Sabina Vidulin
Muzièka akademija u Puli, Sveuèilište Jurja Dobrile u Puli
STRATEGIES FOR LISTENING TO MUSIC AND MUSIC APPRECIATION IN
COMPULSORY SCHOOL
Pregledni znanstveni èlanek/ Review Article
Abstract
The goal of this paper is to highlight the importance of listening to music in compulsory school.
Even this field is present in the Croatian curricula over sixty years, it is evident that it has a cognitive
implication because is oriented towards the recognition of musical elements. After the new reform
in 2019, listening to music shifts from the position of dominant activity to the one which is very
close to other activities, as singing, playing, and creativity. The intention of the author is to describe
new concepts and approaches of multimodal listening, music understanding and appreciation in
musical and wider context. The attention will be paid on: Listen to music with music making activity
(LMM model), cognitive-emotional (CE) approach and Stage – English language – Music (SEM)
concept.
Keywords: approaches for listening to music, compulsory school, interdisciplinarity, music
teaching, music understanding.
Izvleèek
Strategije poslušanja glasbe in razumevanja glasbe v obvezni šoli
Cilj prispevka je poudariti pomen poslušanja glasbe v obvezni šoli. Èeprav je to podroèje v hrvaških
uènih naèrtih zastopano e šestdeset let, ima razvidne kognitivne implikacije, ker je usmerjeno v
prepoznavanje glasbenih elementov. Poslušanje glasbe po novi reformi l. 2019 ni veè glavna
dejavnost, temveè se priblia poloaju drugih dejavnosti, kot so petje, igranje in ustvarjanje.
Avtorica predstavlja nove koncepte in pristope k multimodalnem poslušanju in prepoznavanju in
vrednotenju glasbe v širšem kontekstu. Pozornost namenja poslušanju glasbe in ustvarjanju glasbe
(LMM model), kognitivno-èustvenemu pristopu (CE) in konceptu oder – angleški jezik – glasba
(SEM).
Kljuène besede: pristopi k poslušanju glasbe, obvezna šola, interdisciplinarnost, pouèevanje
glasbe, razumevanje glasbe
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Sabina Vidulin, STRATEGIES FOR LISTENING TO MUSIC AND MUSIC APPRECIATION...
Music teaching in Croatian compulsory schools in the light of the new reform
Since the independence of the Republic of Croatia numerous attempts, proposals,
guidelines, experimental programs and curricula have contributed to the reflection on how
to conceptualize a quality, innovative and creative school tailored to students. The extent
to which they have contributed and been successful is evident today, when the quality and
results of the education system is reexamined, and on that basis the new steps are directed.
Recent reforms that have strived to change the school system, such as the Hrvatski
nacionalni obrazovni standard [Croatian National Education Standard] which was
introduced in the 2006 and the related documents as the Nastavni plan i program
[Teaching Plan and program] (2006) and the Nacionalni okvirni kurikulum za predškolski
odgoj i obrazovanje te opæe obvezno i srednjoškolsko obrazovanje [National Curriculum
Framework for Preschool Education, Compulsory and Secondary Education] (2011),
have made possible the comprehension of advantages and disadvantages of the primary
and secondary compulsory and high schools. The contents of the subjects were
questioned, as well as the role, purpose and concept.
Music teaching in compulsory school was reviewed in 2006, for the first time in regard to
its conception, not only the contents, which is the biggest novelty since the end of World
War II. After centuries of emphasis on singing, and afterwards music literacy, listening
and music understanding were set as the only mandatory activities within the so-called
open model. The open model is actually semi-open because it prescribes the compulsory
activity, proposes singing, playing, creativity, and literacy as the second activity, with
emphasis on only one enumerated activity. The purpose is that students actively
participate in the target activity, in a way that they acquire the musical competencies by a
particular activity.
“Although there are guidelines and suggestions to improve teaching practices, and a new
concept of music teaching, an open model, a curriculum that is going to meet the needs of
new generations, it is still necessary to find the ideal way of making the phenomenon of
music and art music attractive to young people” (Vidulin, 2016, 354). The fact is that there
is still possibility for progress and that teachers need to be more involved in finding
methods, strategies and approaches that will make music teaching more interesting and
attractive, and thus useful.
In the light of the new curricular reform called School for Life, changes in the educational
vertical are visible. School for Life searches for quality in education according to the
needs of the individual and society. Changes are visible in all subjects, although only
tested in certain classes that were part of the experimental reform. Thus also in the Subject
Curriculum of Music for Primary Compulsory and Secondary Education, which after a
one-year experimental program was approved and implemented into schools at the
beginning of this school year (2019/2020).
