“When the music teacher sings,
the whole nation sings”
Anu Sepp
Estonian Academy of Music and Theatre
Estonians – a singing nation
• Kui laulab kool, siis laulab rahvas.
Zoltan
Kodaly
2
 TRADITION
 CONTINUITY
3
Joint singing in Estonian musical heritage
• Runic songs – carry an important message to
participants and audiences and forms their feeling of
unity
• Congregational singing
- Singing in village and parish schools (at Laiuse
parish school in 1822, singing lessons were held
every day)
– The first Estonian music books for schools – 1864 by A.
Erlemann and in 1868 by F. Kuhlbars
• Choir singing
Cimze seminar
• 1849 - 1881 in Valga to train
teachers and parish clerks of
Livonia
• about 120 Estonians studied there
• very good music education
(harmony, improvisation,
composition, choir singing, folk
songs (arrangements)
• the choir movement in Estonia that
lead to the first Song Festival in
Tartu in 1869
Janis Cimze
Innovative educational ideas at the beginning of the 20th
century
• Pupil centredness
• Nationality
• Integration between
different subjects
Johannes Käis
• Creativity
RIHO PÄTS
(1899-1977)
– Relative music reading
system (based on tonika-do
method - Vilho Siukonen)
– Shifting quater note
– Playing instruments
(recorder, percussion
instruments,mandolin)
– Joint singing
Anu Sepp 2010
7
1960s in Estonian music education
Prof. Heino Kaljuste in collaboration with
prof.Riho Päts
• JO-LE-MI method
• Orff-instrumentarium
• Music specialized classes
• Kabalevski’s method of
music listening
• New music syllabi and
music books
(1925 – 1989)
Anu Sepp 2010
8
Estonian general music education
• The whole concept of Estonian music education - by the end of the
1930s by Riho Päts
• Music education – from kindergarten to the end of upper secondary
school (gymnasium)
• Since 1962 – special Song festivals for children and youth
– 1st, 28.06–1.07.1962, Tallinn, 17 760 participants
– 11th, 1.–3.07.2011, Tallinn, 32 500 participants
• The holistic system of music education
(ideas of Orff, Kodaly, Päts + new
pedagogies)
Music education in Estonian general
education
• Estonian National Core Curriculum
(valid from January 28, 2010)
• Distribution of music lesson hours in
general education (per week)
– Basic school
•
stage I grades 1−3
2+2+2 lessons
•
stage II grades 4−6
2+1+1 lessons
•
stage III grades 7−9
1+1+1 lessons
– Upper secondary school
•
3 courses
3 x 35 lessons
Estonian music syllabus
• singing
• playing musical instruments
• musical movement
• composing
• listening to music and musicology
• musical literacy
• educational outings
(National Curriculum,2011).
Choir singing
• A voluntary subject
• About 555 choirs - 226 toddlers’, 168 childrens’,
55 boys’, 64 mixed, 11 male and 28 female choirs
(according to 2011 Youth song festival)
• TIMETABLE – as a subject but not in all schools
• So far, usually not added to music teacher’s
hourly working load
MUSIC TEACHER – THE KEY PERSON
Music teachers’ qualification
• music is taught usually by music subject teacher
(from kindergarten to upper secondary school)
• music teacher - choir conductor (up to 1990s)
• 2002 curriculum reform in university education
– “….is allowed to work in positions requiring the …. degree or
appropriate qualification”
• 2013 new teacher education requirements
– “…has received training in working as music teacher
in basic and upper secondary school”
Music teacher training in
Estonian Academy of Music and Theatre
Bachelor’s degree – usually 3 years, 180 EAP
A Professional subjects 30 EAP
– Music didactics ( Orff pedagogy, Kodaly method, pre-school music)
–
