Music Tale in the music teaching in primary education

Glavni cilj ovoga rada bit će raspraviti što je glazbena priča te treba li se ona koristiti u nastavi Glazbene kulture u hrvatskim osnovnim školama, točnije u primarnom obrazovanju. Rad je teorijskog tipa, a može se podijeliti na četiri dijela rasprava. U radu su navedena razmišljanja i istraživanja mnogih autora koji su istaknuli važnost glazbe za razvoj djece, na svim područjima, a posebno u emocionalnom razvoju. Također, utvrđeno je da je glazbena priča izrazito (čak skoro u potpunosti) zanemarena u glazbenom obrazovanju u hrvatskom obrazovnom procesu a da je slična situacija i u nekim europskim zemljama. Ipak, neke europske zemlje, u svojim kurikulima, ostavljaju prostora za korištenje glazbenih priča u nastavi, a neke čak i potiču djecu na glazbeno stvaralaštvo, te u tome kontekstu potiču i na stvaranje glazbene priče. Kako bi učenici to mogli osmisliti i ostvariti, naglašava se važnost poticajne okoline i improviziranja kojim razvijaju svoje sposobnosti. U raspravi o glazbenoj priči ponudila se i moguća raspodjela na vrste glazbene priče, s obzirom da do sada takva podjela nije osmišljena. Tako se navode tri moguća oblika, a to su 1. glazbena priča, 2. ozvučena priča i 3. ispričana skladba. Kao primjer ozvučene priče, radu se prilaže već postojeća pod nazivom Labud, autorice Desanke Maksimović, na istoimenu skladbu Camille Saint-Saënsa. Kako bi se pokazalo da se takve priče mogu i samostalno osmisliti, drugi prilog radu predstavlja ozvučena priča pod nazivom Pijanisti, također uz istoimenu skladbu istoga autora, a tekst je osmislila autorica ovog rada. Zaključno, korištenje glazbene priče ima više pozitivnih strana, nego li negativnih, a dobro osmišljena glazbena priča može predstavljati metodički artefakt prikladan za usvajanje glazbenih pojmova ili barem u motivacijske svrhe, kako bi se kod djece i učenika pobudila ljubav za glazbom.The main goal of this paper will be to discuss what a musical tale is and whether it should be used in the teaching of Musical Culture in Croatian elementary schools, more precisely in primary education. The paper is of a theoretical type and can be divided into four parts of the discussion. The paper contains the thoughts and research of many authors who emphasized the importance of music for children's development, in all areas, especially in emotional development. Also, it was established that the musical story is very (almost completely) neglected in music education in Croatian schools, and that the situation is similar in some European countries. Nevertheless, some European countries, in their curricula, leave room for the use of musical stories in lessons, and some even encourage children to create music, and in this context encourage the creation of musical stories. In order for students to be able to design and realize this, the importance of environmental stimulation and improvisation to develop their abilities is emphasized. In the discussion about the musical story, a possible division into types of musical story was offered, given that no such division has been devised so far. Thus, three possible forms are listed, namely 1. musical story, 2. voiced story and 3. narrated composition. As an example of a sound story, the work is accompanied by an already existing one called Labud, written by Desanka Maksimović, to the composition of the same name by Camille Saint-Saens. In order to show that such stories can also be created independently, the second part of the work is a voiced story called Pianists, also with the composition of the same name by the same author, and the text was created by the author of this work. In conclusion, the use of musical stories has more positive sides than negative ones, and a well-designed musical story can represent a methodical artifact suitable for acquiring musical concepts or at least for motivational purposes, in order to arouse children's love for music