Izvleček
Pri glasbenopedagoškem delu se nenehno soočamo z izvajanjem glasbenih del pred občinstvom. Z nastopanjem sooblikujemo učenčevo glasbeno samopodobo, ki pomembno vpliva na njegov glasbeni razvoj in počutje v šoli. Vznemirjenje pred nastopom pa dostikrat prestopi meje ustvarjalne treme, in namesto da bi trema na izvedbo učinkovala pozitivno, se nastopajoči sooča z negativnimi izkušnjami, ki lahko prerastejo v anksiozno motnjo. V glasbeno izobraževanje je zato k veščinam nastopanja treba vključiti strategije za uravnavanje izvajalske anskioznosti. Na Glasbeni šoli Jesenice smo v šolskem letu 2022/23 z učitelji inštrumentov/petja (N = 33) in učenci (N = 316) preizkusili strategijo, ki smo jo oblikovali po modelu prožnega nastopanja (Hariss, 2006). S kvalitativno metodo raziskovanja načrtovanih novosti pri pouku smo model prožnega nastopanja vključili v individualni pouk, hkrati pa smo pred nastopi uvedli skupna sproščanja, ki so se jih učenci in učitelji udeleževali pred vsakim nastopom. Na podlagi elevacijskih kartončkov smo na pilotnem vzorcu učencev (N = 55) analizirali podatke o počutju na nastopu, medtem ko smo s polstrukturiranimi intervjuji (učitelji: N = 3; učenci: N = 5) oblikovali utemeljeno teorijo. Rezultati so pokazali, da so učenci, ki so imeli visoke povprečne vrednosti pri pripravah na nastop, izkazali visoko povprečje tudi pri počutju in izvedbi skladbe. 70 % učencev je menilo, da so priprave na nastop dobre, in 65 % si jih je želelo nadaljevati. Vsi učitelji so preizkušeni model potrdili kot glasbenopedagoški pripomoček za naslednje šolsko leto.
Abstract
„Oh, that stage fright“ at Jesenice Music School
Music educators constantly face the challenge of performing musical pieces in front of an audience. Performing helps students construct their musical self-image and significantly impacts their musical development and academic well-being. However, the thrill of performance frequently crosses the boundaries of creative anxiety; instead of having positive effects on performance, the performer goes through a negative experience that might lead to an anxiety disorder. As a result, in music education, performance skills should include anxiety-management strategies. At the Jesenice Music School, we tested a strategy based on the Flexible Performance Model (Hariss, 2006) with instrument/singing teachers (N=33) and students (N=316) in the school year 2022/23. Employing a qualitative method to investigate planned innovations in teaching, we incorporated the Flexible Performance Model into individual lessons while introducing collaborative pre-performance relaxation sessions that students and teachers attended before each performance. We utilised elevation cards to analyse data on well-being during the performance with a sample size of students (N=55), while semi-structured interviews (teachers: N=3; students: N=5) were conducted to develop a grounded theory. The results revealed that students with high average scores in preparation for the performance also had high average scores in well-being and musical performance. 70% of students thought the performance preparation was adequate, and 65% wanted to continue. All teachers affirmed the tested model as a music pedagogical tool for the upcoming school year.