Educational science and psychology
B Practical music subjects 100 EAP
– Choir
– Conducting and vocal training
– Music instruments (piano, recorder, 6-string zither, guitar) and solfege
– Rythmic music (pop, jazz, rock)
– Choir music (optional)
– Electronic music(optional)
C Music theory, history and general studies 35 EAP
– Music history
– Music theory and analysis
– Other humanitarian subjects and general studies
D Bacholor examination 10 EAP
E Elective subjects 5 EAP
Music teacher training in
Estonian Academy of Music and Theatre
Master’s degree – usually 2 years, 120 EAP
emphasis on teacher training:
Master’s studies 100 EAP
- vocational studies (general studies 24 EAP; didactics
12EAP; practice 24 EAP) - 60 EAP
- professional studies 24 EAP
- general studies 10 EAP
- elective subjects 6 EAP
Master’s thesis 20 EAP
Model of pedagogical thinking level
(Kansanen, 1991, 1993)
Model of pedagogical thinking in music
education context
THINKING LEVEL
ESSENCE OF MUSIC TEACHERS’ THINKING
METATHEORY
LEVEL
- vision of music education’s task in the society and pupils’ everyday life
- the ability to consider critically the traditions of music (subject) didactics and reflect one’s
own teaching through this critical analysis
- awareness of the history of music education, traditions, values
- understanding about the philosophical underpinnings of music education
OBJECT THEORY
LEVEL
ACTION LEVEL
- perception of/about the music education syllabus as part of the school curriculum
- awareness of the theoretical criteria of the music subject: objectives, main concepts,
formation of the content and structure in teaching –learning process
- ability to reflect on music teaching techniques, methods, approaches in one’s own practice
- basic knowledge of music subject content and skills
- perception of different techniques, methods and models that are most suitable for music
teaching
- ideas of the musical skills of the students and about the main problems connected with
content learning
- a vision of the main differences between different groups and its impact on the whole music
teaching process
- contextual solutions in music subject connected to content prioritization in the music syllabus
of national curriculum
- ability to create suitable music material and find appropriate repertoire
Use of music teaching ideas and methods
Use of music practices
Correlations between music practices and methods
(Estonia)
*. Correlation is significant at the 0.05 level (2tailed).
**. Correlation is significant at the 0.01 level (2tailed).
***. Correlation is significant at the 0.001 level (2tailed).
Estonia
D2.21 Singing
D2.21 D2.22 Playing
Singing
instruments
D2.25
D2.24
Listening to
Integrative
pieces of
creative tasks
music
D2.23
Musical
movement
D2.26
Studying the
history of
music
D2.27
Learning
elementary
theory
D2.29
D2.210
Involved in Improvise,
arts
compose their D2.7A
teamwork
own music Carl Orff
D2.28
Concerts,
excursions
1
0,060
0,013
-0,050
0,177
0,122
0,118
-0,153
0,128
D2.22 Playing instruments
0,060
1
,514(**)
,277(**)
-0,058
-,270(**)
0,115
0,092
0,178
D2.23 Musical movement
0,013
,514(**)
1
,320(**)
-0,003
-,303(**)
0,137
0,117
,205(*)
,442(**)
-0,050
,277(**)
,320(**)
1
0,123
0,065
-0,018
,297(**)
,316(**)
D2.25 Listening to pieces of
music
0,177
-0,058
-0,003
0,123
1
,431(**)
,238(*)
0,127
D2.26 Studying the history of
music
0,122
-,270(**)
-,303(**)
0,065
,431(**)
1
,200(*)
D2.27 Learning elementary
theory
0,118
0,115
0,137
-0,018
,238(*)
,200(*)
D2.28Concerts, excursions
-0,153
0,092
0,117
,297(**)
0,127
D2.29 Involved in arts
teamwork
0,128
0,178
,205(*)
