functional music pedagogy in piano learning

342 Pages·2012·2.49 MB·English

by  Black Dragon

UNIVERZA V LJUBLJANI
AKADEMIJA ZA GLASBO
ODDELEK ZA GLASBENO PEDAGOGIKO

Doctoral Dissertation

FUNCTIONAL MUSIC PEDAGOGY IN PIANO
LEARNING

Mentor: doc.dr. Branka Rotar Pance Author: Blaženka Bačlija Sušić
Submentor:red.prof. Jakša Zlatar

SAMOBOR, February 2012
Blaženka Bačlija Sušić.FMP in Piano Learning
Doctoral Dissertation

STATEMENT ON AUTHORING THE DOCTORAL DISSERTATION

I, the undersigned Blaženka Bačlija Sušić, born on 3 February 1969 in Subotica, hereby state
that I am the author of the doctoral dissertation entitled Functional Music Pedagogy in Piano
Learning.
My signature on this document attests that:
 the proposed doctoral dissertation is exclusively a result of my personal research,
 I made sure publications and opinions of other authors used in this dissertation are
listed in the list of references, and quoted in accordance with international standards,
the Act on Authorship and other applicable laws,
 the dissertation was translated and proofread by a qualified professional translator,
 the electronic version of the dissertation is identical to its printed form, and I consent
to the publishing of this doctoral dissertation on the Academy of Music (University of
Ljubljana) website.

In the course of compiling empirical data, the code of ethics for research pertaining to
children was fully complied with. The research was conducted pursuant to the approval of the
Ministry of Science, Education and Sports of the Republic of Croatia.

In Samobor_________________ Author's signature ____________________
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Blaženka Bačlija Sušić.FMP in Piano Learning
Doctoral Dissertation
ACKNOWLEDGEMENTS

First of all, I want to thank all my sponsors who made my professional development and the
acquisition of new knowledge possible. This work is a result of that.
I want to specially thank my mentors, Assistant Professor, Dr. Branka Rotar Pance and Full
Professor Jakša Zlatar for all their extensive advice and guidelines provided in the course of
preparing this work. I particularly thank my mentor, Assistant Professor, Dr. Branka Rotar
Pance for her exceptional effort, patience and support in resolving a number of linguistic,
practical and other difficulties I had encountered in this process.
I also want to thank my colleague, Radojka Sućeska Ligutić, for her generous help, who
provided advice, support and constructive criticism throughout the empirical process. I also
thank Dr. Gordan Črpić and Prof. Dr. Mirjana Kujundžić Tiljak for processing my statistical
data.
I am very thankful to my colleagues from the Elly Bašić Music School for their advice during
our short breaks in the teacher's lounge.
Finally, I want to thank my family for all their understanding and support during my studies
for a PhD.
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Doctoral Dissertation
ABSTRACT

Functional Music Pedagogy (FMP) is a music pedagogy concept of a Croatian music
pedagogue, teaching specialist and ethnomusicologist, Elly Bašić (1908-1998), the goal of
which is not only acquisition of music education, but also an overall development of a child's
personality through music. The above goal also lays down the basic concepts or principles of
this music pedagogy concept: Not a certain child, but every child is entitled to music culture;
every child has a musical ear; every child has rhythm; a musical ear is not identical to
musicality, and every child has creative imagination. Based on these opinions and the
principle that a child's creativity should not be evaluated, the selection of students enrolling in
the music school was defined without selective entry exams. Likewise, the evaluation of
student knowledge and skills does not include grading on the elementary-school level.

The indicated FMP didactic principles are also influenced by the time period in which their
author worked, encompassing the guiding principles of the general and music pedagogy
concepts of authors from this period, like: M. Montesori, R.Steiner, J. E. Dalcroze, Z. Kodaly,
S. Suzuki, C. Orff, E. Willems and others.

The basic principles of FMP create a high level of individualization in the approach to
teaching, and with it a specific formal structure and organization. The formal organization of
teaching is implemented vertically, from preschool to high-school level. Instead of typical
classes in individual instrument teaching, it has a specific program development in stages,
with A and B program in the third stage, while specific, transitional solfeggio classes are
designed for theory teaching.
In addition to the functional method of solfeggio, which is a basic and unique trait of FMP
with a specific didactic and methodological approach, this music pedagogy concept is also
characterized by a whole range of specific didactic and methodological processes and
principles in teaching.

