Snjeana Dobrota1, Ivana Senjan2
1 Faculty of Humanities and Social Sciences University of Split, Croatia
2 Dr. Ivan Kranjèev Gymnasium of Ðurðevac, Croatia
THE IMPACT OF THE RECIPROCAL FEEDBACK MODEL OF MUSICAL
RESPONSE ON SHAPING STUDENTS’ MUSICAL TASTE1
Izvirni znanstveni èlanek/ Original Scientific Article
Abstract
The aim of this study was to compare the performance of Music Appreciation course based on The
Reciprocal feedback model of musical response (Hargreaves, MacDonald and Miell, 2005) with the
performance of Music Appreciation course based on the traditional diachronic model on shaping
musical taste of students. The research results confirm the existence of statistically significant
differences in the benefit of the experimental model of teaching in different aspects of musical
knowledge, the perception of musical expressions, the development of critical thinking towards
listening music, preferring different musical styles and attitudes towards music teaching.
Key words: aesthetic education, the Reciprocal feedback model of musical response, music
preference, musical taste, models in Music Appreciation course.
Izvleèek
Vpliv modela reciproènega glasbenega odziva na oblikovanje glasbenega okusa uèencev
Namen naše raziskave je bil primerjati pouèevanje glasbenega vrednotenja, ki temelji na modelu
reciproène povratne informacije glasbenega odziva (Hargreaves, MacDonald and Miell, 2005) z
izvedbo uènega procesa glasbenega vrednotenja, ki temelji na tradicionalnem diakroniènem modelu
oblikovanja glasbenega okusa uèencev. Rezultati potrjujejo statistièno pomembne razlike v prid
eksperimentalnega modela pouèevanja v razliènih vidikih glasbenega znanja, v percepciji
glasbenega izraza, v razvoju kritiènega mišljenja pri poslušanju glasbe, v preferiranju razliènih
glasbenih stilov in razliènih pristopov pouèevanja glasbe.
Kljuène besede: estetska vzgoja, model reciproènega glasbenega odziva, glasbene preference,
glasbeni okus, modeli pouèevanja glasbenega vrednotenja
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Snjeana Dobrota, Ivana Senjan, THE IMPACT OF THE RECIPROCAL FEEDBACK MODEL...
1 The paper titled The influence of The Reciprocal feedback model of musical response on shaping students’
musical taste is a part of the research from Ph.D. thesis conducted by Ivana Senjan, titled The comparison
of the impact of The Reciprocal feedback model of musical response and the diachronic model in teaching
Music Appreciation course on shaping musical taste of the secondary school students defended in 2018 at
the Faculty of Humanities and Social Sciences, University of Zagreb, under the mentorship of the PhD.
Snjeana Dobrota.
Introduction
The aim of music teaching in the entire educational vertical is to cultivate student musical
tastes, to develop criteria for the evaluation of music belonging to different musical styles.
Teaching music at the general-programme secondary school (this subject is a part of
secondary school curricula (grades 9 – 12)) is conceived according to the diachronic
model, in which “the program mainly follows the chronological course of music
development and its styles” (The curricula for high schools – Music Appreciation course,
1999, 77). So for the first grade of the general-programme secondary school the Elements
of Music Speech and Music Development from its beginnings to the Renaissance are
planned (until the end of the 16th century), for the second grade Baroque, the Gallant style
and the Vienna Classics are planned (the whole 17th and 19th century), in the third grade
students learn from the Romanticism to the Impressionism (19th century Music Art) and in
the fourth grade they are acquainted with the developmental directions of Music Art
during the 20th Century (The curricula for high schools – Music Appreciation course
1999, 77). For each grade specific tasks and activities were given: “to enable students to
learn the expressive means of music and its components; to complement the knowledge of
instruments and singing voices; to learn basic musical forms and the most typical types of
musical works; to learn to distinguish the features of music that have arisen during certain
historical periods; to get acquaint a greater number of artistic works from the world
literature and to find out the most significant data about their composers; to learn the
valuable artistic achievements of Croatian early and contemporary music composers; to
develop students’ desire to independently acquire new knowledge of musical art; to train
students to assess, on the basis of their knowledge, the value of the artwork they listen to;
to encourage and develop the need of young people to follow the musical (and overall art)
life of their environment; to gain awareness of the level of the entire Croatian civilization
and develop the students’ desire to indulge themselves in the values of our musical
tradition and participate in its constant upgrading; to encourage young people on direct
personal participation in music performance (in school ensembles or in art societies
outside the school)" (The curricula for high schools – Music Appreciation course 1999,
77).
The basic lack of the diachronic model of music teaching is that such teaching is
uninteresting to students and that it “... offers music that is opposed to their real, potential
and desirable musical interests, especially at the beginning of learning, which may also
have negative motivational effects even to later grades” (Rojko, 2001, 6). As further
disadvantages of this concept, Rojko adds over-extensive content, verbalism at the
expense of music, and the transformation of teaching into a relatively rigid form (Rojko,
2001, 6-7).
Unlike the diachronic model, in the synchronic model there is music in the focal point and
not the chronological sequence, thus achieving interest and diversity in teaching, and
avoiding verbalization about music. By active music listening, which involves listening to
musical-expressive elements of work, such as artists, tempo, dynamics, form et cetera, as
well as the performing of music teaching by the synchronic model, the preconditions for
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achieving music teaching tasks are made. The teaching tasks of the synchronic model are
the same as of the diachronic model.
Musical preferences are formed under the influence of a number of different factors.
Today, there are numerous theoretical models of music preferences, in which various
factors that affect the musical preferences of an individual are intertwined. One of the
most famous theoretical models of music preferences is LeBlanc’s Interactive theory of
music preference (LeBlanc, 1982), which shows the hierarchy of variables that affect
musical preferences. The model contains eight levels for the listener to process the input
information. The lowest levels (from the fourth to the eighth level) include stimulation
along with cultural and personal factors that influence the movement of information to the
central nervous system of the listener, or to the place where the information is being
processed. Variables at these levels are called impact variables, and variables at higher
levels (from the first to the third level) are responses to the impact variables.
The Reciprocal feedback model of musical response (Hargreaves, MacDonald and Miell,
2005) comes from a socio-cultural view that is based on the idea that a comprehensive
explanation of musical beauty or aesthetic perception includes a three-way interaction
between the work of art, the listener, the listening situation and the context of listening.
