1
Lucia Craciun Teodora Danielescu Programul de Invatare pe
Parcursul Intregii Vieti Grundtvig, Parteneriate pentru Invatare
GUIDE US INTO ARTS! ( INVATAM PRIN ARTA) (GUIA) GRU 11 P LP 258 DJ
PL
EDUCATIA INCLUZIVA PRIN ARTE GHID METODOLOGIC DE EDUCATIE
MUZICALA PENTRU ADULTII CU DIZABILITATI MENTALE Traducere: Corina
Teck Laura Craita Prejoianu2 PROGRAMA DE EDUCATIE ARTISTICA PENTRU
ADULTII CU DIZABILITATI MENTALE EDUCATIE MUZICALA INCLUZIVA
INTRODUCERE Pentrurealizareaprogramuluideeducatieartistica
incluziva propus prin proiectul Grundtvig cu titlul ,,GUIDE US
INTOARTS!,proiectcarearecagruptintapersoanelecu
dizabilitatimentaledelaComplexulpentruServicii
ComunitaredinTg.Carbunesti,asadarpersoanecunevoi
educationalespeciale,amelaborat,,Programadeeducatie muzicala
incluziva.Programa si-a propus realizarea unor obiective ce vizeaz
atatintegrarea/incluziuneainprogrammedeeducatie
nonformalaaunorgrupurideadulticunevoispeciale,catsi dezvoltarea
aptitudinilor muzicale ale adultilor care invata: Educarea
ritmului; Formarea abilitii de a utiliza instrumente muzicale;
Stimularea deprinderii de a cnta;
Asigurareauneilegturicorespunzatoarentrecnti micare;
Programasi-amaipropusdezvoltareaunorabilitatisicompetentemuzicale
specifice: Dezvoltarea interesului pentru muzica; Formarea i
dezvoltatrea auzului muzical (simul ritmic, melodic i
armonico-polifonic); 3 Educarea vocii ca principal mijloc de redare
a muzicii; Formarea unor deprinderi practice muzicale (deprinderi
decnt,melodice,ritmice,armonico-polifonice,de interpretare, de
utilizare a instrumentelor si altele); Formarea i educarea
deprinderii de a audia muzica;
Integrareainstitutiilorspecialepentrupersoanecu handicap n sistemul
educatiei nonformale, in programe de invatare pe parcursulintregii
vieti, in viaaartistica a comunitatii;
Cultivareacreativitiiiaimaginaieipersoanelor adulte implicate in
activitatile de invatare;
Cultivareatrsturilordecaracterpozitivecareajutla echilibrarea
personalitii subiecilor;
Dezvoltareaabilitatilordesocializare,prinparticiparea
laactivitileorganizateincolectiv:pegrupuri,pe echipe.
Creareadesituatiidecomunicarecaresafavorizeze nuanareaexprimrii
verbale; Dezvoltarea sensibilitii cromatice muzicale;
Determinareaunorstridedeconectare,bucurie, ncntare;
Imbuntireaorientriispaio-temporaleicoordonrii motrice; Educarea
expresivitii mimico-gesticulare.4
Inactivitatiledeinvatareproiectate,accentulsepune
peproces,sinupeprodus,continuturileinvatariisunt
simplificate,valorificandu-seexperientaanterioaraa
cursantilor,implicareaemotionalasiatitudinala,rezultatele
obtinutefiindsieleunaspectalsituatiilorspecificede
invatare.Evaluarearezultatelorsefacepermanent,prin
aprecierileexprimatedeprofesorulformator/facilitator,catsi
caevaluarefinala,prinorganizareaunorspectacoleinfata publicului din
comunitatea locala.Activitatiledeinvatareprinarta,prineducatie
muzicala,proiectatesiorganizateintr-operspectivaincluziva
pentrugrupurideadulticucerinteeducationalespeciale
corespundatatnevoilorindividualedevalorizaresipotentare,
catsicelorsocialedeparticiparesidezvoltarepromovateprin proiectele
Grundtvig, proiecte de educatie pe parcursul intregii vieti. 5
OBIECTIVE CADRU 1.Valorificarea in practica muzicala vocala si
instrumentala a elementelor de limbaj muzical receptate.
2.Exprimarea prin muzica. A.Obiective de referinta si activitati de
invatare 1.Valorificarea in practica muzicalavocala si intrumentala
a elementelor de limbaj muzical receptate Obiective de referinta
Exemple de activitati de invatare 1.1.La sfarsitul sesiunilorde
educatie muzicala, cursantii vor fi capabili: Pe parcursul
activitatilor de educatie muzicala, se recomanda urmatoarele
activitati: 1.2.Sa diferentieze sursele muzicale si directia de
propagare a sunetului -Exersarea acuitatii auditive de
diferentiere; -Exercitii de diferentiere timbrala a sunetelor;
-Exercitii de diferentiere spatiala a sunetelor; 1.3.Sa
diferentieze sunetele vocale de sunetele instrumentale -Exercitii
intuitive: sunete cantate sau vorbite; -Exercitii intuitive: sunete
vocale sau instrumentale; -Exercitii de audiere comparata;
1.4.Sareproduca un repertoriu de cantece receptate dupa auz
-Exercitii de redare fragmentara si integrala, in colectiv,in
grupuri mici sau individual, a cantecelor din repertoriul propus; 6
-Exersarea deprinderilor de cantare in colectiv sincronizata:
pozitie, preluarea tonului, respectarea semnalului de inceput,
emisie naturala, dictie, sincronizare;1.5.Sa evidentieze elementele
de limbaj muzical intalnite in melodia cantecului prin miscari
ritmice adecvate-Exercitii de miscare ritmica in functie demelodie,
text etc. -Asocierea cu miscare diferentiata a nuantelor
contrastante si a timbrului vocal; -Exercitii de diferentiere a
miscarilor sugerate de mersul melodiei executate instrumental;
1.6.Sa delimiteze prin miscare diferentata structura cantecului
-Exercitii de marcare a strofei de refrenul cantecului prin
respiratie si prin miscare; 1.7.Sa diferentieze, in cantare,
intensitatea, durata, inaltimea sunetelor muzicale -Audierea
comparata a sunetelor de intensitati diferite, de durate diferite,
de inaltimi diferite; -Exercitii de emitere vocala a sunetelor de
intensitati diferite, de durate diferite, de inaltimi diferite;
-Exersarea unor formule ritmice; 1.8.Sa interpreteze, in colectiv,
cantecele invatate, respectand structura melodica si cea ritmica si
disciplina impusa de cantarea in colectiv-Exercitii de marcare a
structurii ritmice a cantecului; -Exercitii de interpretare a
cantecului cu marcarea structurii ritmice si melodice; -Exercitii
de cantare individuala si in colectiv; 7 3.Exprimarea prin muzica
Obiective de referinta Exemple de invatare 2.1.Sa cante vocal si
vocal- instrumental, in aranjamente armonico-polifonice simple
-Interpretarea cantecelor, cu acompaniamentul instrumental manuit
de professor; 2.2.Sa cante in grup si individual, cu acompaniament
muzical -Cantarea pe grupe si individual, alternative, in lant, in
dialog, de la un vers la altul; 2.3.Sa utilizeze nuanta potrivita
in cantarea colectiva, potrivit continutului de idei si
caracterului melodiei; -Cantarea colectiva in nuanta potrivita
continutului de idei si caracterului melodiei; -Participarea la
cantarea colectiva, aprecierea propriei contributii la
interpretarea colectiva; -Participarea la spectacole; 2.4.Sa
acompanieze cantecele, marcand ritmul si timpii egali ai masurii,
folosind si instrumentele realizate de ei, cu mijloace proprii
-Acopanierea cu propriul corp: batai din palme, pe genunchi, pe
masa, pe podea, cu talpa; -Acompanere cu jucarii muzicale: bete,
tobe, clopotei, tamburina, gong etc;2.5.Saclasifice cantecele
invatate dupa melodie, continut, tamatica etc; -Compararea
cantecelor din repertoriu; -Selectarea cantecelor de interpretat in
anuminta moment si la anumite evenimente/serbari; 8 -Diferentierea
tematica a cantecelor; -Evidentiere legatirii dintre continutul de
idei si caracterul melodiei; 2.6.Sa improvizeze diferite combinatii
ritmice sau melodice, insotite de miscare -Exercitii de improvizare
