Ozaveščenost razrednih učiteljev in staršev o pomenu glasbene vzgoje v prvem in drugem triletju osnovne šole : doktorska disertacija

Dobovičnik, Iva (author), Sicherl-Kafol, Barbara (mentor)

Disertacija obravnava ozaveščenost razrednih učiteljev in staršev o pomenu glasbene vzgoje v prvih letih osnovnošolskega izobraževanja. V teoretičnem delu izpostavljamo vpliv zgodnjega poučevanja glasbene vzgoje na celostni razvoj otroka ter pomen kakovostnega poučevanja glasbene vzgoje za razvoj učenčevih glasbenih sposobnosti, spretnosti in znanj. Z razvojnega vidika izpostavljamo naravnanost učencev do glasbene vzgoje v prvih letih šolanja, ki je zelo povezana z domačim okoljem in stališči staršev do glasbe kot umetnosti in nosilke kulture ter z njihovim vrednotenjem glasbene vzgoje. Poleg družinskega okolja je tudi razredni učitelj tisti, ki mora poskrbeti, da se bo učenec intenzivno vključil v proces ustvarjalnega glasbenega učenja. Zaradi navedenega je z vidika kakovosti pomembno, da je glasbena ozaveščenost razrednih učiteljev, ki poučujejo predmet glasbena vzgoja, in tudi staršev, katerih otrok obiskuje razredno stopnjo osnovne šole, na visoki ravni. Kakovost glasbenega poučevanja povezujemo z učiteljevo strokovno in didaktično usposobljenostjo, z njegovo motivacijo za poučevanje glasbene vzgoje, visokim vrednotenjem glasbene vzgoje ter pozitivnimi stališči in odnosom do nje, s kakovostjo načrtovanih glasbenih vsebin, dejavnosti ter ustreznih glasbenih metod in novih pristopov glasbenega poučevanja. V zvezi s tem izpostavljamo pomen kulturno-umetnostne vzgoje, ki omogoča učencem stik s priznanimi umetniki z različnih glasbenih področij in z glasbo, s katero se srečujejo na različnih glasbenih prireditvah, v kulturno-umetniških ustanovah in v šolskem okolju ali pa ob aktivni udeležbi v glasbenih delavnicah. Empirični del disertacije vključuje dvodelno raziskavo. V prvem, kvantitativnem delu raziskave, ugotavljamo stanje ozaveščenosti slovenskih razrednih učiteljev o pomembnosti glasbene vzgoje v prvem in drugem triletju osnovne šole ter ozaveščenost staršev o pomenu glasbene vzgoje za celostni razvoj otrok. V raziskavo je bilo vključenih 234 razrednih učiteljev in 367 staršev iz 40 osnovnih šol iz različnih slovenskih krajev. Naključno smo izbrali mestne in podeželske osnovne šole po različnih slovenskih regijah. Rezultati so pokazatelji stanja ozaveščenosti razrednih učiteljev in staršev o pomenu glasbene vzgoje v prvem in drugem triletju osnovne šole v slovenskem prostoru. Glavne ugotovitve raziskave, vezane na razredne učitelje, so: da je glasbena ozaveščenost razrednih učiteljev, ki poučujejo na podeželski osnovni šoli, nekoliko višja kot pri razrednih učiteljih, ki poučujejo v mestni šoli; da je glasbena ozaveščenost razrednih učiteljev višja pri tistih z daljšo delovno dobo (več kot 30 let) kot pri razrednih učiteljih s krajšo delovno dobo (manj kot 10 let; 10–20 let; 21–30 let); da je glasbena ozaveščenost razrednih učiteljev, ki imajo glasbeno izobrazbo (končana nižja glasbena šola; končana srednja glasbena šola), v povprečju višja kot pri razrednih učiteljih, ki nimajo glasbene izobrazbe; da je glasbena ozaveščenost razrednih učiteljev s končano univerzitetno izobrazbo višja kot pri razrednih učiteljih z drugačno izobrazbo (Pedagoška akademija – višješolski študijski program, magistrski študijski program 2. stopnje). Izsledki raziskave kažejo, da starost razrednih učiteljev ne