Articol Crisciuc engleza (1)

8/12/2019 Articol Crisciuc engleza (1)

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The Concept and Practice of Teaching Musical Knowledge Based on

Observation

Viorica CRICIC! lecturerAlecu Russo Balti State University

Abstract:The present article reflects the results of the observation experiment. Theteaching and the formation of musical knowledge during music education lessons was

investigated. The purpose of the observation experiment consists in testing the quality of

teaching-formation of musical knowledge to pupils in terms of lack of application/partial

application of strategies specific to aesthetic and artistic education/music education. For the

statistical evaluation of the samples were applied the indicators of efficiency of teaching and

formation of musical knowledge the perception the understanding-the synthesis the

application and the valorisation the profound experience of the musical contextuali!ed

message in music teaching activities of the lesson.

Keywords: music education musical knowledge musical cognition strategies specific

to music education observation experiment music teaching activities.

The pedagogical experiment has been conducted in three stages: that ofobservation and stating the facts, training and control/ validation Specificob!ectives have been defined for the observation stage, for example: there has

been carried out a study of educational documents in order to determine theconceptual and design strategies of teaching musical "no#ledge to students$ ananalysis of praxiologic frame necessary to teachmusical "no#ledge to studentsin order to identify the determinants that have a negative influence on the

process of ac%uiring musical "no#ledge at the lessons of musical education$ astudy of experiential frame#or" of teachers of music in the field of forming andteaching musical "no#ledge to students by applying strategies, specific tomusical education$ an examination and interpretation of the experimental data,having the aim to develop a methodological model of teaching and formingmusical "no#ledge by applying teaching strategies, specific to musicaleducation

Based on the theoretical foundations, established for teaching and formingof musical "no#ledge, and there has been carried out an investigation in the

practice of these activities as part of the &usical 'ducation (&') lesson"# Teachers$ results#Teachers #ere as"ed to contribute to our research

by supplying responses to the t#o %uestionnaires that have different ob!ectives,#hich directly and indirectly reveal the #ay they apply specific strategies toteach and form musical "no#ledge and their visions of teaching and forming

process, as part of the lesson of "usical #ducationin the follo#ing aspects:methods/ procedures/techni%ues/ forms/means of teaching musical "no#ledge,the opportunity to moderni*e teaching musical "no#ledge, negative factors ofteaching and ac%uisition of musical "no#ledge

Teachers$ representations %Table &'( +) there are - . of affirmative

responses, indicating the use of specific ob!ectives #hen designing /implementing specific strategies to teach musical "no#ledge, ) 01 . of


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respondents do not ta"e into account strategies of &' #hile designing the long2term planning, -) +0 . respondents are a#are of teaching musical "no#ledge,depending on the application of special methods / procedures /techni%ues /forms/means use #hen implementing the strategies used to teach musical "no#ledge$

3) +4 . of respondents systematically assess the students5 capacity to identify/apply musical "no#ledge in &6A (musical and didactic activities) ) +7 . ofrespondents apply the components of strategies, specific to &' in teachingmusical "no#ledge (methods, procedures/techni%ues, didactic tas"s), follo#ingtheir efficiency 'valuation #as done by calculating the affirmative and negativeresponses of the teachers and correlating them to the number of teachers

Table + Assessment given by teachers to evaluate their representationsabout the strategies, specific to musical education, used in teaching and formingof musical "no#ledge

Thus, 01. of the respondents do not perceive the design / implementationof strategies, specific to musical education #hile elaborating long and short term

planning +1. of the respondents apply various teaching strategies at theirlessons The ma!ority, 37 . do not apply special design / implementationstrategies in teaching musical "no#ledge and forming musical s"ills

#valuation of teachers$ representationsabout the amount and %uality ofstudents5 musical "no#ledge has been performed on the basis of %uestionnaire

8o (Appendix ) To evaluate the teachers5 representations / attitudes to

%r# Ite&s "ffir&ati

ve answer

%egative

answer

+ 9ursuit of particular ob!ectives #hile designing/ implementing strategies, specific to teachingmusical "no#ledge$

-. 37.

6evising strategies for teaching &' inteaching & #hen:2 designing long2term planning (annual)2 educational and didactic pro!ects (lesson

planning)$

+1.-0.

01.03 .

- Applying specialmethods/procedures/techni%ues/forms/ means#hile designing strategies to teach &'$

+0,. 7 .