Kurikulum nastavnog predmeta Glazbena kultura za osnovne škole i Glazbena umjetnost
za gimnazije,1 2019, 6) [Curriculum for Music Culture in Primary Schools and Music Art
for High Schools; abbreviated as Subject curriculum] started to be valid from the school
year 2019/2020. The classes that were included in the experimental year (1st and 5th grade
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GLASBENOPEDAGOŠKI ZBORNIK, 31. zvezek
1 Narodne novine 7/2019 (Official Gazette no. 7/2019).
of compulsory school, and 7th only for certain subjects) continue to work according to the
experimental program, while only the new 1st and 5th grades are included into the school
reform program. It is highlighted that teaching should be open, tailored to students’
interests and abilities, integrative and interdisciplinary, and teachers are given the
possibility to freely create the teaching process and apply different teaching methods. This
is not a novelty of the current reform, as we find the same focus in the Croatian National
Education Standard, according to which the Nastavni plan i program [Teaching plan and
program] (2006) was created.
Although reforms are a very important segment of progress and a way to achieve a modern
school, it is important to note that written documents are not the one that will encourage a
teacher to become creative and innovative. Besides numerous consultations, seminars,
round tables, workshops and practical models, with the goal that the new curriculum
become operative, it is necessary for teachers to understand the importance of creating a
contemporary school. It implies encouraging the students’ independence and creativity,
enabling them to acquire knowledge, develop skills and critical thinking, affecting their
overall intellectual, but also emotional and social development.
The role of listening to and understanding music in the new curriculum
Listening to and understanding music is present in all cycles of compulsory school, that is,
in the first cycle that covers the first and second grades, the second that covers the third,
fourth and fifth grades, and in the third cycle (sixth, seventh, and eighth grades). In the
three proposed domains, listening and learning about music are within domain A. “The
starting point of Domain A is to learn about music using audio and video, and direct
students’ encounter with music. By active listening to music, students will become
acquainted with music of different types, styles and genres, acquire knowledge of musical
components and different levels of music organization, and experience, learn, understand
and evaluate music.” (Subject Curriculum, 2019, 6).
Auditory experience is the primary experience of a child, so most of the music lessons are
based on an auditory experience: the song is first listened to in order to be interpreted; to
play a song, students have to listen to it first; to encourage their creativity, listening to
different models has to be performed first, etc.
Music is heard repeatedly, actively and analytically, theoretically and musicologically.
Getting to know music by visiting theaters is also encouraged. According to the Subject
Curriculum (2019), listening to music introduces the components of music, the principles
of the organization of a musical work (musical forms, types of music), the characteristics
of musical works, and different traditional cultures and subcultures. “Listening to and
learning about music provides many opportunities for aesthetic students’ upbringing. In
doing so, the music work becomes one of the goals of teaching music and introduced to its
value. Musicological contents are introduced by listening to a piece of music. (…)
Considering the age of the students, attention must be given to the duration and character
of the art works. (…) Students should be introduced to musical works of different periods,
styles, types and genres, in order to establish value standards for the aesthetic and critical
experience of music and to develop musical taste. It is of particular importance to have an
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Sabina Vidulin, STRATEGIES FOR LISTENING TO MUSIC AND MUSIC APPRECIATION...
immediate encounter with music in an authentic environment and to make it available to
students as much as possible.” (Subject Curriculum, 2019, 73)
When evaluating students, it is significant to evaluate what is possible to assess, and what
is not related to the student’s performing skills. The perception and differentiation of
musical and expressive components such as tempo, pulse, meter and rhythm, pitch and
melody, dynamics, timbre, organization, mood and character, composition and composer
names, different types of music and music-stylistic periods, directions and genres are
evaluated. The novelty is also a personal review of the musical experience in written or
oral form. “In music teaching, the teacher also takes into account the hidden effects of
music teaching, i.e. the relationship to the subject, or music. Therefore, in teaching music,
the teacher evaluates and takes into account student visits to theater and concerts,
participation in music projects, monitoring of television, radio and internet music
programs, etc.” (Subject Curriculum, 2019, 79).
The perception and differentiation of musical-expressive components and auditory
identification are gradually upgraded through the educational cycles. The teacher can
independently choose music works to listen to appropriate to the age of the student. It is
advisable for the student to attend at least one music-cultural event with the teacher, which
is a novelty over previous curricula.
