Tihana Škojo1, Renata Jukiæ2
1Akademija za umjetnost i kulturu u Osijeku, Sveuèilište Josipa Jurja Strossmayera u
Osijeku
2Filozofski fakultet u Osijeku, Sveuèilište Josipa Jurja Strossmayera u Osijeku
THE ASSESSMENT OF PEDAGOGICAL COMPETENCES OF SOLFEGGIO
TEACHERS
Kratki znanstveni prispevek / Short Scientific Article
Abstract
For the purpose of researching pedagogical competences, a semi-structured interview with
solfeggio teachers, all of whom are employed in music schools in Croatia, was conducted. The
research has shown that solfeggio teachers value their competences primarily through the
professional dimension. They are predominantly focused on achieving the educational tasks of
solfeggio classes, practicing intonation and rhythmic skills, and learning the music metalanguage.
Although they are aware of the importance of pedagogical competences, they emphasize their
secondary position in relation to professional competences.
The results of this research lead to the conclusion that a greater awareness of the importance of
pedagogical aims in teaching solfeggio and of the pedagogical dimension of competences with
teachers in music education is needed.
Keywords: solfeggio teachers, pedagogical competences, music schools, Croatia
Izvleèek
Ocenjevanje pedagoških kompetenc uèiteljev solfeggia
Pedagoške kompetence uèiteljev solfeggia, zaposlenih v glasbenih šolah na Hrvaškem, so bile
preuèevane z uporabo polstrukturiranega intervjuja. Raziskava je pokazala, da uèitelji solfeggia
kompetence vrednotijo predvsem skozi strokovno dimenzijo. Veèinoma so osredinjeni na
doseganje vzgojno-izobraevalnih ciljev pri pouku solfeggia, urjenja intonacije, ritmiènih vešèin in
uèenja glasbenega metajezika. Èeprav se uèitelji solfeggia zavedajo pomena pedagoških
kompetenc, poudarjajo njihov drugoten poloaj glede na strokovne kompetence.
Rezultati raziskave vodijo do zakljuèka, da je potrebno veèje zavedanje pomena pedagoških ciljev
pri pouku solfeggia in da so pedagoške dimenzije kompetenc uèiteljev glasbene vzgoje potrebne.
Kljuène besede: uèitelji solfeggia, pedagoške kompetence, glasbene šole, Hrvaška
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Introduction
Music education in Croatia formally extends through the elementary and secondary music
schools and the Academy of music (art). Music education differs from all the other art
braches specifically because of the separate education system, established with the aim to
educate professional musicians of various profiles (Nastavni plan i program za osnovnu
glazbenu školu, 2006). Throughout the education, from the first and until the final year,
solfeggio is distinguished as a subject for acquiring musical competences which may
continuously be improved and perfected. Solfeggio is a fundamental theoretical musical
subject within which intonation and rhythmic knowledge and skills are rooted and
developed, enabling the understanding of the tone space in its time (rhythmic) and
sound-space dimension (melody, harmony) (Rojko, 2012). Students acquire knowledge
and develop skills they can then employ in the active use of music scripts for singing,
writing and understanding music (Rojko, 2005; Ban & Svalina, 2013). The content of
solfeggio as well as the teaching methods used in solfeggio classes are highly specialized
and cannot be compared to any other musical-theoretical subject. The knowledge and
skills acquired are of the individual nature and are not manual and tangible, as are those
used in playing an instrument; rather they refer to specialized mental combinatorial skills
expressed during prima vista singing and writing music dictates (Radica, 2015).
Due to the importance and complexity of this subject, in order to achieve quality and
productive teaching, the competences of the teacher are of the crucial importance, as he is
the expert with the range of abilities needed to successfully fulfill complex requirements
and tasks of solfeggio classes. The term competences has been accepted and used in
education practice for the past fifteen years, and numerous authors interpret it in various
ways (Madsen & Cassidy, 2005; Hrvatiæ & Piršl, 2007; Ljubetiæ & Kostoviæ Vranješ,
2008; Lonèariæ & Pejiæ Papak, 2009; Vizek Vidoviæ, 2009). This concept, from the
pedagogical perspective, most often highlights the teacher’s competences (Aniæ, 2003;
Jurèiæ, 2012), which refer to a combination of teacher’s knowledge, skills, abilities,
attitudes, personal characteristics and experiences (Pastuoviæ, 1999; Hrvatiæ &
Bartuloviæ, 2007; Matijeviæ, 2011). Teacher competences can be seen through the
professional, pedagogical, organizational and communicative-reflective areas (Brust
Nemet & Velki, 2016). The contemporary approach to competences emphasizes the need
for multidisciplinary observation for the purpose of constructing a “holistic model of
professional competences”. In this regard, Cheetham & Chivers (1996) demonstrated a
model with four core components of professional competences: functional competence,
personal or behavioral competence, knowledge/cognitive and values/ethical competence.
