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COMPOSING IN THE CLASSROOM „DIFFERENT HEARING“ PROGRAMME: EXPERIENCES IN CZECH MUSIC EDUCATION
Abstract
The Czech Republic has joined and actively pursued the outcomes of the UNESCO 2nd World Art Education Conference on artistic education, held in Seoul in 2010, and the follow-up documents. For over 10 years, the Czech Different Hearing programme has been implemented in the spirit of these outcomes. The programme is unique in the Czech Republic in terms of its focus, strives to find new ways of extending the traditional model of school and out-of-school music education to encompass activities aimed at nurturing creativity by means of group or classroom composing on the basis of the principle of barrier-free access for all children, regardless of their abilities, skills and previous musical experience. The programme has linked up to the conceptions of the British-German Response and Austrian Klangnetze projects, and is also inspired by education projects implemented by renowned foreign orchestras, including the London Sinfonietta, Berliner Philharmoniker, etc. Within the research project supported by the Grant Agency of the Czech Republic, from 2009 to 2013 the Different Hearing team systematically devoted to creating a theoretical concept pertaining to elementary composing in music education, as well as music-animation programmes. The members of the team have also presented their findings at conferences; for example, at the 2nd World Art Education Conference and at the 19th EAS Conference, etc. The Different Hearing programme is primarily focused on children and young people aged five to 25. Over the past 10 years, the Different Hearing team have implemented about 50 long-term projects, which have been attended by 457 teachers and 1,441 pupils and students of nursery, primary, secondary, art and special schools, as well as by university students. This paper deals with the evaluation of the five-year project focused on research into the post-indeterminist compositional and improvisational methods and procedures and their application within the Czech music education system.
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References9
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