Taking into account the effect of the above impacts, the authors of model come to four of
its components, namely music, situations and contexts, reactions to the music and the
listener.The research results show that Music Appreciation course is often not popular
among students, particularly for high school students (Bray, 2000). Lamont et al. (2003)
point out that more than a third of the student population shows no interest in playing
instruments and that, with the entry into secondary school, their interest is declining even
more. Ross (1995) notes that music is one of the most unpopular subjects in high school
since attempts to modernize the music curriculum failed: teachers are keeping to standard
curricula and not adapting to new challenges. In the study of English students aged 13-14
years North, Hargreaves and O’Neill (2000) found that students perceived benefit of
playing and listening to popular music, in the sense of pleasure, development of creativity
and imagination, relaxation of stress and tension et cetera, as opposed to listening to
classical music that is connected with pleasing parents and teachers. Boal-Palheiros and
Hargreaves (2001) explain this situation by the fact that listening to music at home and at
school fulfils various functions. The participants point out that listening to music at home
is linked to enjoyment, emotional moods and social relationships, while listening to music
at school is associated with motivation for learning. Taking into account the results of the
above-mentioned researches, this paper attempted to create a new Music Appreciation
course curriculum based on The Reciprocal feedback model of musical response
(Hargreaves, MacDonald and Miell, 2005) and to analyse its influence on the shaping of
musical taste of students.
Aim of research and hypotheses
The aim of this research was to compare the teaching impact of Music Appreciation course
based on The Reciprocal feedback model of musical response (Hargreaves, MacDonald
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Snjeana Dobrota, Ivana Senjan, THE IMPACT OF THE RECIPROCAL FEEDBACK MODEL...
and Miell, 2005) with the teaching of Music Appreciation course based on the traditional
diachronic model on shaping musical taste of students. The students’ musical taste was
observed with regard to the situations and contexts of listening to music, the perception of
music (the general perception of music and the perception of musically expressive
elements), the preferences of musical styles and musical fragments, intercultural
competences and attitudes towards music teaching. The following hypotheses were
formed in accordance with the previously formed aim:
H1: There is no statistically significant difference in the assessment of the situations and
the contexts of listening to music between the students who attend the teaching of Music
Appreciation course based on The Reciprocal feedback model of musical response and the
students attending the teaching of Music Appreciation course based on the diachronic
model.
H2: There is no statistically significant difference in the perception of music among the
students who attend the teaching of Music Appreciation course based on The Reciprocal
feedback model of musical response and the students attending the teaching of Music
Appreciation course based on the diachronic model.
H3: There is no statistically significant difference in the preferences of musical styles
among the students who attend the teaching of Music Appreciation course based on The
Reciprocal feedback model of musical response and the students attending the teaching of
Music Appreciation course based on the diachronic model.
H4: There is no statistically significant difference in the intercultural competencies among
the students who attend the teaching of Music Appreciation course based on The
Reciprocal feedback model of musical response and the students attending the teaching of
Music Appreciation course based on the diachronic model.
H5: There is no statistically significant difference in the attitudes towards music teaching
between the students who attend the teaching of Music Appreciation course based on The
Reciprocal feedback model of musical response and the students attending the teaching of
Music Appreciation course based on the diachronic model.
Research Method
Participants
In the teaching of Music Appreciation course based on the diachronic model, the students
of two first and two fourth grades of the Fran Galoviæ Gymnasium of Koprivnica (N=85)
participated in the control group, while in the teaching based on The Reciprocal feedback
model of musical response participated the students of two first and two fourth grades of
the Dr. Ivan Kranjèev Gymnasium of Ðurðevac (N=86), making the experimental group.
The mean age of the participants in the control group was M = 16.24 with sd = 1.50 and in
the experimental group M = 16.36 with sd = 1.26. The gender structure and the group to
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which they belong are shown in Table 1. The control and experimental groups did not
differ significantly in basic sociodemographic variables, in school success or in relevant
variables related to music activities.
Table 1: Structure of the sample with respect to gender and group
Girls Boys Total
Group f % f % F %
Control 54 63.53 31 36.47 85 49.71
Experimental 57 66.28 29 33.72 86 50.29
Total 111 60 171
Instrument of research
In the research an experimental curriculum and a survey questionnaire was developed,
designed for the purpose of this research and consisting of several parts. The main
components of the instrument were Initial Questionnaire, Final Questionnaire and
Evaluation Form. Since the Initial and Final Questionnaires were the same, only the Initial
questionnaire and the Evaluation Form will be described below.
The Initial Questionnaire consisted of six basic parts: listener’s characteristics (school
success, socioeconomic status of her/his family, leisure activities, music activities, music
experience, music style liking scale), situations and contexts of listening (personal, family,
media, social contexts and Music Appreciation course teaching context), the perception of
music, interculturalism (the adapted and abridged version of Intercultural Attitude
Questionnaire by Munroe and Pearson, 2006) and the assessment of the participants’
attitudes on traditional music of Croatia and other nations) and musical fragments
evaluation (appreciation and familiarity with musical excerpts and the examination of
musical knowledge via formal analysis of art music fragments).
The Evaluation List consisted of 14 questions that examined the participants’ attitudes
about the effectiveness of the Music Appreciation course curriculum in shaping their
musical taste and about some of the particularities of the teaching process during the
school year in which the research was conducted. The experimental curriculum of Music
Appreciation course based on The Reciprocal feedback model of musical response
(Hargreaves, MacDonald and Miell, 2005) has its foundation in contemporary research of
music preferences with a view to better understanding and shaping the musical taste of
students. The concept of a one-year experimental program of teaching Music Appreciation
course was divided into four thematic units: listeners, situations and contexts of listening
to music, music and answering to music that co-related to the concept of The Reciprocal
feedback model of musical response (Hargreaves, MacDonald and Miell, 2005).
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Snjeana Dobrota, Ivana Senjan, THE IMPACT OF THE RECIPROCAL FEEDBACK MODEL...