a unor combinatii ritmice, de onomatopee, insotite de miscari, in
jocuri colective; -Exersarea unor motive ritmice, pe melodii
improvizate; -Exersarea unor ritmuri insotite de miscare,
sincronizate in grup; -Catarea unor melodii improvizate spontan, cu
diferite motive ritmice; 2.7.Sa se exprime prin muzica -Cantarea
individuala si in colectiv/cor; -Participarea la evenimente
organizate cu melodii interpretate individual sau in grup; 2.8.Sa
isi exprime impresia fata de muzica audiata sau interpretata
-Conversatie despre muzica audiata sau interpretata; -Exprimarea
emotiilor, a trairilor generate de muzica in povestiri imaginare
inspirate de muzica; -Miscarea pe muzica, dans, hora; -Audierea
unor creatii folclorice legate de traditii si obiceiuri; -Audiere
unor piese muzicale din muzica culta. 9 B.CONTINUTURILE INVATARII
-Cantarea vocala individuala si in colectiv (pozitia, emisia
naturala a sunetelor, dictia, sincronizarea).-Cantarea
instrumentala:- jucarii muzicale; - percutie corporala; - cantarea
cu acompaniament -Elemente de limbaj musical: - Timbrul - Ritmul -
Melodia - Interpretarea
SCENARII DIDACTICE
Caobiectdenvmntcefacepartedinsistemul educaional, muzica are dou
scopuri bine definite:a)scopul general, care se refera la educaia
plurivalent a subiecilor i
b)scopulspecial,carearenvedereeducaiaestetica
acestora,alturidecelelalteactivitideexpresie: corporal, plastic,
grafic. Indemersulnostrueducaional,ampusaccentpe
realizareaacestorobiective,pentrucabeneficiariinostris
neleag,srecepteze,sainteriorizeze,saconstientizezeis valorifice
frumosul. Vomprezentactevascenariididacticencaresunt evidentiate
secvenele activitatilor de invatare muzicala care se 10
potorganizadectreprofesorulformator/facilitatorn
demersulsudidactic,indomeniuleducatieinon-formalecu
grupurideadulticunevoispecialedeinvatare.Fiecaredintre scenariile
prezentate poate fi un cadru metodologic ce se poate
realizapeparcursulmaimultorsesiunideinvatare.Am
intitulatfiecarecurs/sesiunedeinvataremuzicala,folosind
sintagmeplastice,sugestive,mizandsiastfelpeimpactul afectiv asupra
beneficiarilor programului de educatie. 11 Sesiunea 1:
Soareledininterior
Fericireaestearmoniadintreceeacegndeti,ceeacespuiiceeace faci.
(MahatmaGandhi) Evenimentul educational Activitatea de nvare
CaptareaateneiScurteexerciiideintonarecu formulemelodiceiritmice
consacrateextinderiiambitusului vocal. Enunul
obiectivelorO1-Formareadeprinderiidea interpreta i audia
muzicaO2-Formareadeprinderiidea cnta corect individual i n grup;
O3-Reproducereaunormicri ritmice,dedans,careexprim situaii i emoii;
O4-Intonareaexpresiv,individual i sincronic;
O5-Stimulareacreativitiii cultivareainteresuluipentru manifestrile
artistico-muzicale; O6-Stimulareasubiecilorcu aptitudini deosebite;
Reactualizarea ancorelorSetrecenrevistrepetoriul grupului
vocalConducerea noii nvri Dirijareaproceselorde nvare
Asigurareafeed-back-ului Profesorulprezinttitlulnoului
cntec,dupcaresetrecela nvarea textului; Subieciinvatextulsimelodia,
ajutai fiind de cei mai talentai; 12 Repetareacntecului,utiliznd
intensitateacerutincepndla comanda dirijorului;
Audiereaireproducereaselectiva a unor fragmente muzicale;
Exercitidecntare,insotitede miscari ritmice sijoc/
dans;EvaluareaCursantiivorrspundela ntrebrile puse de
profesorAsigurarearetenieiia transferului
Vafiverificatcalitateanoii nvri,leciaterminndu-secu cntec i dans
Sesiunea 2: Competiiacunoinine
Cndvreislauziuncopil,laud-Ifaptele,nulludapeel.Fcndastfelveincurajacomporta-mentele.
(Lucian Blaga) Evenimentul educational Activitatea de nvare
CaptareaatenieiScurteexerciiideintonarecu formulemelodiceiritmice
consacrateextinderiiambitusului vocal.;Prezentarea instrumentelor
construite de profesor Enunul obiectivelor
O1-Dezvoltareacapacitiide difereniere a timbrului sunetelor;
O2-Sidentificeisdiferentieze 13 surselesonoredinmediul nconjurtor;
O3-Sidentificeuneleinstrumente muzicale ;
O4-Dezvoltareacapacitiidea-iconstruipropriileinstrumentede percuie;
Reactualizarea ancorelor Se trece n revist repetoriul grupului
vocal Conducereanoii nvri Dirijareaproceselorde nvare
Asigurareafeed-back-ului Cursantiisuntdirijatindiscuii
despresunetele/zgomotelecare provin din mediul nconjurtor;
Eivorfipusisrecunoascdiferite surse/instrumentecareemitsunete
specifice; Profesorulprezintgrupului
materialeledincaresepotconstrui instrumentemuzicaledepercuie:
recipientedediferitedimensiunidin plastic,lemn,sticl,clopoei,
mrgele, boabe de cereale, linguri de lemn,capacefolositedegospodine
labuctrie,dopuridelasticlelede plastic,trianglu,tobie,jucrii
muzicale,elasticefixatepeoram de lemn i altele;
Cursantiiiconstruiescpropriile instrumentedinmaterialeleaflatela
dispozitie:beioaredelemn,sticle deplastic,cutiidemedicamente,
pietricele,metale,care antrenate/lovite/ciupiteemitdiferite sunete;
Melodiilenvatesuntinterpretate 14 de grupul de cntrei, de dansatori
i de percuioniti; EvaluareaCursantiivorrspundelantrebrile
pusedeprofesorlegatede procedeelefolositelaconstruirea
propriilorinstrumentesidespre efectelesonorealeutilizariilorin
cantare; Asigurarea reteniei i a transferului
Vafiverificatcalitateanoii nvri,leciaterminndu-secu cntec i
joc;
Sesiunea 3: Sdiimuguriiiubirii Nu ct de mult dm conteaz, ci ct
dragoste punem n ceea ce facem Maica Tereza
Evenimentul educational Activitatea de nvare
CaptareaatenieiScurteexerciiideintonarecu formulemelodiceiritmice
consacrateextinderiiambitusului vocal.Enunul
obiectivelorO1-Formareadeprinderiideaaudia
lucraridindiferitegenurimuzicale, carevorcontribuilaformareaunor
elementedeculturmuzicala cursanilor; O2-Dezvoltareacapacitiidea
interpreta melodii cu acompaniament 15
instrumentalsimplu(prinncercri repetate); O3-Formarea deprinderii
de a intona individualsaungrupcuajutorul
susinutalprofesorului,cntece, melodii, colinde;
O4-Dezvoltareacapacitilor interpretative ; O5-Dezvoltarea ateniei
distributive; O6-Formareaidezvoltarea memorieilogicecuajutorul
jocurilor/cntecelor; O7-Dezvoltareaiconsolidarea
deprinderilordearecunoate diferitelejocuriicntecedin repertoriul
nvat; Reactualizarea ancorelor Se trece n revist repetoriul
grupului vocal Conducereanoii nvri Dirijareaproceselorde nvare
Asigurareafeed-back-ului Tinandseamadepreferintele
cursantilor,profesorulprezintCD-uricusoliticonsacrai,pentruafi
audiate; Dupaudiieuneledincntece,sunt
interpretatedesolitiitalentaiai grupului i de grup;
Profesorulsolicitsubiecilors executeunelemicrisugeratede
text,concomitentcucntarealiniei melodice, deoarece prinjoc, miscare
sidanssedezvoltuneleabilitati psihologice participative/incluzive ;
Vorfivalorificatenpracticavocal i instrumental cntecele nvate;
Profesorulstimuleazactivitateade 16 invatareagrupuluiprinimprimarea
audio-videoapieselorinterpretatesi vizionarea
acestora.EvaluareaSubieciivorrspundelantrebrile
pusedeprofesorlegatedeaudiia efectuatAsigurarea reteniei i a
transferului Vafiverificatcalitateanoii nvri,leciaterminndu-secu
audiiaimprimriigrupuluisicu interpretarea repertoriului. Sesiunea
4: Educaia ntrevisirealitate Celstpnitdevisnumaicunoatendoiala.
