Jelena Martinoviæ Bogojeviæ
University of Montenegro,
Academy of Music, Cetinje
VIEWS ON THE ELEMENTARY MUSIC EDUCATION IN
MONTENEGRO AND SLOVENIA
Abstract
Music education system in Montenegro is similar to those in the neighboring countries from this
region, which we inherited from the former Yugoslavia. As the general educational system was
changed and reformed, a need for redefining elementary music schools to introduce some
innovative solutions into its plans and programs, emerged over the past period. In Montenegro, this
primarily referred to transition from a six-year to a nine-year music school, considering that
education system reform brought with it a nine-year duration of the general education school.
Numerous debates concerning the new concept of the music school took place in the academic
community, where many stood by the “old” system which, according to them, didn’t have
significant shortcomings. However, Bureau for Education Services of Montenegro, as an institution
responsible for music schools too, initiated procedures of developing new curricula to be
implemented starting with academic year 2016/2017. In this work, we will show some of the basic
characteristics introduced by the reform and try to make a comparison with music school system in
Slovenia, having in mind that it was also a key guidance for the reform processes in general
education schools which were started in 2001. The question is what the extent of the similarities and
differences found is and have our experiences in practice been really oriented on students and their
needs. An increasing number of children have been dropping out of music schools in Montenegro in
the previous years, or after completing the elementary music education they stop engaging in music,
even at the amateur level. Therefore, a question is raised as to what needs to be changed, improved
and done so that our schools go hand in hand with time and provide a good educational basis both to
future professional musicians that will continue with secondary music education and to those who
will make up a musically educated audience?
Keywords: music school, curriculum, Montenegro, Slovenia, education reform.
Izvleèek
Pogledi na osnovno glasbeno izobraevanje v Èrni gori in Sloveniji
V Èrni gori je glasbeno-izobraevalni sistem podoben sistemom drugih drav z obmoèja nekdanje
Jugoslavije. V zadnjem èasu se je ob reformi splošnega vzgojno-izobraevalnega sistema pojavila
potreba po inovativnih spremembah programov v osnovnem glasbenem izobraevanju. V Èrni gori
je bila prva sprememba podaljšanje izobraevanja v glasbeni šoli s šestih na devet let. Bila je
povezana z uvedbo obveznega devetletnega splošnega šolanja. V strokovni javnosti so se sproile
številne razprave o novih zasnovah glasbenega izobraevanja. V njih so mnogi izraali podporo
“staremu” sistemu, ki po njihovem mnenju ni imel veèjih pomanjkljivosti. Kakorkoli, Zavod za
šolstvo Èrne gore je kot institucija, odgovorna tudi za glasbene šole, zaèel s postopki oblikovanja
novih uènih naèrtov in programov, z namenom uveljavitve v šolskem letu 2016/17. V prispevku
bomo prikazali nekatere osnovne znaèilnosti, ki jih je prinesla reforma. Primerjali jih bomo s
sistemom slovenskih glasbenih šol, upoštevajoè, da je bil slovenski model uporabljen kot vodilo
šolskih reform, zaèetih leta 2001. Katere podobnosti in razlike najdemo med sistemoma in ali je
praksa resnièno orientirana k uèencu in njegovim potrebam? V Èrni gori v zadnjih letih opaamo
narašèajoèe število otrok, ki predèasno zakljuèi osnovno glasbeno izobraevanje ali pa se po
konèanem šolanju preneha ukvarjati z glasbo tudi na amaterski ravni. Iz teh razlogov je treba
vzbuditi vprašanja, kaj je treba spremeniti, izboljšati in narediti tako, da bodo glasbene šole stopile v
korak s èasom, zagotovile dobro izobrazbeno osnovno tako prihodnjim profesionalnim
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glasbenikom, ki bodo nadaljevali šolanje na srednji stopnji, kot tudi tistim, ki bodo postali del
izobraenega glasbenega obèinstva.