Improvisation as one of the main and most significant forms of children's creative music
production implies a simultaneous discovery and performance of music without previous,
general preparation. While the main role of improvisation in classical music used to be
expressed in performance, today it retained its pedagogic value, and represents a significant
methodological resource in music education. There is an abundance of works on
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Doctoral Dissertation
improvisation which stress the methodological and didactic significance of improvisation in
music education (Regelski, 1986; Kartomi, 1991; Kratus,1991; Zentz, 1992; Azzara, 1999).
Improvisation is the fundamental element in FMP teaching, implemented in all teaching areas
as a methodical and well-defined program, starting in music preschool and the child's first
encounter with an instrument.

Spontaneous, intuitive or mechanical improvisations represent a child's free and unrestrained
creative expression through music. The first spontaneous improvisations on the piano result
from the child's active discovery and exploration of the instrument, usually accompanied by
his expression in the form of a drawing, motor movement or possibly literary expression. A
child's imagination and creativity are further developed through syncretism of different fields
of art.

Conscious improvisations occur when a child masters certain material so well, that this
conscious behavior becomes spontaneous for him. In addition to encouraging the child's
creativity, creative imagination, sensibility, freedom and his active response to tone, FMP
improvisations helps in anticipating certain technical, agogic, musical and other interpretative
elements through perception. On one hand, improvisation in the FMP educational process
serves as a means of perception and awareness of music, and as a language of expression and
communication on the other.

Motivation as the driver, encouraging an individual to engage in specific activities, plays a
crucial role and is significant in both general and music education. Achievement motivation
is one of the most important types of motivation in music education, indicating the desire of
an individual for achievement. Within his achievement motivation, Weiner's attribution theory
is particularly significant, researching differences and consequences of different
interpretations of success and failure (Weiner, 1992). According to him, interpreting the cause
of success or failure of an individual in certain activities influences his behavior, opinion and
relation to his other activities in the future.

E. P. Asmus expanded the concept of the attribution theory, adapting it to music education, on
the basis of which he formed a measuring instrument Measures of Motivation in Music,
consisting of two different motivation scales: Motivating Factors and Magnitude of
Motivation (1989). A whole range of research studies is based on these theories: Reimer,
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1975; Asmus, 1985, 1986a, 1986b; Chandler et al., 1988; Austin, 1991; Austin & Vispoel,
1992; Legette, 1992; Bogunović, 1995, 2005a, 2005b, Austin et al., 2006, Schatt, 2011.
Based on the mentioned theoretical roots, in the empirical section we present a research which
consists of two parts: (1) Action research of improvisation in individual piano classes and (2)
research of achievement motivation among piano students, taught according to different
educational methods.
In regards to the nature of the problem researched, the first part of the research is based on the
causal, non-experimental method of pedagogic research where action research (AR) was
applied in a case study to monitor how improvisation during piano classes influences students
and their inventiveness, as well as their motivation to play.

The research was conducted in the school year 2009/10. Thirteen piano students from the Elly
Bašić Music School were active participants in the research, while their instructor was the
action researcher in the research conducted. The semantic differential scale, based on which
students expressed their opinions about the music school, piano playing and music creation
through improvisation, showed a growth of all values after a regular application of
improvisation in teaching. Other data gathering instruments were also used in research,
including a reflection and research dairy kept by the instructor, action researcher, and audio
recordings of student improvisations.

Due to the flexible nature of AR, three rounds of research were conducted instead of two. The
conclusion from the first AR round, focused on spontaneous improvisation, was that
regardless of planned activities, in the selection of topics and implementation of spontaneous
improvisation, it is necessary to monitor each student as an individual with his own problems
and needs, and adapt future work accordingly. It is important to monitor the child, while
bearing in mind his non-verbal communication. This is why problems were approached
differently in the second round of AR, where the student's character and needs were used for
targeted improvisations. The conclusion was that by doing this, students expressed themselves
more freely and spontaneously, they were more focused on the actual activity of creating
music, captivated by it and enjoying it, and conveyed their emotional perception of the
selected topic. They also focused more on tone, creating actual sound abstractions through
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atmosphere improvisations. All this had a positive impact on the motivation to play the
program assigned.
The third round of AR introduced students to improvisation with specific preassigned
elements that they needed to comply with in their production. It was concluded that it is
important to not assign overly challenging tasks to the students, which fully restrain their
freedom and spontaneity in improvising, as they focus on the assigned element.

