and
melody, the second was used to check which type of music pupils listened to and
whether they recognized tempo, dynamics and the difference between melodic
and rhythmic elements of musical works. The results of the third questionnaire
indicated a great interest of pupils for instrumental performance at school, during
music lessons.
The collected data were analyzed. The data were reduced and sorted based on
the qualitative analysis, and conclusions were derived. When making
conclusions, pupils’ overall work was considered, as well as class atmosphere,
pupils’ and their families’ music preferences, and the level of pupils’ musical
skills and abilities. The following was established:
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1. During music lessons in the 1st, 2nd and 3rd grade pupils mostly sang songs
of different moods, children’s, folk and artistic, and they listened to
classical music that was proposed by the curriculum. They played neither
a rhythm nor a melodic instrument.
2. At home they listened to popular music, mostly on computers, mobile
phones, MP3/MP4, CDs.
3. Their musical development was influenced by the parents, brothers and
sisters, but increasingly also by their peer groups.
4. Pupils had not attended a classical music concert, they did not listen to the
radio and TV programs broadcasting classical music; their parents did not
encourage them to learn about classical music.
5. Pupils recognized short and long tones, as well as high and low tones, and
they described the character of songs in their own words; they attached
different meanings to music, and got emotionally connected with the song
theme.
6. Pupils were actively engaged in rhythmizing, melodizing and vocal and
instrumental improvisations. They created interesting motifs and phrases.
7. Some pupils demonstrated exceptional melodiousness, some precision in
rhythmic performance, while some had pronounced sensibility for
musical experience.
8. Pupils enthusiastically embraced the opportunity to learn to play simple
compositions at school.
9. A larger number of pupils quickly relaxed and actively participated in the
work, giving interesting answers and showing genuine curiosity for what
they did. However, it was noticed that some pupils would need additional
motivation and incentives to get interested in music and musical contents.
Introduction of experimental factor
The experimental factor refers to playing, i.e. introduction of instruments as
mediators for acquisition of musical knowledge and understanding of music. All
the pupils had a synthesizer on which they learned how to play and in this way
learned about musical elements.
The process of learning to play the synthesizer developed in several stages.
Pupils were first introduced to the instrument: keys, meaning of the numbers on
the housing, ways of changing the performing instrument, inclusion of the
rhythm section, and the use of ready-made music. They tested musical and
technical characteristics of the instrument and discovered its possibilities. After
initial free improvisation of pupils, the teacher began with explaining the
characteristics of sound such as pitch, duration, timbre and intensity. These
characteristics were analyzed in several ways: by the teacher’s playing (pupils
recognized and analyzed a certain characteristic, and they noted it down) and
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Sabina Vidulin, Playing Instrument in the Music Culture Teaching…
pupils’ playing (one pupil played, while his desk neighbour repeated what he
heard, performed by playing, or noted down).
Figure 1: Graphic markings for tone duration, pitch and intensity
Figure 1 shows the abstract graphic markings that were used. The procedure
was as follows: one tone was played for the characteristic of tone duration (at any
pitch) and while the tone lasted a line was drawn from the circle onwards; for
pitch: tones of different pitch were played, which pupils noted down in the upper,
middle, or lower part of their music manuscript book (and school blackboard),
depending on whether the tone was high, low or medium high. Tone intensity was
marked by coloring circles. A circle denoted a tone: an empty circle – a quiet tone
(piano), a slightly shaded circle - medium loud tone (mezzoforte), and a fully
colored, black circle – a loud tone (forte). Pupils experienced the characteristics
of tone timbre by playing on the synthesizer and selecting various instruments on
the instrument’s housing.
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GLASBENO-PEDAGOŠKI ZBORNIK, 19. zvezek
Figure 2: Combinations of tone parameters
After analysis, playing, identifying and recording the mentioned tone
characteristics, they were connected in a whole (Figure 2). Simultaneous
recognizing of tonal characteristics, like duration and pitch combined, was
practiced. The procedure was as follows: the initial tonal space was defined (e.g.
in the middle of the music manuscript book), then a sound was produced (the
teacher started playing), with a simultaneous graphic display by pupils.
Afterwards the display was checked and demonstrated by playing the instrument.
It is important to note that duration and pitch in this initial stage were ‘measured’
according to pupils’ individual criteria. They ‘felt and experienced’ differently
what was high, low, short and long on the paper and on the blackboard, but it was
important for them to perceive the difference, to record it and demonstrate. For
this reason, the teacher played very contrasting tones in pitch, for which the piano
was particularly suitable, and the tone duration had to be different, so that the
differences on the graphic markings could be easier to perceive. This was
followed by further work on recognition of the same characteristics/parameters of
the scale (smaller differences in pitch), with specific duration (every beat was
timed along with playing, so that it was measureable when a tone lasted one, two,
three or four beats).
It was continued with exploration of the musical space (staff, lines and spaces,
bar, beat), introducing duple time, triple time and quadruple time meter, and
accordingly, with definition of the rhythmic figures: eight notes, quarter notes,
half-notes, dotted half-notes and whole notes.
