Sabina Vidulin
Sveuèilište Jurja Dobrile u Puli, Muzièka akademija u Puli
THE “LISTENING TO AND MAKING MUSIC” APPROACH IN THE
FUNCTION OF IMPROVING MUSICAL UNDERSTANDING
Pregledni znanstveni èlanek / Review Article
Abstract
The intention of the author is to mark out the “Listening to and Making Music” approach (LMM)
and explain how to improve pupils’ musical understanding. The process starts with the activity of
listening to music which encompasses identification of musical components and their theoretical
explanation. By experiencing, observing, noticing, intellectually following and explaining the
components like: rhythm, melody, dynamics, tempo and musical form, pupils show the level of their
theoretical musical understanding. With the goal that pupils’ knowledge becomes practical, the
music making activity follows. Awareness of musical elements helps them in creating similar or
new compositions, using well-known musical elements. The results of such work are active pupils’
participation in the teaching process, practical demonstration of acquired knowledge, stimulation of
creativity and a better understanding of musical elements and music in general.
Keywords: primary school, listening to music, LMM approach, music making, pupils,
understanding music
Izvleèek
Pristop “Poslušanje in ustvarjanje glasbe” v funkciji boljšega razumevanja glasbe
V prispevku avtorica predstavlja pristop »Poslušanje in ustvarjanje glasbe« (LMM) in pojasnjuje
kako z njim pri uèencih izboljša razumevanje glasbe. Gre za proces, ki se zaène s poslušanjem
glasbe, pri katerem pride do identifikacije glasbenih komponent in njihove teoretiène razlage. Z
izkušanjem, opazovanjem, beleenjem, intelektualnim spremljanjem in pojasnjevanjem komponent
kot so: ritem, melodija, dinamika, tempo in glasbena oblika, uèenci izkaejo stopnjo razumevanja
glasbene teorije. Sledi ustvarjalna glasbena dejavnost s ciljem prenosa teoretiènih znanj v prakso.
Uèencem pri ustvarjanju novih skladb pomagata poznavanje in uporaba dobro znanih glasbenih
elementov. Tovrstno delo rezultira aktivno sodelovanje uèencev v uènem procesu, praktièno
demonstracijo usvojenega znanja, spodbujanje ustvarjalnosti in boljše splošno razumevanje
glasbenih elementov.
Kljuène besede: osnovna šola, poslušanje glasbe, LMM pristop, ustvarjanje glasbe, uèenci,
razumevanje glasbe
The orientation of the contemporary school
As the educational base of the society, school marked a large part of the history of
mankind, transforming its roles, levels and models. It made the transition from medieval
schools for privileged feudal lords, knights and sovereigns, through private and public
schools for a large number of participants, pupil-oriented work schools, creative schools
to schools as important part of the social community (Previšiæ, 1999). Diverse educational
strategies, attitudes and experiences with the goal of its improvement can be noticed. The
environment and the situation in which the school was located upgraded it with new
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features and functions, but also gave it different possibilities. The pupil-facing school was
advocated by alternative models, systems, plans such as: Plan Cousinet, Jena Plan, a
System of Individualized Teaching, Montessori Method, Waldorf Education, Freinet
Concept, etc. Varied activities, strategies and methods for stimulating the child’s
cognitive, affective and psychomotor development, directly influenced the design of
contemporary school. Since the middle of the 20th century, the school has abandoned
one-sided unification, standardization and normatization and turned to dynamic, open,
plural, creative and innovative forms and methods of working (Gudjons, 1994).
Today, the school is also part of intensive scientific, technological and socio-economic
changes. “Socio-political, economic, labour-technological and informational changes,
together with changes in the world of work and the ever more dynamic development of
science, imposed to the school the need for establishment of a new way of teaching and
learning” (Pejiæ Papak and Vidulin, 2016, p. 12).
The main task of the school was, and has remained, to affect pupils’ overall advancement,
to contribute to the development of active and responsible individuals, open for changes,
motivated and trained for lifelong learning. According to Pivac (2009), such a school,
which passes from the imitative-reproductive to the creative-innovative, becomes, as
Hentig (1997) points out, a school of new-way-thought. Its modernization is oriented to
broadening pupils’ competences, updating their knowledge and skills and straightening
out their innovativeness. Contemporary school should affect the development of pupils’
creative potential. It should be fostered in all educational subjects and fields.