Procedure
The empirical research conducted in Music Appreciation course, based on the curriculum
with the determinants of the theoretical model of musical preferences - The Reciprocal
feedback model of musical response (Hargreaves, MacDonald and Miell, 2005), was
conducted as an experiment with parallel groups. The experimental group of students
were taught experimental classes of Music Appreciation course based on the theoretical
model of musical preferences - The Reciprocal feedback model of musical response
(Hargreaves, MacDonald and Miell, 2005), while in the control group the music education
was delivered according to the traditional or the diachronic model. For the purpose of the
research, an experimental curriculum of Music Appreciation course was developed which
the applicant herself prepared and conducted during one academic year with the students
of two first and two fourth grades of Dr. Ivan Kranjèev Gymnasium of Ðurðevac. In
parallel with the implementation of the experimental curriculum, the control group was
comprised of the students of two first and two fourth grades of the Fran Galoviæ
Gymnasium of Koprivnica where teacher Dragica Bedenik-Boltek taught an official
curriculum written according to the diachronic model (The curricula for high schools –
Music Appreciation course, 1999, 77-89). Thecurriculum content of the control group was
taught according to the Music Appreciation course textbook with 3 CDs for the first grade
Gymnasium- 1st Class Music Encounters (Perak Lovrièeviæ and Šèedrov, 2013) and
according to the Music Appreciation course textbook with 3 CDs for the third grade
Gymnasium- 4th Class Music Encounters (Perak Lovrièeviæ and Šèedrov, 2013) of the
Profil Klett publishing house. The lessons of the experimental group were based on work
without textbooks, most often using multimedia teaching materials. At the beginning of
the school year 2015/16 an initial survey was conducted for both groups of respondents
with a pre-calibrated measuring instrument specially designed for this research. Prior to
the survey, the students were explained the purpose of the research and were guaranteed
anonymity, but for more efficient statistical processing it was necessary to point out the
names and surnames initials and the residence home number in order to obtain a unique
code of the respondent. Initial and Final Examination was carried out through the entire
school period lasting 45 minutes, which was enough for all eight groups of respondents
despite the extensive construction of the questionnaire.
Results and discussion
Evaluation of the situation and the context of listening to music
H1: There is no statistically significant difference in the assessment of the situation and the
context of listening to music between students who attend Music Appreciation course
lessons based on The Reciprocal feedback model of musical response and students
attending the Music Appreciation course lessons based on the diachronic model.
The personal context of listening to music was viewed through an analysis of five
different influence factors. The results showed that the most important factors affecting
listening to music, and thus the musical tastes, were their own personality, feelings and
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moods. The importance of individual factors in listening to music was confirmed by the
results of Schäefer et al. (2013), which say that people primarily listen to music to regulate
pervasiveness and mood and to develop self-awareness, and then to achieve social
cohesion and communication (Schäfer et al., 2013).
Concerning the assessment of the impact of the family on the musical taste of the
participants, 30.5% of the control group respondents answered that somebody in the
family was actively involved in music, while in the experimental group a total of 25.5%
participants. Regarding the distribution of response by the control and experimental group
participants to issues of active family music playing during childhood and family outings
on cultural events during childhood, the majority of respondents from both groups
selected the response-occasionally. Analysing the participants’ answers to the question of
music tracks listened to by their parents, the most popular were domestic popular music
and pop-rock music in both groups. Concerning the parents’ attitudes towards the music
the participants listen to, both in the control and experimental group, the majority of
participants estimated that their parents would approve the music they listen to. The results
of numerous researches point the importance of parental engagement in the musical
development of their children, in the form of joint music listening, concerts, or instrument
training support (Howe and Sloboda, 1991; McPherson and Davidson, 2002). However, it
is evident that such an effect is significantly reduced with their children entering
adolescence when the importance of some other factors, such as peer groups or media,
increases.
As for the influence of the media on the musical tastes of the participants, the question is
firstly about the media through which they mostly listen to music. No one has chosen a CD
player, and the most reputable answer is the Internet in both groups. It has been
determined that video clips do not significantly affect the participants’ selection of
listening to music. Analysing answers to the question of the interest of the participants in
private life and the look of musicians, almost all participants from both groups answered
that they did not care about their personal life and the look of musicians more than music.
When it comes to the influence of disc-jockeys (DJs) and music in the cafe bars on the
selection of listening to music, 25 participants from the control and 21 from the
experimental group responded that DJs and music in the cafés affected their choice of
listening to music, while 60 participants in the control and 64 in the experimental group
answered denying. As for the frequency of tracking the top lists of the best performers and
the compositions of popular music, most participants do it occasionally. Analysing the
respondents’ responses to the question of whether media influences their musical tastes,
the majority of respondents selected the answer partially, while only 9% of the
participants in the control and 6% of the participants in the experimental group responded
positively.
Concerning the influence of peers and friends on the design of musical tastes, the
participants’ answers were analysed considering the question of whether they listened to
songs that they did not like because of their peers and friends. In both groups the
participants responded -most occasionally, which shows that peers and friends have a
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Snjeana Dobrota, Ivana Senjan, THE IMPACT OF THE RECIPROCAL FEEDBACK MODEL...
significant influence on listening to music. The answer -never, responded 41% of the
control group participants and only 20% of the experimental group. As far as the answer to
the question, of whether the participants were critically commenting the quality of the
song they listened to in public with their friends were concerned, the majority of
participants responded -occasionally.
Most of the participants in both groups answered denying the question of listening to the
music they listened to both their peers rather than discovering new music directions
themselves. When it comes to the place where they mostly listen to music with friends, the
participants in the control group decided mostly for the night club and the experimental
group participants for private parties. No one from the experimental group responded to
the concert. When it comes to the influence of peers and friends on the musical tastes, the
participants generally estimated that it was partial.
The results of numerous researches confirmed the important role of music in the
realization of adolescent interactions, since they were linked precisely through similar
musical preferences (Rentfrow and Gosling, 2007). Some authors explain this
phenomenon in Social Identity Theory (Tajfel, 1978), according to which individuals
adopt social identity, music preferences, and habits from members of their group to
enhance self-esteem and sense of belonging. Music preferences are considered to be an
extremely important dimension of adolescent social identity. We can conclude that the
most important factors influencing the listening to music were dominantly individual
factors and that the used teaching models have not been relevant to the assessment of the
situations and context that affect listening to music, thus confirming the first hypothesis.
Perception of music
H2: There is no statistically significant difference in the perception of music among the
students attending the Music Appreciation course lessons based on The Reciprocal
feedback model of musical response and the students attending the Music Appreciation
course lessons based on the diachronic model.
In order to investigate the differences in the perception of music with regard to the variable
of the compositions that participants preferred listening to between the control and
experimental groups in the initial phase, the 2 test was calculated. There was a significant
difference between the control and the experimental group, only in the initial phase
(2=9.20, p=.03) in the variable - I like the songs in the key major more, where the
participants from the experimental group made a bigger approval compared to the control
group participants.
Considering the differences in music perception regarding the variables of the quality of
music, text and performance estimation, the 2 test was calculated between the control and
experimental groups in the initial phase. The results show that there was no difference
between the control and experimental groups in any of the variables related to the features
that were important for the participants in listening to music, while the difference in the
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final phase was only in one variable (2=4.94; p=.03), whether it is important for the
participants to listen to quality music where the control group participants responded to a
greater degree than the experimental group participants.
The musically expressive elements that the participants first observe had been determined
based on the rankings they had provided with the offered musically expressive elements.
