CC BY
33
Iotova A.I. ©
Universidad Complutense de Madrid, Spain
MUSIC EDUCATION IN BULGARIAN INFANT SCHOOLS
Summary
The Bulgarian Educational Project in music education carried on in pre-schools is internationally acclaimed. This is due to the State's compromise to supporting and promoting all the music traditions giving great importance to the educational strength music exerts on the global education of a person. Bulgarians possess a particular music methodological system based on national folklore which at the same time has attained the best achievements in twentieth century European active methodologies.
In order to impart the teaching of music in infant pre-schools the figure of a qualified music educator is employed. This specialist works closely with the infant teacher.
The present article is an analysis and a reflection of the Bulgarian Programme of music infant education with all its sections: (aims, objectives, contents, methodology, evaluation, and cycles). Moreover, I will state details about the musical training both the music educator and the young children's teacher.
Keywords: music education, music educator, pre-school teacher
Introduction:
Bulgaria is a small country located on the South East of Europe which currently belongs to the European Union. I have chosen to write about its music educational project in infant schools for two main reasons. One being, Bulgarian music educational programmes have great popularity and recognition in Europe based on the fact that its music traditions are very well nourished and supported by the State programmes. The other reason is that my personal experience allows me to affirm that musical culture in Bulgaria is an undeniable social reality and a necessity. The teaching of music in the Bulgarian system occupies a high position not only in Europe but all over the world as it deeply considers the importance of music education. Moreover, some of the greatest pedagogues such as American S. Skaikler en 1967[8] place the Bulgarian system among the world's top three, or among the five best in the world, as Russian professor E. Abdullin, 1996 [8]. According to Galina Stoyanova one of the greatest figures in Bulgaria in terms of musical methodology, declares this recognition is due to certain characteristics of which we can stress the following:
- The solid foundation of Bulgarian's methodology which has been built on the national traditions and on the best achievements regarding active music methodologies in the world.
- Bulgaria possesses a particular methodology.
- And also because it has a new and a modern conception of what folklore entails. Its system regards folklore not only for its artistic value but also for its significance as it can be seen as a tool of salvation against the spiritual erosion and the nihilism that exists in the nation. Traditional songs and dances are considered as an "ecological" product, something pure and clean, an indispensable tool in the process of self-acquired knowledge. Folklore becomes then something to relax with, enjoy and which favours spiritual communication[9].
A great deal of effort in the educational programmes in Bulgaria is directed towards infant schools. Folklore is used as the raw material in music. This is one of the most important characteristics the Bulgarian system has. Another one is that its methodology is based on all the active and dynamic forms of perception in relation to music. In Bulgaria they are very much convinced of the benefits and transcendence teaching music provides in pre-schools, therefore, a significant importance is given to music. This is the reason why they support and struggle for its presence in infant schools and this is also the reason why a lot of research is conducted, most of it with the aim of elaborating methodologies which are more pedagogically efficient. One of them, a professor from the University of Blagoevgrad, Anastasia Atanasova-Vukova, is dedicated amongst other things, to the classification of the characteristics of the musical capacities of children aged between 0 and 7[1].
Some of these projects which have had a major influence on the musical programmes in infant schools were published in 1993 [7] [13] [6]. All these programmes show how through a number of musical activities many global qualities and characteristics such as memory, attention, emotional development, thinking, verbal communication, imagination, will and observance can and must be developed as it has been
© Iotova A.I., 2013 r.
widely demonstrated that music favours emotional and mental development. The importance music education has at this stage is then of great impact.
Development:
The Organic Law of the Bulgarian Ministry of Science and Education number 31-02-01 from the 24 th September 1993 develops the pre-school stage curriculum (2- 7 years old).
1. The most important aspects in order to understand how music education globally works in infant schools are the following:
- The setting of Music Education in the Curriculum.
- Hours and timetables dedicated to Music Education.
- The teaching staff and their vocational training.
- Aims, objectives and contents of Music Education.
- Sequence of objectives and contents in cycles.
- Methodology.
- Evaluation criteria.
1.1. The setting of Music Education in the Curriculum:
In the Bulgarian Curriculum, Music Education constitutes an independent area which is called " The Culture of Music" according to the programmes of education defined by the Ministry of Science and Education of 1971, 1993 and of 2002[5].
1.2. Hours and timetables dedicated to Music Education:
In the Curriculum infant education spans from the age of two to the age of seven and it is articulated in three cycles: 2-3, 3-5 and 5-7 [13][7][6] [5]. The Curriculum also establishes the number of music classes, which are two a week. They last twenty minutes in the first cycle, twenty-five in the second and thirty in the third cycle.