3 Systematic assessment of students5 capacity toidentify/ apply musical "no#ledge in &6A(musical and didactic activities)

+,4. 3.

Record of component strategies, specific toteaching of & at the lessons of &'(methods, procedures / techni%ues/ didactic

tas"s)

+,7. 7;.


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establishing the effectiveness of strategies, underta"en to teach and formmusical "no#ledge from the perspective of students< cognitive ac%uisitions:

)tem &. *tudents$ basic knowledge: 7- . of teachers believe thatstudents have basic "no#ledge and +7 . believe that students do not have this

"no#ledge (Appendix ))tem +. )dentification of theoretical knowledge in a musical message(+17. of teachers believe that students can identify theoretical "no#ledge in amusical message$ 71 . of teachers believe that students cannot identify it,;+. of teachers consider that students partially recogni*e theoretical"no#ledge in a musical message

)tem ,. ecoding the meaning of musical knowledge: 7- . of teachersbelieve that students can decode the musical "no#ledge$+7 . of therespondents believe students cannot decode the meaning =tems 3, , 0, 7identified the need to attach more value to the musical "no#ledge Thus, in item, referring to the systematic assessment of abilities to "no#/ identify/ applymusical "no#ledge in musical activities, 3. of respondents gave a negativeresponse and 30 . of teachers responded affirmatively

)tem . 0erception of teaching musical knowledge as a process that forms

knowledge related to students$ attitude 7-. of teachers are a#are of the factthat teaching musical "no#ledge is a #ay of forming "no#ledge$ ++7 . believethat it is sufficient !ust to transmit "no#ledge to the students

)tem 1. 2ttaching value to the specifics of the didactic strategies used in

teaching musical knowledge(-1. of teachers consider the emotive and affective

strategies to be efficient (regarding "no#ledge, memori*ation, perception,experience of the sound message) (>)$ 31. of teachers consider analogousstrategies to be efficient (#ith regard to the use of musical "no#ledge fordrafting speeches)$ 01. of teachers consider mixed strategies (use of musical"no#ledge as a source of information) to be efficient (2)

)tem&3. 4sing teaching methods in the formation of musical knowledge(+1 . of teachers use four methods (>), 31. of teachers use t#o methods (?)$ 01. of teachers use one method (2)

5onclusions.&ost teachers of musical education vie# teaching musical

"no#ledge as a simple tas" of transmitting information about music, composerand the musical #or"$ they do not apply strategies, specific to &' in teachingmusical "no#ledge$ in the design of teaching and forming musical "no#ledge,usually they do not rely on students5 "no#ledge$ they do not focus theireducational discourses on specific aspects of teaching musical s"ills, #hich areto be developed in accordance #ith the specific ob!ectives$ they do not design orfollo# concrete didactic tas"s, aimed at teaching musical "no#ledge andformation of musical s"ills$ they do not have a clearly defined concept ofspecific strategy, used to teach musical "no#ledge and therefore understand the

strategies in an abstract and eclectic (non2 systemic) #ay


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The findings of the observation (for teachers) sho#ed that contextuali*edand dynamic teaching and forming of musical "no#ledge is insufficient andunsystematic, the educational and didactic discourse is centered oninformation(@ teaching) not onformation (@ interaction, cooperation), as re%uired by the

principles of art and artistic receptionB# 'tudents$ results#The data have been obtained as a result of t#o testsand three %ui**es to assess musical "no#ledge and its functionality

Test & aimed at establishing the volume and functionality of musical"no#ledge in the follo#ing aspects of musical competence: perception,"no#ledge, understanding, synthesis, application, appreciation, profoundexperience of the musical message %Table +'. =ndicators of effectiveness ofteaching musical "no#ledge in &6A served as criteria in the determination ofreference levels of musical "no#ledge functionality: === advanced, == 2medium, = 2 minimal 'ach level contains three items, #hich correspond to themechanism of musical "no#ledge, presented in "0F5" "odel through thestrategies, specific to the musical education 'ach criterion is designed from the

perspective of the main musical and didactic activities of the lesson ithin thereference levels the criteria correspond to the 5reation 6 7eflection 2udition 6

7eflection 0erformance 6 7eflection activities.Table Cunctionality of the students5 musical "no#ledge during the

observation stage(evel Criteria M)"

