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\u041f\u0440\u0435\u0443\u0437\u043c\u0438\u0442\u0435 \u043a\u043e\u043c\u043f\u043b\u0435\u0442\u0430\u043d \u0440\u0430\u0434\/Download<\/a><\/p>\n

\u0410\u0443\u0442\u043e\u0440\/Author: \u041c\u0430\u0440\u0438\u0458\u0430 \u041a. \u0422\u0430\u043d\u0430\u0441\u043a\u043e\u0432\u0438\u045b<\/span><\/p>\n

DOI: 10.5937\/ZRPFU2123177T<\/a><\/span>
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\u0423\u0414\u041a: 37.091.3::78<\/p>\n

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\u0423\u041f\u041e\u0420\u0415\u0414\u041d\u0410 \u0410\u041d\u0410\u041b\u0418\u0417\u0410 \u041f\u0420\u0418\u0421\u0422\u0423\u041f\u0410 \u041c\u0423\u0417\u0418\u0427\u041a\u041e\u041c \u041e\u0411\u0420\u0410\u0417\u041e\u0412\u0410\u040a\u0423 \u0423 \u041c\u0415\u0422\u041e\u0414\u0410\u041c\u0410 \u0415\u0414\u0413\u0410\u0420\u0410 \u0412\u0418\u041b\u0415\u041c\u0421\u0410 \u0418 \u041c\u041e\u0420\u0418\u0421\u0410 \u041c\u0410\u0420\u0422\u0415\u041d\u041e\u0410<\/p>\n

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\u041a\u0459\u0443\u0447\u043d\u0435 \u0440\u0435\u0447\u0438: \u043c\u0443\u0437\u0438\u0447\u043a\u043e \u043e\u0431\u0440\u0430\u0437\u043e\u0432\u0430\u045a\u0435, \u0434\u0435\u0446\u0430, \u043c\u0435\u0442\u043e\u0434, \u0415\u0434\u0433\u0430\u0440 \u0412\u0438\u043b\u0435\u043c\u0441, \u041c\u043e\u0440\u0438\u0441 \u041c\u0430\u0440\u0442\u0435\u043d\u043e.<\/p>\n

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COMPARATIVE ANALYSIS OF THE APPROACH TO MUSIC EDUCATION IN THE METHODS OF EDGAR WILLEMS AND MAURICE MARTENOT<\/p>\n

Abstract: The paper presents a comparative analysis of the Willems method and the Martenot method, bearing in mind their attitude towards music education. \u0422he richness of each method, especially when it comes to gaining practical experiences in music education, can be a very important basis for improving general music education today, as well as learning in the field of music. These methods are characterized by specific characteristics and approaches related to aspects of rhythm, melody, harmony and body movement, but also the integration of contents of other arts. Therefore, the aim of the paper is to present the specifics and advantages of both methods, based on the analysis of the way in which each of the methods is conceived \u2013 starting points, understandings of music education, theoretical foundations of both methods, phases of work and used materials, and the role and importance of teachers.<\/p>\n

Keywords: music education, children, method, Edgar Willems, Maurice Martenot.<\/a><\/p>\n

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\u041b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u0430\/References<\/span>:<\/span><\/p>\n

Green, L. (2006). Popular Music Education in and for It self, and for \u2018Other\u2019 Music: Cur\u00adrent Research in the Classroom. International Journal of Music Education, 24(2), 101\u2013118.<\/p>\n

Ivanovi\u0107, M. i Sudzilovski, D. (2018). Education Through Play in the Field of Music \u2013 Contribution of Montessori Method. \u0417\u0431\u043e\u0440\u043d\u0438\u043a \u0440\u0430\u0434\u043e\u0432\u0430, 21(20). \u0423\u0436\u0438\u0446\u0435: \u041f\u0435\u0434\u0430\u0433\u043e\u0448\u043a\u0438 \u0444\u0430\u043a\u0443\u043b\u0442\u0435\u0442, 271\u2013282.<\/p>\n

Martenot, M. (1966). Gu\u00eda did\u00e1ctica para el maestro. Buenos Aires: Editorial Ricordi Americana.<\/p>\n

Martenot, M. (1979). M\u00e9todo Martenot. Solfeo. Formaci\u00f3n y desarrollo musical. Gu\u00eda did\u00e1ctica del maestro. Buenos Aires. Ricordi Americana.<\/p>\n

Martenot, M. (1993). Principios fundamentales de formaci\u00f3n musical y su aplicaci\u00f3n. Madrid: Rialp.<\/p>\n