1.3. The teaching staff and their vocational training:
Those responsible for the music education in Bulgaria are qualified teachers with a degree in Music Pedagogy [3].
They are the direct responsible for the teaching of music, but they do not work alone. We have to emphasize the intense and daily complicity between the infant teacher and the music specialist. This complicity is considered an indispensable factor for the success of music education and is designed as such in a lot of sections within the Curriculum. However, the infant teacher, in spite of being an accomplice and a helper, does not assume the responsibility of music education. It is the pedagogue who directs the teaching of music in general.
1.4. The Vocational Training of the Infant Teacher:
In Bulgaria, for the training of infant teachers, there are two initial academic qualifications. A new one existing since 1995[4] which is a 4- year degree in Infant and Primary Pedagogy and another one existing from previous plans: Infant Education Specialist which is a 3-year degree. The teaching credentials the infant specialist has, because of its characteristics and duration, can be compared to the Infant Education Specialist in Spain. The 4-year degree can be compared to the Degrees which are currently being implemented.
The professional music education training of the infant school specialists consists of four subjects1: Music Theory and Sol-fa, The Teaching of Music Culture, Music Games and Musical Instrument.
The subject Music Theory and Sol-fa offers knowledge and the development of aptitudes to ensure that the foundations of all the elements of the musical language are well understood. Its contents include the study of music scales, music figures, mode intonation, intervals, rhythmical training and the harmonization of children's songs. This constitutes a music teaching of basic literacy which is considered very important and indispensable to attain the expected results and objectives not only in the musical training of teachers, but also necessary in the further music education of children. This subject offers practical music classes as well. Through them, the future teacher will acquire interpretation skills as a soloist and in group as well as developing their emotional implication and their creative skills.
Different types of songs and contents are worked with, from traditional to contemporary songs including Bulgarian traditional repertoire and songs from all over the world.
This subject aims at providing teachers with the capacity to select critically and analytically music materials: (songs, instrumental pieces, dances, games) in order to adapt all this suitably in the educational process taking into account the physiological and psychological characteristics of each child and of the group.
The subject Pedagogy of Music Culture deals with the teaching of music in pre-schools. Its main intention is to offer the adequate didactic solutions and pedagogical actions in music activities. The subject is
introduced in three levels. The first one consists of the elaboration of a diagnostic containing the characteristics of each child and of the group through quantitative and qualitative research. The second level tries to build a pedagogical plan that followed this development. Finally, the third level deals with the construction of the programme and the selection of the right methodologies.
The contents of the subject the Pedagogy of Music Culture are closely related to the current educational programme as they prepare infant teachers for an efficient and useful collaboration with the music specialist and to be able to substitute them if necessary.
The subject Playing Games with Music trains infant teachers in rhythmical and musical skills through a number of musical games, rhythmical activities, music, movement and dances. It includes methods of teaching music which range from Bulgarian folklore to classical and popular music from other countries.
The subject Instrument Learning is about the study of the accordion. Its objective is to provide a basic knowledge of the instrument but reaching a mastery of it which allows the teacher to use it in music activities. The techniques of the instrument and the elaboration of accompaniment for songs and dances are taught.
In the professional training of infant teachers in Bulgaria, a great importance is placed on the final exams. In these exams educators have to give a lecture on music education consisting of the planning and development of a music class, for example. The board of examiners evaluates this and forty hours done in a teaching internship programme in a state infant school.
1.5. The Musical training imparted by the Music Pedagogue:
In order to be able to impart music classes in infant education it is necessary to obtain the degree in Music Pedagogy. In Bulgaria this can be done in two levels: Bakalavar (4-year degree) and Magister (5-year master)[4]. The Bakalavar degree in Music qualifies the professionals for teaching in infant, primary and secondary schools.
It is important to point out that to be admitted at university there is a university admission exam which tests the ear for music candidates possess. This consists of one and two voices music dictations, intonation exercises in Sol and Fa, the development of a music history topic, and of playing a musical instrument, apart from the piano, which is compulsory.
