This dissertation has the main purpose of analysing the biggest single musical educational project in Sweden, so far, Radiokonservatoriet (the Radio Conservatory) from an educational perspective. The project was planned and carried out in 1965–68. This was a time of change in Swedish society. The economy was stronger than ever which had made it possible to let education expand explosively. At the same time, the subject of music in schools was in trouble since the previous and obvious religious legitimacy had faded with secularisation. A lack of music teachers and a lack of relevant higher education in music were well known problems. The expectations were high on an educational project that was going to use media and new methods. Musicology was supposed to build the core of music teaching. In spite of the tough education with three new programmes every week, 132 students managed to conclude all the three courses and were awarded a diploma. In the analysis, I have used concepts from the theory of distance education. With great distance between teacher and pupil, the former has to create strong ”structure” and explicit declarations of how the material is formed in the sense of selection and progression. On the other hand, great distance creates a free space where the pupil can choose autonomously: where, when, and what to study. The Radio Conservatory was well aware of the pedagogic imperatives of the time: ”activity” and ”integration”. The included exercises show different activities of registering, analytic and creative kinds. Singing and playing instruments were not included as ”activities”. The integration of the project consisted of the fact that the three courses were given simultaneously. This gave advantages, but made the education extensive and disregarded the intention of blending different school subjects, which was the established pedagogic intention. The essentialistic striving to create a music subject built on musicology was fruitless. In the 1970s the interest in material theories and teaching content was marginalised in favour of formal theories. My proposal is that both these sides of interest, the material and the formal side of music education, should be balanced.

Muzikinis ugdymas turi laiduoti mokinių gebėjimą dalyvauti savo aplinkos muzikiniame gyvenime, teikti kiekvienam žmogui būtiną muzikinį išprusimą ir raštingumą, skatinti muzika praturtinti asmeninį gyvenimą. Humanistinio ugdymo sistemoje, orientuotoje į žmogų kaip aktyvų socialinį individą, į jo interesus, poreikius, patyrimą bei natūralią sąveiką su aplinka, muzikinis raštingumas turi būti tyrinėjamas vaiko muzikinės kultūros, dvasinio ugdymo, saviraiškos ir kūrybinių galių sklaidos kontekste. Todėl muzikinio raštingumo įkomponavimo galimybės į vaiko kultūros ugdymą, jo vietos ugdymo procese numatymas bei jo tobulinimo, realizavimo bei skatinimo būdų paieškos ir atskleidimas yra aktuali pedagoginė problema. Magistro darbo tikslas – atskleisti muzikinio raštingumo ypatumus pagrindinėje mokykloje. Remiantis mokslinės literatūros, švietimo dokumentų sistemine analize atskleista muzikinio raštingumo samprata bei jo reikšmė asmens muzikinės kultūros ugdymui, apžvelgtos muzikinio ugdymo Lietuvoje sistemas. Atliktas empirinis tyrimas (n=312) pagrindinėse mokyklose atskleidė, kad muzikinės patirties taikymas, muzikinės kultūros reiškinių vertinimas užimą svarbią vietą mokinių gyvenime, jie atviri muzikinės patirties taikymui sociokultūrinėje ir muzikinėje mokyklos aplinkoje. Didžioji dauguma mokinių palankai įsivertina savo gebėjimus improvizuoti, kurti kompozicijas, ritmuoti, girdėti ir intonuoti melodinius darinius, pažinti muzikos raštą bei apibūdinti klausomą ar atliekamą... [toliau žr. visą tekstą] / Musical development has to vouch students’ ability to take part into musical life of his/her environment, provide musical education and literacy necessary to every person, exhort enriching one’s personal life by music. Musical literacy in humanistic educational system, oriented into a person as an active social individual, his interests, needs, experience and natural interaction with environment, has to be investigated in the context of child’s musical culture, spiritual development, self-expression and creative strengths. Thus, investment opportunities of musical literacy into a child’s cultural development, stipulation of its place in educational process, its perfection, realization, searches of exhortation means and revelation is an actual pedagogical problem. The object of the master paper is to reveal particularities of musical literacy at basic school. According to the scientific literature, systemic analysis of educational data, the concept and meaning of musical literacy is revealed for person’s musical culture development, and systems of musical education in Lithuania are surveyed. The empirical research (n=312) at basic schools showed that application of musical experience, and evaluation of musical culture takes an important place in students’ lives; they are open to application of musical experience in social-cultural and musical school environment. The majority of students positively self-assess their abilities to improvise, create compositions, hear and... [to full text]

This dissertation has the main purpose of analysing the biggest single musical educational project in Sweden, so far, Radiokonservatoriet (the Radio Conservatory) from an educational perspective. The project was planned and carried out in 1965–68. This was a time of change in Swedish society. The economy was stronger than ever which had made it possible to let education expand explosively. At the same time, the subject of music in schools was in trouble since the previous and obvious religious legitimacy had faded with secularisation. A lack of music teachers and a lack of relevant higher education in music were well known problems. The expectations were high on an educational project that was going to use media and new methods. Musicology was supposed to build the core of music teaching. In spite of the tough education with three new programmes every week, 132 students managed to conclude all the three courses and were awarded a diploma. In the analysis, I have used concepts from the theory of distance education. With great distance between teacher and pupil, the former has to create strong ”structure” and explicit declarations of how the material is formed in the sense of selection and progression. On the other hand, great distance creates a free space where the pupil can choose autonomously: where, when, and what to study. The Radio Conservatory was well aware of the pedagogic imperatives of the time: ”activity” and ”integration”. The included exercises show different activities of registering, analytic and creative kinds. Singing and playing instruments were not included as ”activities”. The integration of the project consisted of the fact that the three courses were given simultaneously. This gave advantages, but made the education extensive and disregarded the intention of blending different school subjects, which was the established pedagogic intention. The essentialistic striving to create a music subject built on musicology was fruitless. In the 1970s the interest in material theories and teaching content was marginalised in favour of formal theories. My proposal is that both these sides of interest, the material and the formal side of music education, should be balanced.