The average rankings for the list of musically expressive elements indicate that in most
cases there was no change between the initial and final stages of the assessment in
assessing the importance of the musically expressive components, the ones that the
participants first notice in listening to music. In the control group there was a change in the
performers’ ranking which was slightly higher in the final phase compared to the initial
(z=2.23; p=.03) while in the experimental group there was a change in tonality somewhat
higher in the initial phase of the test compared to the final (z=2.19; p=.03). In the control
group, participants first noticed the melody, tempo and rhythm, and in the experimental
group tempo, rhythm and text were noticed first. The lowest-ranked elements of a musical
piece to which the participants of the two groups paid attention the least were the musical
genre and style period.
In order to examine the differences in music perception regarding the variables of choice
of compositions according to the current mood and the influence of the compositions on
mood and behaviour, between the control and experimental group a 2 test was calculated.
Neither in the initial nor in the final phase of the study there was no significant difference
between the control and experimental group in the perception of music concerning the
choice of compositions according to the mood and the influence of the compositions on
mood and behaviour.
Regarding the differences in the reactions to listening to the music that the participants
like between the control and experimental groups in the initial and final phases (rhythmic
movement, singing, thrill and imagination) it was evident that there were no significant
differences between the participants in the control and experimental group since they
almost equally chose the offered reactions to the music they liked in all categories. The
same can be concluded for the songs that the participants did not like. Consequently, the
respondents’ reactions were most common when listening to their favourite melodies and
rhythmic movements and when they heard the song they did not like, on average 75% of
the participants changed the music number.
The respondents’ response analysis to the question of listening to popular and art music
showed that there was difference between the control and experimental group neither in
the way of listening to popular music (2=1.01; df=1; p=.32) nor in the way of listening to
the artistic music(2=.05; df=1; p=.82). Similarly, in the final phase there was assessed a
significant difference between the control and experimental group neither in the popular
listening mode (2= .145; df=1; p=.70) nor the artistic music (2=1.33; df=1; p=.25).
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Snjeana Dobrota, Ivana Senjan, THE IMPACT OF THE RECIPROCAL FEEDBACK MODEL...
Regarding the difference between the control and experimental group in the way of
forming a personal impression on the listened composition in the initial phase, the analysis
showed that there was a significant difference between the two groups (2=4.88; df= 1;
p=.03) meaning that more participants from the experimental group in relation to the
control stated that they formed a personal impression of the compositions based on
objective opinion, ie knowledge and critical thinking. Such a situation was not found in
the final phase of the study where the difference between the control and experimental
group in the way of forming a personal opinion about listening music was not established
(2=3.25; df=1; p=.07).
In conclusion, we can point out that different forms of teaching did not affect the general
perception of the music of the participants, thus confirming the second hypothesis. The
findings were not consistent with the results of numerous studies that confirmed the
positive influence of music teaching on the musical perception of participants (Dobrota
and Reiæ Ercegovac, 2015, Gürgen, 2015).
Figure 1 shows the differences in total scores per music fragments between the control and
experimental group in the initial and final stages of the study. In order to examine the
effects of all variables (initial-final, control-experimental group and various fragments) a
complex analysis of variants with repeated measurements and independent variables was
performed. In all nine music fragments, the experimental group participants in the final
phase of the investigation had a significant improvement in the results, partly attributable
to the applied teaching model.
Figure 1: Differences in knowing of musical fragments between the control and experimental
group in the initial and final phase
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Control Group Experimental Group
Data Analysis of Hearing Task No. 2 favoured the implementation of the Music
Appreciation course lessons based on The Reciprocal feedback model of musical response
because in the final examination, unlike the initial one, the experimental group
participants achieved a significantly higher score of musical knowledge and perception of
the musically expressive elements in all nine fragments, while the control group
participants at the final stage made progress in music knowledge in only two fragments.
Since the positive effect of the teaching model for the total of seven musical fragments was
evident, the hypothesis set out in this section was rejected. A specific analysis of questions
from the Evaluation Form (questions 1-4) showed that the control and experimental group
differ in the answers to questions about the positive influence of the Music Appreciation
course lessons on: the perception of musical-expressive constituents, the certainty in
evaluating the aesthetic value of the listened compositions and the evaluation certainty of
quality music performance. In these responses, the participants in the experimental group
gave higher response scores than the participants in the control group. The results of each
question analysis from the Questionnaire on the Positive Impact of Music Appreciation
course lessons on students (Evaluation Sheet, Questions 1-4) are presented in Table 2.
Table 2: Results of 2test for each question in the comparison of the control and
experimental group
I think that the Music
Appreciation course lessons I
attended this school year
positively influenced on my:
No (f) Partially (f) Yes (f)
2
(df=2)
p
C E C E C E
...general development of
music perception 5 3 26 24 54 59 0.79 .672
...perception of
musical-expressive elements 13 1 34 31 38 54 13.20 .001
...certainty in estimation of
aesthetic values of the listened
compositions
9 2 38 23 38 61 13.48 .001
...certainty in estimation of
music preformance quality 6 4 41 18 38 64 15.99 .000
As a result, the hypothesis is partially confirmed, as the difference between the control and
experimental group in the part related to the perception of the musical-expressive
components, the certainty in evaluating the aesthetic value of the listened compositions,
and the certainty in the assessment of the musical performance quality have been
established.
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Snjeana Dobrota, Ivana Senjan, THE IMPACT OF THE RECIPROCAL FEEDBACK MODEL...
Preferences of musical styles
H3: There is no statistically significant difference in the preferences of musical styles
among students who attend the Music Appreciation course based on The Reciprocal
feedback model of musical response and students attending the Music Appreciation
course based on the diachronic model.
The preferences of different musical styles were observed in three dimensions. In the first
dimension, the general preferences of different musical styles were examined, the second
dimension focused only on popular and art music, where participants were asked to point
out the style direction they most favourably listened to, while the third set observed the
narrowest preference range in which were evaluated preferences of four musical styles:
jazz music, traditional Croatian music, traditional music of the world and turbo-folk
music. By examining this dimension of preference, it was wanted to determine the
intensity of jazz music preference as a high quality music direction, preferring the music of
the traditional features of Croatia and the world, which is the least represented in the Music
Appreciation course curricula and preferring turbo-folk music as a low quality yet fairly
common music direction in the everyday life of high school students.
Concerning the results of the assessment of the liking of the offered music styles in the
initial phase for the control and experimental group, a significant group effect was
determined (F=14.90; df=1.169; p=.000), music styles effect (F=38.24; df=13.2197;
p=.000) while the interaction effect was not significant (F=1.59; df=13.2197; p=.080).
The significant group effect (F=14.49; df=1.169; p=.000), music styles effect (F=33.22;
df=13.2197; p=.000) as well as the interaction effect of two variables (F=3.08;
df=13,2197; p=.080) was also determined in the final stage of the study.