=Mini&al*

Basic"no#ledge

+ 9erception / "no#ledge of languageelements that assign expressiveness to themusical #or"$ Dareful audition of music$- Eumming the melody of the musical

piece$

5reation 6

7eflection2udition 6

7eflection0erformance 6

7eflection

==#Mediu&*Cunctional"no#ledge

+ Synthesis of the succession of feelings inmusic$ Application of the &' to distinguish themusical form by ear$

- Tuning the motifs identified in themessage of the music$

5reation 6

7eflection

2udition 6

7eflection

0erformance 67eflection

==="dvanced*

Attitudeforming"no#ledge

+ Appreciating the role of &' in theformation of the musical message$ =dentifying through audition thedominant feelings of the musical #or"$- =ntegration of &' in the &6A: the tunerhythmic structure timbre etc. toexperience in full the message of the #or"

5reation 6

7eflection

2udition 6

7eflection

0erformance 6

7eflection


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There has been carried out an evaluation of the initial level of musicalcompetence based on the ac%uired musical "no#ledge in both samples,experimental group ('F) (01 students) and control group (DF) (; students) ofthe nd grade The obtained data indirectly certify the effectiveness of teaching

and training of musical "no#ledge (Table ,) According to the test results,students5 musical "no#ledge is varied, #hich reveals significant aspects of thefunctionality of the musical "no#ledge, ac%uired in &6A

Table - 'valuation of initial / pre2experimental formation of musicalcompetence based on musical "no#ledge, ac%uired through &6AMusical

Knowledge

Ite&s M)" Indicators of

the

efficienc+ of

teaching and

for&ation of

MK

,uantitat

ive

indicators

-

./ C/

+ Basic0nowledge

(minimal)

=dentification/ "no#ledge oflanguage elements that assignexpressiveness to the musical #or"$

2udition6

7eflection+ 0erceptionof musicalmessage$

+1. ++.

Dareful listening of music andidentifying the expressive means$

5reation 6

7eflection

0erforman

ce 6

7eflection

8nowledge

/comprehensi

onofthe roleof &' in themusicalcreation

+. +.

1unctional 0nowledge

(medium)

6elimitation / synthesis of these%uence of feelings in music byidentifying analogous moments$Application of &' to distinguishthe musical form in audition$

2udition6

7eflection-

2pplicationof &'

-1. +.

Rendering the expressive intonationof the musical message$

0erforman

ce 6

7eflection

3 *ynthesisof theac%uired &'$

-. -+.

- "ttitudefor&ing

0nowledge

(advanced)

Appreciating the role of &' in theformation of the musical message$

5reation6

7eflection

2ppreciation

/ integration

of &'$

. +;.

=dentifying through listening thedominant feelings of the musical#or"$

2udition6

7eflection0

#xperiencing

in full the

message of

the musical

work.

31. -7.


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Total 43. 41.

Test has evaluated the functionality of the musical "no#ledge in termsof application of strategies, specific to musical education, given the types ofmusical "no#ledge: basic %) know it), functional () can do it) attitude forming ()

know how to be it), corresponding to the taxonomy of the specific ob!ectives forthe lesson of musical education: knowledge skills attitudes (Table ) =ndeveloping Test.+the taxonomy of &' ob!ectives #as ta"en into account =t #as

planned according to the curriculum of school sub!ect, #hich contains thedesigned expression of the cognitive competence of the musical component,#hich #as neglected in the basic "no#ledge %) know it), functional "no#ledge(s"ills:) know how to do it) and attitudinal "no#ledge (attitudes:) know how tobe it'. e should note the levels of musical "no#ledge formation: basicknowledgeis theoretical information, #hich forms the conceptual basis of &'

and is ac%uired by students,functional knowledgerepresents the values of themusic itself, #hich can exist only in a contextual and dynamic form as a resultof reception of music, in acts informationabout the musical #or" that studentshave ac%uired in the process of its vocal / instrumental audition and

performance$ attitudinal knowledge is the information, transformed intopersonality traits (artistic and aesthetic beliefs: ideas, concepts, principles,musical, aesthetic tastes, demonstrated by the ability to express one5s opinion,appreciate, evaluate, etc)

Table 3 6ata on the initial / pre2experimental evaluation of the level ofmusical competence formation, based on strategies specific to &'"pplied strategies 2

Ob3ectives

Ite&s 'core Total

score

Mi4ed strategies

*pecific ob9ectives at

the level of

knowledgeBasic "no#ledge

+=dentify/ "no# language elements #hichmost of all add expressiveness to themusical #or", &6A 5reation 67eflection