In the following chart I will present the study plan of Plovdiv Academy of Music, Dance and Fine Arts (state) which corresponds to the academic year 2009-2010. In the chart, we can see the different subjects, how they are distributed in semesters, the number of hours and the activities that have to be developed in each subject. Chart 1: Professional Training Music Educator
Chart 1
Professional Training Music Educator
o № •a .a -a ■s .a H E a 5« •s
Áreas Exams JS S o TS £
g (3 fli EJÉ 5« 5« es U u
1 2 3 4 5 6
Category I: Compulsory areas
Course 1: Theoretical and musical areas
1 Music theory I-II II 45 4,5
2 Music history I I-II II 75 7,5
3 Music history II III-IV IV 75 7,5
4 Harmony and musical arrangements I I-II II 75 5,0
5 Harmony and musical arrangements II III-IV IV 60 4,0
6 Poliphony V-VI VI 75 5,0
7 Sol-fa I-IV IV 120 12
8 Bulgarian music history V-VI VI 75 7,5
9 Jazz and Rock music III III 45 3,0
10 Music instruments III III 15 1,5
11 Orchestra symphony IV-V V 60 4,0
12 Music analysis I IV-V V 75 5,0
13 Musical folklore I-II II 90 6,0
14 The theory of music aesthetics V V 45 3,0
Total number of hours inTheoretical and musical areas 930 75,5
Course 2:: Practical and musical areas
15 Musical instrument (or singing) I-VI II,IV,VI 90 18,0
16 Piano with companion (for pianists) VII-VIÏÏ VIII 30 4,0
17 Additional piano I-VIII II,IV, VI, VIII 120 20,0
18 Piano choir conducting II-IV II,IV 45 6,0
19 Student's choir conducting III-VI IV, VI 120 12,0
20 Choir conducting (theoretical) I-II II 60 6,0
21 Choir conducting (with piano) V V 15 2,0
22 Piano score playing II-III III 30 3,0
24 Vocal training I I I 15 1,5
25 Additional accordion VII VII 15 1,5
Total number of hours in Practical musical areas 510 70,0
Course 3: Pedagogical areas
26 General psychology I I 30 3,0
27 Pedagogicall psychology II II 30 3,0
28 General psychology III-IV IV 60 6,0
29 Infant pedagogy VII VII 30 3,0
30 The teaching of music and observation methodology V-VI VI 90 15,0
31 Pedagogical practice in infant schools VIII VIII 15 3,0
32 Pedagogical practice in the classroom VII-VIII VIII 60 16,0
Total number of hours in Pedagogical areas 315 49,0
Course 3: General areas
33 Physical education I-IV II-IV 120 8,0
Total hours in General areas 120 8,0
Total number mandatory hours 1875 202,5
Category I: Elective areas
Course 1: Complementary areas to vocational training
34 The didactics of the speciality instrument or singing I V-VI VI 60 4,0
35 Sol-fa VI VI 45 3,0
36 Practical didactics with the school choir VIII VIII 15 4,0
37 Speciality instrument practical didactics or singing VII-VIII VIII 30 4,0
38 Sol-fa practical didactics VII-VIII VIII 30 3,0
39 Woodwind band arrangements V V 30 3,0
40 Aesthetics teaching didactics VII VII 45 3,0
41 Music in special education VII-VIII VIII 60 6,0
Total hours in Elective courses 315 30
Course 2. Additional training areas
42 Choir conducting (with piano)III V-VI VI 30 4,0
43 Orchestra conducting (with piano) II VI VI 15 2,0
44 Woodwind band conducting VI VI 15 2,0
45 Playing in student's orchestra I III-IV IV 60 6,0
46 Playing in student's orchestra II V-VI VI 60 6,0
47 Playing in student's orchestra III VII-VIII VIII 60 6,0
48 Speciality instrument (or singing) IV VII-VIII VIII 30 6,0
49 Instrumental chamber music (or vocal) I III-IV IV 30 2,0
50 The history of the aesthetics in music VI VI 30 3,0
51 Vocal training II II II 15 1,0
52 Fine Arts history I I 30 3,0
53 Music acoustics VII-VIII VIII 60 4,0
54 Music psychology and music therapy VII-VIII VIII 45 4,5
Total hours Course 1. Electives 510 51,5
Total number of hours in Elective areas 825 81,5
Total number of hours in Mandatory and elective areas 2700 284,0
We can summarize the vocational training of both the Infant Teacher and the Musi c Specialist in the chart below:
Chart 2
Initial Professional Training (summary)
Initial professional training (summary)
1. University degree Music Educator (Qualifies teachers for infant, primary and secondary schools) Infant Education Specialist (Qualifies for the general teaching in infant schools)
2. Degree of responsability of music education in infant schools Direct responsability Indirect responsability: collaborator in the teaching of music
3. Academic degree Degree Degree
4. Length of university studies 4 years 3 years
5. Number of Music Education compulsory subjects 28 4
6. Weekly hours of Music Education 24 4
7. Number of Music Education elective subjects 12 There is none
8. Total number of hours of elective subjects 315 0
2. Aims, objectives and contents of Music Education[13]:
The Bulgarian Curriculum looks for the apprehension of the subject Music Culture through the development of all the musical skills of children. This is carried out through a number of activities: perception, interpretation and creation.