Kljuène besede: glasbena šola, uèni naèrt, Èrna gora, Slovenija, izobraevalna reforma
Introduction
In this work we will present certain characteristics of the ongoing reform of elementary
music education in Montenegro and of dilemmas one has to go through in the process,
along with the analysis of the curriculum for the nine year music school and the
comparative review of the curriculum1 for the elementary music schools in the Republic of
Slovenia. Even though the present system of music education has numerous advantages,
the issue of having a more intense correlation between the course Solfeggio with Theory
of Music and instrument courses should be addressed, as well as unburdening the existing
programs and greater implementation of the listening and creation activities in the
teaching practice. In carrying out a reform of music education, should we have spent more
time thinking of plans and programs that are more flexible, open and purposeful, that
would stimulate the averagely talented children too? There is also a question of which
competences and skills are acquired by students after graduating from the music school,
and how much are they being used? Why does a significant number of students give up on
music education? All questions are open for discussion with a view to creating a school
that will be a place of development of music abilities and skills in a way which will provide
the students with a higher degree of independence and music expression both in and out of
school.
Brief Historical Overview
If we briefly look at historical overview of important facts related to development of music
education on the territory of Montenegro as we know it today, we will notice that the first
influence dates from the nineteenth century, and from the time when Kotor Bay was under
Austrian jurisdiction.2 Military music was founded in that period in Kotor, and in 1839 the
first amateur singing society called Unity was established, which then forms an orchestra
three decades later, conducted by an organist and composer of church music Jeronim
Fiorelli (Jerkov, 2011). The education institution of a boarding school type for educating
younger female population, “Female Institute of Empress Marija” was founded in 1869 in
Cetinje, the Capital of the Principality of Montenegro, where a lot of attention was given to
music education: singing, music theory, violin and piano. Music educators were the
Montenegrin composer Špiro (Spiridon) Ognjenoviæ (1842–1914), Czech music
educators: Robert Tolinger (1859–1911) and Anton Šulc. The Institute operated under
patronage of Russian Empress Marija Alexandrovna (1853–1920). All classes were done
according to the plans and programs that were valid in similar institutes in Russia of that
period (Markoviæ, 2012).The Institute stopped working in 1913.
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1 Izobraevalni program Glasba. Predmetnik. (2009).
2 More on development of music life in Kotor Bay in the bookMusic Themes and Portraits by M. Miloševiæ
(1983).
The first music school was founded in Cetinje in 1936. After World War II, Secondary
Music School “Njegoš” was founded in Cetinje, and it continued working in Kotor since
1947. At that time, the elementary music school merges with private music school of Vida
Matjan. Slovenian Vida Matjan (born Hribar, 1896–1993), dedicated a large part of her
life to development of music education in Kotor. After completing studies at Glasbena
Matica in 1914, she enrolled in the Music Academy in Vienna, and she was prepared for it
by pianist an music pedagogue Anton Trost. Unfortunately, World War I prevented her to
finish her studies. She goes back to Ljubljana, and in 1930 she moves to Belgrade with her
husband Alojz Matjan where she completes the highest degree at Belgrade school
“Stankoviæ” under Prof. Emil Hajek. In that period, this level of education was equivalent
to a music academy which was still not founded in Belgrade. After the World War II,
Matjan family permanently moves to Kotor (Miloševiæ, 1983). The influence that this
talented woman, full of enthusiasm, had on development of music education was
invaluable, and she received many recognitions and awards during her lifetime. Today, the
music school in Kotor carries her name.3
Figure 1:Vida Matjan (born Hribar, 1896–1993)4
Podgorica got a music school in 1946, and a secondary music school in 1958. Since 2005,
the school is called Public Institution Art School for Music and Ballet Vasa Paviæ,5 which
in its organization has the elementary and secondary music school, as well as elementary
ballet school. Slovenian music pedagogue Rudolf Zakrajšek (1915–1994) was one of the
long serving directors during whose mandate the school accomplished many successes.
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3 Vida Matjan. Škola za osnovno in srednje muzièkoobrazovanje Kotor. http://www.vidamatjan.me/(1. 11.
2016).
4 Matjan Vida. montenegrina.net/pages/pages1/muzika/vida_matjan.htm (1. 11. 2016).
5 Umetnjièka škola za muziko i balet “Vasa Paviæ” " http://vasapavic.me/ (10. 11. 2016).
Music Academy was founded in 1980 with an aim of intensifying development of
professional personnel pool that was previously educated in Belgrade, Zagreb and
Sarajevo.
