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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!

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