Interdisciplinary studies which interpreted the musical creativity explain the phenomenon
from different views: psychological, sociological, pedagogical as well as from the point of
view of artificial intelligence, computer innovations, etc. (Deliége and Wiggins, 2006). In
the literature which encompasses the field of musical creativity, we can find different
models or creative components in the context of social, physical, psychological and
cultural environment (Burnard, 2012; Odena, 2012) or as a single elements of musical
creativity development (Boardman, 2002; Burnard, 2011; Elliott, 1999; Girdzijauskienh,
2012; Hopkins, 2015; Webster, 2012; in: Rimkuth - Jankuvienh, 2017).
Creativity implies the creation of new generalizations, knowledge and skills based on the
existing ground, as well as finding new solutions through experimentation and
improvisation. If they are encouraged to be creative, pupils learn to perceive things and
phenomena from another angle, find different solutions and alternatives, be innovative
(Vidulin - Orbaniæ, 2013). Regarding the above-mentioned, it is necessary to create
conditions, methods and contents that will meet pupils’ creativity. That way many positive
accomplishments can be achieved: students’ overall potential is increased, individual
skills are developed, positive self-perception and self-respect is established.
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Music education in the Croatian compulsory school
After the reform of teaching in primary compulsory school (2006) and the publication of
the Teaching Plan and Programme (2006), music education in Croatia has changed the
teaching concept. The so-called open model generated changes in music teaching.
Working according to this model should affect pupils musical development, provide their
cultural and artistic progress and encourage the development of their musical skills.
Listening to music with the (musicological) elaboration of artistic work has become the
compulsory activity, while a second activity can be decided upon according to teachers’
knowledge and abilities, pupils’ interests and school possibilities. The openness is
reflected in the free choice of teaching contents: the teacher selects the songs to be covered
in class, the compositions to be listened to and the didactical elements (methods,
principles).
The intention of the open model is to put emphasis on listening and analyzing musical
works, recognition and comparison of musical elements, expression of ideas, thoughts and
feelings, showing consideration for tradition and culture, appraising art works. By
listening to music pupils learn to recognize different elements of music and music types
and get to know better the Croatian and world musical heritage. Thus, they adopt a general
musical culture. With the second activity - singing or playing instruments, pupils learn and
adopt a number of artistic, traditional, popular songs and work on their interpretations.
Through the activity of creating they expand their creative potential, acquire factual and
theoretical knowledge, develop cognitive, practical and social skills.
In everyday practice, it works in the following way: listening to music and music
elaboration, mostly of art music, is one part of the lesson and the second part is dedicated
to another activity which is correlated within the educational unit. The main goal of
listening to music with music elaboration is to influence and upgrade the pupils’ (musical)
culture. Other goals depend on the second activity1. Therefore, if the second activity is
singing, the goal is the development of singing (vocal) ability; playing – to develop the
elementary instrumental skills; music making - the development of musical thinking and
creating of new musical pieces; music literacy – to learn the notes and use it practically.
Sometimes, during the lesson the teacher combines not only two activities2, but also some
other musical activities which support the comprehension of the educational unit. For
example: if the teacher’s model encompasses listening to music and singing as the two
central activities in music teaching, they can still carry out some dance or playing on
(rhythmical) instruments activities, if this is necessary to improve the quality of the lesson
or to encourage pupils’ motivation. However, they must do so without any specific tasks
regarding the added activities.
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1 In one hour per week it is not possible to reach many different goals, so the Croatian model focuses on two
activities.
2 It is important to highlight that the two selected activities are in the focus of everyday music lesson.
In the todays’ music education at the primary compulsory school pupils are introduced to a
great number of art works, develop the ability to experience musical works, listen to music
and learn about music. The question is: is this enough?
Objectives and standard of work in the “Listening to and Making Music” (LMM)
approach
The alternative approach to music teaching which is described in this paper (LMM) is
based on listening to music, as the activity that pupils are familiar with up to a certain
extent, linked to music making. Pupils perceive and understand musical works over those
musical elements which are filtered by their cognitive system, in accordance with their
previous experience and what they already knew about the musical works. Since listening
to music is layed down in the curriculum and determined according to class and grade, it is
easy to detect the level of pupils’ knowledge regarding the recognition of the musical
elements and to improve and further develop their competences.
