Some trends in Estonian music education in the 21 st century and public reflections on it

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1 Alma Mater Studiorum University of Bologna, August Some trends in Estonian music education in the 21 st century and public reflections on it Tiina Selke Dept.of Fine Arts, Tallinn University Tallinn, Estonia ABSTRACT The quantity and quality of the choirs is one sample of music education in comprehensive school. The base Relative Sol-fa (JO-LE-MI) method which has been a part of music pedagogy in Estonia during about half of the 20th century has changed. The idea of plurality in postmodernist society has brought new trends. The base of the analyses is the pedagogical media from , school-songbooks from , questionnaires provided in 2000 and and eperience of the author of this paper. The inquiry (public N=205 and music teachers N=66) was carried out in 2003/05. The aim of the research was to investigate the changes in music education. The analyses of the pedagogical journalism showed that in mid 1990ies started the new Off boom and introduction of Suzuki method. Using art activities with music listening was caused by the music therapy boom in 90ies. Music therapy was introduced to the music teachers and included into the curriculum of the music teachers preparation. Kodaly concept has turned from using technical tools towards philosophy of the concept musical mother In: M. Baroni, A. R. Addessi, R. Caterina, M. Costa (2006) Proceedings of the 9th International Conference on Music Perception & Cognition (ICMPC9), Bologna/Italy, August The Society for Music Perception & Cognition (SMPC) and European Society for the Cognitive Sciences of Music (ESCOM). Copyright of the content of an individual paper is held by the primary (first-named) author of that paper. All rights reserved. No paper from this proceedings may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information retrieval systems, without permission in writing from the paper's primary author. No other part of this proceedings may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information retrieval system, without permission in writing from SMPC and ESCOM. tongue. The result is music notation which considers rhythm as well as prosody of the language. The research showed that the attitude of public circles regarding the self-forming role of arts has been mostly positive but different, depending on the age of the respondents: more accepted by parent-aged people (with different backgrounds of education) and less valued by respondents over 55 years of age (grandparents age). Traditional model of music education has kept a strong position but the shift of the paradigm could be defined/mentioned as the dominating role of singing and theory tends to decrease at the side of new activities. Many activities in classroom like visual art, drama, recorder, instrument making etc. have still mainly been provided by teachers own initiative and response. Keywords classroom music, objectives, music therapy, art, listening, Kodaly concept, public. INTRODUCTION Re-establishment of independency at the beginning of 1990ies substantially turned the backbone and objectives of the education in all post-socialist countries including Baltic States (Szatan 2005; Selke 2006). The educational aims have always been based on a certain principles. These are ideological views on which the goals and availability of the education for the public as well as the values of the society have been assigned. All this dictates a concrete content of the school-subjects (Elliott 1995; Regelski 2000/2002; Swanwick 2004; Läänemets 1995; Krull 2002). Three major trends are pointed out among the many comple changes taking place in European society: globalization and internationalization of the processes, dawn of the information society and growing impact of the ISBN ICMPC 615

2 scientific and technical development (European Commission 1997, 1999). These processes merge with education reform changing of the value-orientations, multiculturalism and identity found a new form in using different information sources and new activities in music education, in the new role of folk and common song and choral movement. The aim of the research was to define new trends concerning objectives and the content of music education, also to study public reflections on it. The object of the research was the changes in music education. Several researchers have stressed that educational objectives like collectivism, internationalism, developing a tolerant member of society is turning to person-centred, individualistic goals like, creativity of person, selfknowing, self-forming and adaptable member of the society (Erliha 2004; Järva 2004; Krull 2002; Zogla 2005; Toomere 2001). Common song and choir tradition as a musical reflection of the unity, one of the main factors of the cultural identity during Soviet period tends to lose it s importance. The number of the choirs has decreased. Paraphrasing semiotic J.Lotman (2000/2004: 163, ), psychologist Vygotsky (2004) and philosopher K.Swanwick (2004: 8) common song has been a symbol, semiotic quintessence of cultural memory. In this sense, philosopher F.Sparshott stresses, the musical belonging is something worth to preserve and musical versatility is not a virtue. This is an everlasting problem of the balance of traditions and innovations in the curriculum. Turn from the knowledge-skill-based paradigm in education to the paradigm which values creativity and adaptability, has focused also different kinds of arts education. According to H.Gardner (1983), musical intelligence is one of the seven creative talents and many researchers place the ultimate value on the arts in education because the arts are playful, filled with imagination and because each act of creativity in any sphere has a playful air about it (Swanwick 1991a, 50-51). Arts have been always one of the ways for self epression and fantasy. SAMPLE, METHODS AND PROCEDURES The research consisted of five parts: analyses of curriculums ( ); analyses of music educational articles in pedagogical