As an example, we will list the contents and outcomes for the fifth grade of compulsory
school, which is the end of the second educational cycle. In the fifth grade, three to ten art
works of different kinds of music (short fragments or complete) should be introduced:
artistic, traditional, popular, jazz, film music. For shorter art works, full listening is
required, and repeated listening is recommended, as it will encourage students to
remember the art work and the composer. In terms of content, fifth grade students should
distinguish between timbres, types, performing role of singing voices, as well as
distinguish between deep, medium high and high male and female singing voices in solo
and group performances. According to the Subject Curriculum (2019, 30) “... students are
expected to distinguish between types of singing voices (female, male, children’s), show
knowledge regarding musical terminology (soprano, mezzo-soprano, alt, tenor, baritone,
bass) and types of choirs.”
Furthermore, students need to distinguish between the sound and appearance of string and
plucked instruments, observe their performance role, distinguish between bands and
orchestras. Fragments of the song or shorter complete music works are listened to. On the
basis of listening to music, they should distinguish between vocal, instrumental and
vocal-instrumental music and different vocal, instrumental and vocal-instrumental works,
as well as basic musical forms (two-part form, strophic form, three-part form, music
period).
Comparing the new curriculum with the most recent curriculum from 2006, it can be
concluded that, mainly, the objective, approach and concept of music listening, and most
of its contents have remained the same. The standard way of listening to and
understanding music is oriented on repeatedly listening to smaller parts or a whole. It is
encouraged by the analytical tasks that lead to synthesis. By observing, analyzing and
critically evaluating musical components, students get to know and understand musical
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works. Educational achievement for fifth grade students (Teaching plan and program,
2006, 73) relates to: “recognizing music works (according to students’ personal abilities);
knowing the name of the composer and composition; identifying instruments; capriccio,
elegy, prelude, instrumental ensembles names, tempo, dynamics, and the like - at the level
of recognition on specific musical examples.” There are two topics that are addressed:
Forming musical work and String instruments.
We can conclude that the contents of the new curriculum are identical as the previous one:
recognizing the names of works and composers, distinguishing string instruments and
musical forms, while the concepts of capriccio, elegy, prelude are omitted in the new
curriculum; singing voices are not systematized in the new curriculum and it introduces
plucked instruments. It can be noted that the new curriculum does not have a list of
suggested music works for a particular class, while the previous curriculum gives a list
that teachers may or may not have used to teach.
However, this standard didactical approach neglects the broader musical context because,
in order for a music piece to truly be adopted, the student needs to perceive its identity, and
it is impossible without knowing the identity of the individual composer, time, social
circumstances, environment, and the external characteristics of the work which influence
its final form.
The choice to select music works should not be left to the expected list of works, as it
directly affects the emotional, behavioral and aesthetic upbringing of the student,
therefore, special attention should be paid to this. Apart from the quality criteria, the
length of the work, the ability to show its own ideality and to relate the work to different
circumstances, attention should also be paid to the age of the student, his / her current
knowledge and ability to accept artistic music. Carefully selected works of art for students
should represent a special experience and can influence their cognitive and emotional
development.
Concepts and approaches of multimodal listening and music understanding in
Croatia
Contemporary education implies a new environment and an interdisciplinary approach to
learning, the multimodal one. Kress (2010) points out that the term multimodality
encompasses multichannel communication and interpretation. It encompasses, according
to Kneeviæ Floriæ and Ninkoviæ (2011), a combination of words and symbols, images,
sounds, etc. Multimodal learning uses multisensory and (inter)active approaches to
learning (Massaro, 2012; Fadel and Lemke, 2012), all maintained in a supportive school
environment.
“The multimodal school environment supports a number of cultural contacts and new
technologies, providing each student with resources to help them find their unique
learning path and guide them to numerous opportunities.” (Gazibara, 2016, 326) The
author (ibid.) points out that research has confirmed positive relationships between active
learning and a multimodal environment, emphasizing the greater importance of speaking
over written texts (Ginns, 2005) and greater student motivation (Parbuntari, Ikhsan,
2014).
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Today’s multimodal teaching experience is one of the contemporary models of working in
school, regardless of the subjects or fields. It is not new to music teaching in the European
and American regions, although the number of professional and scientific descriptions,
practical models and researches are rare. There are, we assume, a greater number of
individual attempts and examples of good practice, but it is not sufficiently documented
and there is a lack of research in this direction.