Contributing to the area of listening to music, Vidulin and Radica (2017, 62) defined its
goal, task and purpose. “The goal of listening to music in school is to form the cultural and
artistic pupils’ world view and to contribute to their aesthetic education. It is realized in a
way that pupils are offered artistic music which meets the prerequisites of quality and
aesthetics. On the other hand, the task of the listening to music in school is to develop and
upgrade pupils’ musical competences. With carefully selected music repertory it is
possible to develop pupils’ knowledge and skills and foster their autonomy, responsibility
and desire for participation in artistic events. The purpose of listening to music can be
observed through the final outcome: encouragement of the pupils’ experience,
understanding and acceptance of (art) music.”
Since pupils are introduced to art music primarily in school, teachers should encourage
pupils to listen to music with reference to different musical-historical periods, types and
styles. It is important that pupils evaluate, comment, compare and express their thoughts
about music. Music teaching contents in compulsory school include: exploring musical
instruments, singing, performing as soloist, and in chamber and large ensembles, musical
forms, instrumental, vocal and vocal-instrumental types, musical and stylistic periods.
A question concerning the realisation of music listening and the apprehension of music is:
How to coax pupils’ attention to be active listeners of art music? The answer lies in the
way tasks are set and arranged. Teachers set guidelines to pupils before listening to a
composition about the characteristics they should pay attention to during the listening. The
tasks need to be precisely defined, because they will guide the pupils through the listening
process and make them aware of important features of certain pieces. The tasks should be
clear and simple, easily recognisable: performers, themes, characteristic rhythm and
tempo, dynamics etc. During listening, the teacher should actively guide pupils through
the course of music, ask short questions and take notes on the board. When the work is
repeatedly listened to from different aspects and with different tasks, this results in better
music understanding. After having listened to the art work it is necessary to talk about it,
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about pupils’ impressions, and about the musical components which they have noticed. By
experiencing, noticing, intellectually following and explaining the expressive elements
like rhythm, melody (theme), dynamics, tempo, musical form, instrumental and vocal
groups, pupils get to know and understand music better. It is important to talk about the
recognised musical elements, and operate with these elements.
Four stages from which the teacher can consider that pupil understand the musical
elements can be considered: they are familiar with the musical components - elements;
they are able to recognize the components in every single music piece; they can talk about
them in theoretical terms; they are able to operate with music elements. The last,
operational level is the most important. It is not enough to recognize a musical work and its
elements, but to operate with this knowledge.
Two ways for operationalization in which the knowledge and skill are connected is
proposed: 1) the presentation of known music elements by singing or playing instrument;
2) creation of a new music work based on the acknowledged elements as a result of the
music making activity.
The creation of pupils’ musical pieces, relying on the learned music elements which derive
from the listening to music activity and music analysis will be described in the part that
follows3. For the music making activity it is desirable that pupils play some instruments
and have a basic musical literacy which includes knowledge of simple rhythms, notes,
measures, major and minor skales with key signatures with up to two symbols.
By listening to music and learning about musical elements pupils become aware of what
music is made of. Listening to music, observing and analyzing musical components such
as rhythm, melody, dynamics, tempo, musical form, instrumental and vocal ensemble,
pupils get to know the compositions better. After the listening activity it is possible to
further explore these components in different ways: by singing4, playing, music making,
in order for pupils to understand music better and their knowledge to became operational.
By music making they express themselves, demonstrate the level of their musical
knowledge, operate with, create something new. They gain (new) knowledge, develop
their musical skills, creatively express themselves and understand music to a greater
extend.
The levels of pupils’ creative work are shown in Appendix 1. It starts with listening to and
analyzing musical works. The particular and determined components of (art) work
become the frame within which they can start to create. The second level is the creation of
similar forms. Recognition and awareness of musical elements help them in creating.
Comprehension of music components enables their self expression. At that level pupils
research the relationships between tones, rhythmical models, describe, compare the
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3 These activities can be realized with the pupils from the fifth and sixth grade of primary compulsory
school in the extracurricular class or as a part of the project in regular music classes.
4 Music making as the additional activity after singing and playing instrument is described in the paper:
Vidulin, S. (2017), From Students’ Musicianship to their Creative Expressions.
known material which include the well-known musical elements and then create similar
and/or variated rhythmic-melodic structure. The process is led by an expert music teacher,
and the models which he/she proposes are related to: finding melodic motifs, rhythmical
motifs and phrases, inventing texts, adding melody to rhythm structure, melodic
replenishment, creating of different musical forms (AB, ABA, ABC, rondo, theme with
variation), creating instrumental accompaniment, adding another voice to the lead etc. At
the third level they can compose new rhythmic-melodic structures and find their original
style through the music making activity. The works can be similar or different from what
the pupils are familiar with. In this phase the pupils’ originality and musicality can be seen,
as well as their comprehension of music.