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Figure 3: Introduction of duple time
Figure 4: Introduction of half-note
Figure 5: Introduction of dotted half-note
Figure 6: Introduction of whole note
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GLASBENO-PEDAGOŠKI ZBORNIK, 19. zvezek
Figure 3, 4, 5, and 6 show the order in which various measures and rhythmic
figures were introduced. The procedure was as follows: after playing eight notes
that lasted one beat, we placed eight quarter notes on the first line of the staff and
divided them by bar lines into four musical bars. Playing of the quarter note was
practiced (Figure 3). Next lesson the teacher was playing a piece with quarter
notes and half-notes. Pupils recognized that certain notes lasted one beat, while
others lasted two beats, which they directly afterwards demonstrated by playing
them on their synthesizer and noting down (Figure 4). It was practiced in the way
that pupils themselves designed pieces with known rhythms, which they would
subsequently personally perform or note down for another pupil who would
perform it. Eight notes, dotted half-note (Figure 5) and whole note (Figure 6)
were introduced in a similar way, so that pupils got introduced to duple, triple and
quadruple times. Only the upper number of the measure was written at first, and
later on the correct writing was applied, with two numbers. It is important to
stress that pupils noted down everything that they performed, analyzed and
recorded, and that also performed all that they recorded and analyzed.
Active instruction of the mentioned rhythmic figures was followed by
repetition and practice. Rhythm practice was conducted so that pupils alone
played a certain rhythm, and other pupils recognized the rhythmic value, repeated
it by playing on the instrument and noted down the rhythm on the first line of the
staff. The rhythms were introduced in the following order: quarter note, half-note,
eight note. Rhythmic pieces were practiced on one tone, and later, when repeating
and identifying pieces the pitch was changed, which during making music of the
class resulted in harmony, triple chords at all scale steps. This was conducted so
that one group played for example the tone C, the other group the tone E, and the
third group the tone G or D-F-A, E-G-H, F-A-C, etc. Playing of dotted half-notes
and whole notes was practiced in the same way. The examples were increasingly
varied and rhythmically richer, and the melody performed by the teacher gave the
feeling of playing a real piece of music: the teacher with the main melody, and the
pupils with a rhythmic-harmonic accompaniment.
The next stage included learning the notes. The knowledge of rhythm and
intonation acquired in this way leads to apparent music literacy, i. e. to
knowledge about how the notes are called, on which line or space they are placed,
what is their duration and which key should be pressed to play the note that had
been written.
The song from the musical The Sound of Music by R. Rodgers (Do, Re, Mi)
was used for introduction into musical notation. After singing the song by text,
the solmization names of the notes were pointed out in the way that pupils sang
only solmization syllables from the composition, and the rest of the text they sang
‘in themselves’. The teacher played the melody and the song in its entirety. It was
followed by singing of the scale sequence, i.e. tones arranged in sequence for
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Sabina Vidulin, Playing Instrument in the Music Culture Teaching…
students to memorize and become aware of the sequence of tones ascending and
descending, as well as of their names. After singing the sequence, the notes were
written on the blackboard, from the lowest to the highest, so that pupils could play
all the C major scale tones, according to the notes. The scale sequence was
practiced by singing and playing music, changing rhythmic structures, lasting
from one to four beats. It should be stressed that the solmization name of the tone
was replaced by the alphabetical name in order for each note to have a defined and
always the same name associated with only one key of the synthesizer. After this,
playing was practiced on didactic examples prepared by the teacher. Besides
playing, special attention was paid to melodic motion and rhythmic value in each
example.
Figure 7: Didactic examples for playing according to musical notation
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GLASBENO-PEDAGOŠKI ZBORNIK, 19. zvezek
Figure 7 shows nine examples according to which the basic skill of playing
music was practiced, with the aim of understanding the musical work. The first
example is characterized by a step-wise motion to the third with two leaps, in the
second example the melody is designed mainly in the thirds, but also in the
seconds, and with a leap in a fifth, and the repeat sign is introduced. In the third
case the motion is step-wise, then in thirds, and in the fourth case larger leaps are
present, while the fifth example brings a more complex melody within the
pentachord. The sixth example is characterized by the rhythm of eight notes,
combinations of leaps in a third within the quintachord of the first grade, as well
as by shorter step-wise motion. The seventh, eighth and ninth piece, unlike the
previous examples, are based on the upper tetrachord of the C major scale, and the
measure is recorded in its full form. The seventh example introduces corona in the
last beat, the eighth example has a richer melody (from C1 to C2) and rhythmic
structures are combined, while the ninth example combines leaps, gradual
duration and shorter rhythmic values.
The process of learning the examples is the following: first the notes are read
using the alphabet, then the teacher analyzes the duration of the notes with the
pupils and every bar is read by the alphabet in the rhythm, in continuation until
the end of the examples. This is followed by playing of one bar, then the other,
and then by connection of double bar in one unit and so on: double bars are
connected in a small musical phrase. The pupils practice individually, the teacher
controls and helps them.