vpliva na njihovo glasbeno ozaveščenost, saj se v tem primeru statistično pomembne razlike ne kažejo. Glavne ugotovitve raziskave, vezane na starše, so: da starost, izobrazba in glasbena izobrazba staršev vplivajo na njihovo glasbeno ozaveščenost. Izsledki raziskave kažejo, da je glasbena ozaveščenost staršev, ki sodijo v najvišjo starostno kategorijo (več kot 50 let) višja v primerjavi s starši iz nižjih starostnih kategorij, v katere sodijo mlajši starši (manj kot 30 let, 30–40 let, 41–50 let); da je glasbena ozaveščenost staršev, ki imajo glasbeno izobrazbo (končana nižja glasbena šola, končana srednja glasbena šola) ali se kako drugače glasbeno udejstvujejo, v povprečju višja v primerjavi s starši, ki nimajo glasbene izobrazbe; da je glasbena ozaveščenost staršev, ki imajo univerzitetno izobrazbo, višja v primerjavi s starši z drugačno izobrazbo (srednja šola; visokošolski študijski program, magistrski študijski program 2. stopnje). Drugi kvantitativno-kvalitativni del raziskave je zasnovan kot kulturno-umetniški projekt, v katerega je bilo vključenih 84 učencev četrtih razredov treh osnovnih šol primorske regije. Projektno je bil izoblikovan model poučevanja glasbene vzgoje v četrtem razredu osnovne šole, ki je vključeval aktivno udeležbo umetnikov z različnih glasbenih področij ter stik s kulturno-umetniškimi ustanovami v okviru glasbenega pouka. V vzorec smo vključili eno eksperimentalno skupino (E) in eno kontrolno skupino (K). Pred začetkom izvajanja oblikovanega modela glasbenega poučevanja, smo v vseh štirih oddelkih četrtega razreda treh osnovnih šol (v eksperimentalni in kontrolni skupini) izpeljali začetno preverjanje znanja in anketni vprašalnik za merjenje učenčevega interesa za glasbo, priljubljenosti in vrednotenja predmeta glasbena vzgoja ter stališč do glasbene vzgoje in njihovega glasbenega znanja. Sledil je pričetek izvajanja oblikovanega modela poučevanja glasbene vzgoje, ki se je ob koncu šolskega zaključil. Takrat smo ponovno izpeljali končno preverjanje znanja ter anketni vprašalnik za učence eksperimentalne in kontrolne skupine. Ob začetku naslednjega šolskega leta, ko so učenci vstopili v peti razred, smo s ponovnim preverjanjem znanja preverili trajnost znanja učencev eksperimentalne in kontrolne skupine. Sklepne ugotovitve drugega dela raziskave med učenci so: da oblikovani model poučevanja glasbene vzgoje z aktivno udeležbo priznanih umetnikov in stikom s kulturno-umetniškimi ustanovami pri učencih eksperimentalne skupine vpliva na večji interes za glasbo, na večjo priljubljenost in višje vrednotenje predmeta glasbena vzgoja, na pozitivnejša stališča do glasbene vzgoje ter na boljše in trajnejše glasbeno znanje kot pri učencih kontrolne skupine. Ugotavljamo, da je kakovost glasbenega poučevanja obenem odvisna tudi od strokovno in didaktično usposobljenih razrednih učiteljev, ki so ustvarjalni, odprti za timsko in sodelovalno delo tudi izven šolskih okvirov, so dobro obveščeni o ponudbi na področju kulturno-umetnostne vzgoje ter so pripravljeni sodelovati s predmetnim učiteljem glasbene vzgoje na osnovni šoli kot »notranjim« svetovalcem, usmerjevalcem in soizvajalcem glasbene vzgoje. Menimo, da smo z uvajanjem novega pristopa poučevanja glasbene vzgoje razrednim učiteljem skozi kakovostno poučevanje glasbene vzgoje v povezovanju s kulturno-umetniškimi ustanovami in glasbenimi umetniki podali smernice za učinkovito uresničevanje ciljev glasbene vzgoje.

