Ana Kavèiè Pucihar
Glasbena šola Glasbénium
UÈITELJEVE STRATEGIJE POUÈEVANJA PRI INDIVIDUALNEM
INŠTRUMENTALNEM POUKU FLAVTE V GLASBENIH ŠOLAH
Povzetek doktorske disertacije
Mentorica: izr. prof. dr. Branka Rotar Pance
Zagovor: 1.2.2019 na Akademiji za glasbo UL
Povzetek
Uèitelji flavte morajo pri svojem delu poznati in uporabljati širok nabor strategij, da se
uspešno prilagodijo individualnim potrebam vsakega uèenca in ga tako vodijo k
izpolnjevanju ciljev uènega naèrta za flavto v glasbeni šoli (GŠ). V praksi ugotavljamo, da
uèitelji flavte ne poznajo in obvladajo dovoljšnjega nabora strategij, ki bi jih lahko
uporabljali pri svojem delu. Kljub široko zastopanemu stališèu, da je uèenje inštrumenta
pomembno za izgrajevanje posameznika, tudi na znanstvenem podroèju zasledimo vrzel
pri raziskovanju dejavnikov individualnega inštrumentalnega pouka flavte (IIPF).
V teoretiènem delu disertacije raziskujemo dihotomièni diskurz o najbolj razðirjenem
naèinu pouèevanja pri individualnem inðtrumentalnem pouku, ki ga Jorgensen (2000)
poimenuje mojster – vajenec. Zanj je znaèilen tradicionalizem in prenos predvsem obrtnih
znanj, problematièni pa so samostojnost in samoiniciativnost uèenca, asimetrièna
porazdelitev moèi med uèiteljem in uèencem ter naèin pouèevanja, v katerega premalo
prehajajo spoznanja s podroèja splošne edukacije in glasbene pedagogike. Po drugi strani
pa Kennell (2002) in Bloom (1985) izpostavljata veliko kompleksnost in vrednost
individualnega pouèevanja pri razvijanju posameznikovih talentov.
V teoretiènem delu izpostavljamo »esencialistièni« in »instrumentalistièni« pogled na
glasbeno izobraevanje (Scripp, 2002) in ugotavljamo širok razpon predmetnih in
dejavnostnih podroèij, na katere igranje inštrumenta, poleg splošno priznane visoko
estetsko umetniške vrednosti, pozitivno vpliva.
Igranje inštrumenta obravnavamo kot kompleksno vešèino, prvenstveno mentalno, kar je
v nasprotju s tradicionalistiènim pogledom genetskega determinizma. V omejenem
obsegu, zadostnem za razumevanje konteksta inštrumentalnega pouka, obravnavamo
podroèja komunikacije, motivacije, metakognicije in samoregulacije ter njihovo
interakcijo.
Predstavljamo razliène artikulacijske uène stopnje pri individualnem inštrumentalnem
pouku in v povezavi z uèno stopnjo vadenja poudarjamo stališèe, da je vrhunski doseek
vedno posledica namenskega vadenja (Ericsson in sod., 1993).
Na podlagi trifaznega modela samoregulacijskega uèenja obravnavamo Jorgensenovo
(2004) klasifikacijo strategij vadenja in predstavljamo razliène strategije glasbenega
memoriranja. Kot izhodišèni model za izgrajevanje vešèin, potrebnih za nastopanje,
predstavljamo razvrstitev vešèin Clarka in sod. (2014 a) na tri glavne kategorije: glasbene,
neglasbene in psihološke.
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Pri obravnavi glasbene nadarjenosti izhajamo iz stališèa, da imajo genetski faktorji blijo
povezavo s fiziènimi lastnostmi kot s psihološkimi faktorji (Ericsson in sod., 1993), da se
glasbeni potencial spreminja in je nanj mogoèe vplivati (McPherson in Hallam, 2016) ter
predstavljamo razliène modele glasbene nadarjenosti.
Kot eno od poti za transformiranje in preseganje tradicionalistiène prakse
inštrumentalnega pouèevanja izpostavljamo uèiteljevo refleksijo, ki lahko vodi do
implementacije novih pristopov v pouèevanje.
V empiriènem delu se s kvantitativnim raziskovalnim pristopom, temeljeèim na
deskriptivni in kavzalno-neeksperimentalni metodi pedagoškega raziskovanja,
usmerjamo na podroèje IIPF na slovenskih GŠ. Z vprašalnikom, ki smo ga oblikovali
posebej za to raziskavo, ugotavljamo in analiziramo mnenja uèiteljev flavte o temeljnih
dejavnikih in procesih v IIPF, z namenom ugotavljanja uèinkovitih strategij pouèevanja.
V raziskavi je sodelovalo 78 uèiteljev flavte iz vseh slovenskih regij.
