rezumat teză educatie
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Transcript of rezumat teză educatie
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Analiznd dezvoltarea gndirii pedagogico muzical din cele mai vechi
timpuri i pn n zilele noastre, dac tradiia muzical folcloric precum i
cea religioas au constituit baza educaiei pn n secolul al XIXlea,
influenele culturii muzicale europene ptrund n toate sistemeleeducaionale, pentru ca secolul al XXlea s se caracterizeze prin
diversificarea educaiei muzicale adresat celor din nvmntul general
obligatoriu, precum i celor din nvmntul special muzical, laic i
religios! "n plan conceptul, specialitii din domeniul psiho pedagogiei i al
muzicii au pledat pentru includerea artei sunetelor n educaia att a copiilor
ct i a adulilor! #ac metodele specifice disciplinei, coninutul programelori manualelor au fost diferite, nvarea muzicii realiznduse pn n secolul
al XIXlea, oral, prin cntec religios i popular, repertoriul muzical cult
european i naional $ compus special pentru copii%, nsoit de alfabetizarea
muzical, au devenit din secolul al XIXlea pn n prezent coordonatele
educaiei muzicale a copiilor!
"n evoluia nvmntului distingem trei aspecte fundamentale legate
de educaia muzical&
'! nvmntul privind formarea slu(itorilor altarului i mbogirea
repertoriului muzical necesar cultului religios)
*! nvmntul laic, cu scopul pregtirii cntreilor, instrumentitilor i
a compozitorilor, care s promoveze arta muzical ntrun cadru
particular sau public, dar i a celor ce aveau sarcina de a educa elevii
din punct de vedere muzical)+! nvmntul general destinat tuturor copiilor, bazat mai ales pe
cntare vocal i mai puin instrumental!
Aceste aspecte sunt tratate separat& educaia muzical n diferite
sisteme de nvmnt, educaia muzical n nvmntul romnesc, scurt
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istoric al evoluiei manualelor i a metodicii predrii educaiei muzicale, un
spaiu rezervat special avndul George Breazul ca pedagog de frunte
pentru nvmntul romnesc. oate afirmaiile sunt argumentate cu
planuri de nvmnt $ ane-a A % i o bibliografie consistent alctuit dinprograme i manuale colare!
abstract
.hapter one goes over The Evolution of Musical Education-Systems,
Methodical Concepts, Textbooks, anal/zing the development of the
pedagogicalmusical thin0ing since ancient times to no1ada/s! he musical
fol0lore tradition, as 1ell as the religious one, represented in our countr/, the
basis of education until the '2thcentur/, 1hen the influences of 3uropean
musical culture entered all the educational s/stems! he *4 th centur/ is
characterized b/ the diversit/ of the obligator/ general school, as 1ell in the
specialmusical, la/ and religious education! In a conceptual plan the e-perts
in ps/chopedagog/ and arts domains have pleaded for the music inclusionof children and gro1nups in education! 5usic learning 1as realized orall/
until the '2thcentur/, through religious and popular songs and the 3uropean
and national music repertor/ $especiall/ composed for children% (oined b/
musical alphabetizing, has become since the '2 thcentur/ the coordinate of
children6s musical education, even though the programmes and te-tboo0s
have been different!
In the evolution of education 1e distinguish three fundamental t/pes
bound to the 5usical 3ducation&
'! the education concerning the formation of the shrine6s sub(ects and the
enriching of the musical repertor/ necessar/ to religious 1orshipping)
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*! the general education destined to all children, mainl/ based on vocal
singing and less on the instrumental one)
+! the la/ education, 1ith the goal of preparing the psalmreaders,
instrumentists and composers so that the/ could promote the art of musicin a particular and public frame, but also those 1ho had the tas0 to teach
the pupils from the musical point of vie1!
hese aspects are treated separatel/ the Musical Education in
different teaching sstems, Musical Education in the !omanian education,
short histor of the te"t#oo$s evaluation and of the musical education
teaching methods a fragment speciall/ saved, referring to George Breazul
as a prominent educator in the !omanian education and his contribution to
the musical education in the middle school! All the statements are motivated
1ith education plans $appendi- A, pages *77*8'% and a substantial
bibliograph/ made of school programmes and te-tboo0s $pages *22+4*%!
In the long run of time, 1e realized that the aesthetic ideal influenced the
pedagogical ideal, that art had the part of a chief accountant of the human
soul and represented a fundamental means in the evolution of the social life!