(Sharmos OSheel) Evenimentul educational Activitatea de nvare
CaptareaatenieiScurteexerciiideintonarecu formulemelodiceiritmice
consacrateextinderiiambitusului vocal.; Enunul
obiectivelorO1-Dezvoltareacapacitiidea interpretamelodiicu
acompaniament instrumental; O2-Formarea deprinderii de a intona
individualsaungrupcuajutorul susinutalprofesorului,cntece, melodii,
colinde; O3-Dezvoltareacapacitilor 17 interpretative ;
O4-Dezvoltarea ateniei distributive; O5-Dezvoltareaiconsolidarea
deprinderilordearecunoate diferitelejocuriicntecedin repertoriul
formaiei; Reactualizarea ancorelorSetrecenrevistrepetoriul grupului
vocal Suntsupuseatenieifragmentedin cntecele nvate anterior
Conducerea noii nvri Dirijareaproceselorde nvare
Asigurareafeed-back-ului Profesorulprezintorga-
instrumentulcarevaacompania grupul la cursuri si la spectacol;
Subieciisuntantrenain interpretareaindividual/ngrupa cntecelor
nvate; Seremarcsolitiicaresuntpostai n centrul formaiei;
Cantareacuacompaniament,orga, exercitandoatractivitatespeciala
prinsonoritateasa,antreneazsi dinamizeaza efectiv tot
colectivulEvaluareaSubieciivorrspundelantrebrile
pusedeprofesorlegatede acompaniamentul cu orga Asigurarearetenieiia
transferului Vafiverificatcalitateanoii nvri,leciaterminndu-secu
interpretareacntecelor/melodiilor nvate; 18 Sesiunea 5:
Speranasenva Speranaestehranasufletelor. ( Ohilon) Evenimentul
educational Activitatea de nvare Captareaateniei
Exerciiideintonarecuformule melodiceiritmiceconsacrate extinderii
ambitusului vocal. Enunul obiectivelorO1-Formareadeprinderiidea
receptafrumosuliarmoniadin natur, din mediul nconjurtor, din via;
O2-Dezvoltareacapacitiidea interpretacolinde,adevaratepilde morale
de nlare spiritual, ce pot determinaindividulsdevinmai
bun,maincreztornforele proprii; O3-Imbogirearepertoriuluicu
cntece;O4-Dezvoltareatririlorpozitive durabile;
O6-Dezvoltareacapacitiide integrareinactivitatideinvatare
colectivasiindividuala,cese realizeazcumaimultuurinprin intermediul
muzicii; O6-Formareaieducareaspiritului de ordine i disciplin.
Reactualizarea ancorelorSetrecenrevistrepetoriul grupului vocal. 19
Conducerea noii nvri Dirijareaproceselorde nvare
Asigurareafeed-back-ului Profesorulconduceconvorbirea despre
srbtorile de iarn; Subieciicntalacererea
profesorului,colindelenvaten anii anteriori;
Pentrunnoirearepetoriului, profesorulpropunenvareaunor
noicolinde,caretrezescinteresul cursantilor;
Esterepetattextulpentruafibine nsuit,dupcaresetrecela nvarea
melodiei. EvaluareaSubiecii vor rspunde la ntrebrile
pusedeprofesorlegatede pregtirea pentru serbare
Asigurarearetenieiia transferului Vafiverificatcalitateanoii
nvri,leciaterminndu-secu interpretareacntecelor/melodiilor nvate;
Sesiunea 6: Cltoriesprestele
Colectivitateaesterdcinaindividului,iarindividulsedez-voltporninddelacolectivitate.
(Alexandruafran) Evenimentul educational Activitatea de nvare
CaptareaatenieiScurteexerciiideintonarecu formulemelodiceiritmice
20 consecratenclziriivocilori extinderii ambitusului vocal.; Enunul
obiectivelorO1-Formareaidezvoltarea capacitiideacntancor,
activitateceajutsubieciisse asculteindividual,daripealii,s
seautocontrolezeisse sincronizeze cu colegii; O2- Se dezvolt
formele profunde i complexe ale sentimentelor estetice,
caresuntcondiionatede sensibilitatea muzical;
O3-Inducereaimeninereapetot parcursulactivitiiastrii emoionale
specifice artei n general i muzicii n special;
O4-Dezvoltareatririlorpozitive durabile; O5-Educareaidezvoltarea
spiritului de ordine i disciplin; O6- Valorificarea influenei
pozitive pecareoareeducaiamuzical
asupralaturiisocio-comportamentale ; O7-Stimulareasincretismuluin
art;Reactualizarea ancorelorSerepetsecveneleimportanteale serbrii
Conducerea noii nvri Dirijareaproceselorde nvare
Asigurareafeed-back-ului Profesorul verific inuta artitilor;
Corulrepetcolindele,cntecelei poeziilecaresuntprezentatela serbare;
Laorafixat,aezainformaie, ncepespectacolul,programul 21
derulndu-seconformscenariului proiectat;
Comunicareapubliculuicuartistii, acestiasuntrspltiicuaplauzei
cadouri pentru efortul de a pregti i oferiunfrumosprogramartistic,
conversatie public-cursanti.EvaluareaCursantiinostri-adultiicu
dizabilitatidelaCentrulPilot,sunt apreciaipentrumuncadepus,
pentrucomportament,sensibilitate, foradeexpresie,trireaafectivi
interpretare. Asigurarearetenieiia transferului
Serbareaprezentatdepersoanele cunevoispecialedelaComplexul
dinTrgu-Crbunetiafosto reuit. 22 EDUCATIA MUZICALA INCLUZIVA SI
MELOTERAPIA
De-a lungul timpului, cercettorii, specialiti n domeniul
muzicologiei,psihologiei,pedagogiei,sociologieiialaltor
tiinealeeducaieiauevidentiatfaptulcartamuzicalaare menirea de a
mbogi, de a armoniza tririle artistice i estetice
ideacontribuinprocesuleducaional,peparcursulintregii vieti.
Educatiamuzicalapoatefioactivitatecontinu,
sistematic,cesepoatedesfasuradinaniicopilrieipanalasenectute,
indiferent de ocupatia de baza a fiecrei persoane.
Interesulpentrumuzicaaloamenilorestegeneralsise
manifestprinreceptareamuziciiiredareamelodiilordin
genurimuzicalediverse,limbajulmuzicalfiinduniversal.Un
demerseducativinsa,presupunedinparteaprofesorilor investirea unui
efort pedagogic si metodologic sistematic si de
durata,planificatsiaplicatpeungruptintadeterminat.
Activitatiledeinvataresunt,pedeopartededicatedezvoltrii auzului
muzical i a predispoziiilor native i, pe dealt parte,
selectariiunuirepertoriudecnteceijocurimuzicale
atractive,interesante,antrenante,adaptatevarsteisi
particularitatilorindividualesaucaracteristicilorgrupuluide
personae care participa la activitatile de educatie muzicala.
