Estetski doživljaj muzike u nastavnoj praksi
AuthorZdravić Mihailović, Danijela
Committee membersSuzić, Nenad
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This paper deals with the role and importance of the aesthetic experiencing of music in the music high school teaching practice. The theoretical part of this paper presents the analysis of the relevant theoretical terms, where the central part stands for the aesthetic experiencing in the context of the aesthetic education, as well as the components of the aesthetic experiencing – the emotional and the intelectual ones. Besides, the theoretic part contains also goals, tasks and results of teaching in the school subjects included into the research, didactic and methodological issues of teaching and dimension of competences of music high school students. The aim of our investigation is pointed to the examination of the role and importance of the aesthetic experiencing of music in the process of teaching in the second, third and fourth classes of the music high school. The appointed aim of the investigation was realized by means of instruments SUD-KU (Attitudes Scale of students about the ...role of the aesthetic experiencing in the curriculum of the music high school), SUZ-KO (Attitudes Scale of students about the presence of competences in the music high school), used for examination of cognitive, emotional, social and working competences of the students, while the instrument SPINO (Scale of positive and negative feelings) was used for examining of the emotions of the students during the teaching. The sample was made of 311 of students of the second, third and fourth classes of the music high schools in the cities of Niš, Leskovac, Kraljevo, Kruševac and Negotin. Within the empirical part of the paper there are results of the investigation which show that the teaching of theoretical and performing subjects are characterized by the positve aesthetic experiencing of music. Through the selfevaluation of the students of the music high schools it was proved that most of the students have emotional, social and working competences, yet not the cognitive competences. Since the aesthetic experiencing of music in our investigation was concidered in the context of the aesthetic education, we have investigated also the presence of the principles of versatility and creativity in teaching in the music high schools. The investigation showed that these principles are present enough in the teaching and that the connection between the theoretical subjects and the subjects based on the performing music is on a satisfactory level. That was especially proved by the investigation of the relationship between delight in being tought and the aesthetic experience of music in theoretical and performing subjects, so we concluded that the students of the music high schools are motivated for being tought. If we speak about the teacher as one of the 6 important facors in cultivating of the aesthetic experiencing of the students, we concluded that in teaching of theoretical subjects his influence on the aesthetic experiencing is evident indirectly, through competences, while in teaching of harmony teachers influence on the aesthetic experiencing also directly and through the working competences. On the other hand, in stirring the aesthetic experiencing in performing subjects teachers do not have an important role either directly or through developing of competences. The obtained results of the investigation showed that for students of various departments (Theoretical and Vocal- Instrumental), as well as of different sex and age, the aesthetic experiencing of music in the teaching practice is equally important and that the students of the Music High School in Niš have the most prominent aesthetic experiencing in teaching the performing subjects – choir and orchester. Our investigation showed that the teacher has an important role in cultivating the aesthetic experiencing in teaching, especially in teaching harmony. The teaching of theoretical and performing subjects is not only characterized by the aesthetic experiencing, it turned out that the aesthetic experiencing of music itself, as a unity of emotional and intelectual, makes it possible for connecting various music disciplines in teaching practice and has an important role in motivating the students helping in this way in strengthening the competences.