Matijevi\u0107, M. i Radovanovi\u0107, D. (2011). Nastava usmjerena na u\u010denika. Zagreb: \u0160kolske novine.<\/p>\n

\u041c\u0438\u043b\u0438\u045b, \u0418. (2020). \u041c\u0435\u0442\u043e\u0434\u0438\u0447\u043a\u0438 \u0430\u0441\u043f\u0435\u043a\u0442\u0438 \u043f\u0440\u0438\u043c\u0435\u043d\u0435 \u0430\u043d\u0438\u043c\u0438\u0440\u0430\u043d\u0438\u0445 \u0444\u0438\u043b\u043c\u043e\u0432\u0430 \u0443 \u043c\u0443\u0437\u0438\u0447\u043a\u043e\u043c \u0432\u0430\u0441\u043f\u0438\u0442\u0430\u045a\u0443. \u0423 \u0411. \u041c\u0430\u043d\u0434\u0438\u045b \u0438 \u0408. \u0410\u0442\u0430\u043d\u0430\u0441\u0438\u0458\u0435\u0432\u0438\u045b (\u0443\u0440.), \u0415\u043a\u0441\u043f\u0440\u0435\u0441\u0438\u0432\u043d\u043e\u0441\u0442 \u0438 \u0438\u043d\u0442\u0438\u043c\u043d\u043e\u0441\u0442 \u0443 \u043c\u0443\u0437\u0438\u0446\u0438 & \u0422\u0430\u043a\u043e \u043c\u0430\u043b\u0435 \u0441\u0442\u0432\u0430\u0440\u0438: \u0438\u043d\u0442\u0438\u043c\u043d\u043e \u0443 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442\u0438 \u0438 \u043a\u0443\u043b\u0442\u0443\u0440\u0438, \u041a\u045a\u0438\u0433\u0430 III, \u0417\u0431\u043e\u0440\u043d\u0438\u043a \u0440\u0430\u0434\u043e\u0432\u0430 \u0441\u0430 XIV \u043c\u0435\u0452\u0443\u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0433 \u043d\u0430\u0443\u0447\u043d\u043e\u0433 \u0441\u043a\u0443\u043f\u0430 \u0421\u0440\u043f\u0441\u043a\u0438 \u0458\u0435\u0437\u0438\u043a, \u043a\u045a\u0438\u0436\u0435\u0432\u043d\u043e\u0441\u0442, \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442, 25\u201327. \u043e\u043a\u0442\u043e\u0431\u0430\u0440 2019, \u041a\u0440\u0430\u0433\u0443\u0458\u0435\u0432\u0430\u0446 (97\u2013108). \u041a\u0440\u0430\u0433\u0443\u0458\u0435\u0432\u0430\u0446: \u0424\u0438\u043b\u043e\u043b\u043e\u0448\u043a\u043e-\u0443\u043c\u0435\u0442\u043d\u0438\u0447\u043a\u0438 \u0444\u0430\u043a\u0443\u043b\u0442\u0435\u0442.<\/p>\n

Slunjski, E. (2012). Izazovi i perspektive razvoja kurikuluma ranog odgoja. U I. Pehili\u0107, E. Vejo i A. Hasanagi\u0107 (ur.), Savremeni tokovi u ranom odgoju (315\u2013330). Zenica: Islamski pedago\u0161ki fakultet Univerziteta u Zenici.<\/p>\n

Terzi\u0107, E. (1998). Analiza i vrednovanje ud\u017ebenika muzi\u010dke kulture u osnovnoj \u0161koli u Ma\u0111arskoj i Srbiji. Beograd: Centar za usavr\u0161avanje rukovodilaca u obrazovanju.<\/p>\n

Frega, A. L. (1996). A Comparison of the Teaching Strategies of Maurice Martenot and Edgar Willems: Conclusions and Implications for Future Research. Bulletin of the Council for Research in Music Education, 127, 63\u201371.<\/p>\n

Cozzutti, G., Blessano, \u0415. & Romero-Naranjo, F. J. (2014). Music, Rhythm and movement: A comparative study between the BAPNE and Willems Methods. Procedia \u2013 Social and Behavioral Sciences, 152, 13\u201318.<\/p>\n

Willems, E. (1961). Bases psicol\u00f3gicas de la educaci\u00f3n musical. Buenos Aires: Eudeba.<\/p>\n

Willems, E. (1964). El ritmo musical. Buenos Aires: Eudeba.<\/p>\n

Willems, E. (1981). El valor de la educaci\u00f3n musical. Buenos Aires: Paid\u00f3s.<\/p>\n

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