Today, 80 years after the first music school was founded, there are fourteen state music
schools and one private music school6 in Montenegro. Even though, there could be more
music schools in Montenegro, children have access to music education in most of the
towns. There are also five secondary music schools that belong to the system of secondary
vocational education.
System of Elementary Music Education in Montenegro
System of music schools in Montenegro and neighboring countries implies that they are
part of the education system funded from the state budget, and that they are accessible, as
such, for everyone who shows elementary music abilities and desire to attend a music
school. Students attend classes of all courses envisaged by the plan, and at the end of the
academic year they take the final exam. As interest of children dropped in recent years
when it comes to practicing on instruments, schools took the initiative to introduce
preliminary exams for checking knowledge, twice in the first semester and once in the
second semester. Public performances and competitions at the national and international
level for talented children are also an integral part of the music education process. Music
Festival of the Youth of Montenegro7 organized by the Community of Music Schools, and
that will be held for the 44th time this year, is an important tradition in providing
encouragement for talented children. Students from elementary and secondary music
schools, as well as Music Academy students, participate in this competitive festival in
different categories. In the last ten years, many multidisciplinary projects which stimulate
students’ participation in different forms of music activities were intensified.
Reform Processes of the Education System and Influence on Reform of the Music
Schools
Elementary and secondary music school curricula were done over decades based on the
example of other former Yugoslav countries, primarily the neighboring Serbia. On the
initiative of solfeggio educators, the programming section of the Ministry of Education
launched the writing of the curriculum for this program in 1996/1997. The authors wrote
them looking at methods used in France, where classes were held in the framework of a
course Formation musical, which implied a global approach by connecting different
music contents: classic solfeggio, development of the harmonic ear, recognition of simple
music forms, listening to music and development of critical opinion, as well as
introduction of basic information from the history of music.8 Our opinion is that such a
conceived course contributes to a better understanding of music and a more productive
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6 MACG.Muzièka asosiacija Crne Gore..http://www.macg.me/muzicke_skole.php (1. 11. 2016).
7 Umetnjièka škola za muziko i balet “Vasa Paviæ”. XLIII Muzièki festival mladih Crne Gore
(25.–28.4.2016)
8 Information taken from the web page: http://www.emdjacquesibert.fr/ressourcesquestions-sur/la-
formation-musicale/ (10. 5. 2014).
connecting of acquired knowledge at instrument classes. In accordance with operational
objectives of the curriculum, the course Music Science has a similar concept: beside
elements of solfeggio, the students also perform and interpret examples from music
literature, they create, they listen to the music analytically, and learn by adopting,
understanding and using the music theory knowledge and skills (Curriculum, 2009).
Reforms of the music education system followed the general education reform that was
initiated in 2000, during which the international cooperation and professional support was
also achieved with the Republic of Slovenia with a general education system that served as
a model for introducing a nine year elementary school. A necessity to bring the nine year
elementary school into harmony with the elementary music school was one of the reasons
for current reforms of music education. Bureau for Education Services of Montenegro as
an institution responsible for development of curricula started this initiative. Proposal of
the new syllabus for elementary music schools and elementary ballet schools was adopted
on April 13, 2007.
Curriculum for Elementary Music Schools and Comparison with the Curriculum in
the Republic of Slovenia
Curriculum for the elementary music schools is still a subject of discussion among music
pedagogues. Its revision is ongoing, in order to complete the reform process by adopting
new curricula which was supposed to be done by the beginning of the academic year
2016/2017. The syllabus is presented in the table below.