Music 1as founded in Anti9uit/, retaining its goal in harmonious
development of human being! hat6s 1h/ 1e presented the most ardent
upholders of the art6s sounds, as an educational sub(ect, as 1ell as their
pedagogical concept& :laton, Aristotel, .onfucius, .omenius, ;ean ;ac9ues
! =r?ebel $1ho initiated the foundation of
0indergartens%, 3mile ;ac9ues #alcroze, 5aria 5ontessori, .arl @rff! It6salso 1orth remembering the
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Cut the evolution of the musical didactics couldn6t have been possible
1ithout the constant contributions in the field, of those 1ho devoted
themselves to education, offering their imagination and devotion, so that the
students of different ages could benefit from the positive influence of theart6s sounds! Among these, I mention& arah Flo1er, Bugo illems, 5aurice .hevais, 5aurice 5artenot, Goltan Hodal/ and hinichi
uzu0i! Cesides the above mentioned, numerous
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curriculare& ' etapa achiziiilor senzorial ( fundamentale $grdini i
clasele I II%) * etapa achiziiilor instrumentale ( de dezvoltare $clasele
III DI%) + etapa achiziiilor valoric ( atitudinale, de o#servare i
orientare$ clasele DII XII%!"ntruct pentru nvmntul preprimar nu sunt stabilite coordonatele
curriculare, iar pentru nvmntul primar sunt incomplet stabilite,
constatm c acestea nu acoper specificul activitilor muzicale, iar din
articularea lor nu se realizeaz continuitatea n studierea tuturor aspectelor
vizate de acest domeniu! .onsiderm c o#iectivele cadru indicate a fi
realizate n perioade prenotaiei trebuie s sintetizeze direciile ce trebuie
urmrite pe parcursul acestei i anume& a% dezvoltarea capacitii de
receptare a mesa(ului muzical) b% dezvoltarea capacitilor interpretative
$vocale i instrumentale%) c% cunoaterea i utilizarea elementelor de limba(
muzical n interpretarea i audierea muzicii) d% cultivarea sensibilitii, a
imaginaiei i a creativitii muzicale!
rebuie reinut faptul c prin cntarea vocal i instrumental ca i
prin audiiile realizate la activitile muzicale, copiii se echilibreaz i se
rela-eaz n acelai timp, acestea avnd i efect terapeutic! 5odalitile
specifice de realizare a educaiei muzicale utilizeaz creaii specifice&
e"erciiile cu rol n formarea deprinderilor, cntecele care sunt principalul
mi)loc de familiarizare a copiilor cu lim#a)ul muzical, )ocurile muzicale ce
reprezint forma cea mai comple" de educaie artistic a copiilor i
audiiile muzicale ce cultiv gustul pentru valorile autentice. Am fcutdelimitrile $ca metod i mi(loc educaional specific% i clasificrile
cuvenite privitoare la e-erciii, (ocuri i audiii precum i tehnologia
didactic necesar abordrii lor! oate cele prezentate sunt susinute prin
e-emple propuse pe categorii de vrst, cu recomandri de materiale
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didactice utile $culegeri de cntece i (ocuri muzicale, casete i discuri audio,
incluse i n bibliografia muzical artistic%! .onsiderm a fi convingtoare
compactdiscurile realizate, cu propunerile pentru audiii e-istente n lucrare
$ane-a .%!he stud/ goes on 1ith the anal/sis Specific Means of "ealizin# of
Musical Education in the $renotation$chapter ID%! he notational stage is
anticipated b/ the Ja#cK period called in 5usical 3ducation JprenotationK!
here are several approaches regarding its division& into t1o $5aria
5ontessori, 5aurice 5artenot, Ion Eerfezi% or three stages $5aurice
.hevais, .arl @rff, Feorge Creazul%, 1ith responsive ali0e denominations!
he coverage of 5usical 3ducation in three stages corresponds to the
purpose of education, ta0ing into account the ps/chomotor features and the
children6s s0ills and harmonize the three curricular c/cles& ' the stage of
sensor fundamental ac*uisition$0indergarten and primar/ grades III%) *
the stage of instrumental ac*uisitions of development$grades IIIID%) + the
stage of the values ( attitudes ac*uisitions of o#serving and orientation
$grades DII XII%!
Cecause the curricular coordinates for preprimar/ education haven6t
been established, and the/ are established incompetel/ for primar/
education, 1e realize that these don6t cover the specific of the musical
activities and the continuit/ in the stud/ing of all the aspects referred to in
this field can6t be realized from their articulation! >e consider that the
frame o#)ectives 1hich 1ere suggested to be realized in the period ofprenotation should s/nthesize the direction pursued during the period and
namel/& a% the development of the reception capacit/ of the musical
message) b% the development of the rendition abilities $vocal and
instrumental%) c% the 0no1ledge and use of the musical language elements in
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the music rendition and audition) d% the gro1ing of sensibilit/, imagination
and of the spontaneous musical creativit/!
It6s necessar/ to be retained the fact that through the auditions
realized during the musical activities, children balance and rela- at the sametime, these having a therapeutic effect too! In this sense, the specific
modalities of realizing the musical education use specific creation& the
musical e"ercises +ith the role of forming the s$ills, the songs, +hich are the
main means of familiarizing the children +ith the language, the musical
games +hich represent the most comple" form of artistic education of
children and the musical auditions +hich nurture the sense for the genuine
values.>e made in our stud/ the determination $as specific educational
method and means% and the proper classifications regarding the e-ercises,
games, auditions and songs, as 1ell the didactic technolog/ necessar/ to
their approach! All those presented above are sustained b/ e-amples
suggested on age categories, dra1n out from the 1or0s of composers such
as& #an Doiculescu, Ale-andru :acanu, Anton cornea, #umitru #! tancu,
iviu .omes, .ristian 5isievici and 1ith recommendations of useful
didactic materials $song boo0s and musical games, tapes, audio dis0s, also
included in the musical artistic bibliograph/%! >e consider to be
convincing the compact dis0s $appendi- .%!