Ugotavljamo, da uèitelji kot najpomembnejša dejavnika z zelo moènim vplivom na
napredek pri igranju flavte izpostavljajo vztrajnost in prizadevnost, glasbeni nadarjenosti
pa pripisujejo malo manjši vpliv. Pri pogostosti in naèinih vkljuèevanja uènih korakov v
pouk so se med uèitelji izkazale statistièno pomembne razlike glede na število njihovih
uèencev, ki so nadaljevali z uèenjem flavte na srednji stopnji, glede na uèiteljevo mnenje o
koristnosti tekmovanj za razvoj nadarjenih uèencev in glede na leta pouèevanja. Pri
uporabi priporoèene literature iz uènega naèrta v primerjavi z uporabo izbirne literature
ugotovimo statistièno pomembne razlike v pogostosti uporabe obeh vrst literature, tako
med razredi kot tudi v pogostosti uporabe.
Najpogostejše strategije vadenja, ki jih uèitelji flavte posredujejo uèencem, so: natanèno
upoštevanje notnega zapisa pri poèasnem igranju, vadenje po delih, vadenje v razliènih
ritmih, vadenje z metronomom in stopnjevanje tempa izvajanja, pri èemer obstajajo
statistièno pomembne razlike med uèitelji glede na to, ali pouèujejo na matièni ali
podrunièni šoli. Uèitelji kot najbolj uèinkoviti strategiji memoriranja ocenjujejo vadenje
na pamet po delih skladbe in igranje od razliènih mest v skladbi, pri èemer se mnenja
uèiteljev statistièno pomembno razlikujejo glede na število njihovih uèencev, ki so
nadaljevali s šolanjem na srednji stopnji, glede na mnenje o koristnosti udelebe na
tekmovanjih za razvoj nadarjenih uèencev in glede na doseke uèencev nad 90 toèk na
dravnih in mednarodnih tekmovanjih.
Med uèitelji smo odkrili nepoenoteno uporabo strategij v pripravah na nastope. Uèitelji
pripisujejo veliko pomembnost vlogi staršev pri napredku uèencev. Nekaj teav navajajo
na strokovnem podroèju, na podroèju dela z uèenci in starši ter v delovnem okolju pa ne
navajajo veèjih teav. Kot najpomembnejše dejavnike za svoj poklicni razvoj navajajo
delovne izkušnje, stike in sodelovanje z drugimi uèitelji flavte, spoznavanje novih uènih
gradiv in glasbene literature ter seminarje. Kot najpomembnejše lastnosti, ki jih
pripisujejo odliènemu uèitelju flavte, so sposobnost motiviranja, poštenost in spoštljivost,
potrpeljivost, stalno izpopolnjevanje, sposobnost vzpostavljanja konstruktivnih
odnosov, ustvarjalnost ter doslednost.
Statistièno pomembne razlike med skupinami uèiteljev in s tem povezana uporaba
razliènih strategij so se najveèkrat pojavile glede na njihovo mnenje o koristnosti udelebe
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na tekmovanjih za razvoj njihovih nadarjenih uèencev, glede na število let pouèevanja in
glede na število uèencev, ki so nadaljevali s šolanjem flavte na srednji stopnji.
Obravnavana tematika teoretiènega in empiriènega dela dopolnjuje glasbenopedagoško
teorijo na podroèju IIPF in ima aplikativne monosti za prenos spoznanj v prakso. Analiza
uporabe priporoèene in izbirne literature iz uènega naèrta slui kot osnova za nadgradnjo
uènega naèrta za flavto v GŠ. Na podlagi predstavljene teoretske argumentacije bo
mogoèe izdelati smernice za izboljšave na podroèju procesov IIPF v glasbenem
izobraevanju doma in v tujini. Najvišje ocenjene strategije vadenja, memoriranja in
priprave na nastop predstavljajo izhodišèe za nadaljnje akcijsko raziskovanje
uèinkovitosti teh strategij pri delu z uèenci flavte v GŠ in s tem za prihodnje oblikovanje
referenène literature za uèitelje flavte.
Kljuène besede: individualni inštrumentalni pouk, flavta, uèitelj, glasbena šola, strategije
pouèevanja, glasbena nadarjenost, uène stopnje
TEACHING STRATEGIES IN INDIVIDUAL INSTRUMENTAL FLUTE
INSTRUCTION IN MUSIC SCHOOLS
Abstract
Flute teachers need to be knowledgeable about a wide array of teaching strategies.Thus
they are able to adapt their teaching to the individual needs of their students, consequently
enabling them to fulfill the Slovenian State Music School Flute Curriculum objectives. In
professional practice, there is a growing awareness that flute teachers’ knowledge and use
of various teaching strategies is insufficient. Despite the widely acknowledged
importance of playing a musical instrument, there is a gap in systematic research of the
music studio flute instruction context.
