Sandra Rimkutf-Jankuvienf, Rvta Girdzijavskienf
Lithuanian Academy of Music and Theatre
MUSIC TEACHER’S COMPETENCES TO FOSTER PUPILS’ MUSICAL
CREATIVITY THROUGH MCT
Izvirni znanstveni èlanek/ Original Scientific Article
Abstract
This paper reports on a qualitative research undertaken with Lithuanian secondary school and
gymnasium music teachers. The target of the research is to reveal what teacher’s competences are
necessary in the process of fostering pupils’ musical creativity through MCT. The research data
were collected through in depth interview with 10 music teachers. Research findings show that one
of the essential components of competences for fostering pupils’ musical creativity are subject
(music) and didactic competences of music teachers. The creative music teacher is able to organize
the developmental process in such a way that each pupil would acquire knowledge and skills
necessary for musical creativity, would be capable of creating an original composition, and
experiencing joy of discovery and creation.
Key words: competences, musical creativity, music teacher, music computer technology (MCT)
Izvleèek
Kompetence uèiteljev glasbe za spodbujanje glasbene ustvarjalnosti uèencev s pomoèjo MCT
V prispevku so predstavljeni izsledki kvalitativne raziskave, ki je bila izvedena na litvanskih
uèiteljih glasbe, ki pouèujejo na predmetni stopnji osnovne šole in na gimnaziji. Namen raziskave je
bil ugotoviti, katere kompetence so kljuène za uèitelja v procesu spodbujanja glasbeni ustvarjalnosti
uèencev s pomoèjo MCT. Podatki so bili pridobljeni s pomoèjo poglobljenega pol strukturiranega
intervjuja z desetimi uèitelji glasbe. Rezultati kaejo, da sta dve izmed kljuènih kompetenc za
spodbujanje glasbeni ustvarjalnosti uèencev predmet glasbe kot tak in didaktiène kompetence
uèiteljev glasbe. Ustvarjalni uèitelj glasbe naj bi bil sposoben organizirati uèni proces na ta naèin, da
vsak uèenec lahko pridobi potrebna znanja in vešèine za glasbeno ustvarjalnost, naj bi bil sposoben
tudi sam ustvarjati originalne glasbene kompozicije in naj bi tudi sam doivljal obèutke radosti ob
raziskovanju in ustvarjanju.
Kljuène besede: kompetence, glasbena ustvarjalnost, uèitelj glasbe, music computer technology
(MCT)
Introduction
In today’s society, according to sociologist Drucker (2009), the knowledge possessed by a
person is not effective enough. Changes in sociocultural life are producing an increasing
demand for various competences, i. e. a system of knowledge in a particular sphere,
awareness of operating principles in a certain activity, skills and qualities of an individual,
determining the efficiency of his/her life and activity. In recent years the importance of
key competences is being actualized both in scholarly works and in different documents of
the European Union. It is underlined that with the change of educational paradigm there is
the need to agree on the competences significant to a modern citizen (Rychen & Salganik,
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2003; Organisation for Economic Cooperation and Development (OECD), 2005; Gordon,
Halasz & Krawczyk, 2009; Halasz & Michel, 2011; Michel & Tiana, 2011; European
Commission/EACEA/Eurydice, 2012; Looney & Michel, 2014). Competences are
defined as ‘a combination of knowledge, skills and attitudes appropriate to the context.
Key competences are those which all individuals need for personal fulfilment and
development, active citizenship, social inclusion and employment’ (European Union,
2006, L 394/313).