In music teaching, multimodal learning is possible because the primary medium of music
is music itself, which is available through technology, audio and video devices or live
performances. Besides music and speech, pictures, movies and radio programs, computer
programs, quizzes and other multimedia tools that affect the psychological, cognitive,
social and emotional aspects of learning are used in teaching. Higher levels of learning are
achieved by engaging and activating different senses and stimuli: auditory, tactile and
kinesthetic.
All music fields, from singing, playing, music making to listening to music, can be
multimodal. Listening to music is an example of this. „Listening to art music can be
accompanied by a stage play, artistic expression or language elements. Stage plays may be
associated with wider musical and non-musical connotations of the work, especially with
the works of programmatic nature, in other words, with works that have a content which
may be affected and positioned through drama. (…) The linguistic context can be seen
through the recitation of verses appropriate to a particular piece of music, reading poetry
or content with an emphasis on interpretation. Vocal and vocal-instrumental works can be
studied, of course to the extent that this is possible for compulsory school pupils, in the
language in which the work was written, in its original form (Vidulin, 2016, 356).
Proclaiming music teaching in the last twenty years as interdisciplinary and multimodal,
Vidulin (2007, 2013, 2016, 2017, 2019), through school musicals, composition activities,
recordings with original songs made by compulsory school students created at composing
extracurricular classes, then by establishing the SEM concept (Stage – English language –
Music), the LMM2 model (listen to music with music making activity), as well as the CE3
approach (cognitive-emotional) music-pedagogical oriented, introduced novelty into
regular and extracurricular lessons based on scientific research and practical experience
made with students in compulsory schools. Concepts, models and approaches were
created primarily to promote art music, better understanding and acceptation by students.
However, this does not mean that the approaches are intended solely for the purpose of
introducing art music; they can serve to introduce any musical genres. While the LMM
model is intradisciplinary because it looks at music through / with music, the SEM and CE
approaches are interdisciplinary oriented.
Listen to music with music making activity (LMM model)
The LMM model is based on listening to music and linked to music making. „Pupils
perceive and understand musical works over those musical elements which are filtered by
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GLASBENOPEDAGOŠKI ZBORNIK, 31. zvezek
2 Original: Slušanje glazbe i stvaralaštvo (SGS)
3 Original: Spoznajno-emocionalni pristup (SEP)
their cognitive system, in accordance to their previous experience and what they already
know about the musical works.” (Vidulin, 2017, 148)
The first step towards music making is listening to music and analyzing a piece of music.
In this way, students recognize and understand the musical components and get to know
the way in which the work is composed. In relation to the given frame for music making
(composing) that they find through listening to music, the students become able to create
some minor work. „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.” (Vidulin,
2017, 149). The second step is that by discovering and comparing the relation between
tones, rhythm, forms, they create different rhythmical-melodic structures which can be
sung and played, even modified and upgraded. The last step is composing minor music
forms with all the elements a musical work is made of.
The specificity of the approach is that first music is introduced and then created, but the
conditions are musical in nature: listening to music and music making. Elementary music
literacy is one of the prerequisites for this activity, while it is also desirable that students
know how to play an instrument so that they can play and change the music lines.
Cognitive-emotional (CE) approach: musical-pedagogical context
Another alternative approach to listening to music also depends on the possibilities of
experiencing a music work and is a challenge for teachers, as their professional and
didactical preparation is a pre-condition for students to understand and accept a piece of
music. The initial idea was given by Vidulin and Radica (2017), after which Vidulin
elaborated the musical-pedagogical context of the above approach. The emotional
fragment of the approach was elaborated with psychologists Plavšiæ and auhar.
In considering a cognitive-emotional approach to listening to music, Vidulin and Radica
(ibid.) pay attention to student-centeredness; to the perception and understanding of a
music work through those components that have been filtered by the students’ cognitive
system, in accordance with what they already had as their previous experience and what
they know about the work. The original experience in regard to the music work also plays
a special role during the teaching process.
By learning about and distinguishing between the structural musical constituents of the
music work, the approach seeks to make students accept artistic music as their own.
Experiencing and understanding are important elements in this process since they lead to
accepting music. The first step is to choose valuable and quality music works that will
appeal to the children, which they will feel and on the basis of which they will express their
impressions.