In the literature review, we research the dichotomic discourse about the most widespread
instrumental teaching model, the master – apprentice (Jørgensen, 2000). This model is
usually described as traditional, transferring mostly the knowledge of the craft, displaying
a problematic asymmetrical distribution of power between teacher and student, and
lacking student initiative and independence. Findings and practices from research in
music education and general education are seldom implemented into this model. On the
other hand, Kennell (2002) and Bloom (1985) describe it as particularly effective and
complex, especially in the instructional context of talent development.
In the theoretical part we highlight the »essentialist« and »instrumentalist« (Scripp, 2002)
views of music education and establish a wide array of areas that benefit from playing a
musical instrument, besides its significant aesthetic art value.
Contrary to the view of genetic determinism, we present playing a musical instrument as a
complex, mostly mental skill. We limit the research of communication, motivation,
metacognition and self-regulation and their interaction to the context of instrumental
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studio instruction. Various teaching stages are presented, emphasizing deliberate practice
(Ericsson et al., 1993) as the fundamental way to peak achievement.
Based on the three-phased model of self-regulative learning, Jørgensen’s (2004) practice
classification and several memorization strategies are discussed. The many skills involved
in refining concert performance are presented, as categorized by Clark et al. (2014 a):
musical, non-musical, and psychological.
Musical talent is presented as a malleable and ever-changing concept (McPherson and
Hallam, 2016), with genetic endowments being connected closer to physical than
psychological characteristics (Ericsson et al, 1993). Several models of talent development
are presented.
Teacher reflection is suggested as a possible path towards transforming and upgrading
traditional individual instructional practices, leading to new teaching approaches.
Research of individual instrumental flute instruction (IIFI) in Slovenian music schools is
based on descriptive and causally non-experimental quantitative method. The
questionnaire was designed to explore flute teachers’ beliefs about main factors and
processes in the IIFI in order to analyze and consequently identify effective teaching
strategies. There were 78 flute teachers from all Slovenian regions involved.
Findings show that the teachers identify perseverance and diligence as the most important
factors in developing proficiency in flute playing. They recognize musical talent as
slightly less influential. Statistically significant differences are shown in the frequency
and manners of incorporating teaching stages in the instruction, as related to the number of
teachers’ students who continued their flute studies at the high school level, teachers’
opinion about the benefits of music competitions for the development of their talented
students, and according to cumulative years of instruction. The use of recommended
literature in the Slovenian State Flute Curriculum as opposed to literature chosen by the
teacher, varied. Both types of literature varied according to the level of use in every grade
and between grades.
Most often flute teachers recommend to students the following practicing strategies:
playing music notation accurately in slow tempo, practicing parts of a piece, practicing in
various rhythms, with metronome, and accelerating the performance tempo. There were
statistically significant differences among flute teachers according to the type of music
school they were teaching at (central or satellite). Teachers identified playing chunks of
pieces by heart and memorized playing from different parts in the piece as the most
effective memorization strategies. There were statistically significant differences among
flute teachers according to the number of students in the studio, the number of students
who continued their flute studies at the high school level, teachers’ opinions about the
benefits of music competitions for the development of their talented students and
according to their students’ achievements at the state and international flute competitions.
The use of performance preparation strategies was not unified and varied significantly
among teachers. Teachers described parents as very important for the development of their
students’ flute proficiency. They reported some problems in the professional knowledge
area, while they have not reported any significant problems in the field of collaborating
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with students and parents nor in the work environment. As the most significant
contributing factors to their professional development they described: work experience,
contacts and collaboration with other flute teachers, learning about new literature, flute
music, and seminars. They identified seven features of an excellent flute teacher: ability to
motivate, honesty and respect, patience, constant improvement, creativity, and
consistency.
Most often statistically significant differences occurred according to teachers’ opinions
about the significance of music competitions for the development of their talented
students, cumulative years of teaching and according to the number of students who
continued their flute studies at the high school level.
The topics presented in the literature review and research supplement the music education
theory in the field of individual instrumental flute instruction and display possibilities for
implementation in professional practice. The analysis of the recommended and chosen
literature as used by the flute teachers may serve as a foundation for future upgrades of the
Slovenian State Flute Curriculum.
Guidelines for improvements of the IIFI processes in Slovenia and internationally can be
made based on presented theoretical reasoning. Practice, memorization, and performance
preparation strategies that were ranked as most effective by the teachers need to be further
investigated. Effectiveness of these strategies for teaching music school students should
be examined in order to contribute to future reference literature for flute and instrumental
teachers.
Keywords: individual instrumental instruction, flute, teacher, music school, teaching
strategies, musical potential, teaching stage
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