Upon completion of AR, it was concluded that any form of production and creation of
something new, original and personal has an exceptionally positive impact on the child's
musical and creative development in life in general. As an individual with his needs, abilities,
wishes and personality, a child should represent the nucleus around which all creative
activities should be organized and directed. Regular application of creative music activities
through improvisation had a positive impact on not only the child's, but also the instructor's
motivation and on progress in different teaching dimensions.

The second part of the empirical section dealt with research of motivation for student
achievements in the 4th, 5th and 6th year of piano teaching in two music schools in Zagreb: the
Elly Bašić Music School (EBMS) with a FMP curriculum and another music school with the
traditional teaching methods. The main goal of this research was to determine how different
methods influence achievement motivation of piano students during music teaching. The
research was conducted in March of 2011, and a total of 136 piano students participated in it.

Results of the research have shown that EBMS students, attending a FMP-based program,
attribute their results achieved to a larger extent to attributions, effort, classroom environment
and sensitivity to music. This is also evidence of the positive influence that FMP ideas and
opinions have on achievement motivation of piano students, along with the fact that different
methodological approaches in music learning significantly influence the student's
achievement motivation. From the aspect of Weiner attribution theory, EBMS students
stressed the attribution of effort to a larger extent as opposed to students from the music
school with a traditional teaching methods.

Based on results of the second questionnaire which measured the magnitude of motivation,
we have determined that EBMS students have a higher ability self-concept, are more devoted
to music and have a better relationship with the music school, including a more positive
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Doctoral Dissertation
relationship with the music school in comparison to other extracurricular activities. The
variance and covariance results have additionally confirmed the stated results by EBMS
students.

The scientific contribution of the doctoral dissertation lies in the presentation of FMP values
and those of its author, Elly Bašić, in the analysis of the FMP concept in comparison to other
established music pedagogy concepts, and in the analysis and comparison with the traditional
teaching methods in music schools, obtained from research results. It moreover presents FMP
literature unresearched until this point, particularly from the aspect of piano teaching.

The applicable contribution of the work lies in the presentation and evaluation of the qualities
of FMP pedagogical principles and ideas in practice. Researching motivation for student
achievement in music, as well as experiences and conclusions resulting from the case study in
the field of applied improvisation in piano classes in elementary music school, represent an
original scientific contribution, since this topic had not yet been researched in either Croatia
or Slovenia, with scarce references abroad.

Key words: Functional Music Pedagogy (FMP), Elly Bašić, improvisation in piano teaching,
achievement motivation, music school, piano student, research.

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POVZETEK

Funkcionalna glasbena pedagogika (FGP) je glasbenopedagoški koncept hrvaške glasbene
pedagoginje, metodičarke in etnomuzikologinje Elly Bašić (1908–1998), katere temeljni cilj
ni zgolj pridobitev glasbene izobrazbe, temveč vzgoja celotne otrokove osebnosti z glasbo. Iz
navedenega cilja izhajajo osnovna stališča oziroma načela, na katerih temelji
glasbenopedagoški koncept FGP: vsak otrok ima pravico do glasbene kulture; vsak otrok ima
posluh; vsak otrok ima ritem; posluh ni identičen z muzikalnostjo; vsak otrok ima kreativno
domišljijo.
Na podlagi teh načel ter stališča, da se ustvarjalnega dela otrok ne sme ocenjevati, se učenci
vpisujejo v glasbeno šolo Elly Bašić brez selektivnih sprejemnih izpitov. Prav tako se njihova
znanja in sposobnosti med šolanjem na osnovni stopnji ne vrednotijo z ocenami.

Didaktična načela FGP zaznamuje čas, v katerem je delovala njihova avtorica, saj upoštevajo
vodilne ideje nekaterih splošnih in glasbenopedagoških konceptov drugih uveljavljenih
avtorjev, kot npr. M. Montesori, R.Steinerja, J. E. Dalcroza, Z. Kodalya, S. Suzukija, C.
Orffa, E. Willemsa in drugih.