writing press ( ); analyses of school songbooks ; questionnaire for public (P) (N=205); questionnaire for music teachers (MT) (N=66). The gathering of data was provided with two similar questionnaires (developed by T.Selke and H.Krull) carried out in 2003/05. Among other questions respondents of different ages and education were asked to put the tasks of music teacher in order, to define the necessity and aims of music education, and musical activities in school. The questions were set in two dimensions of time: present and past (in your school-time). The prospective and aims of music education (Põhikooli 2002), the concrete functional and organizing duties of the teacher were mied in the option. Respondents choices and preferences show what was valued more. On visual arts point of view the most important question was formulated as follows: Using music for relaation and self-formation (drawing/painting music, improvised movement, listening music lying on the floor etc). Statistical data was elaborated with MS SPSS. The qualitative data was analysed by coding tet and by comparing the data. R.Tylers four-step curricula design: objectives, learning activities, methodical organization, means for estimation was the theoretical base for analyses of curriculum (Elliott 1995: ). ANALYSES The objectives conditions, postulate the means, the content and activities of the subject music. The content means not the verbal knowledge but procedural knowledge, musical practice, activities in the sense of the praial philosophy of music education (Elliott 1995; 2005: 10-11). Therefore the following Table 1 shows mainly the dynamics of the activities as content in obligatory school singing (music) curriculums. The table 1 shows the stability cultural memory of Estonians the choral, singing activities and music reading-writing during the 20th century, from the first music curriculum in 1917 till last one in At least two different models of music education could be seen on the table: the first at the beginning of the 20 th century based on singing and theory, second with movement, listening, improvisations and instrumental activities. Table 1. Dynamics of the changing of the content in music curriculums Content / Singing Theory/music reading&writing Choir Repertoire list Movement/roundgames ISBN ICMPC 616

3 Music history/second. classes Movement/rhythmic Listening/list of repertoire Rhythm instruments Improvisation Making an instruments World music Visual arts Drama The turn of the century marked the birth of the third, postmodernist pluralistic model with world music, instruments making, visual art and drama elements. The meaning of music as the meaning of music education became more etended. Different activities linked with music and sounds are considered as music education. The state music program curriculum proposes music teaching in many different ways in addition to Orff and Kodaly approaches (Põhikooli 2002; Muusika 1996). Very likely forming of new model in music education has not reached the top as the end of the century brought new keywords and challenges like visual arts, drama, IT & computer music, recorder, instrument making, karaoke and many other activities and approaches. Anyway we can talk about the shift of the paradigm as the core of the music education, vocal activities tends to lose it s dominating role besides too many other activities. New and renewed pedagogical approaches have been caused by the methodical confusions in 90ies (Selke 2003). The years of the Independency since 1990s opened the world with its music-pedagogical versatility alternative pedagogies, elements of Suzuki method (mainly in classroom recorder), music therapy, and Orff-boom, different school music projects etc. 1.1 Visual arts and music listening Some of these elements are represented in the schoolbooks and are widely in use in the classroom practice like visual arts in music listening (Pullerits & Urbel 2001; Pullerits & Urbel 2003; Selke 2005). According to analyses of the school songbooks visual arts in music class have turned in a new quality. The study showed that the visual arts have been integrated with music differently, depending on pedagogical background and time. Illustrative music listening or so called organizational approach (Swanwick 1991: 89-90) towards drawing and painting music was replaced by stimulating approach in classroom. These are art activities in relationship, interaction through conceptual and cognitive processes where the possibilities of one type of eperience awake, or stimulate potential in another (Ibid). Interaction of listening and art activities have found different forms like drawing, painting, sculpting, designing with different materials and techniques and handcrafting music. ISBN ICMPC 617 The aim of these activities is to develop self-knowledge, self-awareness as well as self-analyses. The analyses of the pedagogical journal Haridus (Education ) showed that the trend arose with the boom of music therapy in 1990ies. The basic principles of music therapy as well as best eperiences were introduced to the music teachers in several articles, in the courses and included into the curriculum of the music teachers preparation (Selke 2005). This boom found the output in the school songbooks, in the form of several eercises like: Draw the mood you hear in this music; draw piano/forte; draw crescendo; draw (Pullerits & Urbel 2003) Which piece of ballet Nutcracker you like most? How would you visualize these characters? Draw here a miniseries. (Sepp & Järv 2001) Drawing mood with music etc. About the forming role of arts: the following Figure 1 shows the evaluation of music teachers tasks, evaluated by people of different ages. To some etent the defining the teacher s functions projects the public imagination and will about music education. On the Figure 1 we can see valuation of the functions of the teacher (characteristics) in two dimensions: Developing emotional spheres (musical entertainment, developing emotional world) Ability for self-formation (relaing, communication, identity) of the child in music classes.