When each music style results are singled out, it is evident that most of the preference
estimates in the initial stage had these styles: pop music, 20th century music (film music),
techno and rock, and in the final stage again pop music, 20th century music (film music),
and rock music. The significant interaction effects of the testing phase and the group
participants were established for only three music styles, including film music, traditional
music and soul/funk music. In other styles there was no change at the final stage,
indicating that the teaching model used in these styles did not have a significant effect.
As for the participants’ answer to the question of what style of popular music they prefer
listening at the initial stage of the study, the majority of the participants in the control
group were listening to pop, then home-entertainment and rock music and from the
experimental group students were listening to pop, rock and techno music. In the final
phase of the survey, the largest number of the control group participants chose pop music,
then home-entertainment and rock as well as in the initial stage. In the experimental group,
the most participants were listening to rock, then punk and home-entertainment music.
Analysing participants’ answers to the question of what style of art music they like most,
the largest number of participants in the control group chose 20th century trends and
musicals, as well as the experimental group participants. At the final phase, the
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participants in both groups also preferred 20th century music and musical. The
Renaissance, the Impressionism and the Middle Ages were liked least in both stages of the
survey.
Concerning the results of analysing the frequency of listening to jazz, traditional Croatian
music, traditional music of the world and turbo-folk music, there was a significant
difference in the frequency of listening to traditional Croatian music between the control
and experimental group in the initial phase (z=3.11; 001). In the final phase there was also
a difference in the frequency of listening to traditional Croatian music (z=4.80; p=.000)
and also the traditional music of the world (z=2.13; p=.033), where participants from the
experimental group listened to such music more than the control group. Listening to
turbo-folk music was fairly present in both groups, while the jazz direction is the lowest
ranked style that the participants prefer.
The preference results analysis of different music styles showed that the participants of
both groups like pop, 20th century music (film music), techno and rock music most. Such
results are consistent with the results of numerous researches that confirm the musical
preferences of adolescents oriented mainly to the popular music idiom (Hargreaves and
North, 1999). In the final phase of the experimental group study, a significant increase in
the preference of 20th century music (film music) and traditional music has been assessed,
as well as the decline in interest in soul/funk music attributable to the influence of the
teaching model. Finally, it can be concluded that the model of music teaching did not have
a significant influence on evaluation of the liking of the music styles of the participants
except in the abovementioned three styles where it positively influenced on the liking of
traditional and 20th century music (film music), music and negatively on the liking of
soul/funk music. As for the preference of the popular music style, the participants of the
control group in both stages of the study prefer pop music, then home-entertainment and
rock, and experimental groups pop, rock and techno music in the initial stage, while in the
final exam they liked listening to rock most, then punk and home-entertainment music,
pointing to significant changes in the preference of music tracks within one academic year,
probably due to the influence of society and the media, as these music styles are not
particularly represented in Music Appreciation course lessons. The results of the
preference of the direction of artistic music have shown in both stages the same opinion
for the participants of both groups, that the students preferred musical and 20th century
music directions, while the stylistic expressions of the Renaissance, the Impressionism
and the Middle Ages they liked least.
In the last part, in which the preferences of jazz music styles, traditional Croatian music,
traditional music of the world and turbo-folk music were examined, it was found that in
the initial phase of the examination between the control and experimental group there was
a significant difference in the frequency of listening to traditional Croatian music, and in
the final stage of traditional Croatian music and traditional music of the world which could
have been attributed to the influence of the experimental teaching model.
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Snjeana Dobrota, Ivana Senjan, THE IMPACT OF THE RECIPROCAL FEEDBACK MODEL...
To conclude, this part of the study confirmed the positive effect of The Reciprocal
feedback model of musical response in Music Appreciation course lessons on the
preferences of 20th century music (film music), music, traditional Croatian music and
traditional music of the world, which partly confirmed the set hypothesis.
By analysing musical preferences, whose assessment was based on listening to fifteen
music pieces of different music styles (Listening Task number 1), the following results
have been obtained: in the case of art music preference, an improvement of results in both
participant groups was noted, while in case of the 20th century music (film music), jazz and
the popular music preference the existence of a group effect was not even noticed, neither
testing phase nor significant interaction effect was seen. As far as the musical preference is
concerned, in the final phase of the study there has been a significant increase in
preference in both participant group, with the increase being more visible in the
experimental group. In the case of traditional music, significant group effect with the test
phase was noticed and the significant group interaction effect and the test phase were
observed. It can be concluded that a significant preference increase in the final phase
occurred in the experimental participant group so this effect can be attributed to the effect
of the teaching model.
The preference analysis of different style music fragments (Listening Task No.1) showed
that in the final phase both groups had a positive shift in the artistic music preferences but
it was more noticeable in the experimental group. In the final phase compared to the initial,
there were no significant differences in jazz, 20th century music (film music) and popular
music preferences but there was a significant increase in musical and traditional music
preferences in the experimental participant group and this effect can be attributed again to
the teaching model.
Conclusively, based on the research results of different music styles preferences, it has
been shown that there is a statistically significant difference between the students who
attend Music Appreciation course lessons based on The reciprocal feedback model of
musical response and the students attending Music Appreciation course lessons based on
the diachronic model, where the experimental group had higher 20th century music (film
music) preferences, the traditional Croatian music and the traditional music of the world
preferences. Also, in the experimental group there was a significant positive shift in the
preferences of traditional music fragments, in musicals and also artistic music. So it can be
said that the third hypothesis is partially accepted.
Intercultural student competences
H4: There is no statistically significant difference in intercultural competencies between
students who attend Music Appreciation course lessons based on The Reciprocal feedback
model of musical response and students attending Music Appreciation course lessons
based on the diachronic model.
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In order to test the fourth hypothesis, questionnaires examined: intercultural attitudes of
participants about knowledge, care and action, participant attitudes on traditional Croatian
music and other peoples’ music along with student attitudes on music with traditional
features in music lessons.