Temeljna stališča FGP pogojujejo visoko stopnjo individualizacije učnega procesa ter s tem
tudi specifično formalno strukturo pouka in njegov ustroj. Delo je formalno strukturirano v
vertikali od predšolske do srednješolske ravni. Za individualni instrumentalni pouk je namesto
klasičnih razredov značilen etapno-programski napredek učenca s t. i. A in B programom v
tretji etapi, medtem ko so za teoretični pouk značilni t. i. prehodni razredi solfeggia.

Poleg Funkcionalne metode solfeggia, ki s posebnim didaktičnim in metodičnim pristopom
predstavlja eno od osnovnih značilnosti FGP, so za ta glasbenopedagoški koncept značilni še
drugi specifični didaktični in metodični postopki ter načela pouka.

Improvizacija kot ena od osnovnih in najpomembnejših oblik glasbene ustvarjalnosti otrok
vključuje istočasno raziskovanje in izvajanje glasbe brez predhodne splošne priprave. Medtem
ko je bila včasih glavna vloga improvizacije pri klasični glasbi razvidna v izvajalski, je danes
večinoma ohranila pedagoško vrednost ter predstavlja zelo pomembno metodično sredstvo pri
glasbeni vzgoji. V številnih delih o improvizaciji je izpostavljen njen velik metodični in
didaktični pomen za glasbeno izobraževanje (Regelski, 1986; Kartomi, 1991; Kratus, 1991;
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Zentz, 1992; Azzara, 1999). Improvizacija je konstitutivni element pouka FGP, ki se kot
osmišljen in načrtno usmerjen program izvaja na vseh učnih področjih že od glasbenega vrtca
in otrokovih prvih srečanj z instrumentom naprej.

Spontane, intuitivne ali nezavedne improvizacije predstavljajo svobodni in neovirani
ustvarjalni izraz otroka skozi glasbo. Prve spontane improvizacije na klavirju nastajajo kot
rezultat otrokovega aktivnega spoznavanja in raziskovanja instrumenta. Pogosto so
spremljane tudi z njegovim likovnim, gibnim in besednim izražanjem. Skozi t. i. sinkretizem
različnih umetniških področij se dodatno poglabljata otrokova domišljija in kreativnost.
Zavestne improvizacije nastajajo, kadar otrok tako dobro obvlada določeno materijo, da tudi
zavestno ravnanje z njo zanj postane spontano. Pri FGP se skozi improvizacijo, ki v otroku
spodbuja kreativnost, ustvarjalno domišljijo, senzibilnost, svobodo ter aktiven odnos do
oblikovanja, pogostokrat spontano anticipirajo določeni tehnični, agogični, glasbeni ter drugi
interpretativni elementi. V učnem procesu ima improvizacija po eni strani vlogo sredstva za
doživljanje in spoznavanje glasbe, po drugi strani pa se uporablja kot jezik izražanja in
komunikacije.

Motivacija kot gonilna sila, ki vodi posameznika pri določeni aktivnosti, je zelo pomembna
tako v splošnem kot tudi v glasbenem izobraževanju. Ena od najpomembnejših vrst
motivacije je storilnostna motivacija, ki se nanaša na posameznikove težnje po dosežkih.
V okviru storilnostne motivacije posebej izpostavljamo Weinerjevo atribucijsko teorijo, ki
obravnava razlike in posledice različnih interpretacij vzrokov za uspeh in neuspeh. Weiner je
menil, da posameznikova interpretacija vzrokov za njegove uspehe in neuspehe pri določenih
dejavnostih odločilno vpliva na njegovo obnašanje, mišljenje ter njegov odnos do podobnih
nalog v prihodnosti.

E. P. Asmus je razširil koncept Weinerjeve atribucijske teorije ter ga prilagodil pogojem in
kontekstu glasbenega izobraževanja. Zasnoval je merski instrument z naslovom Mere
motivacije v glasbi (Measures of Motivation in Music), ki vključuje dve ločeni skali
motivacije: Motivacijski dejavniki (Motivating Factors) in Magnituda motivacije (Magnitude
of Motivation). Na teh teoretičnih osnovah so bile izvedene številne raziskave: Reimer, 1975;
Asmus, 1985, 1986a, 1986b; Chandler et al., 1988; Austin, 1991; Austin & Vispoel, 1992;
Legette, 1992; Bogunović, 1995, 2005a, 2005b; Austin et al., 2006; Schatt, 2011.

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