4 Figure 1. Evaluation of music teachers tasks by people The research carried out on public showed that he attitude of public circles to the self-forming role of arts has mostly been positive but different. Figure 1 shows that the evaluation of the fore mentioned functions depended great deal on the age of respondents. Hereby students ratings are not analysed as the problem of youth value system is a separate research theme. Respondents of grandparent-age (>55) valued self-forming role as very low, as the idea for them was too strange and they had not eperienced it before. High valuation of the development of national identity by grandparent-aged respondents could be eplained with the relation to their historical-political past more than their educational aims. According to the data of the self-forming role of music and visual arts (drawing, painting) was highly rated by respondents of parent-age (26-55). This shows a significant shift in attitudes of the generation. Though in both groups the influence of education level was accepted - people with lower education didn t accept art activities in music class at all, or accepted them in very low level. In fact, parents valued the influence of art even more than music teachers. As music teachers used fore mentioned art activities in their own initiative and response/risk, however the study shows that teachers acknowledge the arts creativity and personality development influence. Naturally, above all music teachers consider pure-musical activities to be important. The cluster analyses (based on the method of Eukleidic distance) of the characteristics (teachers roles) enabled to differ three clusters. Three types of teacher s roles opened when characterising the clusters: novator (N=71), conservative (N=81), patriot (N=35). The self-forming role of music activities (included art) was most epressed in novator and patriot cluster. Such an estimation by public circles promises optimistically predict more attention to the different classroom activities and balance between traditions and innovations in future. 1.2 Instrumental activities The analyse of the pedagogical journals show that the new Orff boom in late 1990ies was more integrated with rhythm, speech, movement, drama, body percussion and improvisation and less with instrumental activities (like in 70ies) (Pullerits 1998; 2002; 2004a; 2004b; Toom 2000). In relation with classroom recorder elements of Suzuki approach were introduced and integrated with Orff pedagogy (Selke 2006; Kuivits & Jukk 2005). Nevertheless the instrumental activities in classroom have still stayed minority. According to the studies among music teachers the main activities in music lesson were: singing, movement and listening (Selke 2003; 2004). Though the choice of instruments has become much more varied and rhythm accompaniments in the schoolbooks are now more modern, they are not particularly more complicated than earlier. We can not see any rhythm instrument choirs or performances in the stage instrument activities still carry the role of accompaniment. On the other hand, playing children s instruments requires skills of working with groups and pairs from the teacher. This particular kind of music making requiring more personal approach of instruction is unique and major source of self-knowledge, self growth (Elliott (1995: 113,114). This is a pedagogical-social form of the classroom work which is not very much cultivated yet (Selke 2006). The public inquiry in 2005 showed the similar results (see Figure 2). The traditional singing is most preferable besides songgames and listening. Playing children instruments (relatively new activity) was estimated quite low. The public preferences to the classroom activities responded to the teachers preferences but had significant relation with the age of the respondents (N=206). The older the respondents were, the less they valued playing children instruments (see Figure 2) ISBN ICMPC >25 y y < 55 a. all singing song-games/movement theory play children instruments listening music history