Examination of pupils’ works reveals that they use data and facts from music lessons and
spontaneously combine melodies, words or movements, while creating something new.
Often these are only modifications of known compositions, variations of melodies, text
addition. Rarely the musical expression is completely new.
Appendix 1: Three levels of creative pupils‘ work in the LMM approach
Understanding musical elements using the LMM approach
The main purpose of this paper is to present how pupils can compose and perform short
works after listening and music elaboration. The result of this work is the creation of new
musical pieces and a better understanding of the basic components of musical works and
music in general. Demonstrating the acquired knowledge, pupils actively participate in the
teaching process.
The goal of the process which starts with listening to music, continues with playing
instrument and concludes with music making is to affect the pupils’ understanding of
music (appendix 2).
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Appendix 2: The LMM process which leads to music understanding
The following examples illustrate how musical components, e.g. rhythm and melody, can
be understood through listening to music and music elaboration. Pupils recognize the
following components: rhythm, melody, tempo, dynamics, musical form, measure, scale.
Then it will be shown how these musical components contribute to creating similar
musical pieces, supporting and upgrading pupils’ musical ability.
Listen to activity with defined rhythmical patterns
Listening to the Vivaldi’s Spring (The Four Seasons), one rhythmical sample can be used
for improving the quarter notes, half notes, eight notes and quarter rest (appendix 3). The
process begins with the pupils listening to the first part of Spring (13 bars). Firstly, they
imitate what the teacher do and listen at the same time. Clapping with their hands they pay
attention to the duration of the notes, and then to the dynamics. After repeating the same
pattern for several times they have the task to write it down5. The sample can be also
played on some rhythmical or melodic instruments (on a single tone). To create new
rhythmical patterns, it is possible to mix the bars or the notes inside the bars as well as the
dynamics signs. This may result in creating some new patterns.
Appendix 3: Rhythmical pattern from Vivaldi’s Spring
There are many musical examples that can be used for this purpose: in the composition
Zoku6 pupils can hear how the rhythmical pattern is changed and upgraded and learn about
the incessant pulsation. In the Vitamin rap (appendix 4) different rhythmical figures are
shown which are written according to the rhythmical structures of fruit names (as kiwi,
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5 The pattern could be shown also straight away so the pupils look at the notation and listen at the same time.
It depends on the teachers’ idea and goal.
6 Performed by: Kodo (Kodô is a professional taiko drumming troupe from Japan). The example is in the
CD 1/1 which is a part of the schoolbook for music in compulsory school Glazbena osmica.
lemon, papaya, banana and so on). The example is easy to repeat if it is done by ear. After
the score is displayed pupils can see the complexity of the rhythmical patterns. Creation of
new piece can then be based on different words and topics (flowers, animals, towns,
states) and it can be articulated by voice or played on some instrument, without score.
Appendix 4: Vitaminski rap (Vitamin rap) from the book Glazbena osmica, p. 9
Listening activity with defined rhythmical and melodical patterns
Listening to the musical work Bransle de chevaux7 (appendix 5), pupils become familiar
with the measure, variety of melody progressions and form. Bransle has a simple
rhythmical pattern. The melody proceeds with gradual melodic progression, with no large
range. The parts are repeated, with the seconda volta a little bit different. The work has a
ternary form ABC: part A: simple melo-rhythmical progression, ascending then
descending melody; part B: rhythmical changes in the first two bars; evident descending
progression; part C: repetition of motifs, alterations, returning to the tonality frame with
the last bar.
Dealing with this work, changing the parameters and exploring the musical elements, the
pupils can create similar or different musical structures using the known musical elements.
Appendix 5: Bransle de chevaux
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7 From: „Glazbena osmica“, CD 1/12.
Music making activity
The composition made by a group of seventh-grade pupils is shown in appendix 6. Pupils
attended the extracurricular musical activity of playing and music making for two years.
The song is written in c minor and has a binary form, with the two parts contrasting in
melodical and rhythmical sense. The first part has a gradual ascending and descending
melodical contour, while the second part is characterized by two rhythmical patterns
and with minor interval leaps.