In addition to standard analytical tasks, particular attention should be paid to the
introduction to listening with a multimodal character, which is an integral part of the
musical-pedagogical context of the cognitive-emotional approach. The approach includes
the theoretical analysis and musical elaboration of works and composers in the context of
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time and circumstances, then the performance of short inserts through singing and
playing, the use of multimedia and other non-musical elements. Particular attention is paid
to the general values and life situations by which students could conclude on the positive
characteristics of the human race, the strength an individual can find in himself / herself
and learn how to help others.
In the research of the cognitive-emotional approach to music listening in school in regard
to its musical-pedagogical context conducted by Vidulin and Plavšiæ from September
2018 to December 2018, as many as 15 music teachers and 557 fifth-grade students were
included. The research was conducted in 16 compulsory schools in Croatia. The results of
the study so far, comparing the standard and cognitive-emotional approach to listening to
music in music teaching, have shown several advantages of the cognitive-emotional
approach. Students’ perceptions of music teaching and the works presented are more
positive (Vidulin and Plavšiæ, forthcoming a). In regard to quantitative results, students
who were exposed to a cognitive-emotional approach generate a greater number of
answers to open-ended questions related to the cognitive and emotional experience of
music (Vidulin, Plavšiæ, auhar, forthcoming). Qualitative results show that these
students provided multiple answers related to the thoughts, feelings, and didactical
articulation of the lesson (Vidulin, Plavšiæ forthcoming b). The benefits of a
cognitive-emotional approach to the didactical articulation of a music lesson can be
attributed to the multi-contextual approach, musical and non-musical activities, increased
interaction and active participation of students in music classes (Vidulin, Plavšiæ and
auhar, forthcoming).
The results obtained by comparing two types of lesson plans, with two different didactical
approaches, show that the standard approach includes the analysis of cognitive elements,
while the cognitive-emotional approach is accompanied by the musical elaboration of
works and composers in the context of time and environment, as well as enriched through
musical and non-musical elements (Vidulin, 2019). It can be noticed that the tasks are
common in both approaches (tempo, dynamics, instruments), but while the musicological
context in the lesson plans for the control group is mostly absent, all the lesson plans for
the experimental group can be observed within the musical aspect (theoretical and
musicological), the socio-humanistic aspect (pedagogical, psychological, social and
ethical) and the aesthetic aspect.
Stage – English language – Music (SEM concept)
With the intention of expanding musical knowledge and skills and make an
interdisciplinary connection with the drama arts and English and Italian languages, in
2010 the SEM concept was created by professors of English language, drama and music,
within the Association for the encouragement of excellence in education „SEM“ (Udruga
za poticanje izvrsnosti u odgoju i obrazovanju „SEM“), from Pula.
“The SEM concept of music education proposes learning about and understanding artistic
music by listening to, analyzing musical works, singing and playing, in order to develop
their general and musical culture. The specificity that characterizes the SEM concept is the
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creative fervor of producing an overall story, which connects musical contents with
elements of drama and language.” (Vidulin, 2015, 191).
Students are trained to understand music art with a multimodal approach. “The purpose of
getting to know music, analyzing and (self)working is to influence the culture of listening
to, learning about, understanding and accepting art music, therefore, it is oriented towards
acquiring knowledge about musical-stylistic periods in music art, and about the
characteristics of a particular work and its artistic values at the time it originated. By
listening to music and analyzing musical works, children get to know musical instruments,
singing voices, solo, chamber and group ways of performing music, musical forms,
instrumental, vocal and vocal-instrumental types, musical-stylistic periods, composers
and performers.” (ibid.).
Given that the annual SEM workshops were realized as part of extracurricular and
out-of-school activities, a practical idea that has been repeatedly realized was the project
Traveling through Europe. Students met 11 European countries and get acquainted with
music, composers, celebrities, sights and attractions of individual European countries.
Conclusion
Interdisciplinarity in music teaching, although a perennial European and even more
American trend, was not reflected in the teaching of music in Croatia until a few years ago.
Music was approached almost exclusively with musical stimuli, with a distinct auditory
and analytical approach. Although there were examples of different practices, the standard
method of listening to and music understanding was a mandatory didactical route. In this
way, students from most Croatian academies and faculties were educated and teachers
were trained during professional seminars.
