The history of subjects of Music theory and Solfeggio has its roots in the development of music education in Slovenia in the 19th and the 1st half of the 20th century. Subject Music theory, which began to develop at the turn of the 19th and 20th century in Slovenia, is a relatively young subject area. In the fifties of 20th century, the subject has changed its name and got a detailed curriculum. Another important milestone in the development of subject happened in the sixties of 20th century, when appeared musical activity solfeggio, which was established through teaching of Maks Jurca. Musical activities of subjec Music theory – as at present – derived from the eighties of 20th century. Musical activities, which is highlighted by solfeggio, arise from the typical nature of musical arts, which was established in Slovenia by Breda Oblak.
This study is the first research on the subject of Music theory in Slovenia. It discusses the aspect of the historical development, contemporary didactic aspect and factors of subject that influence the musical development. In accordance with the doctrine of music-teaching practice and music art, we deal with music-pedagogical problems of terminology. The subject needs a clear coherent musical-pedagogical terminology in the stage of awareness of musical concepts and principles, supported by the previous performances of musical works, and in the evaluation phase of the development of musical abilities, skills and knowledge. There is a need for conceptual definitions of unique terms to the hierarchical differentiation of development of musical abilities, skills and knowledge.
Music theory and Solfeggio as individual compulsory subject in music school education, with their specific musical activities, establish a full and direct contact with the musical arts and culture. The basic aim of both subjects is to develop a functional musical literacy. Functional musical literacy is reflected in the developed musical images and knowledge in the musical memory, which represent a link between transformation of inner hearing of music recordings to the heard music content and vice versa. The theoretical part of this study discusses the development of musical thinking and musical functional literacy in the 1st and 2nd classes of Music theory in the central musical activity – solfeggio.
Contemporary music pedagogy and practice emphasize the importance of involving children in music education from the earliest period of life (Ibuka, 1992; Pesek, 1993; Suzuki v Gardner, 1995; Gordon, 1997, 1998b; Sicherl-Kafol, 1999; Denac, 2002; Campbell, 2004). Early musical training affects the overall holistic and later musical development. Slovenian musical education at the preschool level is the child's first contact with planned musical activities and gives a systematic music education. One of the main goals of both programs is to develop elementary music pitches – rhythmic and melodic – which are the appropriate support and starting point in the development of musical abilities, skills and knowledge in the instrumental field and the Music theory.
In the first study in this area we studied the level of development of musical thinking and musical functional literacy in the 2nd class of Music theory, by the eight-year pupils. We wanted to determine the impact of pre-school music education at a later musical development, in the second class of Music theory. We studied the development of musical abilities, skills and knowledge on the basic musical activity of Music theory called solfeggio. We also discussed the influence of other musical equivalent activities of this subject – performing and interpretation of examples from music literature, creating and listening – which are resulting in a developed musical abilities, skills and knowledge in the field of Music theory.
The survey was conducted in 2008, on the sample of 39 teachers, who taught in the 2nd class of Music theory, and 165 pupils in public music schools from all over Slovenia. Differences in levels of development of elementary music pitches, musical thinking and functional musical literacy was found between groups of pupils, who attended both preschool programs (Pre-school music education and Music preparatory), who attended Music preparatory program and who were directly involved in the program of Music: 1th class of Music theory and instrumental lessons.
Tests of musical abilites were performed with auditory recognition of same or different rhythmic and melodic motifs, the melodic and rhythmic reproduction by the method of imitation and a vista performancing of rhythmic and melodic motifs. The tests, which were independently prepared for this study and were previously tested in practice, were consistent with the standards of knowledge of approved curriculum for 2nd class of Music theory. The statistical conclusion is based on the risk level 0.05.
Although the results did not statistically confirm the impact of early music education at a later musical development at the 2nd class Music theory (p = ,099 on area of melodic pitch, p = ,069 on area of rhythmic pitch), a sample of pupils tested, has indicated the tendency in developing in both musical pitches. The tendency was indicated in the development of rhythmic and melodic abilities in the tested pupils, who attended pre-school music programs. The results of all tested pupils were better in the field of rhythmic pitch than in the field of melodic pitch.
We find that early music education has more impact on the development of melodic pitch rather than on rhythmic pitch.
The results obtained in the area of a vista performing showed that teachers in the classroom mostly used the method of working with musical notation. The results show the dominant concept of musical literacy from the musical notation (musical symbol) to vocal or instrumental performance (physical action) to the auditory experience. The Music theory lacks the of support to the development of auditory attention and sensitivity that are the bases in the development of auditory perception and support in the development of musical images and knowledge. Developing a functional musical literacy in teaching music theory still leads to a decline of development of auditory perception and sensitivity.
We also highlighted the rate of development of musical thinking and musical functional literacy with the factors: the structure of the classes of the musical abilities and age of pupils, musical interest of pupils, music and cultural level of families.
In music schools the age-heterogeneous groups are often included. For pupils, who attended the age-heterogeneous groups, worse development in the field of rhythmic pitch was statistically confirmed (p = ,008). In these groups stand out differences between age, the physical, psychological and music-developmental characteristics. Teacher is faced with a challenge and thinking, how to alleviate such differences among pupils. Addressing the issue of age-heterogeneous groups still remains at the micro level and it would be necessary in future to find a common solution.
This is the first survey and is an important contribution to the subject of Music theory. For the first time in the history of Slovenian music education, we studied the effects of pre-school music programs and music activities of Music theory – on the central music activity solfeggio
– the development of elementary music pitches. Results from the first research raise many questions and dilemmas, which should be further examined by new a research. There is a need for new forms of research of the impact of pre-school musical development at a later musical development. The practice showed the need to update curricula Music preparatory program and the subject of Music theory in the 1st class. The question of an admission test to Slovenian music schools arises, which differ in content complexity, in forms of examination and accounting the prior involvement of pupils in pre-school music programs.
This study is an original work for the Slovenian music school area education, because it presents the first Slovenian model of music school education for the subject of Music theory. Similar models of music school education we can find in the republics of former Yugoslavia, however, in other European areas such models do not exist. Slovenian contemporary concept of Music theory represents a good model of group practice lessons, which can be a good model for other European countries. Presenting the Slovenian didactic concept is an important contribution to the development of contemporary music education on the European and global scale.
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