The concept of competence is multi-layered, complex, closely related to a specific
character of a particular professional activity (Trotter & Ellison, 1997; ydiunaitf, 2000;
Lauackas, 2005; Jucevièienf, 2007). The analysis of the structure of a pedagogue’s
competence shows an exceptionally wide variety of research. A pedagogue’s competence is
associated with the roles performed by a pedagogue (Tumfnienf & Janivnaitf, 2000), with
pedagogic vocation (Kavaliauskienf, 2001), with a teacher’s subject competence (Ogienko &
Rolyak, 2009), pedagogic abilities and personal qualities (Jovaiša, 2008). Scientists present
varied models of teachers’ competence, disclosing a combination of competences different both
in composition, and in extent: management communicative and organizational competences
(Arends, 2008); subject, research, planning and organization of educational content,
lifelong learning, social-cultural, emotional, communicative, application of information
technologies and creation of educational environment (Selvi, 2010); subject, pedagogic
and communicative competences (Bagdonienf, 2000); general, professional, special
competences (Ogienko & Rolyak, 2009). In order to purify the structure of a teacher’s
competence Common Framework on Teachers’ Competences has been created in 2016 with
support of the European Commission. The document distinguishes the following teacher’s
competences: interpersonal abilities, communicative, cooperative, ICT management,
provision of healthcare and welfare, encouragement of social justice and global
citizenship, professional knowledge and understanding, lifelong education, assessment.
Teachers’ competence inventories have been created by each country. In the structure of
Lithuanian teachers’ competence three competences are identified: general, didactic and
subject (Inventory of Pedagogues’ Professional Competences, 2014).
The sources mentioned above present general framework of teachers’ competence,
irrespective of the character of pedagogic work in different educational sections, without
actualizing the specificity of teachers’ abilities teaching individual subjects. This is
particularly important while analysing the competences of pedagogues teaching art
subjects, including music.
The problems of a music pedagogue’s professional competence have been investigated
quite extensively. Some authors emphasize a teacher’s subject competence (Jareckaitf,
2003; Abramauskienf, 2003; Lasauskienf, 2007). Other scientists (Rinkevièius, 2006;
Kievišas, 2004) highlight the importance of a teacher’s personal pedagogic and
psychological qualities and pedagogic vocation for successful professional activity. The
variety of attitudes and research objects can be observed in scientific studies. The majority
of works focus on professional competences of future music teachers. Meanwhile, there is
not much research on pedagogic competence of music pedagogues – practitioners. The
lack of the specific, context–oriented research on teachers’ competence is explained by
Ravatto (2011). According to the author, the content of music teacher’s competence
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depends not only on with what age pupils a teacher works and in what institution, but also
on a particular subject, on specificity of a certain educational situation. One type of
competence is needed while working with pre–school children, the other – while working
with upper grade pupils or their musical collectives.
The research presented in this article concentrates on competences of a pedagogue aiming
at development of pupils’ musical creativity, highlighting a specific sphere of music
education – development of musical creativity through Music Computer Technologies
(MCT). Scientists in their research state that development of musical creativity is based on
the teacher’s personality and competence (Rimkutf–Jankuvienf & Girdzijauskienf,
2014), the teacher’s knowledge of pupils’ personalities, organisation of an individualised
and pupil–centred educational process, building of a favourable physical and
psychological environment (Webster, 2003; Jorgensen, 2008; Odena, 2012; Hopkins,
2015). It is argued that while developing pupils’ musical creativity the teacher’s mission is
to help a pupil to plan creative process, musical development of the composition (Webster,
2012), to discern and solve problems, to motivate pupils for further creative activity, to
encourage them critically evaluate the results of their creation (Jorgensen, 2008; Burnard,
2011), to cooperate with pupils, to discuss the actions of implementation of the idea, to
show interest in their progress (Hopkins, 2015).
The teacher has to serve as a role model to pupils, himself/herself having musical creative
abilities and experience (Jorgensen, 2008), musical knowledge, has to be interested in
variety of music, in most recent tendencies of musical creation (Burnard, 2012), has to be
aware of the specific character of creative process, to be able to recognize pupils’ creative
potential, to model the content of teaching creation, to be flexible while organizing pupils’
creative activity (Hopkins, 2015), to know the ways of creation and the principles of
organization of creative process, to constantly search for new opportunities of
development of musical creativity, to expand personal musical and creative experience
(Elliott, 1999). The teacher’s enthusiasm, spiritual richness, ability to perceive the
significance of creative activity and its results are also very important .