“Knowledge/cognitive competence” has been defined by the authors as: ... the possession
of appropriate work-related knowledge and the ability to put this into effective use.
“Functional competence” is defined as: …the ability to perform a range of work-based
tasks effectively to produce specific outcomes. “Personal or behavioral competence” is:
…the ability to adopt appropriate, observable behaviors in work-related situations.
“Values/ethical competence” is defined as: …the possession of appropriate personal and
professional values and the ability to make sound judgments based upon these in
work-related situations. Each of the given competences is structured of elements which in
more detail define aspects of performance (Figure 1).
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Figure 1: Dimensions of teacher meta-competencies, elements of the holistic model of
professional competence (adapted from: Cheetham & Chivers, 1996, p. 24)
Although European pedagogical experiences recurrently emphasize the need for a
multidisciplinary approach to teacher competences, the situation in Croatia has been quite
different until recently. The competences have been studied solely from the aspect of
knowledge of a particular subject (Sekuliæ-Majurec, 2007), ignoring the pedagogical-
psychological dimension. By analyzing the curricula of music teaching studies in Croatia,
it is clear that, even though significant progress has been made in recent years, the
multidisciplinary acquisition of competences has not been fully accomplished yet.
Professional (vocation) content encompasses a significantly larger amount of lessons than
the pedagogical courses. Students, future solfeggio teachers, have a relatively limited
number of courses covering general and specific knowledge, abilities and skills in
pedagogy, general and music psychology, didactics and methodology, giving them
pedagogical-psychological and didactic-methodical content which contribute to the
acquisition of a wide-range competence model. Apart from a limited pedagogical content,
it is also common for teachers of general pedagogy to teach some pedagogy subjects at the
academies, when in reality they are not familiar with the specifics of music education. For
all these reasons, the teachers who have just completed their studies start their teaching
practice under great influence of the teaching they themselves experienced as students in
the music schools (Novak, 2016). The author emphasizes that teachers have highly
developed professional competences related to the professional knowledge gained during
the studies, but at the same time they are not equipped with competences enabling them to
successfully employ and apply acquired professional knowledge, solve practical problems
and plan, organize and evaluate teaching objectives.
Kostoviæ-Vranješ & Ljubetiæ (2008) conclude that pedagogically competent teachers are
expected to reflect their professional knowledge, skills and abilities and personality traits,
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such as emotional sensitivity, creativity, co-operation, ethics, etc., as a positive model to
their students. Numerous authors emphasize the extraordinary role of personality by
specifying numerous desirable traits of a successful teacher (Antiæ, 2000; Açkgöz, 2005).
Brophy (1993) writes that a successful music instructor shows a high level of musicality,
plans his teaching in order to achieve clearly stated music goals, successfully recognizes
student’s problems and needs, successfully communicates and motivates learners, uses
appropriate and effective educational materials, develops a stimulating working
environment, considers and plans an effective personal growth and development program,
recognizes his weaknesses and seeks to successfully overcome them and serves as a model
for his students (Brophy, 1993). Jurèiæ (2014) observes contemporary teachers through a
dynamic combination of dynamic competences and pedagogical competencies that relate
to personal, communication, analytical (reflexive), social, emotional, developmental
dimensions and skills in problem solving. Jurèiæ (2014) as well as Terhart (2001) and
Palekèiæ (2007) emphasizes that the teacher’s competence in pedagogical communication
is directly related to the success of the teaching process. Developed communication
competences are positively reflected in the establishment of partnerships with students;
they support student’s learning and have a significant impact on the creation of a
democratic and enjoyable classroom atmosphere. Communication competencies are
closely linked to social skills and emotional competences through which teachers
overcome specific situations they encounter during the educational process. Such
competences enable successful leadership of humanist-oriented teaching, fostered by
tolerance, encouragement, and directed towards the development of individual abilities.