+ Gisten carefully to the musical #or" andname the means of expressiveness definedin the given piece of music &6A

2udition 67eflection:

- Eum the melody of the musical piece,&6A0erformance 6 7eflection$

"nalogous strategies


the level of

application

(s"ills)

Cunctional "no#ledge

3 6etermine /synthesi*e the se%uence offeelings in music by finding analogousmoments$

Apply the musical "no#ledge torecogni*e the musical form in the listeningactivity, &6A2udition 67eflection$

+1

0Render expressively the tunes identified

in the musical message, &6A0erformance 6 7eflection:

+1


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.&otive and

affective ob3ectives


the attitude forminglevel

no#ledge at theattitude forming level

7 Appreciate the importance of musical"no#ledge in the creation of the musicalmessage, &6A2udition 6 7eflection:

1

1; Gisten and identify the feeling that

prevail in the given piece of music, &6A5reation 6 7eflection:

+1

4 Render the importance of "no#ledge(melody, rhythmic structure, timbre, etc)

by emotional and expressive performanceof the musical #or"s, &6A0erformance67eflection.

1

Total 56 56

Hnce synthesi*ed the theoretical, functional and attitudinal "no#ledge

significantly influence the degree of formation of musical proficiencyTest + contains nine items (Table ', per three to assess "no#ledge,application and integration of "no#ledge and application, #hich is identified as

being the attitudinal sphere, since at the appreciation level the studentappreciates, synthesi*es the "no#ledge 2 information and "no#ledge 2s"ills,turning it into personality traits Therefore, the given level, #hich ischaracteri*ed by the most advanced degree of complexity, has been attributedthe highest score 2 +1 points for each item (in total 2 1 points)

7 points for each item have been attributed for the level of application ofmusical "no#ledge, #hich is a medium complexity level &usical "no#ledge atthe information and theoretical level #as attributed - items, because it is formed

by means of identification and reproduction The total score of the test is 41points 'ach level of the formation of musical "no#ledge has a definite numberof points and namely: level === 2advanced 2 00241 points, level == 2medium 2 -020 points , level = 2 minimal 2 12- points

'valuation data, sho#n by this test, point out to the level of perception,comprehension, application, appreciation and experience of musical "no#ledge

by means of musical and didactic activities Gevel indicators have served toestablish and classify the strategies of teaching and forming musical "no#ledge,

#hich have been identified as mixed strategies (using methods/procedures/techni%ues/ means/ forms of teaching and forming general and specific &'),analogous strategies and emotive and affective strategies.

In conclusion it can be stated that the evaluation of basic musical

knowledgepursued not only their volume, but also the degree of understandingof its meanings, the #ay students ma"e associations and analogies, based onmusical #or"s, heard and examined at the lesson These actions are of areproductive nature, a level #hich is absolutely necessary, but insufficient forcomplete musical education in its epistemic meaning (#hich #ill train the "ey

concepts and principles) and in the technological one (#hich #ill result inmusical competence, formed in a musical and didactic context)


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Functional "no#ledge has been evaluated in its ability to synthesi*emultiple meanings and actions

&usical attitudinal "no#ledge has been identified by the presence ofcertain specific musical manifestations (behaviors): integration of certain images

based on the musical message, perception of all the elements of the musicalpiece #ith its indispensable values, profound experience of the musical message,understanding the music values at an advanced level

Bibliographic references

+ Bernstein G Dum sI JnKelegem mu*icaL Dh: Eiperion, +44+ +0 p BontaM = 9edagogie Timi oara: AGG '6UDAT=H8AG, +44; -; p- BorM Al, &orari &, Doroi ' 'ducaKia mu*icalI &anual pentru clasa a 2

a Dh: NtiinKa, 1++ 4 p

3 Bughici 6 6ic ionar de forme Mi genuri BucureMti: 'ditura &u*icalI,+47; -71 p

Dosmovici A, =acob G 9sihologie McolarI 9olirom, +44;, =aMi -1+ p0 DriMciuc O Tehnologii specifice de predare2JnvIKare a cunoMtinKelor

mu*icale Jn cadrul orei de mu*icI Pn: 9robleme curriculare ale educaKieiartistic2spirituale.&at conf t interna Ool ==, Universitatea de Stat 2.

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7 Fagim = NtiinKa Mi arta educaKiei mu*icale Dh: ARD, 113 + p

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Articol Crisciuc engleza (1)