The significance of the teacher’s personal qualities and competences is demonstrated
while analysing the environment benevolent for musical creativity. Scientists (Wiggins,
2006; Plucker & Makel, 2010; Odena, 2012) point out a pedagogue’s positive attitude
towards activity, initiative, inventiveness, tolerance to otherness (to personality, ideas,
activity, aims), respect for personal autonomy, provision of freedom to experiment,
playfulness and humour as very important factors for development of musical creativity.
According to Odena (2012), the teacher’s help provided at the right time, friendly and
sincere communication, constructive evaluation of the results of pupils’ musical creation
assist in building a creative atmosphere in the classroom.
Having the competences of a creative pedagogue aiming at development of pupils’
musical creativity extensively outlined, the question arises – how competences manifest
while pupils are engaged in creative activity using MCT, which music teacher’s
competences discussed in scientific literature are considered to be the key ones. These
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questions formed the basis of the empirical research and gave rise to formulation of the
aim of the research – to reveal what teacher’s competences are necessary in the process of
fostering pupils’ musical creativity through MCT.
Methodology
The research was designed referring to the methodology of qualitative research. Ten
music teachers were questioned using interview method. Decisions regarding selection of
the participants were based on the research questions, theoretical perspectives, and
evidence informing the study. Purposeful sampling used in qualitative research for
identification and selection of information–rich cases related to the phenomenon of
interest were used to identify the participants (Creswell, 2007). Selection of teachers was
conducted in several stages.
1. The authors of the article conducted a research on use of MCT in Lithuanian
schools in 2014 (Rimkutf–Jankuvienf, 2014). The questionnaire included the
question – what teachers use MCT for in music lessons. Out of 80 interviewed
teachers 18 pointed out that they aimed at developing pupils’ musical
creativity through MCT. Phone conversations with these teachers were made
to find out whether and how much attention was devoted to development of
pupils’ musical creativity.
2. During informal phone conversation only 10 out of 18 above mentioned
teachers stated that they purposefully developed pupils’ musical creativity
through MCT. They were asked to give interviews and allow to observe their
lessons. All teachers agreed to participate in one more research the results of
which are presented in this article.
Participants of the interview have more than 10 years of pedagogic experience (from 10
years to 25 years), are well–known pedagogues in their regions (in individual cases in all
parts of Lithuania), sharing the experience with the teachers from the district or the
Republic: conduct open lessons, consulting regarding MCT use in music lessons and in
extra–curricular activity. In order to disclose what music teacher’s competences manifest
in practice, the teachers’ lessons were observed. Recommendations that more than one
lesson has to be observed were followed (Rupšienf, 2007). Therefore, 2 lessons of each
teacher were observed. Researchers attended their schools (teachers participating in the
research work in different regions of Lithuania), observed lessons and after them talked to
the pedagogues.
Conversations with informants were recorded in the dictating machines (before recording
information their consent was obtained). The research data consisted of the transcriptions
from the interview recordings (interview transcriptions were performed personally, the
transcribed texts were aligned with the teachers and checked for accuracy) which were
analysed by applying interpretation of the data. “Qualitative analysis is organized more
around the notes and stories the researcher keeps, increasingly focused on a small number
of issues or themes“(Bresler & Stake, 2006, p. 296). During the analysis of the research
data units of meaning were identified, they were structured into wider themes, and their
interpretation / summary is presented in the research results. In compliance with ethical
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principles of the research, the data regarding teachers is not made public, and in the part of
the article, referring to the results the number of the teacher (Ml – M10) who has
participated in the interview is specified next to the text cited.
