Music-pedagogical Concepts from the beginning of the 20th Century

Početak 20. stoljeća bio je vrlo inspirativno vrijeme za glazbene pedagoge. Već je tada bilo jasno da se glazbeno obrazovanje treba poučavati na drugačiji, slobodniji način od redovnog obrazovanja. Sve glazbeno – pedagoške koncepte 20. stoljeća odlikuje pedagoška otvorenost. To je vidljivo u vjeri da svaki učenik ima glazbeni potencijal. Emil Jaques-Dalcroze utvrdio je detaljni glazbeno – pedagoški pristup, ali je najpoznatiji po euritmici te po tomu da poučava glazbu kroz ples, odnosno kretanje s naglaskom na razvijanje improvizacije. Improvizacija je temelj i Orffove metode, gdje se prilikom razvijanja koristi Orffovov instrumentarij. Zoltan Kodály bazirao se na glazbeno obrazovanje putem pjevanja, s naglaskom na mađarske narodne pjesme. Glazbeno – pedagoški pristup Edgara Willemsa, iako najmanje poznat, iznimno je zanimljiv i sveobuhvatan. On promatra čovjeka holistički, u povezanom odnosu s prirodom i kozmosom i nastoji kod svakog učenika otkriti talent. Posljednji u nizu glazbeni je pedagog Shinichi Suzuki. Iako je njegov glazbeno – pedagoški pristup prvenstveno osmišljen za poučavanje sviranja violine, sukladno naprednim idejama i pedagoškom optimizmu, model je primjenjiv na sve instrumente i koristi se svuda u svijetu. Glazbeno – pedagoške ideje i pristupi s početka 20. stoljeća, još uvijek su svježi i kreativni te primjenjivi u današnjoj praksi.The beginning of the 20th century was a very inspiring time for music pedagogues. Even then, it was clear that music education should be taught in a different, freer way than regular education. All music-pedagogical concepts of the 20th century are characterized by openminded pedagogues. This is evident in the belief that every student has musical potential. Emil Jaques-Dalcroze, although he established a detailed musical-pedagogical approach, is best known for his eurythmic and for teaching music through dance or movement with an emphasis on developing improvisation. Improvisation is also the foundation of Orff's method, where Orff's instrumentarium is used in development. Zoltan Kodály was based on music education through singing, with an emphasis on Hungarian folk songs. Edgar Willems' music-pedagogical approach, although the least known, is extremely interesting and comprehensive. He observes man holistically, in a connected relationship with nature and the cosmos, and seeks to discover talent from each student. The last in line is music educator Shinichi Suzuki. Although his music-pedagogical approach is primarily designed to teach violin playing, in line with advanced ideas and pedagogical optimism, the model is applicable to all instruments and used everywhere in the world. Music-pedagogical ideas and approaches from the beginning of the 20th century are still fresh and creative and are certainly applicable in today's practice