Appendix 6: Zima (Winter); from the book Glazbeno stvaralaštvo (Vidulin - Orbaniæ), p. 103
Listening activity with different melodical variations
In the following examples, while listening to music, pupils may recognize the theme,
character, instruments, tempo, dynamics, contrast, repetition, scale, melody and rhythm
contour, musical form, harmony.
Bizet’s Prelude from the suite N. 1 L’Arlésienne is written in the binary form. It is
distinctive because of the transformation of the main theme. The theme is brought by
strings, with a strong character. The second appearing of the theme is characterized by the
replacement of instruments, dynamic gradations and rhythmical evolution. The second
melody contrasts the first with different melody and character with evident support by the
rhythmical instruments. The theme in the third appearance is in major, with a soft
character and uniform dynamics. Wind instruments are discretely contrasting. In the
fourth appearing, the theme is changing the character into a march and has a united sound
given by the symphonic orchestra.
V. Babin’s Jazz variations on theme Ah, vous dirai-je Maman shows a theme in the a a b a
form with simple harmonization based on classical harmony and then starts the jazz
expressions of the theme. The changes regard: rhythmical contrast, syncopations,
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harmonical shaping and progression, major and minor tonality, different dynamics and
tempo, with a specific timber and harmony.
Music making activity: the process of transforming the melody
The following two compositions were created by a pupil from the sixth grade
(Metamorphosis) and by seventh grade pupils as the result of group work (Little house).
The first one is instrumental and is not led by textual structure, while the second one is
vocal-instrumental. The differences are also in: tonality, range, form, tempo, dynamics,
character.
Pupils created different works, based on the learned elements. In Appendix 7 there is the
instrumental song Metamorfoza (Metamorphosis), the first theme. The piece has three
themes, based on the same harmonies. It is written in a minor, quadruple measure, and has
a form of small period.
Appendix 7: Metamorfoza (Metamorphosis) - from the book Glazbeno stvaralaštvo (Vidulin -
Orbaniæ), p. 88
The song Little house (Mala kuæa) has a focus on the melody line, which is going forward.
The melodical advancement is visible through the ternary form ABC. When it is sung, it
passes from the solo part to duet and trio. The song is rhythmically simple. The melody
range is from g to e2.
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Appendix 8: Mala kuæa (Little house) - from the book Glazbeno stvaralaštvo (Vidulin - Orbaniæ),
pp. 100101.
Music making activity regarding repetitions, contrasts, forms
In the following two pupils’ compositions we can find many music components which
they used from the known composition to create new songs: various measures, rhythms,
tonalities, dynamics gradation, changing of tempo, character, various music forms,
repetitions and contrast.
Analysing a pupil’s work entitled Love is (appendix 9), it is possible to detect nine
parameters regarding its musical elements / structure (appendix 10). There are some
musical similarities with the Haèaturjans’ Maskerade and Beethovens’ insert from the
Symphony N. 6. Pupils listened to these and other musical works during music lessons
before writting their compositions.
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Appendix 9: Love is (private, non published material)
Appendix 10: Similar characteristics
A. I. Haèaturjan: Masquerade,
Waltz
1, 2, 4, 7, 9 – the numbers show the
similarity with the song Love is
***character, play, rhythmical
discreet support
Love is
1. perception - measure
2. dance character, walz
3. built on the interval of third: gradual
contour then third
4. melody is built further from the same notes
5. based on the following tones: d-e fis-g-a (D major)
6. melody leads to the calmness of Tonic
(for the first period), but in the second period it is
tended to have convincing high ending
7. dynamic gradation toward the end: p-mf-f
8. change in the melodic contour reflected by the text
9. at the end perception of the scale
(d-e-fis-g-a-h-cis-d)
L. van Beethoven: 6th
Symphony in F major,
5. st. Allegretto
1, 2, 3, 4, 7 – the numbers show the
similarity with the song Love is
***based on one theme, the
instruments are changing, dynamics,
arrangement, character, repetition
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The pupils’ work entitled The beginning of spring (appendix 11) can be connected with
Purcell’s and Bach’s musical works (appendix 15), but also with three songs which were
sang and analyzed in class (Appendix 12-14).