Concerning the first aspect of the attitude of interculturalism - knowledge, a variant
analysis with repeated measurements and a group as an independent variable was
performed, which showed that there were significant differences between initial and final
testing (F=24.42, df=1.169; p=.000) whereas the difference between the control and
experimental group (F=.83; df=1.169; p=.362), as well as the interaction effect (F=.81;
df=1.169; p=.370) were not established. It is therefore possible to conclude that there has
been a change in the knowledge of interculturalism in the final stage of the study, but in
both participant groups, so this effect cannot be attributed to the influence of teaching
model. Concerning the aspect of concern, the variant analysis with repeated measurements
and the group as an independent variable showed that there were found no significant
differences between the initial and final testing (F=.03 df=1.169, p=.860), neither a
difference was found between the control and experimental group (F=.21; df=1.169;
p=.651); nor the interaction effect (F=.55; df=1.169; p=.459). In relation to the third
aspect of interculturalism - activity, a variant analysis with repeated measurements and a
group as an independent variable, there was found no significant difference between
initial and final testing (F=1.11 df=1.169; p=.293), neither difference between control and
experimental group (F=.96; df=1.169; p=.329); nor the interaction effect (F=.26;
df=1.169; p=.613). Based on an analysis of intercultural attitudes about knowledge, care
and action, there was no difference in intercultural competencies between participants
attending lessons on The Reciprocal feedback model of musical response and the
diachronic model. By exploring the intercultural competences of university students
through Intercultural Attitudes Questionnaire (Munroe and Pearson, 2006) and their
preferences for world music, Dobrota (2016) confirms the link between the music of the
world preferences and some aspects of participant intercultural attitudes.
In the answers to the question- Are the traditional compositions of each nation worthy of
respect ?, neither in the initial (2=5.59; df=2; p=.06) nor in the final (2=2.05; df=2;
p=.15) testing phase the significant differences in the responses between the control and
experimental group were found. Considering the answers to the question- Are you proud
of the musical heritage of our Croatian people?- in both stages of testing there were
differences between the control and experimental group. Namely, both in the initial phase
(2=12.99; df=2; p=.002) and in the final phase (2=16.67; df=2; p=.02) the experimental
group participants gave more positive answers. Analysing the answers to the question -Do
you visit the folklore music concerts?, it has been observed that there were differences
between the control and experimental group in both study stages. Both in the initial
(2=22.44; df=1; p=.000) and in the final phase (2=36.24; df=1; p=.000) the experimental
group participants gave more positive answers. Analysing the standpoints concerning the
claim- I consider that in the Music Appreciation course lessons music with the traditional
features of different peoples should be taught more, it was noticed that the differences
between the control and experimental group were not found in the initial phase of the
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Snjeana Dobrota, Ivana Senjan, THE IMPACT OF THE RECIPROCAL FEEDBACK MODEL...
study (2= 2.86; df=2; p=.239), while a significant difference was found in the final phase
between the two participant groups (2=7.42; df =2; p=.024). In the final phase, the
experimental group participants gave more positive responses in the sense that they were
more likely to attend the Music Appreciation course lessons where more music with the
traditional characteristics of the different peoples should be offered, all of which could be
attributed to the teaching model. As far as the answer to the last claim in this part of the
research is concerned, I know the works of Croatian composers and am happy to listen to
them, it was noticed that a difference between the control and experimental groups was not
found in the initial testing phase (2=5.26 df=2; p=.07), while a significant difference was
found in the final phase between the two participant groups(2=13.31; df=2; p=.004). In
the final phase, the experimental group participants gave a more positive response in the
sense that they are more familiar with the Croatian composers compositions and are happy
to listen to them, which can be attributed to the teaching model. Consequently, the
hypothesis has been accepted partially, since the experimental group students in contrast
to the control group students in the final stage of the study had more positive attitudes
about music with the traditional features in Music Appreciation course lessons.
Students’ attitudes towards music teaching
H5: There is no statistically significant difference in the attitudes towards music teaching
between students who attend the Music Appreciation course lessons based on The
Reciprocal feedback model of musical response and students attending the Music
Appreciation course lessons based on the diachronic model.
Concerning the usefulness of the teaching of Music Appreciation course for cultural and
personal development, the result of the Wilcoxon Equivalent Pair Test showed that there
was no significant difference between the initial and final study phase; neither in the
control (z=1.704; p=.088) nor in the experimental group z=.209; p=.834). It can be
concluded that different teaching models did not affect the participant attitudes on the
usefulness of the Music Appreciation course lessons. Analysing the participant interest in
the Music Appreciation course lessons, Wilcoxon Equivalent Pair Test showed that there
was no significant difference between the initial and final test phase either in the control (z
=.603; p =.546) or in the experimental group (z=.559; p=.575). Here it can be concluded
that different teaching models did not influence the participant interest in the Music
Appreciation course lessons. In addition, the participant attitudes on the Music
Appreciation course sufficiency of its lessons were examined. There was no significant
difference in the participant attitudes between the initial and final phases, neither in the
control (z=.227; p=.820) nor in the experimental group (z=1.481; p=.139). Most of the
participants, over 70%, thought the hourly rate of the Music Appreciation course lessons
was sufficient. Concerning the participant response to the need for the textbooks in
teaching music, there were no significant differences in participant responses between the
initial and final phases, as confirmed by the Wilcoxon pair test in the control (z=1.318;
p=.187) and in the experimental group (z=0; p=.999). When analysing the results within a
particular test phase between the control and experimental group, the differences were
significant, as confirmed and carried out by the Mann-Whitney U tests. Namely, both in
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the initial (z=-7.07; p=.000) and in the final phase (z=-6.285; p=.000), it was found that the
experimental group participants compared to the control group significantly consider the
textbooks in music teaching unnecessary.
Analysing participant answers to the question of whether they were in analysing and
listening to too few music examples music lessons, about one third of the participants felt
that they analysed and listened to too few music examples while two thirds of the
participants disagreed with the statement and obviously considered they were sufficiently
analysing and listening to examples. The responses were similar in both participant groups
in both study stages, which was confirmed by the Wilcoxon pair test in the control
(z=1.065; p=.288) and the experimental participant group (z=.213; z=.831). When asked
about whether they listened to the abovementioned textbook examples at home, the
participants offered similar answers, no matter what group and study stage was about.
Thus, most respondents chose the response periodically and the reply comparison between
the initial and the final phases did not reveal any significant differences either in the
control (z=.159; p=.873) or in the experimental group (z=1.76; p=.078).
Regarding the participant attitudes on whether teaching music should have a
contemporary approach, between 15% and 25% of participants did not think it necessary,
while between 70% and 85% of the participants considered a more contemporary
approach necessary. Between the initial and the final phases significant differences were
found in the responses, but only in the control group (z=2.55; p=.01) while there was no
change in the experimental group (z=.00; p=.999). In the control group, in the final testing
phase, the number of participants who thought teaching music needed to be modernized
was increased. Analysing the participant responses to the question of whether the teacher
tried teaching well and having a more creative and open student approach, there were no
differences between the initial and the final phases either in the control (z=.133; p=.893)
or in the experimental group (z=1.789; p=.073). Responding to the question - What was
affecting their motivation for learning music most, the majority of participants from both
groups, in both study stages, responded they wished the best school marks. However, in
the final phase of the experimental group, that share of participants was almost the same as
the ones who chose the subject content and the desire to acquire knowledge, attitudes and
music skills, which could have been attributed to the music teaching model. As for the
participant response to the question - Whether, in their daily life, they learnt to differ low
quality music from the high quality one during the course of music teaching, Wilcoxon
Equivalent Pair Test showed that there was no difference in the answers between the initial
and final phases either in the control (z=1.081; p=.279) or in the experimental group
(z=1.824; p=.068).