Muzicanuestedoarosursdedivertisment,cumde
multeoriesteperceputa,eaestesiocaledesensibilizarea
omului,favorizeazaparticipareasiintegrarea,usureaza
comunicareaafectivadintreoameni,eaeducidezvolt procese
psihointelectuale, avand un puternic rol
formativ.Artamuzicalasatisfacenevoiadefrumosafiecruiom,nevoie care
devine o aspiraie nobil cu semnificaii deosebite.
Muzicadeclaneazatririafectiveputernice,dedurat,
capabilesinfluentezenaturaumanaprincontactulcuarta
autentic,pentrucamuzicareprezintoartaprincare 23
sentimenteleiideilesuntexprimatecuajutorulsunetelor
combinatenarmoniispecificecarepenetreazasitransced constiinta si
afectivitatea omului.Dinpunctdevedereteoretic,invatareainmuzicase
bazeazapeinsusireactorvaelementespecific:ritmul, armonia si
melodia. Ritmul,ntr-ofrazmuzical,sereferlaaezarea
accentelortonice.Elprezint,insa,rezonanediferitepentru
fiecarepersoan,nfunciedevrst,stareadesntate, dispoziie sufleteasc,
moment sau nivel cultural.
Armoniaestembinareamelodioasasuneteloriarela
baztehnicaacordurilor.Attritmul,ctiarmoniasunt
elementeeseniale,elefiindcelecareasigursuccesulunei melodii, al
unui cntec sau al unui exerciiu.
Melodiareprezintrezultatulfinalalunorcombinaiide sunete, ritmuri,
acorduri care alctuiesc o compoziie muzical. Cu ct sunt mai
originalcombinate acesteelemente, cuatto
lucraremuzicalaestemaireusita,iarefectulasupra auditoriului este
mai puternic. Limbajulmuzicalrezoneazntr-omanieraintimacu
personalitateauman.Viaapsihicaafiinteiumaneimplic
dinamism,ritm,iarreceptareasonoramuziciipoate
determinaritmulsidinamismulinemotiilesisentimentele
esteticealeindividului.Viaaafectivseimbogatesteprin
trairiledeterminatedemuzica,dereceptareamelodiei,iar
viaamentalpresupuneinmaremasurasicontientizarea
lumiisonore,armoniasonoracontribuindlastareadebinea omului. ***
PrinimplementareaproiectuluiGrundtvigcutitlul,,
Guideusintoarts!laComplexuldeServiciiComunitare,am
doritatatintegrareapersoanelorcudizabilitatimentalein
programedeinvatarepentruadulti,catsirealizareaunor
elementedemeloterapie,deterapieeducationala.Interapia 24
educaional,limbajulmuzicalesteunlimbajuniversalsi,
totodata,foarteaccesibil.Elpoatesdeterminecreareaunei
motivaiipozitive,facilitndatitudiniparticipative,o
deschidereaindividuluisprealtioamenisisprecolectivitate, ctre
comunicare i socializare. In cadrul activitilor muzicale de
invatarecu grupuri de
persoanecuanumitedizabilitatisi,implicit,cunevoispeciale de
educatie, profesorul formator devine facilitator, el trebuie s
fieinteresatnspecialdeefectelemuzicii,utilizatein modalitati
diverse, pentru implicarea, activizarea si incluziunea
acestorpersoaneindemersurieducationalesistematiceside durata.
Attncoalaobinuit,ctilaactivitilemuzicale
desfuratecupersoanelecudizabilitatimentaledela
ComplexuldeServiciiComunitarecuSeciiProtejatepentru
RecuperareaiReabilitareaPersoanelorcuHandicapdela Trgu-Crbuneti am
putut constata c muzicaexercit o serie de efecte benefice cum ar
fi:determin o serie de stri afective tonice;
aducesubiecilorostaredelinite, conducnd la reducerea tensiunilor
sau anxietii; faciliteazaparticiparealaviata colectivului,inducand
o stare de siguranta; amplifictonusulfiecruiairezistena
laefort,contribuindlanvingereaunorobstacole
inerenteexisteneicumarfistareadeboalsau handicap; favorizeaza
comunicarea ntre persoane; contribuieladezvoltareaunorfunciii
procesepsihice,ncepndcuceleprimare,senzaii,
percepiiireprezentrisiterminndcucelemai
complexe,cumarfideexempluafectivitateai imaginaia; 25
amelioreazcomportamentuliajut individual subiectul s socializeze;
Programadeterapieeducaionalcomplexiintegrat
destinatpersoanelorcudizabilitatimentaleacordoatenie
deosebitactivitilordeterapieocupaional,cati psihoterapiei de
expresie. Activitile de educatie artistica pot avea, asadar, si
efecte terapeutice,putndu-seorganizandiferiteinstituiide
nvmnt:colispeciale,centredezipentrupersoanecu nevoi speciale, cmine
coal/ internat, spital. ***
ExperienaactivitilordeinvataredelaCentrulPilot
Trgu-Crbunetine-ademonstratclapersoanelecunevoi
specialenutrebuiesainemseamaneaparatdeaptitudinile muzicale pe care
acetia le posed, asadar nu se face o selectie
propriu-zisaacelorcareparticipalacursuri.Aici,muzicaa
fostutilizatcaactivitateeducativa,activitatedeinvatare
incluziva,catsinscopterapeutic,contribuind,datoritmoduluispecificdereceptaresicalitilorsaleestetice,la
educatiaprinartaabeneficiarilordingrupultintasilaomai buna
integrare in activitate si in viata sociala a acestora.
Principalulobiectivalactivitilornoastredeeducatie
muzicalaafostaceladeastabilicontactulsicomunicareacu
persoanelecudizabilitatimentale,deafacilitacomunicarea
ntreacestiadultiimplicatiintr-unprogrameducativi profesorul
formator/ facilitator, dar si intre ei, ca persoane care
facpartedintr-ungrupdeadulticareinvata.Nuinultimul rand, am urmarit
realizarea comunicarii si integrarii adultilor cu
dizabilitatimentaleincomunitatealocalacareiaacestiaii
apartin,prinorganizareaunorspectacolelacareauparticipat diverse
categorii de personae din oras, dar si de la organizatiile
judetele. In activitatile desfasurate, am utilizat muzica n scopul
26 recuperrii/reabilitariisiimplicariiinactivitatiorganizate
sistematic pe o perioada lunga de timp.
Inprogramuldesfasurat,ne-ampropussnufacemo difereniere neta
intreinvatarea prin muzica, utilizarea muzicii n scop terapeutic i
utilizarea acesteia n scop recreativ. Tipul
activitilorpropusedenoipoatefincadratsicamuzica
functionaladeoarece,conformteorieicercettoruluiWeigel, terapia
aplicat de noi la Centrul Pilot de la Trgu-Crbuneti a avut n
cuprinsul su si obiective practice.
Inliteraturadespecialitatereferitoarelaactivitatile
muzicale,s-aevidentiatfaptulcinstrumenteledepercuie cum ar fi
castagnetele, clopotele, tobele, tamburinele, ambalul,
xilofonulfaciliteazintr-omasurafoartemarecomunicarea,
attlaeleviiobinuiictincazulpersoanelorcunevoi speciale. Psihologii
recomand ca n colectivele de persoane cu
nevoispecialesfieintroduseinstrumenteledepercuie naintea altor
categorii de activiti, deoarece s-a demonstrat c
ritmul(vocaliinstrumental)estemaipuinanxiospentruei.
Lapersoanelehiperactive,sauinstabileemotivamutilizat
meloterapiapentruameliorareainhibiieivoluntareaactelor motorii
pentru a determina:diminuarea tensiunilor; reducerea agresivitii;
mbuntirea cooperrii n interiorul grupului; ameliorarea muncii n
echip. Meloterapiai-aajutatvizibilpeceicutulburri
relaionale,deoareceafavorizatparticipareaspontanla
activitateadegrup,lucrulinechipa,diminuareaconflictelor,
comunicarea si colaborarea.