Reflexive competence refers to the analysis of progress of the individual lesson. Rojko
(2009) highlights the need for permanent intelligent observation, research and reflection
of music education for the purpose of progress, while Ljubetiæ & Kostoviæ Vranješ (2008)
conclude that only a teacher who permanently invests in the improvement of his/her
professional performance can meet the vision and challenges of the teaching profession.
The core guideline of all teachers is precisely the developmental competence, the desire to
improve knowledge and develop and perfect skills as well as the pursuit of lifelong
learning ideas in reaching the best possible educational and learning outcomes.
Research
Aim and research methodology
This paper describes the research carried out to determine the pedagogical competences of
solfeggio teachers. In accordance with the formulated goal, the following tasks were
identified:
– Analyze opinions on the desirable competence profile of solfeggio teachers.
– Analyze the problems teachers encounter in teaching solfeggio.
– Examine attitudes about the particular dimensions of pedagogical competences;
personal, communicative, analytical, social, emotional and developmental.
– Identify competences which are not sufficiently developed during the studies and
fit them into the guidelines for a more successful curriculum on art studies.
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In the research analyzing the pedagogical dimensions of teaching competences, thirteen
participants were included, ten teachers and three solfeggio teachers. All teachers are
highly qualified university graduates who completed art academies in Croatia. The range
of years of employment is from 1 to 25 years.
A semi-structured, individually conducted interview was used to collect the necessary
data. Main and follow-up questions were prepared and the answers were recorded for
further processing. The research was conducted during February and March 2019.
Participation in the research was voluntary and confidential with the intention of using the
answers solely for scientific purposes.
Results and Discussion
In qualitative data analysis, the coding procedure was used to obtain interpretable
categories, which were then interpreted in accordance with the research tasks. In the data
analysis, data reduction was used by “cut and paste” method – cutting and pasting similar
statements together (Krueger, 1994). Some comments were quoted entirely because of the
contextual significance of the whole statement.
It should be noted that all the interviewers commented openly on all the chosen topics and
thus provided insight into the real state of solfeggio teaching.
Interview with teachers began by expressing opinions on the desirable competences of
solfeggio teachers. Qualitative data processing has shown that teachers consider
professional competence indispensable, but that many other didactic-methodological and
pedagogical competences are needed as well.
A professor who has completed the theoretical course, but if this is not possible,
professional factors must be satisfied and [He/She] must have a clear professional
aim of the lesson.
The profession (vocation) must be in the first place and most importantly to have
the broad understanding, to realize that solfeggio is not for its own purpose but has
the function in real-life situations.
Ideal solfeggio teacher should be familiar with the subject’s contents, including
professional competences, a lot of work needs to be done in methodological and
pedagogical approach.
It would be good for him to have completed the theoretical course, and flexibility as
well, creativity, willingness to adapt to new technologies are needed.
The teacher must first be an expert, needs to know the subject matter, be competent
in performing all aspects of teaching. He should set an example for students,
possessing professional competences and be persistent in the implementation of
teaching contents.
Must know how to convey knowledge in different ways, adapt to different situations
with students, have emotional qualities, and possess professional knowledge.
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Evidently, to be a professional music theorist, possess good psychological and
pedagogical competences and be a good “manager”, with developed
organizational and social skills.
Must be consistent, systematic, but above all he must be a full personality. He must
have a good vision on the aspects of solfeggio teaching.
They should be able to motivate students to work and progress, with quality
professional and pedagogical competencies, of course
First of all, you need to be an expert in your field, and be patient, resourceful,
straightforward and clear.
After a brief discussion on the desirable competence profile of a solfeggio teacher,
teachers were asked about the problems they encounter in teaching solfeggio. General
inertia of younger generation is the most common problem mentioned in responses, while
other reasons include overloaded curriculum, lack of concentration in students, and
insufficient engagement of students due to numerous over-burdening school obligations.
Teachers also mentioned the difficulties they had at the beginning of their work
experience, which included administration and keeping daily log of class activities and
lessons, selection of effective teaching methods, and great differences in music abilities of
students.