When asked Whether music teaching encouraged them to discover new music styles they
began listening in their free time, the participants responded differently in the initial and
final phases, both in the control (z=2.179; p=.029) and experimental group (z=2.086;
p=.037), so this difference cannot be attributed to the experimental variable or to the
teaching model based on The Reciprocal feedback model of musical response. Also, no
difference between the initial and the final phases in any of the participant groups replying
the question - Whether artistic music is worthy of respect and or do they like listening to it;
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Snjeana Dobrota, Ivana Senjan, THE IMPACT OF THE RECIPROCAL FEEDBACK MODEL...
in the control (z=.635; p=.525) and in the experimental group (z=1.655; p=.098). Finally,
in the last variable of this section, no differences were found between the initial and final
phases either in the control (z=.699; p=.984) or in the experimental group (z=.363;
p=.716) replying the question - Whether teaching music influences the development of
their music taste.
The results analysis showed that the different teaching models in the Music Appreciation
course lessons did not significantly influence the change of the general attitudes of the
participants to the Music Appreciation course lessons.
When it comes to the question - Whether the participants on the Music Appreciation
course lessons learnt how music listeners perceived music, there was a significant
difference between the initial and final stage only in the experimental group (z=3,649;
p=.000), while there was no change in the control group (z=.584; p=.559). Thus, in the
experimental group, as opposed to the control, there was an increase in the share of
respondents who considered that they had learned in the music lessons how the listener
perceives the music which is attributable to the teaching model used. These results once
again confirm the results of the music- expressive components perception in Listening
Task no. 2, on which the second hypothesis was partially accepted. Similarity was
confirmed also with the question - Whether the participants developed a critical opinion
of the music during the lessons. There was also a significant change in this matter only in
the experimental (z=2.174; p=.029) but not in the control group (z=.147; p=.883)
indicating that such a change in responses could have been attributed to the experimental
variable or to the teaching model. The possibility of independent recognition of musical
elements within a musical piece significantly changed between the initial and final phases
in the experimental group (z=2.417; p=.016), while there was no change in the control
group (z=.274; p=.783). The possibility of independent recognising of the composer, the
composition title and the distinction of musical features of the style periods throughout
history significantly increased in the final phase in the experimental participant
group(z=3.666; p=.000), while in the control there was no change between the initial and
final phases (z=.747; p=.455). Significantly more participants considered they had formed
an identity of a quality listener in the final than the initial experimental stage of the
experimental group (z=2.427; p=.015), while the difference between the initial and final
stages was not established in the control group (z=.159; p=.873).
Conclusively, the research results on the participant attitudes related to the effect of Music
Appreciation course lessons on different aspects of music knowledge show that a
significant difference between the initial and the final stages has been established, and
only so in the experimental group, while there was no change in the control group. Positive
changes in the participant attitudes in the experimental group are seen in: their assessment
of the quality of music perception, in more intense critical thinking towards music, in more
secure determination of music compositions, in the recognising of composers and
composition title and a safer independent differentiation of musical features of style
periods throughout history. Also, the experimental group participants were more
convinced that after the implementation of the experimental programme they became
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better music listeners. Therefore, based on the results of this part of the questionnaire
relating to the participant attitudes on the effect of the Music Appreciation course lessons
on various aspects of music knowledge, the fifth hypothesis can be rejected. However,
since there is no statistically significant difference in the general attitudes towards music
teaching between students attending the Music Appreciation course lessons based on The
Reciprocal feedback model of musical response and students attending the Music
Appreciation course based on lessons on the diachronic model, the fifth hypothesis is
partially proven.
The participant attitudes about the impact of the Music Appreciation course were also
examined in the Evaluation Form questions. The results show that the control and
experimental group differ in the responses to the positive influence of the Music
Appreciation course lessons on: the perception of music expressive elements (2=13.20,
p=.001), the certainty in evaluating the aesthetic value of the listened compositions
(2=13.48, p=.001), the certainty in assessing the quality of music performance (2=15.99;
p=.000) and music taste shaping (2=29.62; p=.000). In these responses, the experimental
group participants gave more positive responses than the control group participants,
indicating that the Music Appreciation course lessons based on The Reciprocal feedback
model of musical response has a more positive influence on the students’ music taste
shaping than the diachronic-based teaching. Concerning the estimation of the quality of
teacher and teaching in the control and experimental group, there was a significant
difference found in the quality of teacher (t=4.221; p=.000) and teaching (t=5.021,
p=.000), where both variables were evaluated with a higher grade by the experimental
group participants, which can be attributed again to the used teaching model.
Conclusion
The results of the conducted research on the impact of the Music Appreciation course
lessons based on The Reciprocal feedback model of musical response and on the
diachronic model can be grouped into several points.
The influence study of the situation and context on the choice of listening to music
confirmed the first hypothesis because there were no confirmed differences in the
estimating of the situation and the context of listening to music between the two
participant groups. For both groups, it has been established that the most important factors
influencing the choice of listening to music are dominantly individual factors, namely the
participant’s personality, feelings and moods, and only after that the society, the media
and the family have a partial influence. Although research has shown that the Music
Appreciation course teacher is the weakest influencing factor for the selection of music
listening, the results of the experimental group, unlike the control group, have in the final
stage shown a significant positive change in the music teacher influence on the students’
music taste and in the weekly selection of listening to art music. This suggests the positive
effect of the socio-psychological approach to music teaching that can be achieved through
The Reciprocal feedback model of musical response, as it enables students to discover
music of different style expressions, encouraging them to independently discover
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Snjeana Dobrota, Ivana Senjan, THE IMPACT OF THE RECIPROCAL FEEDBACK MODEL...