Demersurileeducativeefectuatelagrupulpersoanelor
cunevoispecialedelaTrgu-Crbunetine-aoferitindicii
preioasedesprepreferineleacestorapentrudiversetipuride
activitatipecareleinducemeloterapia,analizafcndu-sela
niveluldeactivismalgrupuluitinta.Nivelulcrescutde 27 activism
global al unor subieci a fcut ca cei ce se ncadrau la aceast
categorie s aleag solo-ul vocal sau recitarea poeziilor,
ceicunivelmediudeactivismglobalaualesgrupa percuionitilor, iar cei
cu nivel sczut de activism au participat la activitatile de grup,
la cor, discret, cu rezerv.
Incadrulactivitilormuzicale,persoaneleadultecu dizabilitati mentale
s-au implicat efectivsi au manifestat de la
bunnceputomaredisponibilitatepentruritm,armoniesi
melodie,ceeaceafcutcasesiuniledeinvataresse
desfoarentr-oatmosferaextraordinara,prinparticiparea afectiva a
tuturor cursantilor i un entuziasm total.Activitatile de educatie
muzicala si meloterapie efectuate la cursurile noastre pot fi
mprite n dou categorii:-activitaticuparticiparedirecta/activitati
directe,ncaresubieciiinterpreteazmuzic instrumental sau vocal fie
individual, fie n grup;
-activitaticuparticipareindirecta/activitati
indirecte,ncares-aufacutaudiiimuzicale,
activitateadereceptaresolicitand,deasemenea,un anumit grad de
participare din partea ascultatorilor. ***
Toateactivitilepropuseaufostrealizategradat,
determinndprincombinarealorstructurareaaptitudinilor muzicale
complexe la persoanele cu nevoi speciale asigurndu-se n final
compensarea unor deficiene din sfera personalitii, n special ale
celor legate de psihomotricitate. In programa de educatie muzicala
am introdus mai multe
activitatincarecursantiiaufostantrenainconstruirea
propriilorinstrumentedepercuiecucaresacompanieze cntecele executate
de soliti i de cor. Tamburinaafostfolositpentruaacompaniaritmic
formaia.Infelulacestacursantiii-aufixatritmuliprin 28
aciunealorasuprainstrumentuluii-aumbuntit
performanelendomeniulmotricitii.Aceastareprezint cheia unei
adevarate terapii a succesului.
Pentrusubieciianxioiipentruceihiperkineticiam folosit clopoeii,
avnd n vedere c sunt instrumente care emit sunete prelungi i
deosebit de armonioase. i ca un corolar, dup ce au nvat bine textul
cntecelor ialpoeziilorcareintraunalctuireaprogramuluipentru
spectacolul de Craciun ,,Am venit sa colindam!, am introdus orga cu
rol de instrument ajuttor, acompaniator, conductor.
Latoatevrsteleilatoioameniiinteresulpentru
muzicasemanifestpregnantprinreceptareiredarei reprezint o bucurie,
o plcere, un resort al voinei, o adevrat surs de energie psihica.
Cursuriledeeducatiemuzicalarealizateprinproiectul
nostru,auinfluenatianumiteaspectelegatedelaturasocio-comportamental.Astfel,integrareanactivitatesiin
colectivitate s-a realizat cu mai mult uurin prin intermediul
muzicii si prin activitatile specifice
desfasurate.Procesuldeeducatiemuzicalaincluzivaesteunproces
complex, in cadrul caruia, in afara de aspectele metodologice si
organizatorice specifice domeniului muzical, trebuie sa luam in
consideraresiaspectelepsihopedagogicespecificegrupului
tintaimplicatinactivitatiledeinvatareprinmuzica.Muzica
favorizeazperceperea,recunoatereaireproducereamelodiilor,executareaunorjocurimuzicale,exerciii-joc,a
cntecelor sau cntecelor de joc/hore.
Dezvoltareapsihofizicasiintelectualaesteceacare
trebuiessteancentrulpreocupriloratuncicandproiectam
activitatideinvatare.Dezvoltareasenzorialimotric, dezvoltarea si
interiorizarea percepiilor, dezvoltarea operaiilor
gandiriisiagandiriilogices-aupututrealizacumultsucces
prinactivitatilemuzicaledesfasurate.Auditiilemuzicale,nelegereacreaieimuzicale,executareaunorexercitiiritmice
29 cuinstrumenterealizatedecursantiiinsisi,catsicantarea
individualasiingrup/coraufostactivitatilepecarele-am
desfasuratpeparcursuldesfasurariicursurilordeeducatie muzicala din
proiectul ,,Guide us into arts!Alaturi dealteactivitatiumane,
muzicaare menirea dea stimula viata psihica, dar si unele
caracteristici ale gndirii cum
arfi:flexibilitateasisupleeagandirii,independena,creativitatea,capacitateadeaanalizaidifereniasunetele
muzicale,structurileritmico-melodice.Prinstimularea
participariiactiveicontientelainterpretareacntecului, sesiunile
muzicale organizate de noi prin programul Grundtvig au intreinut
atenia subiecilor pe o durat prelungit prin ritm,
liniemelodic,armonie,text,auprovoacatemoiiprofunde,
puternicetririinterioare,care,larandulloraudeterminat
formareaatitudinilorparticipativesiacomportamentelor sociale
pozitive. ***
30 INCLUSIVE MUSIC EDUCATION SYLLABUS FOR ADULTS WITH MENTAL
DISABILITIES INTRODUCTION In order to develop the artistic
education programme proposed in the Grundtvig Project GUIDE US INTO
ARTS!, a project which has as target group people with mental
disabilities from the Community Services Complex in
Targu-Carbunesti - people with special needs we have elaborated the
Syllabus for Inclusive Music Education.The syllabus intends to
achieve some aims regarding the inclusion/ integration of some
groups on adults with special needs in non-formal education
programmes, as well as developing musical abilities in the adult
learners: Educating rhythm; Developing the ability to use musical
instruments; Encouraging the habit of singing; Ensuring an
appropriate link between singing and movement; The syllabus also
intends to develop the specific musical skills and competencies:
Developing interest in music; Training and developing musical
audible range (the sense ofrhythm, melody and harmony); Educating
the voice as the primary means of singing; Developing some
practical musical skills (singing, melodic, rhythmic, harmonic,
polyphonic, interpretation skills, the skill of using instruments,
etc); Developing and educating the skill oflistening to music; 31
Integrating the special institutions for disabled people in the
system of non-formal education, in lifelong learning programmes, in
the artistic life of the community; Educating creativity and
imaginationofthe adults involved in the learning activities;
Educating the positive character traits which help balance the
subjects personality; Developing social skills through
participation in activities organizedin groups, teams; Creating
communication situations which may favour verbal expression;
Developing the chromatic sensibility of music; Creating some
circumstances ofjoy, delightand relaxation; Improving orientation
in space and time, as well as movement coordination; Educating the
way one expresses by means of gestures. In the designed learning
activities, the focus is not on the product but on the process. The
content of learning is simplified using the previous
experienceofthelearners,theiremotionalandbehavioural
involvement,thefinal results being an instance of the specific
learning activities. The evaluation of results is done on a
permanentbasis
throughopinionsexpressedbytheteacher-trainer/facilitator, as wellas
a finalevaluation byorganising someperformances in front of an
audience made up of the local community.
Thelearningactivitiesthroughart,throughmusic
education,designedandorganizedfromaninclusive perspective for
groups of adults with special educational needs meet both
individual needs of using and strengthening, as well
asofsocialparticipationanddevelopmentpromotedby Grundtvigprojects,
projects oflifelong learning. 32 GENERAL AIMS 1.Using the perceived
elements of musical language in the practice of singing and playing
an instrument. 2.Expressing oneself through music. A.Learning
Objectives and Learning Activities 1. Using the perceived elements
of musical language in the practice of singing and playing an
instrument Learning ObjectivesExamples of Learning Activities At
the end of the music education sessions, students will be able:
During the music education activities, we recommend the following
activities: 1.1To differentiate sound sources and sound propagation
direction. - Practicing the differential perceptive listening; -
Exercises of distinguishing between the tones of sounds; -
Exercises of spatial differentiation of sounds. 1.2To make the
difference between sounds made by means of the voice and sounds
made by instruments. - Intuitive exercises: sounds sung or spoken;
- Intuitive exercises: vocal or instrumental sounds; - Exercise of
parallellistening; 1.3To reproduce a repertoire of songs perceived
by - Exercises offragmentary and complete singing of the songs in
the proposed repertoire, in small 33 listening.groups or
individually; - Practicing the skills of synchronising group
singing: position, tone, starting sign,natural emission, diction,
timing; 1.4To highlight the musical language elements found in the
song by appropriate rhythmical movements. - Exercises of rhythmical
movement based on the type of song, text, etc; - The contrasting
nuances and the vocal tone are associated with different movement;-
Exercises to distinguish between movements suggested by the
instrumental song; 1.5To show the structure of the song by
different types of movement. - Exercises meant to differentiate
between the stanza and the chorus through breathing and movement.