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Table 1: Curricula for elementary music schools in Montenegro
Title of the Education Program:
Education Program of Elementary Music and Ballet School
CURRICULUM OF THE ELEMENTARY MUSIC SCHOOL
A1 Mandatory Part
Courses Grade and Weekly Number of Classes
I II III IV V VI VII VIII IX Total %
Music Primer-Orff
Instruments 2 68 3,08
Instrument
Piano
Accordion
Violin
Cello
Guitar
Harp
2 2 2 2 2 2 2 2 538 24,37
Viol
Double Bass
Flute
Oboe
Clarinet
Bassoon
Saxophone
Horn
Trumpet
Trombone
Percussion
Tambura-Mandolin
2 2 2 2 2 2 402 18,21
Organ
Singing
2 2 2 129 5,84
Solfeggio with
Music Theory
1
1 2 2 2 2 2 2 470 21,29
autoGroup Music 2 2 2 3 3 3 501 22,70
Elective Course 1 1 1 99 4,48
Source: Bureau for Education Services of Montenegro, 2007
Montenegro: According to the new Curriculum, the music school is planned to last nine
years and to be divided into three cycles, each 3 years long. Students that enroll in the
music school, starting with the first grade, receive a certificate of completion after the
second cycle (6th grade), while the talented students continue - as potential candidates for
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a secondary music school. The six year olds enroll in the first grade that consists of one
course Music Primer, and those classes are held two times a week, 68 hours per year.
Slovenia: Elementary music schools in Slovenia are not divided into cycles, instead, they
are divided into lower and higher degrees. Lower degrees last until the 6th grade and
higher degree contains the 7th and 8th grade, or the 5th and 6th for those who enroll in the
music school later. There is a special remark about the age of the students, depending on
the instrument they take. The first two years of preschool music education are divided into
Pre-school Music Education (Predšolska glasbena vzgoja) for 5 year olds which consists
of one class per week, and Music Preparatory (Glasbena pripravnica) for 6 years old
children with 1.33 classes per week. The first grade starts after the Music Preparatory
meaning with the second grade of the elementary school. Children that haven’t completed
music preschool education can enroll too, however, the research has shown (Zadnik,
2011) that children who have completed pre-school education show a higher level of
music abilities, skills and knowledge. It is specified that the course Music Theory (Nauk o
glasbi) has an A and B program for students that enroll in the music school at the age of 7
to 9, and those who enroll being10 years old or older. A weekly number of classes for this
course is 1.33 (small groups) and 2 classes (larger groups of students).
Montenegro: In Montenegro, an individual instrument class is 45 minutes long and many
educators disagree with this believing that classes should last 30 minutes for the first
grade. During the entire elementary music education, students have instrument classes
twice a week. There is one class (45 minutes) of Solfeggio with Music Theory in the
second grade, and two classes in other grades.
Slovenia: An individual instrument class is held twice a week with duration of 30 minutes,
according to the Rules of Teaching in Music Schools (Pravilnik o izvajanju pouka v
glasbenih šolah, 2003)9, but it can be prolonged by 0.67, as additional teaching. Teaching
of choir singing is planned as 2 classes a week, like in Montenegrin schools, while classes
of orchestra are held in 3 or 2 classes, depending on the dynamics and the scope of work of
the orchestra. It is determined that chamber music starts in different grades, usually in the
5th grade, depending on the instrument, and, according to the plan, it takes place once a
week. Piano students in higher grades can rehearse with students in lower grades.
Montenegro: Third cycle is conceived as preparation for the secondary music school, so
the number of classes of a course Group Music (orchestra, choir) is increased from the two
classes in the second cycle to three classes in the third cycle. A new elective course is
introduced with one class a week. The real question is, is it realistic to expect students of
the third cycle to follow eight classes a week in a music school, beside their duties of
regular education in the elementary school? Should teaching an instrument be the main
focus and unburdening the students by reducing the number of classes so that the goals
envisaged by the program are better achieved? These are the questions that will inevitably
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9 Pravilnik o izvajanju pouka v glasbenih šolah (2003).
http://www.uradni-list.si/1/objava.jsp?urlurid=20033934 (1. 11. 2016).
appear in the analysis of the curriculum and these questions triggered the need for a
revision of the curriculum.
If we compare these two curricula, a numerous substantial similarities will be noticed,
while Slovenian curriculum is significantly more precise. The issue of burdening the
students with the number of classes in the higher grades can be raised too, as well as the
issue of higher focus on the potential professional musicians.