• Language: Slovenian
• Keywords: glasbena ozaveščenost, kulturno-umetnostna vzgoja, kulturno-umetniške ustanove
• Work type: Dissertation
• Typology: 2.08 - Doctoral Dissertation
• Organization: PEF - Faculty of Education
• Publisher: [I. Dobovičnik]
• Year: 2016
• Number of pages: XXI, 480 str.
• PID: 20.500.12556/RUL-86615
• UDC: 78:373.3
• COBISS.SI-ID: 11256137
• Publication date in RUL: 19.09.2017

Secondary language

• Language: English
• Title: Awarness of class teachers and parents about the importance of music education in the first and second triad of primary school

Abstract

This dissertation discusses the awareness of class teachers and parents about the meaning of music education during the first years of primary education. In the theoretical part, the influence of early music education on the overall development of the child and the meaning of a quality music education on the development of the students’ musical abilities, skills and knowledge are emphasized. From the development perspective we expose the students’ attitude towards music education in the first years of schooling which is highly associated with the home environment and the parents’ attitude towards music as art and the bearer of culture as well as their appreciation of music education. Beside the family environment the class teacher is the person who must ensure that the student shall be intensively included in the process of creative music learning. Because of the abovementioned facts a high level of musical awareness of class teachers teaching the subject of music education and the parents whose child attends primary school at class level is important from the point of view of quality. The quality of music education is connected with the teachers’ professional and teaching skills, with their motivation to teach music education, high appreciation of music education and positive point of view and attitude towards it, with the quality of planned music contents, activities and corresponding musical methods and new approaches to teaching music. In this regard we focus on the meaning of the art and cultural education which enables the students to have contact with acclaimed artists from various fields of music, and with music which they encounter on various musical events, in cultural and art institutions and in the school environment or by actively participating in musical workshops. The empirical part of the dissertation includes a two-part research. In the first part, the quantitative part of the research we determine the state of the awareness of Slovenian class teachers on the importance of music education in the first and second triad of primary school as well as the awareness of parents on the meaning of music education on the overall development of children. 234 class teachers and 367 parents from 40 different primary schools across Slovenia were included in the research. Urban and rural primary schools in different Slovenian regions were selected randomly. The results are the indicators of the state of the awareness of class teachers and parents on the meaning of music education in the first and second triad of primary school in Slovenia. The main findings of the research associated with class teachers are as follows: musical awareness of class teachers teaching at a rural primary school is slightly higher than in class teachers who teach at an urban school; musical awareness is higher in teachers who have more years of service (over 30 years) than in class teachers with fewer years of service (under 10 years; 10–20 years; 21–30 years); musical awareness of class teachers with music education (completed primary music school; completed secondary music school) is in average higher that in teachers without music education; musical awareness is higher in class teachers with completed university education than in those with a different type of education (Education Academy – post-secondary study programme, second cycle (master’s) study programme). The research findings show that the age of class teachers does not influence their musical awareness as there no statistically significant differences are shown in this case. The main findings of the research associated with the parents are as follows: age, education and music education of the parents influence their musical awareness. The research findings show that musical awareness of parents from the highest age category (over 50 years of age) is higher from those of parents from lower age categories to which younger parents belong (under 30 years of age, 30–40 years, 41–50 years); musical awareness of parents with musical education (completed primary music school; completed secondary music school) or who are active in the field of music some other way is in average higher than the awareness of parents without music education; musical awareness of parents with university education is higher in comparison with parents with a different type of education (high school; post-secondary study programme, second cycle (master’s) study programme). The other quantitative-qualitative part of the research was designed as a cultural and art project which included 84 students from the fourth grade of three primary schools in the Primorska region. In a project, we designed a model for music education in the fourth grade of primary schools involving active participation of artists from various fields of music and with contact with cultural and art institutions in the context of music education. The sample included one experimental group (E) and one control group (K). Before the launch of the designed model of music education, an initial test and a survey to measure the students’ interest for music, popularity and the appreciation of the subject of music education and the attitudes towards musical education and their knowledge on music was carried out in all four classes of the fourth grade of the three primary schools (in the experimental and control group). This was then followed by the launch of the designed model of music education which was concluded at the end of the school year. At that time, a final test and survey for the students in the experimental and the control group was carried out once more. At the start of the next school year when the students entered fifth grade the test was repeated to determine the durability of the knowledge of the students from the experimental and the control group. The conclusions from the second part of the research among the students are as follows: the designed model for music education with active participation of acclaimed artists and contact with cultural and art institutions impacted the students from the experimental group who showed more interest for music, more popularity and higher appreciation of the subject of music education, they had a more positive attitude towards music education, and had better and more durable knowledge of music than the students from the control group. We have found that the quality of music education at the same time also depends on the professional and educational qualifications of class teachers who are creative, open to team work and cooperation even outside the context of the school, are well informed about the offer in the field of art and cultural education, and are willing to cooperate with the specialist teacher for music education at the primary school as the “internal” consultant, guide and co-provider of musical education. We believe that by implementing a new approach to music education we have given class teachers guidelines to efficiently achieve the objectives of music education through quality music education by connecting with musicians and cultural and art institutions.

• Keywords: music education, primary education, glasbena vzgoja, Slovenija, osnovnošolski pouk