Findings
Analysis of the data from the interview with music teachers helped to reveal the features of
a teacher’s competence essential to development of pupils’ musical creativity through
MCT. During the analysis of the data dominance of two competences – subject and
didactic – revealed. Didactic competence of a teacher is defined as his/her knowledge,
abilities, values, personal qualities, determining effective education (ydiunaitf, 2000;
Simonaitienf, 2007; Lepaitf, 2005). Subject competence includes knowledge and abilities
in related concenter or sphere of educational content, capable of reflecting educational
content that corresponds to the level of modern theories and knowledge level of related
spheres (Inventory of Competences of a Pedagogue’s Profession, 2014). Both subject and
didactic competences cover a wide range of the teacher’s knowledge and abilities, the
manifestation of which in specific context (in case of this research development of musical
creativity of upper grade pupils through MCT) is highlighted in teachers’ replies.
Subject competence of a teacher
Music pedagogues describe a teacher’s subject competence as a whole of acquisition and
application of musical and MCT knowledge necessary for musical creation. According to
teachers in order to involve pupils into musical creative activity, a teacher himself/herself
has to possess the knowledge of music theory and history, to know the variety of creative
techniques as well as the peculiarities of musical creation, to be aware of and be capable of
solving the problems related to implementation and application of MCT.
Teachers note that basic musical knowledge is acquired while training to become a music
teacher, however, it has to be regularly updated, new knowledge necessary to perform a
particular activity needs to be obtained. While teaching pupils to create using MCT, it is
important to be interested in different music, to create, arrange, edit oneself compositions
created using MCT. It is essential that a teacher himself/herself was involved in musical
creation. When a teacher creates music, he/she acquires new knowledge, develops his/her
skills that need to be developed in his/her pupils. This is well illustrated by the words of
one teacher.
Having a recording studio is really helpful since different people come here asking
to arrange or edit a composition. This way I am continuously evolving because
sometimes you have to look for a new effect or special programmes that could help
you to realize your ideas, M1.
Teachers notice that they do not always have sufficient competence in working with MCT.
Informants admit that it is impossible to know all music production software. What is
important is to keep an active interest in innovations and upgrade MCT skills.
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When working with music production software, it is not enough to be good at one
programme. Everything changes so rapidly. Moreover, if you are not using the
knowledge, you forget a lot over a long period of time, M1.
Often teachers have less experience in work with MCT than some pupils. Even though
teachers do not lack desire to acquire new knowledge and skills, however, they lack time
to get acquainted with and gain a detailed insight into all possibilities provided by MCT. In
such cases teachers ask pupils to present one or another possibility of using MCT,
encourage their cooperation by sharing obtained information.
My problem is a lack of knowledge about some software. There are pupils who have
a more extensive knowledge in the sphere than I do. I offer pupils to collect
information and present it in the lesson. I ask them to share with friends all
interesting and valuable information they have found or learned. Then during the
lesson we obtain new knowledge and experience, M9.
Teachers identify a whole of knowledge and skills in music and MCT as one of the most
important competences of a pedagogue.
Didactic competence of a teacher
Didactic competence has been discussed in detail by teachers. During the analysis of the
data the following spheres of didactic competence have been distinguished: a teacher’s
ability to plan the process of development of musical creativity, to organize activities in
the classroom taking into consideration individual learning characteristics of pupils, to
evaluate pupils’ activity and its results, to assume the role of a teacher adviser, a
consultant.
The planning of the process of development of musical creativity
Informants state that they plan the process of development of musical creativity taking into
account pupils’ aims, accumulated knowledge and skills. Particular priority is attached to
the experience and expectations of the beginners in use of MCT: In the first lesson I ask
what your experience in music is – if you have sung before, if you have been learning
music, M6; I formulate tasks only having found out what experience in music pupils have
acquired, what expectations they have of the course, M1.
Teachers perceive development of musical creativity as a coherent and targeted process.
The tasks presented by teachers are differentiated ranging from the easiest to the ones
requiring profound knowledge in creation techniques. The creative tasks provided by
teachers could be divided into three groups:
1. The tasks of creative experiments (absorption of creative elements): use of an
individual element of musical language (rhythmic group, mode, and etc.),
combination of several elements of musical language, creation of
compositions of a small-scale using given elements of musical language.
