| Abstract | Polazeći od stajališta da je glazba svima neophodna, svaki čovjek je muzikalno biće, jer posjeduje ritam disanja, srčani ritam, ritam moždanih valova, ritam kojim hodamo, pozornost rada usmjerena je na način kako se sinkretički pristup u glazbi njeguje i prepoznaje u glazbenom odgoju i obrazovanju djece predškolske dobi u vrtićkoj ustanovi. Prema Goodwinu (TEDx Talks, 2013). Dijete već od rođenja reagira na glazbene podražaje, odnosno, u prvim danima reagira na različite tonove (Starc, Čudina Obradović, Pleša, Profaca i Letica, 2004), slušajući podražaje iz okoline razvijajući svoj slušni i govorni svijet. Pri razvoju djetetovih glazbenih sposobnosti, potrebno je koristiti različite pristupe i metodičke postupke koji će doprinijeti kako razvoju djetetovih glazbenih potencijala tako i razvoju njegove cjelovite ličnosti.
Cilj ovog rada je ukazati na važnost sinkretičkog pristupa djetetovom glazbenom odgoju i obrazovanju. Pritom se pod sinkretizmom podrazumijeva prirodna povezanost te jedinstvenost nastajanja muzikalnih, govornih i motoričkih elemenata u djetetovom spontanom glazbenom izrazu. Kao temeljni metodički postupak u području dječjeg glazbenog stvaralaštva koji doprinosi ovim vrijednostima ističe se improvizacija. Kreativni izraz kod djece predškolske dobi stavljen je u vezu s improvizacijom kao sredstvom kojim dijete može izraziti svoje stvaralaštvo. Radom se objašnjava sinkretički pristup, koji navodi spontanu improvizaciju kao sredstvo postizanja kreativnog doživljaja glazbe i zvuka te prvih susreta s improviziranim pjevanjem. Improvizacijom dijete unosi sebe u glazbu. Spontanim izražavanjem djeca uživaju u glazbi zbog glazbe same, ne zbog njenih brojnih struktura. Svako dijete posjeduje individualne sposobnosti i mogućnosti koje ga razlikuju od ostalih. Upravo tu različitost kroz odgoj je potrebno istaknuti, očuvati i nastojati održati vibrantnom kroz čitav period dječjeg odrastanja, pa tako i u odrasloj dobi. Stvaralački izraz postaje značajan i dugotrajan ako se odgoj djeteta odvija u okruženju koje ga vodi prema razvoju cjelovite ličnosti, u okolini u kojoj dijete gaji ljubav prema glazbi, aktivno ju doživljava i svojim slobodnim, spontanim izrazom dolazi do novih spoznaja i vještina. Želja za očuvanjem mašte i kreativnosti češto su prepreke institucionalizirane strukture kao što su školski i pedagoški okviri i kurikulumi te pedagoški i didaktički postupci nas odraslih.
Kako bi se dobili približno stvarni rezultati provedeno je istraživanje putem upitnika. Ispitanici su odgojitelji djece predškolske dobi s radnim iskustvom. U istraživanju je sudjelovalo 221 ispitanik, prosječne životne dobi između dvadeset i pet i pedeset godina. Istraživanje je pokazalo da mali broj odgojitelja je upoznato sa sinkretičkim pristupom glazbenog odgoja i obrazovanja u radu s djecom predškolske dobi. Jako malo odgojitelja zna za rad hrvatske pedagogije Elly Bašić, te neki odgojitelji samo ponekad u radu provođenja glazbenih aktivnost koristi Orffov instrumentarij. Kako bi odgojitelji predškolske djece u budućnost imali više znanja o sinkretičkom pristupu glazbenom odgoju trebalo bi im omogućiti više edukacija i stručnih usavršavanja povezanih s područjem glazbe i glazbenog stvaralaštva predškolske djece. |
| Abstract (english) | Starting from the point of view that music is necessary for everyone, every human being is a musical being, because he has a breathing rhythm, heart rhythm, brain wave rhythm, rhythm we walk, the attention of the work is focused on how the syncretic approach in music is nurtured and recognized in music education. education of preschool children in a kindergarten. According to Goodwin (TEDx Talks, 2013). From birth, the child reacts to musical stimuli, that is, in the first days he reacts to different tones (Starc, Čudina Obradović, Pleša, Profaca and Letica, 2004), listening to stimuli from the environment, developing his auditory and speech world. In the development of the child's musical abilities, it is necessary to use different approaches and methodological procedures that will contribute to the development of the child's musical potential and the development of his overall personality.
The aim of this paper is to point out the importance of a syncretic approach to a child's music education. By syncretism is meant the natural connection and uniqueness of the emergence of musical, speech and motor elements in the child's spontaneous musical expression. Improvisation stands out as a fundamental methodological procedure in the field of children's musical creativity that contributes to these values. Creative expression in preschool children has been linked to improvisation as a means by which a child can express his or her creativity. The paper explains the syncretic approach, which cites spontaneous improvisation as a means of achieving a creative experience of music and sound and the first encounters with improvised singing. By improvising, the child introduces himself to the music. By spontaneous expression, children enjoy music because of the music itself, not because of its many structures. Each child possesses individual abilities and capabilities that distinguish him or her from others. It is precisely this diversity through upbringing that needs to be emphasized, preserved and strived to be kept vibrant throughout the entire period of a child's growing up, including in adulthood. Creative expression becomes significant and long-lasting if the child's upbringing takes place in an environment that leads him to the development of a complete personality, in an environment where the child cultivates a love of music, actively experiences it and with his free, spontaneous expression comes new knowledge and skills. The desire to preserve imagination and creativity are often obstacles to institutionalized structures such as school and pedagogical frameworks and curricula, and the pedagogical and didactic procedures of us adults.
In order to obtain approximately real results, a questionnaire survey was conducted. Respondents are educators of preschool children with work experience. The study involved 221 respondents, with an average age between twenty-five and fifty years. The research showed that a small number of educators are familiar with the syncretic approach of music education in working with preschool children. Very few educators know about the work of Croatian pedagogy Elly Bašić, and some educators only sometimes use Orff's instruments in the work of conducting musical activities. In order for preschool educators to have more knowledge about the syncretic approach to music education in the future, they should be provided with more education and professional training related to the field of music and musical creativity of preschool children. |