5 Figure 2. Public preferences to classroom musical activities The most formal eplanation to small interest towards the playing children instruments is the lack of instruments in school, but also attitude of the public circles. Children s instruments are often considered to be something like toys. Due to that the public gives a low value to instrumental activities, and does values children s instruments (incl. recorders) as highly as classical music instruments (Selke 2004). Research showed that in the scale of instrument prestige the recorder (most widely used classroom instrument) was one of the last one. It is paradoical that studying classical instruments was considered as eager elitist (Public = 39%) or as elitist (Music teacher = 57%). At the same time different instruments have been valued differently. The privileged instruments as the violin and piano were considered to be instruments of the high art (ibid). This is a phenomenon of the aesthetic art education (Kabalevski 1976; Reimer 1989: ). According to Bennet Reimer (1989: 112, 113) elitism in it s diversity of forms is deadening to culture because it is unable to enjoy the variety of life, music. This could be also a phenomenon of the social changes in Estonia during the last decade value shifts due to the formation of the social classes (Toomere: 2001, ). Private music lesson became an indicator of certain economical status of family. 1.3 Methodical approaches Kodály method or JO-LE-MI method as we know this concept in Estonia (adapted by music educator Heino Kaljuste) had been a part of music pedagogy in Estonia during about half of the 20th century. Adapted and simplified repertoire for scripture reading in the songbooks of 80ies was, at the turn of the century, replaced with new rhythmically and melodically complicated world music, which was difficult for solmisation. Therefore teachers preferred to teach by heart and JO-LE-MI method lost it s importance (Selke 2003). On the other hand, under the conditions where pedagogical ideas stressed the free improvisation, creativity, self-epression, JO-LE-MI method seems to be too traditional because of the routine training of the musical motives, melodic shapes of steps and hand signs. Research provided in 2000 showed that only one third of music teachers used relative solmisation. Teachers estimated decreasing tendency to JO-LE-MI method (ibid) However, the new century brought back the philosophical ideas of Z.Kodály and H. Kaljuste: More and more attention was set on the musical identity folklore activities had a wide range of dance and singing to making national music instruments and handcraft. For eample instruction of making the willowwhistle in the 6 th grade songbook and instruction for folkdances (Kangro 1996:47). Folksongs and JO-LE-MI in primary classes integrated with Orff approach enables differentiated tuition and musical literacy in new songbooks (Pullerits & Urbel 2001; 2003; Sepp & Järv 2001) which is a base for sustainable choir-movement Music notation follows the rhythm and prosody of the Estonian language Live music singing as a most traditional musical activity has kept its relatively dominating role in the music classes. This is the base for Estonian choral culture. Estonia, like other Baltic countries is known by its choirs and All-Estonian Song Festivals with more than singers on the stage. DISCUSSION New trend born in 1990ies was music activities for the babies from 0 to 3 years. On one hand this was connected with music therapy, on other hand with new pedagogical ideas, socialisation and cultural process of the child. For today we have several baby schools working by different educational, cultural, sports or medicine institutions. About 60% (in the town) of the preschool children have dealt with music and movement they are musically educated. What new do we have to offer them in the school level in 21st century? This is a parado, that in spite of the innovations in teachers training, changes in the content, aims and methods of music the public circles prefere the traditional subject teacher in school. Regarding the roles of the music teacher (1.educator/2.subject-teacher/3.organizer), it appears that along the T-test there was statistically essential difference between two respondents groups, music teacher and public on inde 1 (p=0,024) and 3 (p=0,028). CONCLUSION During the last decade the content of music education has varied though the curriculums, manuals even schoolbooks do not reflect all new methods and approaches used by teacher in the classroom. It should be stressed that besides the Suzuki and Orff boom and renewed Kodaly concept music education became the most influenced by music therapy since 1990ies. The elements of music therapy established in the form of listening to the music. Illustrative-organisational approach was replaced with stimulating approach to the creation of art. New interest to the instrumental activities rose in the highlight by Orff and specially Suzuki method which found the output in the classroom recorder. The technical part of the Kodaly (JO- ISBN ICMPC 619

