Perception of a performance is an active process which allows to set important education aims even for the smallest ones the children of pre-school age. So it is very important to develop ability to comprehend a play, not only to be able to empathize emotionally but to reason the actions and share the impressions of the experience and sense them in their own artistic activities. This work tries to deduce how the children of 5-6 years old are able to comprehend the plot and esthetical aspects of a play as well as express their impressions and comprehension through the verbal language and painted pictures. In order to sort out these things, the children of the pre-school age were observed during the performances and after them they were interviewed and open type of questions were given to randomly chosen children. After analyzing and interpretation of the received information, it was revealed that investigative were able to understand the plot of the play, were able to express what they liked in the play most, they even comprehended the main idea of the plays. But it was too difficult to generalize the plot and comprehend the continuity of the development of the plot. The children used laconic, not full sentences and stray thoughts. That means that it is difficult for children of 5-6 years old to express their impressions in concrete words. While evaluating the esthetical aspects of the play they drew attention to components of the play as scenery... [to full text]

Dissertation contains theoretical research which allowed to describe and to evaluate possibilities of application of phenomenological method in music education and to foresee the approaches of the teacher who works based on this method, focusing on teacher’s narrative. Seeking to highlight the specificity of a student’s aesthetic perception, the context of musical education at a music school had been chosen when an individual meeting of a teacher and a student in the lesson of a particular musical instrument takes place. Because of its singularity for every person to accept it as their own meaning of experience, as a phenomenon, music is favourable to grasp phenomenal aesthetical experience of students. Unique aesthetic experiences of the students and approaches of the teachers, which are vital to recognise the aesthetic perception of a student, were analized using phenomenological method. It is examined, how and by what linguistic means teacher conveys the musical meaning. Using unstructured interview with the teachers and students and also by observing the lessons, empirical research was conducted, revealing the importance of the narrative as a method, which helps to highlight unique experiences and to grasp the aesthetical perception of the students. It also showed the influence of teacher on a student as a result of internecine interaction while transferring the musical meaning in the process of musical education. The teacher, transferring the musical meaning through... [to full text] / Disertacijoje pateiktas teorinis tyrimas, leidęs apibūdinti ir įvertinti fenomenologinio metodo taikymo muzikos mokymui galimybes ir numatyti mokytojo prieigas dirbant šiuo metodu, daugiausia dėmesio skiriant mokytojo naratyvui. Mokinio estetinio suvokimo specifiškumui išryškinti pasirinktas muzikos mokymo muzikos mokykloje kontekstas, kai per konkretaus muzikos instrumento pamoką vyksta individualus mokytojo ir mokinio susitikimas. Muzika, kaip fenomenas, yra palanki užčiuopti fenomenaliems mokinių estetiniams potyriams dėl savo ypatumo asmeniui ją priimti kaip savo patirties reikšmę. Taikant fenomenologinį metodą analizuojami unikalūs mokinių estetiniai išgyvenimai ir mokytojų prieigos, būtinos mokinio estetiniam suvokimui atpažinti. Nagrinėjama, kaip ir kokiomis kalbinėmis priemonėmis mokytojas perteikia muzikinę reikšmę. Atliktas empirinis tyrimas, naudojant mokytojų ir mokinių nestruktūruotą interviu bei stebint pamokas, atskleidė naratyvo kaip metodo, padedančio išryškinti unikalias mokinių patirtis ir užčiuopti jų estetinį suvokimą, svarbą. Taip pat parodė mokytojo įtaką mokiniui kaip tarpusavio sąveikos rezultatą perduodant muzikinę reikšmę muzikinio ugdymo proceso metu. Mokytojas naratyvu perduodamas muzikinę reikšmę, viena vertus, mokinį nukreipia į norimą suvokimo objektą, kita vertus, per metaforą ir vaizduotės interpretacijas atveria galimybes mokiniui tą reikšmę suvokti savaip ir perteikti ją per raišką. Atskleista, kaip, remiantis fenomenologinėmis... [toliau žr. visą tekstą]