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2. Arrangement tasks: arrangement of melody in accordance with different music
styles, arrangement of a composition in accordance with different music
styles.
3. Creation of original compositions: creation of a single part musical
compositions, creation of musical compositions of several parts, creation of
accompaniment, search for a distinctive creative style.
According to teachers, it depends on pupils’ abilities, creative experience, on motivation
to create what complexity tasks pupils perform: there are no rules since pupils are
different. Some of them are capable of creating original compositions from the first
lessons, the others start from the easiest tasks, for example, using crotchets and quavers,
M7; we discuss with pupils what they are capable of and what not. They choose themselves
what tasks they are capable of performing, M4. From teachers’ statements it becomes
clear that planning of the process of development of musical creativity is flexible and
within a framework of collaboration with pupils.
Consideration of individual learning peculiarities of pupils
In order to foster creative individuality of learners, to assist to development of creative
capacities of every person, teachers take into account every pupil’s musical abilities, their
experience in music as well as in use of MCT, their development in educational process,
individual creative goals of pupils. The tasks stimulating pupils’ self-expression are
presented, pupils are encouraged to look for original musical ideas, for the ways of their
musical development. The aim is to motivate pupils for independent musical creative
activity. Teachers claim that they do not provide tasks to pupils who have experience in
use of MCT and music production, who are motivated to create their own music, (Those
pupils who create music independently are allowed to do what they want, M8). Pupils are
given freedom to decide what and how to create. To those with less experience
increasingly complex tasks are presented: from simple to profound ones.
Pupils are not provided with a fixed deadline of performance of creative tasks, they are
allowed to select a more or less time-consuming creative genre (I let them decide how
much time they will need to create music, M3), to create without aligning with their
classmates, to look for their own creative style (sometimes pupils perform several tasks
which are only preparation to creation, and sometimes they work for several months on
one but truly original composition, M9.)
Evaluation of creative works
In the opinion of informants, evaluation of creative works is one of the most significant
parts of creative process since while evaluating the criteria of creation are formulated (we
analyze what was successful and what was not, what was efficiently used and what did not
work, M4), pupils’ attitude towards creative activity is formed (having listened to my
evaluations or to their friends’, they think what it means to them to create music, M6). It is
not easy to assess a creative work, flexibility is needed. Therefore, teachers who have
participated in the research do not have universal criteria of evaluation of pupils’ creation.
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In majority of cases they depend on the type of task. Teachers most often name the
requirements together with the task of musical creation, later those requirements become
the criteria of evaluation of creative works: length of the composition, structure, style and
etc.
Alongside with evaluation of creative works, individual achievements of a pupil, his/her
efforts are assessed. The focus is on the progress made, pupils’ analysis of their own
creation is encouraged, as well as envisaging the ways of its improvement. Many
participants of the research mention the importance of progress made while evaluating
pupils’ works: From the beginning it is obvious that some pupils have a a bigger potential
for the task than the others. I find the progress made to be the most important, M1; I
evaluate desire and achievements. How else I can assess pupils who wish to create and
create something? M10.
Evaluation of the product of musical creation is organized with involvement of pupils.
While analysing their own creation or the works of the others, pupils are encouraged to
apply knowledge: they are asked to describe the means of expression used in a
composition, to recognize the form and the technique of creation of the composition, to
express their evaluations using musical terms. Evaluation of creative works is understood
as the process based on mutual agreement (of the teacher and pupils).
We sit and listen to each other’s works. We discuss how one person sees the work
and what is the opinion of the other. I am very interested in their thoughts because
pupils use knowledge that they gain while creating. We have an opportunity to
enrich our music glossary, to edit concepts in order to use musical terminology more
accurately, M1.