In answering a question concerning the self-assessment of teaching competences in
solfeggio teaching, teachers solely emphasized the professional aspect of personal
competences. They highlight that they are very successful in teaching solfeggio, and as an
indicator of their success, they state that they fully achieve the curriculum objectives and
goals, and emphasize the large number of their students successfully passing the entrance
exam at the academy. Two teachers along with the high self-assessment of their
proficiency competencies emphasize that there is room for improvement and they are open
to development and improvement.
I suppose I am satisfied, but I generally have a high level of self-criticism. I believe
that I am improving and developing my teaching competences, but I am aware that
I still need a lot of work on my abilities.
Following the teachers’ responses to the previous question, in which they expressed their
focus on the professional dimension of teaching, they were asked about their vision of the
objectives of solfeggio classes. Responses were closely related to the professional aspect
of the classes. We highlight several responses, which confirm the orientation of teachers
towards the educational curriculum.
Lead the way to learning the music metalanguage. Exercise intonation skills and
theoretical knowledge.
To be able to sing the written music and write down the music we hear.
Writing, intonation, and managing in the sound space.
I’m mostly guided by the professional objective, the solfeggio content and my goal
is to teach students music literacy.
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The primary goal would be to master dictation.
Ensure the correlation of teaching the instrument and solfeggio.
We followed up those answers with an additional question: “Do you teach solfeggio in the
same way you were taught?” Most teachers answered they teach in a similar way. More
experienced teachers emphasized they are aware of the need to change the way they work
and enrich the content, but nevertheless they choose safe, already proven methods.
The next question concerned students’ participation in planning and achieving the
objectives of the classes. Teachers, in most cases, report they only occasionally allow
students to choose music pieces or activities during classes, but do not allow them to
deviate from the professional objective:
I do not allow a lot of deviations, because I plan the lesson!
Students do not participate in content planning, but I respect their proposals for
choices, for example, of the kind of dictation they will write and the like.
Students can’t persuade me to do anything beyond the teaching content, but if I
notice they haven’t mastered something, I will change the course of the lesson to
achieve the best results and master the content.
I’m just not that prone to it. They can only participate in planning the lessons if
they haven’t mastered something and we need to take a step back to that part of the
content.
I do not allow students to plan the lesson, because we, the teachers, are those who
organize a lesson. I appreciate the suggestions if there is time and the proposal is
in line with the lesson.
Sometimes I let them choose an activity during the lesson, but not when new
material is being processed.
There are times when I let them choose, but I never deviate from a professional
objective.
Sometimes they have the freedom to choose music samples during the lesson, but
we don’t deviate from the professional objectives.
In research question: Do you believe that you have acquired sufficient competences and
practices for challenges of the solfeggio teacher profession? the teachers discussed the
acquisition of professional and pedagogic competences at the academy and the
experiences they encountered after the employment as teachers of theoretical music
subjects. In their responses, teachers emphasize the problems that arise in seeking
employment due to the low number of hours of pedagogical practice in music schools
during the studies and point out the ability to overcome those obstacles by attending
additional training programs.
As far as the Academy is concerned, I think it was good introduction to
professional knowledge, but we lacked practice lessons at music schools. As for my
work, I have learned the most in the “attempt-error” manner. I regularly attend
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professional training programs, but everything depends on the content being
offered, lecturers, etc.
At the end of the faculty I got the fundamental knowledge for teaching, but I
reached the necessary experience through practice.
The competences I have gained during my studies are mostly professional, and at
the professional conferences I have been upgrading my pedagogical,
psychological and didactic skills. I often hear useful advice from people with a lot
of experience.
As far as the profession itself is concerned, I did not have to develop my skills
additionally after graduation because there was no need. As far as methodology of
teaching is concerned - I had to learn constantly and I still have to.
I was prepared at the faculty for teaching music and art classes, but not for
teaching solfeggio, so I had to learn it myself.
The faculty has built the foundation, the main idea for practice, but when one
begins to work, he starts seeing his/her gaps in the knowledge and works towards
correcting them.
At the university I have acquired a minimum of pedagogical knowledge and this
was not satisfactory at the beginning of my work experience. I have to constantly
develop and improve my skills.
Most of my competences have been defined through teaching.