Characteristics of the New Course Program for the Music Primer and Program for
the Initial Piano Classes
Course program for the first grade in elementary music school called Music Primer –
Orff’s Instrumentarium (Muzièka poèetnica – Orffov instrumentarijum, 2009) has been
approved for school use on March 31, 2009. The objectives of this program are to develop
music skills in students while working on all of the components of musicality. The
teaching of this course is done through three activities: performing, creating and listening.
The program does not provide music literacy, but the emphasis is rather on developing
music memory, learning the songs by the ear, developing rhythmic skills through rhymes,
riddles and tongue twisters, developing a sense of improvisation, adopting basic music
concepts, instruments, vocal and instrumental ensembles, as well as playing Orff
instruments in a group.
The textbook Music Steps 1, by Vedrana Markovic and Andree Æoso Pamer (2016), was
created in accordance with this program, and published by the Bureau for Textbooks and
Teaching Aids in cooperation with the Music Academy, as part of the project Identity
Elements in the Montenegrin Music as a Basis for Development of Multiculturalism and
Interculturalism. Miodrag Vasiljevic’s functional method for setting up pitches is used
here, among other things, and authors adapted it to the Montenegrin folklore. There is a
dedicated composed example for each basic tonal pitch. The textbook set also includes the
material on CD with arrangements of songs and matrices, and also a methodological
manual for teachers.
Teaching piano starts in the first half of the second grade, when the systematic acquisition
of music literacy by the students has started in solffegio classes. In these classes this
approach creates the possibility to examine music skills in instrument classes through
various forms of playing well known melodies by ear, through their transposition and
various forms of improvisation. This teaching method requires more active teachers and
‘higher level of creative will’ (Šèapov, 1963). Given the length of time, the age of students
and the concentration, it can be recommended that the teacher works with two students in
one class. Many piano teachers recommend this kind of work in the primary classes
because it improves the dynamics of class, concentration and attention, which is hard to
keep at a high level for 45 minutes of an individual work. In many systems, a beginner has
two 30 minute long classes per week, which is the case in Slovenia. If all of the planned
activities were performed: playing, listening to music, making music - it would justify the
length of a class. But the question is how well are classrooms equipped with music
equipment, how long do teachers play music to students in the class and do students
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improvise, play songs by the ear and other elements of what is describes in the program as
creativity? The realistic picture would be the one where the teachers practice the program
with students, and playing an instrument is the only activity that takes place in the class.
Conclusion
Music education in the countries of Eastern Europe is more focused on professional music
education. Even though a proportionately small number of students enroll in secondary
music schools, this concept is maintained as very strict. While giving suggestions for
writing curricula and programs, Prof. Pavel Rojko from Zagreb Music Academy is
considering the situation in Croatia, comparing it to some European countries, notably
Austria and Germany, and he asks the question: “Has the time come to abandon the rigid
concept of students enrolling in the whole system, and is an alternative program possible
with facilitating ways to learn” (Rojko, 2006, p. 49). The example he gives is Music
School Elly Bašiæ in Zagreb where they had the so called double track - A and B program,
one intended for gifted children with strong music dispositions, and the other for those of
modest capabilities who are, in this way, able to meet slightly lower criteria, but will still
go through music training, they will learn to play an instrument at a certain level, and after
completion of school they could potentially become an educated music audience. Should
these changes be considered as realistic solutions? A question that also emerges is the one
concerning the motivation of students to enroll in music schools, which is not sufficiently
present due to a rather traditional approach in teaching music, an approach primarily
focused on development of performing abilities, without enough presence of creativity in
teaching. All of these issues are worth serious consideration when creating new course
programs.
Different needs of students emerge with the modern age and those should be placed at the
center of all reform processes of a certain educational system. A repertoire performed in
schools comes from Western European classical music tradition and standout students are
performing it at a high interpretative level (Music Schools in Europe, 2010). Schools are
funded by the state (in Slovenia state’s share is 80%, while in Montenegro it is 100%)
which indicates that they are important for national policy of development of education
and culture. However, the question is how much are schools productive and how much is
love for music art developed in students at schools, as well as the creative potential and the
possibility of different music art manifestations, to include improvising and composing in
elementary music schools. For students that want to gain an elementary music education
and learn to play an instrument, a ‘double track’ could be considered. The advantages of
this system in Montenegro, should be a good start for effective and justified innovations.