3voluia muzicii ca mod de comunicare artistic sa aflat ntotdeauna ntrun
raport de interdeterminare cu spiritul epocilor pe care lea reflectat i cuevoluia sensibilitii i capacitii intelectuale a omului! =enomenul artistic
reprezint o relaie care vizeaz trei mari entiti& creatorul $n cazul muzicii
i interpretul n ipostaza de coautor%, opera artistic i publicul, precum i
relaiile funcionale dintre acestea!
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=olclorul reprezint o parte a culturii naionale a unui popor,
reflectnd n modul cel mai direct profilul spiritual i talentul artistic al unei
naiuni! "n acest sens creaia copiilor pstreaz o strveche modalitate de
comunicare i de e-teriorizare artistic, n cadrul vieii colective care,precede naterea limbilor vorbite i a limba(ului muzical! radiiile
folclorice ale copiilor vor constitui primul pas ctre cunoaterea muzicii,
dup care pot e-plora universul sonor creat, dup modelul folclorului
copiilor, de ctre compozitori talentai i inspirai de atmosfera de vra( a
lumii mirifice a copilriei! creaiile, fie folclorice, fie culte, sunt att vocale
ct i vocal instrumentale! Acompaniamentul este predominant ritmic,
corporal $prin bti din palme, picioare, sau mers ritmic pentru marcarea
timpului sau a ritmului%, sau instrumental $cu instrumente de percuie sau
obiecte sonore ce mbogesc sonor atmosfera de (oc%!
a nceput, sub forma (ocului iar apoi sub forma leciei, educaia
muzical aduce numai beneficii, bucurii i entuziasm n sufletele copiilor,
indiferent de paralela sau meridianul unde se afl! Important este ca
nceputul tiinific, coordonat, al formrii muzicale s porneasc de la ceea
ce le este familiar i anume creaiile lor folclorice ca s poat crete n
universul sonor specific zonei creia i aparin! #ar tot acest efort nu va avea
finalitate dac nu va fi ancorat n realitatea imediat ce impune corelarea
interdisciplinar cu toate domeniile pe care le e-ploreaz n drumul lor
cognitiv spre nelegerea universului n care triesc!
abstract
he evolution of music as means of artistic communication has al1a/s been
in an interdetermination relation 1ith the spirit of the epochs 1hich it has
reflected 1ith the evolution of sensibilit/ and the intellectual abilit/ of man!
he musical phenomenon refers to three great entities& the creator $in the
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case of music and the interpreter as a coauthor%, the artistic 1or0 and the
audience as 1ell as the d/namic relations among these!
he selection of an repertor/ ade9uate to the /oungest, re9uires the
0no1ledge of the stages of children6s musical evolution, and as 1ell as theac9uiring possibilities of the musical 1or0s, in the curricular activities but
especiall/ of those e-tracurricular optional, 1hich can be directed to1ards
the interpretative practice prevalent vocal or vocalinstrumental! he
rendition of the vocal 1or0s is made b/ the vocal groups or choirs, and those
of the vocalinstrumental ones are realized b/ the group of musical games!
he fol0lore represents a part of the national culture of a people,
reflecting in the most direct 1a/ the spiritual profile and the artistic gift of a
nation! In this sense, the children6s creation retains an ancient means of
communication and of artistic e-ternalization, 1ith ancient roots in the
collective life 1hich preceedes the birth of spo0en languages and of the
musical language! he children%s fol$loric traditions can represent
especiall/ in the countr/side the first step to1ards the 0no1ledge of
music, after 1hich the sonorous created universe can be e-plored b/
composers after the model of children6s fol0lore! he +or$s, either fol$loric,
or academic are #oth vocal and vocal-instrumental. he accompaniment is
prevalent rh/thmic, bodil/ $through clapping hands, tapping feet or rh/thmic
1al0 to mar0 the time and rh/thm%, or instrumental $1ith sonorous ob(ects
or the percussion 1hich enrich the pla/ atmosphere in a sonorous 1a/%!he
academic repertor/, destined to children 1as realized 1ith e-amples fromthe 1or0s of the composers mentioned above! At the same time 1e also
propose possible alternatives for integrating the scores in different
interdisciplinar/ activities!
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At the beginning, under a form of game and then as a form of lesson,
the 5usical 3ducation brings onl/ benefits, (o/ and enthusiasm in the souls
of children, no matter the parallel or meridian he lies! It6s important that the
scientific beginning, coordinate of the musical formation, should start from1hat it seems familiar to them and namel/ their fol0loric creations, so that
the/ could increase in the specific sonorous universe of the area to 1hich
the/ belong! Cut this effort 1ill not have a final product if it isn6t anchored
in the immediate realit/ 1hich imposes the interdisciplinar/ correlation 1ith
all the fields 1hich the children e-plore in their cognitive 1a/, to1ards the
understanding of the universe the/ live in!