The next question related to the self-assessment of the style of teaching because the
teacher’s pedagogical competences are dynamically combined with their didactic
competences. Some teachers mentioned the atmosphere in the classroom, highlighting the
importance of pleasant emotional atmosphere. Additionally, all teachers emphasize the
need to focus on educational outcomes, not mentioning the raising component.
In the teaching, one has to achieve a good balance between the autocratic and
democratic style of teaching, as this greatly influences the teaching process and
students. I always aim primarily for the realization of a professional objective.
It is most important to reach a professional objective, but I try not to create an
uncomfortable atmosphere. I respect the students’ abilities and I don’t think it is
right for them to be afraid of me.
It is important to establish discipline during the processing of new content, but
when we practice, then the atmosphere is more relaxed. I think my style is more
autocratic, but not in a particularly strict way.
In responses related to the communication dimension, teachers evaluate their
communication skills as satisfactory, clear and open. They emphasize the importance of
humor, and even renaming dictations using witty names helps to establish better
communication. Student’s ignorance and their occasional attempts to shift attention from
the subject at hand are mentioned by teachers as causing problems in communication.
They declare:
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I talk a lot with the students, but this does not exclude reaching the professional
objective.
Sometimes I do a gag, I’m joking at the beginning of the lesson and the atmosphere
is more positive, which creates better surroundings for the processing of the
solfeggio content.
Numerous authors directly link teacher traits (Shoyer & Leshem, 2016), emotional “rules”
(Winograd, 2003) and the quality of classroom interaction (Dorman et al., 2006) and the
effectiveness of the teaching process. The personal dimension of pedagogical
competences was the topic of our next question. Teachers assessed themselves
emotionally competent by emphasizing empathy, understanding of their students,
adherence and appreciation as the most important characteristics. They particularly
emphasize that the students exploit the excessive empathy of the teacher and kindness in
order to avoid their obligations and conclude that it is necessary to observe the students
and try to behave fairly and professionally in every situation.
The answers to the question related to the assessment of their social competences and
problem solving skills, lead to a conclusion that it is obvious that some of the teachers feel
they are very professional in dealing with such situations. They stress they are listening to
both sides of the story, and if they cannot solve a conflict, they refer the case to the school
principal. The rest of the teachers feel very bad in such situations and try to solve the
problem as soon as possible, in peaceful manner. Some teachers are aware they sometimes
overreact, but they never exaggerate. Teachers feel they are establishing good
relationships with parents and cooperate well with their colleagues and are generally open
to cooperation. In responses to other aspects of social competences, teachers highlight
they are approachable and they deal with mastering the problems of intonation and
rhythm with students.
Pedagogical competence implies a quality analytical dimension (Jurèiæ, 2012).
Qualitative data processing gave rise to two categories and one subcategory of responses.
The first category related to pedagogical documentation, which demonstrates that only a
small part of interviewed teachers write the lesson plan for each individual lesson and
personal notes, which serve as a reflective diary. In this category, statements which made
it clear that the purpose of the teacher’s personal notes is assessment and evaluation of the
students were particularly emphasized. The above mentioned categories also outlined the
statements which referred to the evaluation of students in solfeggio classes. Teachers
mention that students are numerically evaluated each month in the following aspects:
music theory, rhythmic dictation, melodic dictation, melodic-rhythmic dictation, a vista
singing, musical intervals, chords and class participation.
The second category concerned analytical reflections of the teaching process. We quote
the following answers:
I always try to write down specific situations so that they can be solved properly. I
always try to accompany every lesson by some notes.
I always think of good and bad decisions. I am very self-critical in this respect and I
am always trying to improve.
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I reflect, I try to assess how much I have achieved of the outcomes, analyze the
results of dictation, I reflect in what aspect I have progressed during the previous
lesson, what could be improved, briefly - I summarize the total course of the lesson.
I always think about and write down the outcomes and other situations in order to
know what needs to be changed and improved.
Although teachers declare that they are systematically conducting self-assessment, none
of the teachers emphasized the specific method of self-monitoring and self-evaluation,
such critical friendship or evaluation questionnaires in which students express their
overall satisfaction with classes, parts of the teaching process, atmosphere, etc.