Music teachers who have participated in the research emphasize the significance of
positive atmosphere of evaluation. During the process of creation pupils are presented
with various verbal stimuli (praise, encouragement, shouts of admiration), and
suggestions for improvement of the composition are given as guidance advice.
I do not want to underestimate their creative potential, their desire to create with my
evaluations. I do this very delicately, carefully. I look for something to compliment
on... After commending, I advice to improve something, to change. I show this to
other pupils so that they do not encounter the same problem, M6.
Analysis of the research data has revealed the importance of a teacher’s role as of an
adviser, a consultant. Teachers observe the process of pupils’ creation, analyse skills and
style of activity of every learner, the problems encountered. Teachers perceive their
mission – to help everyone to find themselves, to understand what he/she is capable of and
what he/she wants, M5.
A teacher advises when creative problems arise, together with pupils analyses their causes
and possible ways of solutions. Pupils are encouraged to enquire, to ask for help or an
advise of a teacher or friends. When organizing creative activity, teachers take into
consideration what help pupils might need. Some pupils lack knowledge of musical
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language, others of composition, and some of use of MCT. Therefore, both tasks and help
to pupils are individualized. Pupils themselves are encouraged to share their knowledge,
experience, to discuss arising problems and look for the ways to solve them together. A
teacher tells:
I have a great concern that they cooperate, share what they have discovered, found
out, and how they have found out. I wish they told the others. Such cooperation
brings them close together. [...] I tell them that creation of music is our common
search and sharing. Pupils consult with me and with their friends. Sometimes they
find out something new, useful while creating and they share this with others, M6.
The atmosphere based on trust and cooperation is created when a teacher assumes the role
of a consultant and an adviser and engages pupils in planning of educational process as
well as in evaluation of creative works.
Discussions
Summarizing the research data, we can state that teachers perceive development of
musical creativity as an individualized, coherent and targeted process during which
pupils’ experience and expectations are taken into account, pupils are encouraged to share
the knowledge, to discuss problems encountered and look for the ways to solve them
together. The conditions allowing pupils to formulate creative goals themselves are
created, they are given freedom to decide what they want to create and how. Particular
attention is being given to analysis and evaluation of their and their classmates’ musical
creations. Together with the evaluation of pupils’ musical creativity and its results
individual progress of a learner, his/her efforts are discussed. Such type of music
education corresponds to the main principles of the conception of teaching for creativity.
Teaching for creativity involves “learner–inclusive” pedagogy, thus, mainly focused on
learners, which are encouraged to explore new knowledge and identify problems. It is a
more collaborative approach to teaching, when a learner takes more control over his/her
own learning process (Craft, 2006). Principles of teaching for creativity are possible to
implement by encouraging students to take more control of their learning, developing their
possibility of thinking and implementation of co-participative approach in teaching and
learning (Jeffrey & Craft, 2010). Brinkman (2010) stressed, that giving a permission for
students to be creative, valuing their creative efforts and developing students’
self–confidence in risk–taking are effective paths of fostering pupils’ creativity. Teaching
for creativity requires change in teachers’ behaviour – it is crucial to act as a facilitator or a
guide, rather than a controller, finding a balance between students’ freedom and control.
Referring to the teaching for creativity concept, a teacher becomes a consultant, a
facilitator, who provides special musical knowledge or awareness of creative techniques,
supports creative initiatives of pupils, flexibly organizes the process of music education,
and himself/herself is open to new information and creative explorations.