Today, with occasional workshops and lectures on the possibility of an interdisciplinary
and multimodal approach to listening to and music understanding, the new Subject
Curriculum indicates that it is desirable that the domains A, B and C be intertwined with
the aim of a complete experience and development of students’ musical abilities. Domain
C, Music in context, is actually derived from domain A (listening to and music
understanding) and domain B (singing/playing music). “The starting point of this domain
(domains C, author’s comment) are domains A and B, on the basis of which the student
discovers the values of rich regional, national and global musical and cultural heritage,
notices the development, roles and influences of music art on society, and links music art
with other arts.” (Subject Curriculum, 2019, 7)
Listening to music, especially music taught in school, is not a favorite activity. The fact is
that students listen to their music, in their own way, when they want it, where and how
much they want it. Getting them to listen in class, at a specific time, and to follow and
actively participate in finding out what the music says, what it is, etc., can only be done by
changing the approach to listening to music. Some approaches have been told through this
paper and some are waiting to be found. There is a big role for each teacher: to make music
teaching close to the student so that music persists and remains an important part of his or
her identity.
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Povzetek
Prispevek obravnava cilj in namen poslušanja glasbe ter predstavlja nove modele
poslušanja in spoznavanja glasbene literature v osnovni šoli. Glede na to, da poslušanje
umetniške glasbe ni v središèu pozornosti osnovnošolcev, se zastavlja zelo pomembno
vprašanje v zvezi z metodiènimi postopki pri posredovanju glasbe, ki je del koncertnega
repertoarja in ki ga uèitelj eli predstaviti uèencem. Poleg spoznavnega elementa, ki se pri
glasbenem pouku najpogosteje obravnava kot primarni, in vkljuèuje tempo, dinamiko,
znaèaj skladbe, zasedbo, obliko, glasbeno in slogovno obdobje, moramo k uèencem
pristopiti tudi z druge strani. Spodbujanje celostnega razvoja uèencev pravzaprav
vkljuèuje njihovo sreèevanje z glasbo skozi emocionalni in socialni kontekst, zato je treba
tudi to vkljuèevati v glasbeni pouk. Eno od monosti za to predstavlja ravno poslušanje
glasbe. V novem kurikulu (Kurikulum nastavnog predmeta Glazbena kultura za osnovne
škole i Glazbena umjetnost za gimnazije, 2019) poslušanje glasbe ni veè glavna dejavnost.
Povezana je z drugimi dejavnostmi: petjem, igranjem na inštrumente, ustvarjanjem.
Poslušanje poleg glasbenega usmerjanja vpliva tudi na spoznavanje glasbe v kontekstu.
Nekateri pristopi in modeli za spodbujanje poslušanja glasbe, ki so bili predstavljeni na
Hrvaškem in v tujini, so se izkazali za uspešne. V prispevku jih na kratko sistematièno
predstavljamo. Veèinoma imajo izkljuèno glasbeno-strokovno orientacijo in se
interdisciplinarno dopolnjujejo z drugimi glasbenimi dejavnostmi, en pa je
interdisciplinaren in povezuje glasbo z jezikom in dramsko umetnostjo. Model LMM
(Listening to music with music making activity) povezuje poslušanje glasbe z glasbenim
ustvarjanjem. Izhaja iz poslušanja glasbenega dela, pri katerem uèenec prepozna,
identificira in razume njegove sestavne elemente ter jih nato uporabi pri ustvarjanju
krajšega glasbenega dela. CE pristop (Cognitive-emotional approach) ima teišèe v tem,
da uèenci doivijo in razumejo glasbeno delo v širšem kontekstu, da bi ga na koncu
sprejeli. Uporabljajo se multimodalne strategije, pri èemer ni namen le spoznavanje
glasbenega dela, temveè celotnega konteksta njegovega ustvarjanja, kar prispeva k
hitrejšemu in lajemu povezovanju uèencev z glasbo. SEM koncept (Stage – English
language – Music) takoj razvidno pokae interdisciplinarni znaèaj, saj povezuje glasbo z
jezikom in dramsko umetnostjo. V glasbenem delu se obravnava doloèen skladatelj in
njegovo delo ob tem, da se glasba spoznava v širšem kontekstu nacionalnih in
kulturno-umetniških znaèilnosti drave, iz katere prihaja. Glasbene dejavnosti se
povezujejo z dramsko improvizacijo, igro, gibom in konverzacijo v anglešèini. Menimo,
da poslušanje glasbe v multimodalnem okolju in veèslojnem izrazu vpliva na dejavnost
uèencev, zainteresiranost za glasbene vsebine in k veèjemu sprejemanju (umetniške)
glasbe.
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GLASBENOPEDAGOŠKI ZBORNIK, 31. zvezek