Jurèiæ (2012) states that a competent teacher analytically addresses his or her teaching. He
does not remain at one level of acquired knowledge, skills, values, and achieved
motivation, but he also critically looks beyond his professional, pedagogical and didactic
efficiency and overall success in the education process.
Conclusion
Solfeggio is a subject fully realized on the principles of an open curriculum model.
Teachers, on the basis of their competences, select the activities and the manner of content
implementation, aimed at the development of musical knowledge and students’ abilities
and understanding of fundamental music parameters. In addition to building musical
knowledge and abilities, the teacher’s competence is reflected in numerous pedagogical
dimensions related to motivating students, nurturing their values system, forming
opinions and attitudes, creativity, developing self-esteem, and ultimately in the overall
development of young musicians.
From the results of the research it is obvious that the solfeggio teachers perceive their
competences primarily through the professional dimension, and after that through the
aspects of pedagogical competences. Dominant orientation towards professional
competences is evident in all teacher responses. When determining the purpose of the
lessons, teachers are oriented towards education tasks aimed at teaching intonation skills
and learning the music metalanguage. There is obvious orientation towards the traditional
methods, based on teaching methods used by teachers’ solfeggio teachers during the
academies. The elements of the traditional curriculum are visible in the insufficient
involvement of the students in planning and implementing solfeggio classes. In their
responses teachers reveal their unwillingness to succumb to the idea of collaborative
relationship between students and teachers in planning the specific activities. They also
emphasize the need to establish discipline in the classroom, so the students could focus
better on the given tasks.
When evaluating their teaching competences, teachers emphasize professional
competences as the most important. They conclude that after completing their studies,
they felt professionally competent for the challenges that await every solfeggio teacher,
but the small number of pedagogical practice led to insecurity in terms of their
pedagogical and didactic competences. They mention they continuously improve and
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develop pedagogical, psychological, didactic and methodical competences during their
long-time work experience and through professional training programs.
Given the opinion of the teachers, we identified the need for greater awareness of the
importance of educational goals in teaching solfeggio and emphasizing the pedagogical
dimension of competences of teachers in music education. In order to understand the
multidimensional view of teachers’ competences, in line with contemporary pedagogical
perspectives, we are also stressing the need for the implementation of a large number of
didactic and pedagogical content in study programs and the increased number of hours of
pedagogical practice, so that students, future teachers, could through systematic learning
of different teaching skills gain self-confidence for successful teaching job.
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Povzetek
Na Hrvaškem je glasbeno-izobraevalni sistem usmerjen v izobraevanje in usposabljanje
profesionalnih glasbenikov. Študenti imajo od zaèetka študija na glasbeni akademiji do
njegovega zakljuèka poleg pouka inštrumenta, ki ga elijo popolnoma obvladovati, tudi
pouk solfeggia. Pomemben dejavnik uspešnega pouka solfeggia je kompetenten uèitelj,
strokovnjak, ki lahko svoje strokovno znanje in spretnosti kombinira z uèinkovitim
pedagoškim delom. Uèiteljeve pedagoške kompetence se kaejo v razliènih dimenzijah in
se neposredno zrcalijo v kasnejši pedagoški praksi. Izraajo se skozi razredno klimo,
zadovoljstvo uèencev s poukom solfeggia in njihovo motivacijo za nadaljnje glasbeno
izobraevanje.
Raziskovali smo pedagoške kompetence uèiteljev solfeggia, zaposlenih v glasbenih šolah
na Hrvaškem. Kot raziskovalni inštrument je bil uporabljen polstrukturiran intervju.
Raziskava je pokazala, da uèitelji solfeggia kompetence zaznavajo in najvišje vrednotijo
predvsem na strokovnem podroèju: v povezavi z doseganjem vzgojno-izobraevalnih
ciljev pouka solfeggia, urjenja intonacije, ritma in uèenja glasbenega metajezika. Pomena
pedagoških kompetenc se sicer zavedajo, vendar jih v primerjavi s strokovnimi
kompetencami razvršèajo na drugo mesto. Raziskovalni rezultati kaejo, da je uèitelje
solfeggia potrebno v veèji meri ozavešèati o vlogi in pomeni pedagoških kompetenc za
uspešno izvajanje pouka.
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Tihana Škojo, Renata Jukiæ, THE ASSESSMENT OF PEDAGOGICAL COMPETENCES...