6 LE-MI) method has been left aside (though this is an obligatory teaching method) and more attention has been paid to the philosophy of the method musical mother tongue, repertoire, preserving Estonians cultural memory. Changes after re-establishing independency have brought out new values, typical for postmodernist society. The researches have shown that in the post-soviet countries educational values have changed from collectivist towards the more individualistic one. That is why the educational aims developing self- confidence, self-knowing, self-aware and creativity have become actual in the curriculum. The public response to the aims of music education, classroom activities and self-forming role of arts and instrumental activities has been different and depends on age of the respondents accepted by parent-aged respondents and less accepted by older respondents. To summarise it up, new generation does not wait for the instructor or subject teacher but for a guide into the world of music for self-knowing, self-forming, relaing and communicating. The 21 st century has shown that these objectives could be achieved through the diverse approach, diverse of musical activities, through multidimensional concept of music. REFERENCES Elliott, D. J. (1995). Music Matters: A New Philosophy of Music Education. New York, Oford: Oford University Press. Elliott, D.J. (2005). Introduction. In D.J.Elliott (Ed.), Praial Music Eucation: Reflection and Dialogues. New York: Oford University Press. Erliha, S. (2004). Values orientated music lesson. In T. Selke (Ed.), 1 st International Conference The Changing Face of Music Education on March 26-27, 2004, [CD proceedings] (pp ). Tallinn: Tallinn Pedagogical University. European Commission. (1999). Key Data on Education in the Europe Union. Brussels. Järva, I. (2004). Põlvkondlikud muutused Eestimaa vene perekondade kasvatuses: sotsiokultuuriline käsitlus. Tallinn Pedagogical University Dissertations on Social Sciences 9. Tallinn: TPÜ Kirjastus. Kabalevski, D. (1976). Osnovnõje printsipõ i metodõ eksperimentalnoi programmõ o muzõke dlja detei obseobrazovatelnoi skolõ [The main principles and methods of the eperimental project for children in school]. Moskva. Kangro, R. (1996). Helisev maailm. Muusikaõpik V-VI klassile. Tallinn: Koolibri. Krull, E. (2002). Eesti õpetaja pedagoogilised arusaamad, arvamused, ja hoiakud milleeniumivahetusel. Tartu: Tartu Ülikooli kirjastus. Kuivits, M., Jukk, T. (2005). Mäng ja pillimäng:plokkflöödi algõpetuse ja Orff-pedagoogika õpetajaraamat. Põltsamaa: Vali Press. Läänemets, U. (1995). Hariduse sisu ja õppekavade arengust Eestis [The content of education and development of syllabus in Estonia]. Tallinn: Jaan Tõnissoni Instituut. Lotman, J. (2000/2004). Vnutri mõsljashtsih mirov. In Semiosfera (pp ). Sankt-Peterburg: Iskusstvo-SPB Muusika (1996). Muusika. Põhikooli ainekava [Music. Program for compulsory schools]. Eesti põhi- ja keskhariduse riiklik õppekava. RT Põhikooli (2002). Põhikooli ja gümnaasiumi riiklik õppekava. Muusika. [Program for compulsory schools and gymnasium. Music.]. Pullerits, M. (1998). Kõik võib olla muusika: Orffmuusikaõpetuse elementide kasutamisvõimalusi algõpetuses: käsiraamat õpetajale. Tallinn. Pullerits, M. (2002). Muusika igale lapsele. Haridus, 5, Pullerits, M. (2004a). Muusikaline drama algõpetuses - kontseptsioon ja rakendusvõimalusi lähtuvalt C.Orffi süsteemist: analüütiline ülevaade. Dissertation on social sciences. Tallinn: Tallinna Pedagoogikaülikool. Pullerits, M. (2004b). Koolimuusika: kõnemängust pillimänguni. Tallinn: Avita. Pullerits, M.& Urbel, L. (2001). Muusikaõpik 3.klassile [Songbook 3 rd Grade]. Tallinn: Avita. Pullerits, M.& Urbel, L. (2003). Laulik 2. [Songbook Grade 2]. Tallinn: Avita. Regelski T. (2000/2002). The Aristotelian Bases of Prais fot Music. In Michael.J.Mark (Ed.), Music Education. Source readings from Ancient Greece to Today. (2 nd ed., pp ). NY, London: Routledge. ISBN ICMPC 620

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