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Povzetek
Prispevek je osredinjen na potekajoèo reformo osnovnega glasbenega izobraevanja v
Èrni gori. Devetletno šolanje v glasbeni šoli je spodbudilo številne spremembe v
predmetniku in uènih naèrtih za posamezne predmete. Zaradi podobnih kurikularnih
izhodišè je narejena komparativna primerjava s slovenskimi uènimi naèrti.
Avtorica uvodoma naredi kratek zgodovinski pregled, v katerem izpostavi kontekst
nastajanja èrnogorskega sistema glasbenega izobraevanja, pomembne posameznike in
ustanove. Med njimi pozornost nameni Vidi Matjan (rojeni Hribar, 1896–1993), ki je po
šolanju na ljubljanski Glasbeni matici in na Dunaju krajši èas delovala v Beogradu in nato
pa v Kotorju. Zaradi njenega izjemnega pedagoškega dela je danes po njej poimenovana
glasbena šola v Kotorju.
V Èrni gori je glasbeno izobraevanje sestavni del nacionalnega izobraevalnega sistema
in financiran s strani drave. Povezan je s sitemom osnovnošolskega izobraevanja. V
prvem razredu uèenci glasbene šole obiskujejo Glasbeno pripravnico – Orffov
inštrumentarij. V višjih razredih obiskujejo individualni inštrumentalni pouk in skupinski
pouk solfegga z glasbeno teorijo. Od tretjega razreda naprej so vkljuèeni tudi v komorno
igro. V zadnjih treh razredih imajo v predmetniku še izbirni predmet. Komparativna
primerjava èrnogorskih in slovenskih predmetnikov in uènih naèrtov pokae številne
skupne znaèilnosti, pa tudi nekatere sistemske in vsebinske razlike. V tem pogledu je
izpostavljena veèja preciznost slovenskih uènih naèrtov.
V Èrni gori vsi uèenci prvega razreda glasbene šole obiskujejo Glasbeno pripravnico –
Orffov inštrumentarij. Pouk vkljuèuje tri dejavnostna podroèja: izvajanje, ustvarjanje in
poslušanje glasbe: Namenjen je razvijanju glasbenih sposobnosti in spretnosti,
glasbenega spomina in elementarnih glasbenih znanj. Predmet še ne vkljuèuje glasbenega
opismenjevanja. Uèitelji in uèenci lahko pri pouku uporabljajo uèbenik, ki sta ga napisala
Vedrana Markoviæ in Andree Æoso Pamer (2016).
Glasbeno opismenjevanje se intenzivno zaène na zaèetku drugega razreda glasbene šole,
ko zaènejo uèenci obiskovati skupinski pouk solfeggia z glasbeno teorijo in individualni
pouk inštrumenta. Izpostavljen je zaèetni pouk klavirja, ki vkljuèuje tudi igranje po
posluhu, transpozicijo in improvizacijo. Vse to od uèitelja zahteva kreativnost in
angairanost pri pouku.
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Jelena Martinoviæ Bogojeviæ, VIEWS ON THE ELEMENTARY MUSIC EDUCATION ...
V sklepu je izpostavljeno, da so vzhodnoevropski glasbeno-izobraevalni sistemi zelo
usmerjeni k profesionalnemu glasbenemu izobraevanju. Zelo malo uèencev pa se
dejansko vpiše na srednješolsko raven glasbenega izobraevanja. Tako je tudi v primeru
Èrne gore, zato se avtorica sprašuje, ali se ne bi veljalo zgledovati po primerih, kot je
Glasbena šola Elly Bašiæ v Zagrebu, ki za uèence izvaja programa A in B. Prvi je
namenjen uèencem, ki so zelo glasbeno nadarjeni in motivirani za uèenje inštrumenta.
Drugi program je namenjen uèencem, ki bo konèani glasbeni šoli ne bodo nadaljevali
šolanja na srednji glasbeni šoli. Razliène potrebe in interesi uèencev morajo biti
upoštevane pri nadaljnjih korakih reformiranja èrnogorskega glasbeno-izobraevalnega
sistema.
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