1.6To show the intensity, length, height of sounds by means of
singing. - Parallel listening of musical sounds of different
intensity, length and height; - Exercises of vocal sound emission
of different intensity, length and height; - Practicing some
rhythmical structures;1.7To sing, in groups, the songs learned
keeping the rhythmic and melodic structure and discipline required
by group singing - Exercises of marking the rhythmical structure of
the song; - Exercises of singing and marking the rhythm and the
tune of the song; - Exercises of individual and group singing. 34
2. Expressing oneself through music Learning ObjectivesExamples of
Learning Activities 2.1To sing simple polyphonic and harmonious
tunes using the voice and the instruments. - Singing songs with
instrumental back up from the teacher; 2.2Group and individual
singing with musical back up. - Singing both in groups and
individually, alternatively, in cascade,in dialogue, from one line
to another. 2.3To use the right tune in joint singing, according to
the content and character of the song. - Joint singing according to
the content and the character of the song;- Participating in the
collective singing, appreciating ones own contribution to the
collective singing; - Taking part in performances. 2.4To back up
songs, marking the rhythm and the equal length of the measure,
using the instruments made by them with their own tools. - Using
ones body to back up the songs: clapping hands, tapping the knees,
the table, stamping on the floor; - Using musical toys to back up
the songs: sticks, drums, bells, the tambourine, the gong, etc.;
2.5To classify the songs learnt by tune, content, topic, etc. -
Comparing the songs in the repertoire; - Selecting songs sung at a
certain time and at certain events / celebrations; - The song
thematic 35 differentiation; - Highlighting the link between the
content and the type of the tune. 2.6To improvise different
rhythmic or melodic combinations accompanied by motion.-
Improvisation exercises of rhythmic combination of onomatopoeia,
accompanied by movements in collective games; - Practicing some
rhythmic motifs on improvised songs; - Practicing some rhythms
accompanied by motion, synchronized in groups; -Singing some
spontaneously improvised songs with different rhythmic motifs.
2.7To express themselves through music. - Individual and collective
/ chorus singing;- Participating in organised events with songs
performed individually or in groups. 2.8To express their opinion
regarding the music they listened to or sing.- Conversation about
music listened to or sung; - Expressing emotions, feelings
generated by the music of imaginary stories inspired by music; -
Moving on music, dancing, hora- a Romanian dance; - Listening to
some folkloric creations related to customs and traditions; -
Listening to classical music. 36 B. LEARNING CONTENT -Individual
and collective singing (position, natural emission of sounds,
diction, synchronisation). -Instrumental singing: - musical toys; -
body percussion; - singing with musical back-up
- Elements of musical language: - Tone - Rhythm - Tune - Singing
LESSONPLANS Asastudysubject,whichispartofthesystemof
education,music has two well-defined aims:
a)thegeneralaim,whichreferstothestudents education in varied
topics; b)thespecialaim,whichreferstotheiraesthetic
education,alongwithbodily,artistic,graphic activities.
Inoureducationalendeavour,wefocusedonthe
achievementoftheseaimsinorderforourstudentsto understand, hear,
become aware, take in and use the beautiful.
Inthefollowinglessonplans,wewillpresentseveral
scenariosofmusiclearningactivitieswhichcouldbe performed by the
teacher trainer/ facilitator in the field of non-formal education
with groups of adults with special educational needs. Each of the
present scenarios could be a methodological 37
framewhichcouldbeusedalongseverallearningsessions.
Eachmusic-learningcourse/sessionwasgivenanameusing
suggestivephrases,thuscountingaswellontheiremotional impact on the
beneficiaries of the educational programme. Session 1 Inner Sun
Happiness is when what you think, what you say, and what you do are
in harmony.(Mahatma Gandhi) Learning eventActivityCreating
interest-Shortintonationexerciseswithrhythm
andmelodyintendedforstretchingthe vocal range.Presentationof lesson
aims A1-Todeveloptheabilitytosingand listen to music;
A2-Todeveloptheabilitytosing correctly, individually and in a
group; A3-Toproducerhythmicaldance
movementswhichexpresssituationsand emotions;
A4-Expressivesinging,individuallyand in a group; A5-To develop the
creativity and cultivate interest in artistical and musical events;
A6-Tostimulateparticipantswithspecial skills. Revision
Theprevioussongslearnedbythe students are revised.New song
Directingthe learning -Theteacherpresentsthetitleofthesong and
teaches the text; -The students learn the text, with the help 38
processes Giving feedback of the more talented ones;
-Theysingthesongfollowingthe directions of the teacher/conductor;
-Theylistentoandplaybackcertain musical fragments; -They sing,
dance and move at all times.EvaluationStudents answer some
questions about the song. Ensuring retentionand transfer
Thequalityofthenewacquired knowledge will be asserted; The new song
is sung/played once again, andthelessonfinisheswithsingingand
dancing. Session 2 Competing with Ourselves
Whenyouwanttopraiseachild, praisehisactionsinstead.Indoing so, you
will encourage his behaviour and not his pride. (Lucian Blaga ,
Romanian poet) Learning eventActivityCreating
interest-Shortintonationexerciseswithrhythm
andmelodyintendedforstretchingthe vocal
range;-Presentationoftheinstrumentsbuiltby the teacher.
Presentationoflesson aims A1-Todeveloptheabilitytodifferentiate the
sounds; A2-To identify and differentiate the sound sources in the
environment; 39 A3- To identify certain instruments;
A4-Todeveloptheabilitytobuildown percussion instruments;
RevisionTheprevioussongslearnedbythe students are revised. New
activity Directingthe learning process Giving feedback
-Studentsareencouragedtotalkabout sounds and noises around them;
-Studentsareaskedtorecognisedifferent sources/instrumentsthatmake
sounds/noises; -Theteacherintroducesbasicmaterials
whichcanbeusedtobuildinstruments:
containers/boxesofvarieddimensions madeofplastic,wood,glass,beads,
grains/beans,woodenspoons,lids,plastic
corks,triangles,smalldrums,musictoys, elastic strips on a wooden
frame, etc. ; -Studentsbuildowninstrumentsfrom:
twigsandsticks,plasticbottles,medicine jars, pebbles, metals;
-Theprevioussongslearnedbythe students are performed again with the
help ofnewly-builtinstruments,voiceand dance.
