Glazba kao odgojno sredstvo u formiranju „socijalističkog čovjeka“: nastava glazbe u osnovnim školama u Hrvatskoj (1945-1965)

Publication Type:



Muzikološke studije, Zagreb : Hrvatsko muzikološko društvo = Croatian Musicological Society, Volume 21, Croatia, p.148 (2019)


ISBN 978-953-6090-63-1


music pedagogy, politics and music


<p>Based on the experience she has gained from previous research into the social conditionality of music practice, the author has compiled a wealth of documentation on the subject, which has until recently been “bypassed” as delicate as it related to the recent past by the evocation of a series of events and persons. Efforts to derive educational content and goals from ideological models - as the author has shown and proved with her research - are still present in our pedagogical theory of practice today.</p><p>After introductory considerations and a review of sources and literature, the basic guidelines of post-war educational policy are outlined and then proceeded to music education as part of the aesthetic upbringing of the child. The education of future teachers of music education in class and subject teaching is the content of the next chapter, which logically leads to the presentation of the professional association of music educators - the Association of Music Educators of Croatia - and its newsletter "Music and School". The following is a chapter on curricula, followed by a comprehensive section that deals with textbooks and methodological manuals by analyzing their content and (often gross) controversy surrounding them. A series of changes in conception follow from the first post-war textbooks and textbooks for subject teaching in the 1960s. Music School "Music Shows" were presented as valuable support for the efforts of music educators.</p><p>The second part deals with the incorporation of ideology into teaching practice - the profile of the future teacher and music teacher, the symbols and rituals of school ceremonies, the relation of educational policy to church and entertainment music. While the first part of the research is supported by excerpts from recent theoretical literature, the second part is given special plasticity and immediacy by numerous quotes from living witnesses - participants in the processes that the action follows.</p>