,316(**)
D2.210 Improvise, compose
their own music
0,082
,447(**)
,442(**)
D2.7A Carl Orff
-0,076
,276(**)
D2.7B Zoltan Kodaly
-0,022
D2.7C Emile Jaques-Dalcroze
D2.7F
David
Elliot
-0,076
-0,022
0,074
0,018
0,032
0,062
,447(**) ,276(**)
0,064
0,132
0,114
0,117
-0,064
0,149
-0,077
0,168
-0,060
,195(*)
-0,013
,220(*)
0,130
0,056
,245(*)
,199(*)
-0,025
0,182
-0,012
-0,077
-0,086
0,032
0,088
0,025
-0,029
0,020
,257(**)
,190(*)
-0,115
-0,007
0,062
-0,006
0,045
-0,057
0,051
1
0,072
,203(*)
,237(*)
0,031
0,056
-0,028
-0,106
0,006
-0,066
,257(**)
0,072
1
,257(**)
0,184
0,064
0,042
0,114
,191(*)
-0,102
,191(*)
-0,012
,190(*)
,203(*)
,257(**)
1
,327(**)
0,120
0,041
,228(*) ,281(**)
0,057 ,263(**)
,220(*)
-0,077
-0,115
,237(*)
0,184
,327(**)
1 ,373(**)
0,171
,193(*)
0,095
0,133
0,149
0,130
-0,086
-0,007
0,031
0,064
0,120
1 ,574(**) ,280(**) ,287(**) ,301(**)
0,163
0,064
-0,077
0,056
0,032
0,062
0,056
0,042
0,041
0,171 ,574(**)
1
0,074
0,132
0,168
,245(*)
0,088
-0,006
-0,028
0,114
,228(*)
,193(*) ,280(**)
0,170
D2.7D Shinichi Suzuki
0,018
0,114
-0,060
,199(*)
0,025
0,045
-0,106
,191(*)
,281(**)
0,175 ,287(**)
D2.7E Riho Päts
0,032
0,117
,195(*)
-0,025
-0,029
-0,057
0,006
-0,102
0,057
D2.7F David Elliot
0,062
-0,064
-0,013
0,182
0,020
0,051
-0,066
,191(*)
,263(**)
D2.24 Integrative creative tasks
0,082
D2.7C
Emile
D2.7D
Jaques- Shinichi D2.7E
Dalcroze Suzuki Riho Päts
D2.7B
Zoltan
Kodaly
,373(**)
0,084 ,290(**) ,281(**)
1 ,559(**)
0,084 ,559(**)
0,095 ,301(**) ,290(**)
0,133
0,170
0,175
0,116
1
0,116 ,660(**)
-0,071 ,508(**)
-0,071
1
0,035
0,163 ,281(**) ,660(**) ,508(**)
0,035
1
Correlation of musical practices, their internal
connections and factor patterns in Estonia
r = .363**
FACTOR 1
FACTOR 2
D229 arts
teamwork
r =.205*
D223 musical
movement
r =.514***
r =.327***
D222 playing
instruments
pc =.337
pc =.696
pc =.709
r =.316***
r =.203*
r =.277*
r =.257**
r =.320***
r =.-303**
r =.442***
r =.447***
D224 integr.
creative
tasks
r =.220*
D2210
improvising,
composing
r =.-270**
pc =.565
D228 visiting
concerts,
museums etc
r =.297**
pc =.681
pc = .651
r =.190*
D226 history
of music
r =.237*
D227 learning
elementary
theory
pc =.542
r =.200*
pc =.452
r =.257**
r =.431***
r = -.038
n.s.
r =.238*
FACTOR 3
D225
listening to
music
pc =.477
D221
singing
r = .184
pc =.520
n.s.
Estonian Society for Music Education
• founded in 1990
• About 286 members
• Support music teachers in their
everyday work;
• Mediation of the newest
information in music education;
• Develop international
communication;
• Offer possibilities for inservice
training.
Curriculum Development: Theory and Practice
Hilda Taba, 1962
...schools function on behalf of the culture in which they exist. The
school is created by a society for the purpose of reproducing in the
learner the knowledge, attitudes, values, and techniques that have
cultural relevancy or currency.[---] ...of the many educative agencies
of society, the school is the one which specializes in inducting youth
into the culture and is thus responsible for the continuity of that
culture.
(Taba, 1962,11)
...Koolid toimivad selle kultuuri huvides, milles nad eksisteerivad. Koolid on loodud
ühiskonna poolt eesmärgiga kanda õppijas edasi neid teadmisi, suhtumisi, väärtusi ja
oskusi, millel on kultuuriline tähtsus või väärtus. [---] ...just kool on see paljudest
ühiskonna haridusasutustest, mille ülesanne on juhtida noor kultuuri juurde ning
seega kanda vastutust selle kultuuri säilimise eest.
17
Music as part of identity
• If I forget the song
and the language,
will I remember
myself?
Jaan Kaplinski
Thank you for your kind attention!