Evaluation-Thestudentswillanswersomequestions
relatedtobuildinginstrumentsandabout
thesoundeffectsofusingthemwhile singing. Ensuring retentionand
transfer -Thequalityofthenewacquired knowledge will be asserted; -
The lesson ends with songs and dance. 40 Session 3 Plant the Seeds
of Love How much we give is irrelevant; what really matters is how
much love we put into what we do.(Mother Teresa) Learning
eventActivityCreating interest-Shortintonationexerciseswithrhythm
andmelodyintendedforstretchingthe vocal range.Presentationof lesson
aims A1-Totrainstudentstolistento differentmusicalgenreswhichwill
contribute to their musical culture; A2-Todeveloptheabilitytoplay
melodieswithsimpleinstruments (through repeated tries);
A3-Todeveloptheabilitytosingsongs individuallyorinagroupandwiththe
teachers help; A4-To develop performance abilities ; A5-To develop
distributive attention; A6-To develop logical memory with the help
of songs and dances; A7-Todeveloptheabilitytorecognise songs and
dances previously learned. RevisionTheprevioussongslearnedbythe
students are revised. New activity Directingthe learning process
Giving feedback -Teacher plays a CD with a selection of
songsfromfamousandlessfamous artists, based on the musical
preferences of the learners; -Afterthelisteningactivitycertain
talentedstudentsaregiventhe 41 opportunitytoperformsomeofthe songs
they heard; -Teacherasksthestudentstomove according to the text and
in rhythm with the music. Certain psychological aspects can be
developed through movement; -Instrumentsareusedtoplayandsing some
of the songs already known; -Teacherfilms/recordsthestudentsand
plays the recording. EvaluationStudentswillanswersomequestions
related to the songs they listened to. Ensuringretention and
transfer Thequalityofthenewacquired knowledge will be
asserted;-Thelessonendswiththestudents listeningtotherecordingand
performing their repertoire. Session 4 -Education between Dream and
Reality He who dreams does not know doubt.(Sharmos OSheel) Learning
event Activity Creating interest -Short intonation exercises with
rhythm and melodyintendedforstretchingthevocal range.
Presentationof lesson aims A1-Todeveloptheabilitytosingsongs with
an accompanying instrument; A2-To develop the ability to sing songs
and Christmas carols, individually or in agroup 42 and with the
teachers help; A3-To develop interpretation abilities ; A4-To
develop distributive attention;
A5-Todevelopandconsolidatetheability to recognize dance songs and
other songs. RevisionTheprevioussongslearnedbythestudents
arerevised,withfocusonfragmentsfrom certain songs. New activity
Directingthe learning processes Giving feedback
-Teacherintroducesthekeyboard, instrument which will accompany the
group at concerts and future lessons;
-Participantsareencouragedtosing
individuallyoringroupsongstheyalready know;
-Teacheridentifiesandnominatesstudents-soloists;
-Thekeyboardwillengagetheentiregroup through its attractive
sounds.EvaluationStudentswillanswersomequestionsabout the keyboard.
Ensuring retentionand transfer -The quality of the new acquired
knowledge will be asserted;- The lesson ends with singing songs.
Session 5 - Hope Can Be Learnt Hope is the food of souls(Ohilon)
Learning eventActivity Creating
interest-Shortintonationexerciseswithrhythm
andmelodyintendedforstretchingthe 43 vocal range Presentationof the
objectives A1-Todevelopabilitytobereceptiveto
thebeautyinnatureandwhatsurrounds us;
A2-TodevelopabilitytosingChristmas carols, which have a spiritual
message that can influence the interpreter positively;
A3-Toexposethestudentstoreligious songswhichcanhelptoshapetheir
personalities and behaviours;A4-To develop positive feelings;
A5-Todevelopabilitytointegratewithin a community, which is eased
with the help of music; A6-Todevelopthespiritoforganisation and
discipline RevisionTheprevioussongslearnedbythe students are
revised. New activity Directingthe learning process Giving feedback
-Teacherasksquestionsaboutthewinter holidays (Christmas);
-Studentsareencouragedtosing Christmas Carols they learned in
previous years; -Teacher introduces new carols; -Students learn
first the text and then sing the song.
EvaluationStudentswillanswerquestionsaboutthe Christmas concert.
Ensuring retentionand transfer Thequalityofthenewacquired knowledge
will be asserted;-The lesson ends with song singing. 44 Session 6
Trip to the Stars Thegroupistherootofthe
individual,andtheindividualgrows within the group.(Alexandru
Safran) Learning eventActivity Creating
interest-Shortintonationexerciseswithrhythm
andmelodyintendedforstretchingthe vocal range. Presentation of the
objectives A1-Todeveloptheabilitytosingaspart
ofagroup,whichhelpsstudentstolisten
tothemselvesandtotheircolleaguesand to become synchronised;A2- To
develop deep aesthetic feelings; A3Ttocreateandmaintainacertain
emotionalstatespecifictomusicandart in general; A4- To develop
positive feelings; A5-Todevelopthespiritoforganisation and
discipline; A6- To develop the positive influence that
musichasonthebehaviouralandsocial side; A7-To stimulate syncretism
in art. RevisionCertain parts of the Christmas concert are revised.
New activity Directingthe learning process Giving feedback
-Teacherchecksthecostumesofthe artists;
-ThegrouprepeatstheChristmas carols/songs and poems which will be
part of the programme; - At the fixed time, arranged as previously
45 established,theChristmasconcertbegins
andunfoldsaccordingtotheprojected plan;
-Thecommunicationofthepublicwith
thelearners;theartistsreceiveapplause
andpresentsfortheireffortstoprepare andperformanenjoyableprogramme;
dialoguebetweentheaudienceandthe learners.
EvaluationOuradultlearnerswithdisabilitiesinthe
PilotCentrearepraisedfortheireffort,
behaviour,sensitivity,expressivity,their inner feelings, and
performance. Ensuring retentionand transfer The Christmas programme
of the disabled peoplefromtheComplexinTargu-Carbunesti was a
success. 46 INCLUSIVE MUSIC EDUCATION AND MELOTHERAPY
Alongtheyears,researchers/expertsinthefieldof
musicology,psychology,pedagogy,sociologyandother
educationscienceshavefoundoutthattheartofmusicis
meanttoenrichandharmonizetheartisticandaesthetic
experiencesandtocontributetotheeducationalprocessalong ones
life.Theprocessofmusicaleducationisacontinuous, systematic
activity, which starts during childhood up to the old age,
regardless of the persons line of work.
Theinterestinmusicismostlymanifestedbyreception
andplayback,ofdifferentmusicgenresasthelanguageof
musicisuniversal.Theactofteaching,though,asksfora
maximumpedagogical/methodicaleffortfromtheeducators
plannedandappliedtoacertaintargetgroup.Thelearning
activitiesarededicatedtothedevelopmentofmusicalhearing
anditsnativepredispositionsononehand,andcarefully
selectingarepertoireofattractive,interesting,excitingsongs
andmusicalgamesadaptedtotheage,particularitiesand
characteristicsofthetargetgroupwhotakepartinthemusic education
activities, on the other hand.
Musicisnotjustasourceofentertainment-aswe superficially think of it
it is a way to sensitize, it educates and
developspsycho-intellectualprocesses,havingapowerful
formativerole.Theartofmusicsatisfieseveryindividuals need for
beauty, which becomes a noble aspiration with special
meanings.Itunleasheslonglastingaffectivefeelings,strong
andcapabletotransformconsciousnesswhenitcomesto authentic art. 47
Weknowthat,fromatheoreticalpointofview,learning
inmusicisbasedonseveralspecificelementssuchasrhythm,
harmonyandmelody. Rhythm in a musical phrase refers to the placing
of tonic accents.Ithasdifferentresonances,though,foreachperson,
dependingontheirage,healthcondition,mood,timeor cultural level.
Harmonyreferstothemelodiccombinationofsounds
anditisbasedonthetechniqueofaccords.Bothrhythmand harmony are
essential elements, and they ensure the success of a melody, of a
song or of an exercise.
Melodyisthefinalresultofcombinedsounds,rhythms, accords that create
a musical composition. The more originally
theyarecombined,thegreaterthesuccessofthatparticular piece of music
and the effect on the audience is greater.