This subject aims at intervening directly in the emotional development of children and in their appreciation of art. It tries to awaken conscience and the necessity to use and interpret music. At the same time, it lies the foundations of a permanent music education and to introduce students to a society that demands and appreciates music.
Music education in pre-schools constitutes a vitally important stage in cultivating the appreciation of art and music as well as instilling the necessity to perceive, interpret and create. There is an interrelation between the aesthetic musical and intellectual development of children.
For the perception and interpretation of music, for its assimilation, and in order to live music as a means of expressing a deeper emotional content, it is important for children to be introduced to the world of music not only at an early age, but also in a programmed and systematic manner. In nurseries and pre-schools the music specialist and infant teachers are faced with this task. They have to strive to coordinate their efforts as the success of music activities depends on it. For this reason, music education has to be founded on the child's happiness, interest and the desire to perceive, assimilate and interpret music. The satisfaction they will get from their musical accomplishments will stimulate their wishes and the necessity for their artistic creation and recreation. Based on this, the specialist must, then, contribute to develop the skills which will allow children to continue their further music education.
The vast possibilities that music has on the person will define the place and the importance of the role that musical education plays in the mental, emotional and intellectual development of children.
The Curriculum accentuates the objectives which are directed towards a global human education through the development of the auditory, artistic and intellectual capacities of the child. It strives to establish an intimate and personal relation with music for each child: "Music and me" and "The music inside me". In doing so, their imaginative and emotional world can be greatly enriched.
The necessity of a public state music education is clearly reflected in the objectives of the Bulgarian Curriculum which states the importance of "Understanding the vital social function music: folklore, classical, religious or commercial exerts" and strives to "Promote children's public music performances". Music education tries to instil the adequate attitude and behaviour in concert halls and in scenic performances as well as in a family atmosphere.
The contents of the Curriculum, six in total, reflect the relation children establish with music [13]. The different sections contain all the activities that must be accomplished in order to attain those objectives: the child perceives, sings, dances, plays, composes, loves and lives music.
1. The child loves and lives music.
2. The child perceives music.
3. The child sings, plays, dances.
4. The child composes and creates his/ her music.
5. Musical and artistic outlines.
6. Evaluating a child's musical ability.
The Bulgarian Curriculum distributes the unit contents in three sections dedicated to each subject involved in the educational process: the music pedagogue, the infant teacher and the child. This shows the democratic and cooperative character of the musical education process.
As an example we can observe the three sections defined in the second content unit covering: "The child perceives music".[15]
The first section is dedicated to the job the music specialist executes. It contemplates that they must supply the appropriate conditions for musical perception and audition. Music educators have to ensure the learning of an abundant classical and popular music repertoire, introducing it with professionalism and a high artistic level. By doing this, their attitude towards the interpretation of music will set an example which may influence children through their enthusiasm and passion for music.
The second section defines the contents which the infant teacher must follow in order to encourage a number of social experiences and verbal activities through music involving verbal communication, motor and verbal skills. This includes organizing relaxation activities and anti-stress therapies. The activities which are related to the perception of music stimulate the imaginative and the suitable attitude in different situations. It also encourages children's comment on radio, television or video performances as well as awakening the desire and interest to listen to their favourite melodies again in the classroom. The infant teacher must cooperate with the music pedagogue in children's interpretations: this involves singing with them, playing children's instruments or illustrating music with puppets.
The third section refers to children and their participation. Children must feel that they are actively involved in their learning process though their emotional, verbal and body language. They must also feel they are gaining a number of musical sounds which allow them to distinguishing different types of music. Apart from this, they will be able to recognize the instrument families and the tone of some of them as well as recognizing their favourite songs and their musical preferences.
3. Sequence of objectives and contents in cycles [13]:
The sequence of objectives and contents in each cycle is presented in the Curriculum as follows:
1. The first section refers to the objectives and contents related to the perception of music.
2. The second relates to the objectives and contents which are related to the interpretation of music and rhythmic movement. Here, contents similar to those of the first section are used. However, they are studied to a deeper degree.
3. The third section of objectives and contents is linked to the expression and creation of music.
In the first cycle we find similarities between the first and the third section: emotional perception (first) ensures the artistic interpretation (third). The activities from the second and third cycle are related to the creation are improvisations of various types.
4. Methodology
Singing is considered the most spontaneous, direct and accessible way of music interpretation and it is the main tool of introduction into the world of music [10].