Analysis of the data from teachers’ interviews highlighted the significance of two
pedagogue’s competences (subject and didactic). The latter competences have been
extensively discussed in the documents regulating Lithuanian education (Inventory of
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Pedagogues’ Professional Competences, 2014) and are preconditions for efficient
development of pupils’ musical creativity through MCT. Subject (musical) competence
covers a wide range of teacher’s musical knowledge and skills, as well as his/her efforts to
continuously develop expertise as of musician. The research data could be also related to
the traits of a teacher developing pupils’ creativity, which has been widely discussed in
scientific literature. It is argued that a music teacher should serve as an example to pupils,
himself/herself have skills and experience in musical creation (Jorgensen, 2008), be
interested in different music, in latest tendencies of music production (Burnard, 2012), to
understand the specificity of creative process (Hopkins, 2015), to know the ways of
creation, to develop personal musical and creative expertise (Elliott, 1999). A teacher’s
enthusiasm, spiritual richness, ability to perceive the significance of creative activity and
its results are also meaningful. A pedagogue with a positive attitude towards creative
activity, recognizing creative activity as a unique sphere of a person’s existence is capable
of developing pupils’ creativity (Elliott, 1995; Girdzijauskienf, 2004).
Meanwhile, the didactic competence of a pedagogue allows the teacher to know a pupil, to
project the educational content, to organize the educational process oriented towards
pupils, to create safe and motivating learning environment, to assess the quality of the
results of his/her activity (Inventory of Competences of a Pedagogue’s Profession, 2014;
ydivnaitf, 2000; Simonaitienf, 2007; Lepaitf, 2005). Analyzing which content
components from didactic competence are important for development of pupils’ musical
creativity using MCT, the following features of didactic competence have been
distinguished: a teacher’s ability to plan educational process, to organize activities in the
classroom taking into account individual learning peculiarities of pupils, to evaluate
pupils’ activity and its results flexibly, to assume the role of a teacher consultant, an
adviser. The components of didactic competence mentioned above are close to the insights
of other researchers. We can find information in scientific literature that development of
musical creativity is based on the knowledge of pupils’ personality, on organisation of an
individualised and pupil-centred educational process, on building of a favourable physical
and psychological environment (Webster, 2003; Jorgensen, 2008; Odena, 2012;
Rimkutf-Jankuvienf & Girdzijauskienf, 2014; Hopkins, 2015). It is claimed that while
developing pupils’ musical creativity the teachers’ mission is to help the creator to plan
creative process as well as musical development of the composition (Webster, 2012), to
perceive and solve problems, to motivate pupils for further creative activity, to encourage
them to critically evaluate the results of their creation (Jorgensen, 2008; Burnard, 2011),
to notice those who are willing and can create, to look for ways that would assist in
developing independent creative activity of pupils, to inspire to create individually or
together with the others, at school and at home Rimkutf–Jankuvienf & Girdzijauskienf,
2014).
A limitation of the current study is that due to the unique context of a music teacher’s
professional activity, it was not possible to take into account the specifics of Lithuanian
music education, especially regarding the use of MCT. The conclusions that can be drawn
are limited by the absence of data in literature of music teacher’s competences for
fostering upper grade pupils’ musical creativity through MCT. In conclusion, the current
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study provides evidence that some components of music teacher’s competences are more
important than others when we strive for the effectiveness of music education in a
particular situation in order to achieve the specific goal – in this case – to foster pupils’
musical creativity through MCT.
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Bagdonienf, D. (2000). Pedagogu ir mokiniu organizacijos elgsenos panašumu ir
skirtumu tyrimas [Study of the Similarities and Differences between the Behavior of
Teachers and Pupils]. Kaunas: KTU.
Bresler, L., & Stake, R. E. (2006). Qualitative Research Methodology in Music
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Brinkman, D. J. (2010). Teaching Creatively and Teaching for Creativity. Arts
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Povzetek
V sodobni drubi znanje, ki ga poseduje posameznik, ni veè dovolj (Drucker, 2009).
Spremembe v socio–kulturnem ivljenju ustvarjajo vse veèjo potrebo po posedovanju
razliènih kompetenc. V zadnjih letih se pomen kompetenc aktualizira tudi v razliènih
dokumentih Evropske unije (Rychen & Salganik, 2003; Organizacija za gospodarsko
sodelovanje in razvoj (OECD), 2005; Gordon, Halasz & Krawczyk, 2009; Halasz &
Michel, 2011; Michel & Tiana, 2011; Evropska Komisija/EACEA/Eurydice, 2012;
Looney & Michel, 2014).
