Tradition tradition

TRADITION

• TRADITION

• CONTINUITY

Runic songs – carry an important message to participants and audiences and forms their feeling of unity

• 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

1849 - 1881 in Valga to train teachers and parish clerks of Livonia

• 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

Pupil centredness

• Pupil centredness

• Nationality

• Integration between different subjects

• Creativity

• Relative music reading system (based on tonika-do method - Vilho Siukonen)
• Shifting quater note
• Playing instruments (recorder, percussion instruments,mandolin)
• Joint singing

Prof. Heino Kaljuste

• Prof. Heino Kaljuste

• 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)

• 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

• singing

• playing musical instruments

• musical movement

• composing

• listening to music and musicology

• musical literacy

• educational outings

• (National Curriculum,2011).

A voluntary subject

• 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 is taught usually by music subject teacher (from kindergarten to upper secondary school)

• 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”

• 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

Master’s degree – usually 2 years, 120 EAP

• 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

founded in 1990

• 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.

• ...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

• If I forget the song and the language, will I remember myself?

• Jaan Kaplinski