Musicallanguageresonatesquitealotwiththehuman
personality.Thepsychologicallifeofapersoninvolves dynamism and
rhythm and the reception of the sound in music
generatesrhythmanddynamismintheaestheticfeelingsand
emotionsoftheindividual.Theaffectivelifeofapersonis
enrichedthroughemotionsgeneratedbymusicalsounds,or songs, and the
mental life means awareness of the sound world, to the well-being
of an individual.ByimplementingtheGrundtvigProjectGuideUsInto
ArtsattheCommunityServicesComplexweaimedbothto
theintegrationofpeoplewithmentaldisabilitiesinlearning
programmesforadults,aswellasobtainingsomeelementsof
musictherapy,ofeducationaltherapy.Intheeducational therapy, the
language of music is a universal language, as well
asanaccessiblelanguage.Itcandetermineapositive
motivation,facilitatingparticipativeattitudes,anopeningof
theindividualtowardsothersandthecommunity,towards communication and
socialising.48 Inthelearningactivitiesofmusicwithgroupsofpeople
withcertaindisabilitiesandthuswithspecialeducational
needs,theteacher-trainerbecomesfacilitator.Hehastobe especially
interested in the effects of music used under various forms, in
order to involve, activate and include these people in systematic
and long-lasting educational steps.Both in musical activities in
normal schools and in those
performedwithpeoplewithmentaldisabilitiesatthe
CommunityServicesComplexwithProtectedSectionsforthe Recovery and
Rehabilitation of Disabled People from
Targu-Carbunesti,wecouldnoticethatmusichasanumberof benefits such
as: determines a series oftonic affective states;
inducesastateofpeace,leadingtoreducing the participants stress or
anxiety; allowsthemtoescapefromtheirworld inducing a state of
security; enhancestheirtoneandstamina,helpingto
overcomeinherentobstaclessuchastheexistenceof their disease or
their disability; facilitates communication between people;
contributestothedevelopmentofmental
functionsandprocesses,startingwithprimaryones,
sensations,perceptions,representations,andending with more complex
ones, like affection or imagination; improvestheirbehaviourand
helps them to socialize.
Theprogrammeforcomplexandintegratededucational
therapyforpeoplewithmentaldisabilitiespaysspecialattention to
occupational therapy and expression psychotherapy activities.
Thiscategoryofactivitieshasveryimportanttherapy effects, and can be
performed in different institutions: schools,
daycaresforpeoplewithspecialneeds,kindergartens, boarding schools,
hospitals.49 *** TheexperienceoftheactivitiesperformedatthePilot
CentrefromTargu-Carbunestidemonstratedthatwedonot
havetotakeintoaccountthemusicalaptitudesofpeoplewith special needs,
so there is no selection of the participants to the
courses.Here,musicwasusedasaneducationalactivity,an
inclusivelearningactivity,withatherapeuticpurpose,
contributing-duetoitsspecificwayofreceptionandits
aestheticqualitiestotheeducationthroughartofits beneficiaries from
the target group and to a better integration in their activity and
the social life. Themostimportantobjectiveofourmusicalactivities
wastoestablishcontactandcommunicationwithpeoplewit
mentaldisabilities,tofacilitatecommunicationbetweenthe
adultsinvolvedinaneducationalprogrammeandthe
teacher/facilitator,aswellasbetweenthemselvesaspeople
whobelongtoagroupofadultswhoarelearning.Finallyyet
importantly,weaimedatfacilitatingcommunicationand
integratingadultswithmentaldisabilitiesinthelocal
communitytowhichtheybelongbyorganisingsome performances with the
participation of different people in town and county organisations.
Intheunfoldingprogramme,wedidnotwanttomakea
differencebetweenlearningthroughmusic,usingmusicasa therapeutic
means, and using it as a recreational one. The type
ofactivitiesproposedbyusmightberegardedasfunctional music because,
according to Weigel, the researcher, the therapy applied by us at
the Pilot Centre in Targu-Carbunesti had, in its content, practical
objectives. Whileconsultingspecializedliterature,welearnedthat
percussioninstrumentslikecastanets,bells,tambourines, 50 cembalo,
xylophone and many more, facilitate communication, at a certain
extent, for both regular students and for people with
specialneeds.Psychologistsrecommendpercussion
instrumentsbeforeanyotheractivitiesforpeoplewithspecial
needs,becauseithasbeendemonstratedthatthevocaland instrumental
rhythm is less anxious for them.
Forhyperactiveoremotionallyunstablepeopleweused
musictherapytoimprovevoluntaryinhibitionsofmovements in an attempt
to: ease tensions; reduce aggression; improve cooperation within
the groups; improve teamwork.
Musictherapyhelpedthosewithobviousrelationship problems, because it
favoured spontaneous participation to the
groupactivity,teamwork,diminishingconflicts, communication and
collaboration. Theresearchwemadewiththedisabledpeoplefrom
Targu-Carbunestigaveusvaluablemethodicalindications
abouttheirpreferencesfordifferentformsthatthemusic
therapyinduces,ananalysisbeingmadefortheirlevelof
activism.Theparticipantshighlevelofactivismmadethem
chooserolesofsoloistsandrecitingpoems,thosewitha
mediumlevelofactivismchosethepercussionistsgroup,and
thosewithalowlevelofactivismparticipateddiscreetlyor with reticence
to the group activity. Duringthemusicactivities,theadultswithmental
disabilitiesshowed,fromthebeginning,greatinterestin
rhythm,melodyandharmony,whichmadethesessionstake
placeinanextraordinaryatmosphere,characterizedbya general effusion
and a total
enthusiasm.Themusictherapyactivityperformedduringourlessons can be
divided into two categories:51 activeordirect,wheretheparticipants
perform instrumental or vocal music, either individually or in
group; responsiveorindirect,wheretheparticipants
listentomusicandthereceptionactivityrequireda certain level of
participation on their part. ***
Allsuggestedactivitieswereexecutedgradually,and
theircombinationledtoastructuringofcomplexmusical
abilitieswhich,inturn,ledtoacompensationofother
deficienciesinthelineoftheirpersonality,especiallyin movement.
Inthesyllabusformusiceducation,weintroduced several activities in
which the learners were trained in building
theirownpercussioninstruments,withwhichtobackupthe singers and the
choir. The tambourine was used to rhythmically accompany the
band.Thus,thelearnershadtherhythmand,byusingthe instrument, they
improved their movement. This represents the true key to success.
For the anxious learners and for the hyperkinetic ones, we
usedbells,astheyareinstrumentswhichproducelongand special
eurhythmic sounds. And, on top ofit all, after learning the songs
and poems tobeperformedattheChristmaspartyAmvenitsa colindam! (Here
We ComeCarol Singing!) , we introduced the organ as a helping,
accompanying and leadinginstrument.
Theinterestinmusicmanifestsitselfthroughreception and playback at
all ages and for all people. It represents a joy, a pleasure, a
trigger of will, a real source of energy. 52 The music education
courses organized within our project
influencedsomeaspectsrelatedtothesocialandthe
behaviouralsideofourlearners.Thus,integrationwas achievedeasier by
means of music and the activities
performed.Theprocessofmusiceducationisacomplexonein
whichtheorganisationalandthemethodologicalpartspecific to the field
of music must be taken into account along with the
psycho-pedagogical aspects of the target group involved in the
learning activities through music. Music favours the abilities of
perception,recognizingandplayingbacksongs,performing musical games,
role-play,songsor dancing melodies.
Psychological,physical,andintellectualdevelopment
shouldbethecoreofourconcernwhenweplanthelearning
activities.Thedevelopmentofthesensesandmovement,the
developmentandinternalisationofperceptions,the
developmentofthoughtandlogicwereachievedsuccessfully
bymeansoftheunfoldedlearningactivities.Listeningto
music,understandingthecreationofmusic,performing rhythmical
activities with the instruments built by the learners,
aswellasindividualandgroup/choirsingingwerethe
activitiesweperformedalongthemusiceducationcoursesin the Guide Us
Into Arts! Project. Along with other human activities, music has
the purpose tostimulatethepsychologicallifeaswellasother
characteristicsofthemindsuchastheflexibilityandthe
subtlenessofthought,theindependence,thecreativity,the ability to
analyse and distinguish musical sounds and rhythmic
andmelodicstructures.Bystimulatingthelearnersinactively
andconsciouslyparticipatinginsinging,themusicsessions
organisedbyusintheGrundtvigProjectkeptlearnersalert
foralongerperiodoftimethroughitsrhythm,melody,
harmony,text,anditbroughtdeepemotionsandfeelings,
which,inreturn,determinedthedevelopmentofparticipative attitudes
and positive social behaviour.