Playing instruments allow children with intonation difficulties to successfully take part in different interpretative experiences and therefore be able to live the pleasure of sharing with their classmates their own interpretation.
The execution of body movements based on rhythmic and melodic schemes helps them find and express themselves through dance. All the elements of music construction can be expressed with movement: from the pluck of a musical piece to its global form.
Each of the activities must include the possibility of expressing children's own experiences. When children listen to music they imagine characters and they make them real in their mind living imaginary tales depending on the inner world.
Artistic creation at this stage is founded on the improvisation of the melody, the movement and the accompaniment. Its success depends on a great extent to the richness of the musical imagination each child possesses (the previous absorption of a number of auditory and musical experiences) and on the degree of the development of the principal musical capacities.
A festive environment becomes the perfect setting for the combined presentation of different artistic manifestations: music, dance, painting, poetry or literature. Here, children assume the role of artists and they will be able to show the skills they have been developing during their daily activities.
In order to achieve the objectives of music education, it is important to point out that they are considered as part of the global development of children. They depend on the professionalism of the pedagogues (music and infant) and on their capacity to assign the correct objectives to the child and to the
group. It also greatly depends on the incorporation of artistic activities in the most appropriate moment of their psychological and motor skills development. 5. Evaluation criteria:
The Curriculum proposes an examination and evaluation of pedagogical intervention results in accordance with the attitude shown in the musical auditions, during the act of singing, in doing exercises with music, when playing a musical instrument or when composing melodies.[13][7].
The level of development of musical abilities is also evaluated, that is, the sense of tone, the metric and rhythmic sense and the sense of the musical form.
In the proposed educational programme criteria for the evaluation of children both in the attitude shown as well as in the acquired knowledge appears. This is based on the child's interest and participation in activities. Their development during the educational process and their analytical participation is also evaluated.
The Curriculum also stresses the importance of stimulating the capacity of evaluation and of self-assessment in students. Conclusions:
In conclusion, the Educational Project in Bulgaria is quite ambitious and we cannot help but recognize that it is very complete. All the details in each section assign a vital importance to music education. This importance comes from the profound belief in its educational power and possibilities.
Teaching training is based on the combination of professional music training (high conservatory level) and on the pedagogical training.
The Bulgarian system is based on a permanent music education which becomes a necessity in order to build a musical society, a society that loves, appreciates and needs Art. As a result, a special importance in the early stages of infant education is given to music.
The Bulgarian Educational Model is currently changing and transforming. This situation is threatening all parameters: teaching training, educational programmes or timetables. The current educational reform, Bologna Plan, which Bulgaria as a member of the European Union has to follow, questions the existence of the music pedagogue. Also, the vocational training with regard to music is diminishing.
'Information taken from the College of Pleven (state) under the guidance of Veliko Turnovo University (state)
References
1. Атанасова-Вукова, A. (1995): За музикалното възпитание в детската градина, Университет Благоевград
2. Министерство на Народната Просвета и Централен Институт за усъвършенстване на учители и ръководни кадри "Вела Благоева" (1983): Съвременни проблеми на музикалното възпитание в училища и детски градини. София.
3. Министерство на образованието. (2002). Decree. София: N°125.
4. Министерство на образованието. (N°69 de 1994). Instruction N°2. Periódico Governamental , pág. 44.
5. Министерство на образованието и науката (2002): Учебни програми. София, Просвета.(90)
6. Николова, Е. и Атанасова, А. (1993): Методика на музикалното и танцово обучение за предучилищна вьзраст. Изд. Народна Просвета, София.
7. Русинова, Д. Гюров, Д., Баева, М.; Giurova, В. (1993 г.). Програма за образованието на детето 2-7 години. София: Даниела Любенова.
8. Стоянова, Г. (1997): Учителят по музика в своята професия. Интелект- А. Благоевград
9. Стоянова, Г. (1998): Образователните стратегии и музикално образователната система, София
10. Стоянова, Г. (1991): Музикалност, София.
11. Стоянова, Г. (1992): Системи за музикално образование и професионализъм на учителя по музика, Списание: Учителят, музиката, децата №3.София.
12. Стоянова, Г .; Кръстева, С. и Попова, M. (1992): Учителят, музиката и децата. Народна просвета, София
13. Витанова, H. и други (1993): Активността на детето в детската градина. Програма. София, Просвета.
14. Заякова, E.; Кръстева, C.; Методиева, Й. (2002): Книга по музика за учителя, Просвета и труд, София.
15. Ivanova Iotova, A. (2010). La educación musical infantil en Bulgaria y España. Revista Música y Educación,82