Koncept kompetenc je veèplasten, kompleksen, moèno povezan s specifiènim podroèjem
profesionalnega delovanja (Trotter & Ellison, 1997; ydivnaitf, 2000; Lauackas, 2005;
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Jucevièienf, 2007). Analitièen pregled raziskav s podroèja pedagoških kompetenc nam
kae, da je to podroèje izjemno široko in raznoliko. Pedagoške kompetence se povezujejo
z vlogami, ki jih izvaja pedagog (Tumfnienf & Janivnaitf, 2000), s pedagoškim poklicem
(Kavaliauskienf, 2001), s kompetencami za pouèevanje specifiènega predmeta (Ogienko
& Rolyak, 2009), s pedagoškimi sposobnostmi in osebnostnimi kvalitetami (Jovaiša,
2008).
Raziskava, ki je predstavljena v našem prispevku, se osredotoèa na kompetence uèiteljev glasbe,
ki mu pomagajo pri razvijanju glasbene ustvarjalnosti uèencev. Pri tem izpostavljamo specifièno
podroèje glasbenega izobraevanja – razvijanje glasbene ustvarjalnosti s pomoèjo raèunalniške
tehnologije na podroèju glasbe (MCT – Music Computer Technologies). Predhodne raziskave
kaejo, da uspešnost razvijanja glasbene ustvarjalnosti temelji na uèiteljevi osebnosti in na
njegovih kompetencah (Rimkutf-Jankuvienf & Girdzijauskienf, 2014), na uèiteljevem
poznavanju osebnostnih lastnosti uèencev, na organizaciji individualiziranega in na uèenca
osredotoèenega izobraevalnega procesa, na oblikovanju ugodnega fiziènega in psihološkega
okolja (Webster, 2003; Jorgensen, 2008; Odena, 2012; Hopkins, 2015). Poudarjeno je, da je pri
razvijanju glasbene ustvarjalnosti uèencev kljuèno, da se uèencu pomaga naèrtovati ustvarjalni
proces in da se uèenca usmerja pri oblikovanju glasbene kompozicije, (Webster, 2012), prav
tako je treba uèencem pomagati pri morebitnih problemih, ki se pojavijo, jih motivirati za
nadaljnje ustvarjalne dejavnosti in jih spodbujati v kritièni evalvaciji rezultatov lastnih stvaritev
(Jorgensen, 2008; Burnard, 2011). Z uèenci je potrebno sodelovati in z njimi razpravljati o
naèinih uresnièitve in izvedbe njihovih ustvarjalnih idej in kazati interes ob njihovem
ustvarjalnem napredku (Hopkins, 2015).
V prispevku so predstavljeni izsledki kvalitativne raziskave, ki je bila izvedena na
litvanskih uèiteljih glasbe, ki pouèujejo na predmetni stopnji osnovne šole in na gimnaziji.
Namen raziskave je bil ugotoviti, katere kompetence so kljuène za uèitelja v procesu
spodbujanja glasbeni ustvarjalnosti uèencev s pomoèjo MCT. Podatki so bili pridobljeni s
pomoèjo poglobljenega pol strukturiranega intervjuja z desetimi uèitelji glasbe. Rezultati
kaejo, da sta dve izmed kljuènih kompetenc za spodbujanje glasbeni ustvarjalnosti
uèencev predmet glasbe kot tak in didaktiène kompetence uèiteljev glasbe. Ustvarjalni
uèitelj glasbe naj bi bil sposoben organizirati uèni proces na ta naèin, da vsak uèenec lahko
pridobi potrebna znanja in vešèine za glasbeno ustvarjalnost, naj bi bil sposoben tudi sam
ustvarjati originalne glasbene kompozicije in naj bi tudi sam doivljal obèutke radosti ob
raziskovanju in ustvarjanju.
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