Visoko Obrazovanje Muzički Darovitih: Studentske Procene Kompetencija Nastavnika

Bogunović, Blanka; Mirović, Tijana

doi:10.19090/pp.2014.3.469-491

Cited by 7 publications

(6 citation statements)

References 4 publications

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“…Aside from their help in the analysis of musical pieces (analysis of aesthetic and stylistic characteristics), teachers should be good evaluators of the results achieved by pupils. Some recent research studies of music teachers (Bogunović and Mirović, 2014) point to the traditional pattern of teachers" "desirable" traits. Teachers should be reputable and competent, diligent at work; also they should motivate pupils, animate them to work and practice, and boost their independence and self-confidence.…”

Section: Resultsmentioning

confidence: 99%

The Role of a Teacher in Music Education of Young Professional Musicians

Zdravić-Mihailović

2020

FU Teach Learn Teach Ed

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The paper deals with the teacher’s role in music education of pupils in music high schools. Taking into account the nature of the subjects, their objectives and outcomes, as well as the modes of instruction, the paper examines the teacher – pupil relationship, and in line with the observations, examines the role of a teacher. What dominates in teaching an instrument or solo singing, which is individual and based on performing music, is partnership between teachers and pupils, but teachers’ motivational role and his role of an evaluator are also important. On the other hand, the role of a teacher in group teaching moves towards cognitive-diagnostic, and the role that becomes prominent is the role of a regulator of social relationships. It involves fostering of good interpersonal and collegial relations within the subjects based on collective performance, such as Choir, Orchestra or Chamber Music, because they are an important prerequisite for the quality of instruction. Aside from the specific teachers’ roles in the field of music education, the paper also points to some other important teachers’ roles in terms of their wider influence on pupils and social environment.

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Section: Resultsmentioning

confidence: 99%

The Role of a Teacher in Music Education of Young Professional Musicians

Zdravić-Mihailović

2020

FU Teach Learn Teach Ed

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“…In order to train students at all levels for quality interpreting and supporting their musical and personal development, contemporary solfeggio teaching must put students in an active relationship with the music they will be able to perform independently. This highlights the role of teachers in the attainment of skills and competences (Bogunović and Mirović, 2014). The significance of properly defined and applied teacher competencies represents a solid foundation for the successful achievement of educational goals and objectives (Nikodinovska Bancotovska, 2015).…”

Section: Discussionmentioning

confidence: 99%

Transfer of musical abilities and possible reflections of teaching content

Jelena

Jovanović

2019

IJCRSEE

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The paper aims to indicate the direct link between the development of knowledge, skills and music abilities in the pedagogical practice which encourages concrete cognitive, psychomotor and affective processes that lie in basis of the transfer of learning. We analyzed the attitudes of the students of the Department of Music Art from the Faculty of Arts in Niš according to musical skills acquired in solfeggio teaching, in the context of their impact on the instrumental performance. Assuming that advancement of musical skills acquired in solfeggio teaching directly affects the field of instrumental perfor-mance and leads to the development of music potential, or development of musical abilities, at the level of sensory abilities, as well as at the level of understanding musical structures, the research, which established the student attitudes to evaluating different components of instrumental performance; correlation of solfeggio and instrumental teaching; importance of work on some elements in the solfeggio teaching and evaluating expressive elements in relation to the technical skills in the solfeggio teaching, was conducted. The results of conducted research confirmed basic hypothesis that students express high awareness of the narrow connectivity of solfeggio and instrumental teaching, equally evaluating work in all areas of solfeggio teaching. Simultaneously, they indicate the importance of educational experience in shaping the standpoints of students who showed positive attitudes about a possible reflection of the solfeggio teaching content and skills that are acquired in it, as well as there’s a high degree of the use of skill acquired in solfeggio teaching in instrumental performance.

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“…С друге стране, психолошка проучавања музике заснована су на релевантној методологији и баве се системским посматрањем одређених феномена. Поред већ поменутог значајног доприноса ксеније Радош (2010), важно је истаћи велики број радова Бланке Богуновић, која разматра таленат и успешност (Bogunović, 2008(Bogunović, ), мотивацију постигнућа (19882006b), породицу ученика средње музичке школе (Bogunović, 2005), улогу и компетенције наставника (Bogunović, 2006а;Bogunović i Stanišić, 2013;Bogunović i Mirović, 2014), образовање музичара (Bogunović, Dubljević i Buden, 2012), те вредносне оријентације младих музичара (Bogunović, Dubljević, Mirović i Dubljević, 2012).…”

Section: проблеми савремене музичке педагогијеunclassified

“…Поред помоћи у анализи дела које се изводи (анализа естетских и стилских карактеристика), наставник треба да буде и добар процењивач постигнутог резултата ученика. Поједина новија истраживања наставника музике (Bogunović i Mirović, 2014) указују на традиционалан образац "пожељних" особина наставника. Наставник треба да буде частан и стручан, да се залаже на послу и мотивише студента, подстиче га да ради и вежба, да подстиче развој самосталности и самопоуздања.…”

Section: проблеми савремене музичке педагогијеunclassified

Meeting music pedagogy and music psychology: Contribution to the study of contemporary professional music education

Zdravić-Mihailović¹

2020

Artefact

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This paper discusses the research of psychologists and pedagogues which are committed to issues of professional music education. The statement of Ksenija Radoš (2010) that the psychologist-researchers and music pedagogues pass each other on the same way, and that they go on parallel paths toward the same goals, encountering the same obstacles, and yet never really meet, is the starting point for the review of the relationship between these disciplines. as the first step of our research, the definition of a 'common way' is imposed, and then testing the connection of current issues of music education and music psychology. according to our understanding, there are several important reasons for the mentioned situation in music education: focusing music pedagogy on general music education and 'late' awakening of pedagogy of professional music education as a special scientific discipline; obsolescence of the curriculum of professional music education and insufficient cooperation between music pedagogues and psychologists-researchers. Interplay of these disciplines, implemented through the planned conducted research that focuses on the problems of professional music education, could be an important support for the development and improvement of specific areas of music pedagogy.

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Visoko Obrazovanje Muzički Darovitih: Studentske Procene Kompetencija Nastavnika

Cited by 7 publications

References 4 publications

The Role of a Teacher in Music Education of Young Professional Musicians

The Role of a Teacher in Music Education of Young Professional Musicians

Transfer of musical abilities and possible reflections of teaching content

Meeting music pedagogy and music psychology: Contribution to the study of contemporary professional music education

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