Appendix 11: The beginning of spring (private, non published material)
Appendix 12: Nikša Njiriæ: Vjetar (Wind) – from the book Allegro u glazbenom svijetu 5, p.34
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Appendix 13. Carl Orff: Ding, dong - from the book Glazbena petica, p.16
Appendix 14: Ljerka Mariæ: Prvi snijeg (First snow) - from the book Glazbena èetvrtica, p.38
Appendix 15: Similar characteristics
H. Purcell: contrasts
2, 3, 5, 6, 8 – the numbers show the
similarity with the song The
beginning of spring The beginning of spring (Poèetak proljeæa)
1. Changes of measure: triple and duple
2. Dynamic gradation
3. Changing of tempo:
Andantino-Allegro-Andante
4. Up-beat
5. Dance character
6. Staccato, legato, corona
7. Ternary form: abc
a part: 8+8=16 bars
b part: motoric; 12 bars
c part: enlarged and singing lustily;
7 bars (unstandardized form because
of the text)
8. Rhythm Tafatefe
Bach: Musette in D Major
2, 6, 8 – the numbers show the similarity
with the song The beginning of
spring *** repetition
N. Njiriæ: Vjetar
1, 2, 3 (aba), 7 (4+4+6) – the numbers
show the similarity with the song The
beginning of spring
Lj. Mariæ: Prvi snijeg
1, 4 – the numbers show the similarity
with the song The beginning of spring
C. Orff: Ding, dong
2, 6, 8 – the numbers show the similarity
with the song The beginning of spring
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Conclusion
In the paper, two models for better appreciation and understanding of musical works are
presented. The first one regards listening to music with previously defined tasks in
connection with musical components, and is a regular activity in Croatian schools. Before
listening to music, teachers give guidelines to pupils about the details they should pay
attention to. The tasks need to be precisely defined, because they guide pupils through the
listening of a composition and acquaint them with important characteristics of a musical
work. After having listened to the composition, it is necessary to talk about it, about the
pupils’ impressions, and primarily about the musical components which they have
noticed. This level should be upgraded with activities which lead to the next level –
operational one.
The second model, the LMM approach, links the theoretical music acknowledgement with
the demonstration of the musical elements through music making (composing). When
pupils recognize the musical components, they may show the level of their understanding
by using these components in the process of music making, creating new compositions
from well-known musical elements. For a better result it is necessary that pupils are
musically literate and that they can play an instrument. Thus, they can listen to what they
have created and decide how to improve the composition. For a good result we suggest
carrying out these activities either in the form of extracurricular activity with a smaller
group of pupils, or as a project in the regular music classes.
Linking the two activities, listening to music and music making, pupils will have the
chance to improve their musical skills, develop sensibility for music and be creative,
which will affect their whole emotional-value-cognitive being and raise their level of
appreciation and understanding of music.
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Povzetek
V prispevku sta predstavljena modela za boljše poznavanje in razumevanje glasbenih del.
Prvi model izhaja iz prakse v hrvaških osnovnih šolah, kjer je pri glasbenem pouku
poslušanje glasbe povezano s predhodno opredeljenimi nalogami, nanašajoèimi se na
predvajano glasbeno delo. Uèitelji morajo naloge zelo jasno izdelati ter ob njih uèencem
podati smernice za sledenje predvajanemu glasbenemu delu in prepoznavanje pomembnih
znaèilnosti skladbe. Poslušanju sledi pogovor, v katerem uèenci podajo svoje vtise o
skladbi ter spoznanja, izhajajoèa iz analitiène zaznave glasbenih komponent.
Drugi model, poimenovan kot pristop „Poslušanje in ustvarjanje glasbe“ (“Listening to
and Making Music”  LMM), povezuje poslušanje glasbe, ozavešèanje glasbenih pojmov
in elementov ter uporabo glasbeno-teoretiènih znanj pri ustvarjanju glasbe. Uèenci v
procesu aktivnega poslušanja prepoznajo znaèilno uporabo doloèenih glasbenih
elementov v predvajanem glasbenem delu. S temi elementi nato eksperimentirajo in jih
uporabljajo pri kreiranju lastnih glasbenih del. Za to je potrebna doloèena stopnja
glasbene pismenosti, dobro pa je tudi, èe uèenci igrajo na kakšen instrument. To jim
omogoèa, da eksperimentiranje z doloèenimi glasbenimi elementi zaznavno podkrepijo z
izvajanjem in se na osnovi slišanega odloèajo, kako izboljšati lastno glasbeno delo.
Dejavnost daje dobre rezultate, èe je izvedena kot izvenšolska glasbena dejavnost ali pa
kot projekt pri rednih urah pouka glasbe v razredu.
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Sabina Vidulin, THE “LISTENING TO AND MAKING MUSIC” APPROACH IN THE FUNCTION ...