Didactic examples should be designed in the way that they are not too hard or
too easy for pupils, and that they have an interesting melodic line with simple
rhythmic figures. By playing and listening to what they perform, pupils will learn
to distinguish correct from incorrect performance, they will be able to practice
individually at home, to develop their music playing skills and to understand the
music they play.
Didactic examples are followed by playing of shorter and simpler pieces of art
and popular music. Pupils get introduced to pieces of music by listening, either
played by the teacher or from a sound carrier, You Tube or similar. Pupils are
given notations that are analyzed together (alphabet, rhythm, melodic motion,
tempo and dynamics), which is followed by playing. It is important that the
teacher helps, corrects and directs pupils, since not all pupils in the classroom are
equally skilled or have the same pace of learning. The pupils who know how to
play can practice also harmonic accompaniment of the song.
When teaching playing, special attention is paid to the analysis and
demonstration of different melodic lines (ascending, descending, leaping,
step-wise, within tonality, outside tonality, in different extent of the melody) and
rhythmic structures (simple and complex rhythms, dotted rhythms). Tempo
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Sabina Vidulin, Playing Instrument in the Music Culture Teaching…
(adagio, andante, allegro) and dynamics (p, mf, f) terms are introduced, also the
repeat sign, corona, legato and staccato playing.
Results
Final state
At the end of the school year the final state was established. The results of
raising awareness of musical elements (rhythm, melody, tempo, dynamics) with
the experimental group were compared in relation to the control group. Both
groups were equal in relation to the contents prescribed by the Teaching Plan and
Program from 2006. The teaching program for the fourth grade identifies four
fields: singing, listening and exploring music, performing music, notation and
music games. It should be stressed again that in the work according to the open
model, besides listening to music (a dozen of musical works), only one additional
field is selected. Thus, in the control group singing was selected, and in the
experimental group pupils’ playing music. The singing repertoire was mainly the
same as with playing. According to the program, the aim with singing is
knowledge of least 15 songs, beautiful and expressive singing, clear
pronunciation and understanding of the text, and distinction between melody,
rhythm, tempo and dynamics. In addition to the songs from the proposed
curriculum and the songs from the textbook, other children’s, folk and artistic
compositions were used, paying attention to the fact that pupils can learn to play
them (simple melodic lines and known rhythms). However, not all songs could be
played because of their difficulty, and therefore certain songs were used only for
the field of singing in the control group. The same task as with singing
(distinction between melody, rhythm, tempo and dynamics) applied also for the
experimental group (playing), but the approach was significantly different, and
there was a greater emphasis on independent work and a lot more activity and
engagement of pupils. The common premise was that lessons in both classes were
presented according to the same pedagogical principles. The work with pupils
was directed toward acquisition of best possible and qualitative knowledge that
could be practically demonstrated. By adoption of new notions in the field of
music culture pupils began to develop their own musical abilities.
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GLASBENO-PEDAGOŠKI ZBORNIK, 19. zvezek
Table 1: Research findings
Control group Experimental group
both classes had achieved an enviable level of knowledge of musical elements (rhythm,
melody, dynamics, tempo)
contents were taught both in the control and in the experimental group: duple time, triple
time and quadruple time measure, melody, rhythm, tempo, dynamics, repeat sign, corona,
double bar, small musical phrase
all elements were learned at the level of
recognition, and not all elements could be
demonstrated
high level of understanding (and
application) of musical elements
despite the fact that they knew what tempo and
dynamics were, they were not able to apply them
individually on a new composition
much better identified and remembered
musical concepts that they were able to
demonstrate in other songs
learned to play simple songs by notes
basic playing skills
In the final oral examination the level of achievement of the experimental and
control group was established (Table 1). The results showed that the pupils of
both classes had achieved an enviable level of knowledge of musical elements
(rhythm, melody, dynamics and tempo), and the pupils of the experimental group
also basic playing skills. The biggest difference was in the level of pupils’
knowledge. The results of the experimental group showed that pupils in the
course of one school year not only learned to play simple songs by notes, but they
also much better identified and remembered musical concepts that they were able
to demonstrate in other songs. Pupils were trained to analyze music
independently and to play simple songs by musical notation. By conscious work
and through playing music they acquired the basics of musical language, which
resulted in high levels of understanding (and application) of musical elements.
They learned to play the C major and A minor scale and songs in C major and A
minor, they got introduced to duple, triple and quadruple time, they learned to
recognize and perform simple rhythmic figures, as well as to identify and use the
underlying tempo and dynamics signs. They became aware of measure, rhythm
and notation, and they achieved a level of concrete knowledge that could be
applied.
The effectiveness of the model of playing is reflected in pupils’ special
concentration on the subject matter, in their conscious and hands-on work,
increased activity, recognition of mistakes and learning from them, self-activity,
better understanding of the learned knowledge and better use of the acquired
knowledge. Pupils learn through instruments, and they practically demonstrate
37
Sabina Vidulin, Playing Instrument in the Music Culture Teaching…
what they have learned.
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