Abstract
Music education is an important factor of students’ development. The positive effect of music training is evident in all areas, from the intellectual, psychomotor to social and emotional ones, and therefore music classes in the music school should focus both on music making and on experience, understanding and evaluating music, as well as on expressing one’s own ideas, feelings and thoughts. In ear training classes it can be achieved through the area of music listening. Didactical initiatives of the 19th and 20th century contributed to the recognition of the advantages of the auditory approach, while technological innovations allowed the practical application of music listening. Although there are examples that point to fostering the emotional experience in music classes, music listening is still focused on giving assignments of cognitive type and learning about music components. Some exceptions pertain to the application of multimodality in music teaching using both musical and extra-musical areas. The paper is aimed at pointing to the value of the cognitive-emotional music listening and to the possibilities it opens in ear training classes. The cognitive-emotional music listening focuses on experiencing, understanding and appreciation of classical music aimed at shaping students’ worldview and improving their music competences. It can be achieved by the multimodal and interdisciplinary approach to a musical piece. Students learn about the musical-historical context of the emergence of a piece in a given time and circumstances, about the composing approach and the theoretical and harmony features of the work, they develop their musical and critical thinking, make music, and evaluate both music and their own achievements. Repeated listening to a musical piece or excerpts from it, observing and familiarizing with the piece from different perspectives and discussion about the piece and experience after listening make it possible to better understand the piece and its specifics, as well as to discover and improve one’s own self and accept others and the different.
Highlights
The education system of the countries that succeeded Yugoslavia preserved the same concept: primary, secondary and higher education
Answers are expected that will improve the professional music education and provide guidelines related to the role, function and significance of music listening in ear training classes and that pertain to musical dictation, sight-singing, mastering melodic and rhythmic structures, and theory of music
Conscious music listening with the audible perception found its place in the mid-20th century and has, to this day, mostly been based on intellectual and rational reflections, without expressing the emotional and aesthetic component
Summary
The education system of the countries that succeeded Yugoslavia preserved the same concept: primary, secondary and higher education. Andreé, Baroševčić, Basrak, Krulanović, Kučukalić, Ludvig-Pečar, Požgaj & Stevković suggest that when listening to music it is important to focus attention on the characteristics of a musical piece, i.e. on its expressive components Such an approach will allow students to become more familiar with the music they probably do not listen to in their spare time. Perception, auditory identification and distinguishing musical-expressive components are gradually built upon through www.ijcrsee.com education cycles Still, it can be observed in the teaching practice that assignments during music listening are identical for every piece, which does not contribute to its better understanding, and acceptance. Since every piece is labelled with a unique musical idiom, it is necessary to insist exactly on its distinctiveness, by which students will recognize it and distinguish it from others, and to emotionally include students in music listening and encourage discussion of emotional experiences and associations that arose due to listening (Vidulin, Plavšić and Žauhar, 2020)
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