high-quality music over the Internet and with analytical access to listening, it focuses not
only on cognitive development and aesthetic reflection, but also on the analysis of the
connection of a certain composition with personality, emotions, mood and personal
reactions. By analysing the initial and final survey results on the general perception of
music and the perception of music-expressive elements on the basis of listening to music
fragments, it can be concluded that the second hypothesis is partially proven because there
is still a statistically significant difference in the music perception between students
attending the Music Appreciation course lessons based on The Reciprocal feedback model
of musical response and students attending the Music Appreciation course lessons based
on the diachronic model. Despite the similar attitudes of all participants about their general
perception of music, the examination results of the perception of music- expressive
elements and certain knowledge of musical fragments based on Listening Task no. 2
showed a statistically significant difference in the final stage and a considerable
improvement in the music perception among the experimental group participants. Similar
data on students’ attitudes about the positive effect of the Music Appreciation course
lessons were shown from the Evaluation Sheet that the students completed together with
the final inquiry. Consequently, it can be concluded that the analytical approach to music
listening, which is dominant in the Music Appreciation course lessons based on The
Reciprocal feedback model of musical response, can still significantly develop the
students’ perception of music in only one academic year. Furthermore, the preference
study of different style directions found that the usage of The Reciprocal feedback model
of musical response did not have a significant influence on the estimating of music styles
except in the case of film music, traditional Croatian music and traditional music of the
world, while in the preference of listening to music fragments of certain style directions
the final phase of the experimental study showed a positive shift in the case of traditional
music, musical and artistic music. The guests in lessons and the introduction of more
contemporary topics in the curriculum certainly contributed to these results and to the
partial acceptance of the third hypothesis.
Based on the analysis of the students’ intercultural attitudes about knowledge, care and
action, it is noticed that in both participant groups no improvement in the evaluation of
students’ intercultural competences was proven. However, it was established that students
attending lessons based on The Reciprocal feedback model of musical response value the
music heritage of their people more, gladly visit folk music concerts, know the Croatian
composers’ artwork and like listening to them, and advocate for increasing the share of
music with the traditional features of different peoples in music teaching. Also, the
participants’ responses analysis in the Evaluation Sheet found that the experimental group
participants have a general view that music teaching has influenced their intercultural
competencies development. Therefore, it can be said that the fourth hypothesis is partially
proven.
In assessment the general students’ attitudes towards music teaching a difference between
the experimental and control groups in evaluating the teaching usefulness and in their
personal experience in teaching was not determined. What is important to point out is that
students from both groups believe the Music Appreciation course lessons are interesting
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and useful for their cultural and personal development. However, there was a significant
difference between the two participant groups in the answers to the question: “Did you
learn on the lessons how the listeners perceive music?”- in favour of the participants who
attended lessons based on The Reciprocal feedback model of musical response. In
addition, the experimental group students believe that music teaching has developed
critical thinking about music and that they have better learnt to: distinguish the musical
features of the style periods throughout history, recognize the composers, the style period
and the composition title, which can also be attributed to the applied model. They also
believe that they can independently recognize musical-expressive elements within a music
piece and have a built-in identity of a high-quality music listener. The experimental and
control group students do not differ in their estimations of the claim that art music is
worthy of respect and that they like listening to it, or that the music lessons affect their
musical taste development. Evaluation of the overall attitude on music teaching is helped
by the Evaluation Sheet result analysis of closed and open type questions, on which it is
possible to conclude that there is a statistically significant difference in attitudes towards
music teaching between students attending the Music Appreciation course lessons based
on The Reciprocal feedback model of musical response and students attending the Music
Appreciation course lessons based on the diachronic model. Finally, based on the research
results it can be concluded that the Music Appreciation course lessons based on The
Reciprocal feedback model of musical response can still shape the students’ music taste.
Although this shift is not visible in all elements, it is possible to expect that longitudinal
research of this teaching model during the four years of secondary education would show
more intensive effect of music teaching on shaping the students’ music taste.
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Udbenik Glazbene umjetnosti za 2. razred gimnazije. Zagreb: Profil Klett.
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Udbenik Glazbene umjetnosti za 3. razred gimnazije. Zagreb: Profil Klett.
Perak-Lovrièeviæ, Nataša, & Šèedrov Ljiljana (2013) Glazbeni susreti 4. vrste.
Udbenik Glazbene umjetnosti za 4. razred gimnazije. Zagreb: Profil Klett.
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Rentfrow, Peter J., & Gosling, Samuel D. (2007) The content and validity of
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Snjeana Dobrota, Ivana Senjan, THE IMPACT OF THE RECIPROCAL FEEDBACK MODEL...
Povzetek
V naši raziskavi smo eleli primerjati pouèevanje glasbenega vrednotenja, ki temelji na
modelu reciproène povratne informacije glasbenega odziva (Hargreaves, MacDonald and
Miell, 2005) z izvedbo uènega procesa glasbenega vrednotenja, ki temelji na
tradicionalnem diakroniènem modelu oblikovanja glasbenega okusa uèencev. Izkušnje
kaejo, da oblikovanje glasbenih preferenc na tradicionalen naèin, ki temelji na
diakroniènem modelu, pri sodobnih generacijah uèencev ne obrodi sadov, kakršne bi si
eleli. Zato je bil poglavitni cilj naše raziskave implementirati v razred model reciproène
povratne informacije glasbenega odziva in preveriti razlike v odzivih uèencev, ki so bili
podvreni temu modelu, in tistimi, ki so bili pouèevani na tradicionalen naèin.
V raziskavo je bilo vkljuèenih 171 hrvaških gimnazijskih dijakov prvih in èetrtih letnikov.
V eksperimentalno skupino, kjer se je glasbeni pouk oblikoval na podlagi modela
reciproène povratne informacije glasbenega odziva, je bilo vkljuèenih 86 dijakov prvih in
èetrtih letnikov Gimnazije Dr. Ivan Kranjèev v Ðurðevcu. V kontrolno skupino, kjer je
glasbeni pouk potekal po tradicionalnem diakroniènem modelu, pa je bilo vkljuèenih 85
dijakov prvega in èetrtega letnika gimnazije Frana Galoviæa v Koprivnici. V namen
raziskave je bil oblikovan anketni vprašalnik.
Rezultati potrjujejo statistièno pomembne razlike v prid eksperimentalnega modela
pouèevanja v razliènih vidikih glasbenega znanja, v percepciji glasbenega izraza, v
razvoju kritiènega mišljenja pri poslušanju glasbe ter v preferiranju razliènih glasbenih
stilov in razliènih pristopov pouèevanja glasbe.
Dobljeni rezultati nas navajajo k misli, da bi bilo priporoèljivo zaèeti razmišljat o
implementiranju modela reciproène povratne informacije glasbenega odziva v uène
naèrte, saj so uèinki tovrstnega naèina oblikovanja glasbenega okusa pri mladostnikih
boljši kot pri tradicionalnem diakroniènem modelu pouèevanja. Seveda pa bi bilo pred
tem potrebno izvesti še longitudinalno študijo, ki bi postavila razlike v uèinkih navedenih
modelov oblikovanja glasbenega okusa v širši èasovni okvir.
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GLASBENOPEDAGOŠKI ZBORNIK, 28. zvezek