TENDENCIES OF MODERN EDUCATION AND THE CONTINUITY OF THE MUSIC TRADITION

1. TENDENCIES OF MODERN EDUCATION AND THE CONTINUITY OF THE MUSIC TRADITION Prof. PhDAidaIslam FacultyofPedagogy “ScKlimentOhridski”, Skopje, UKIM Prof. PhDStefanijaLeshkovaZelenkovska FacultyofMusic – UniversityGoceDelcev

2. Local versus global • Globalization consistedofthe fastexchangeandquantityofinformationthat are transmittedeverywherearound the world, • Music, asa partofmusicalartsand asa partofa broader phenomenonofculture, isinfluenced by all these factors, • Expansionofelectronicmediaforthesynthesisandinterpretationofmusic (synthesizers, computers, etc.) electroniccommunication, digitalization, and segmentation of genresandaudienceshas drasticallyincreasedtheexpansionoftheexistingelectronicmediaandtheemergenceofnewsound recording mediums anddigitalformats.

3. Local versus global • The quantityofmusic, whichis exchangedoverthe Internet todayatitsscopeisvastandmost probablyequaltothecumulative volumeofallotherknownformsfromthepast, • This imposedand relativelyartificial culturalveneerisonlya deeperact of globalizationleading to higherlocalculturaldiversification, • Westernization, Americanizationetc., ofmusicalcultureisanissuethat has recently been given greater importance, • Thisled us to considertheir influence onmusicalevents in our region inthe sphereoffolkmusic, whichis a productofthe level of culturaldevelopmentof the majority of population in the society, whileatthesametimeit relies onthemusicaltraditionsofa particular environment .

4. Macedonianmusicculture • We witness the fact that intheMacedonianmusicculturethesechangesare equallyhappening, and they are evident inallethniccommunities. • Allthese encouragedus to carry out a researchrelatedtothetrend andthe perspectivesoftraditionalmusicoftheAlbanianpopulation. • For this purpose, we included allthe subjects ofmusiceducationthat have their shareinnurturingthe traditionalmusicpractice.

5. Methodology of Research • We performed theresearchinSkopje, thecapitalofMacedonia, becauseit is thelargestandthe most important centerofculturalmanifestationsinthe state. • Withintheinstitutionalforms, musical traditionisrepresented inschoolsthroughonesegmentofthecurriculum in the subject, Music Education. • The CAS-es (cultural artistic societies), as noninstitutional forms, are the maincoresofnursing anddisseminationofthe folk musical heritage. • Oneoftheircharacteristics inmaintaining musical traditionis teaching and performing of thetraditionalinstrumentsanddances. • We implemented therealizationoftheset methodologythroughfieldresearch, interviews, questionnaires, aswellasthrough the analysisoftheCurriculum andthe programofteaching in musiceducation, by attending the teachings and by attending theirpublicmusicalperformances.

6. Institutionalformsofmusiceducation • Musiceducationamongformalinstitutionsisprovided based ontheNationalProgramadoptedbytheMinistryofEducation (2005) undertheLawonPrimaryEducationandthe Changes (2007). • Thesubject,Music Educationconsistsofstudyingthetheoryofmusic, historyofmusic, repertoireof singingandlistening tomusic, playing children’sinstrumentswith West European provenance contents, aswellasof domestic authorial works. • Primaryschoolshelp in providing the ways of maintaining their ownmusicaltradition through thesegmentof studying folkcreation and freemusicalactivities. • The issue ofmusiceducationreferstogetting knowledge in: (1) thelevelofmusicalpreparationinrelationtothegeneral needs ofmusiceducationinthestateandabroad; (2) complianceofmusiceducationwithentiretyofmusicallivinginthesociety; and (3) thecontributionofeducationalinstitutionsinthemaintenanceofmusicaltradition

7. The subjectMusicalEducationinthe class and subject teaching • The Curriculumin musiceducation, provided bytheMinistryofEducation, isidenticalin all the state schools throughout the country, regardlessofthelanguageinwhichit is taught. • Underthisprogram, inall5yearsofclass teaching, the following teaching topics are being studied: (1) singing songs; (2) playing on children’s musicalinstruments; (3) listening to music; (4) basics ofmusicalliteracy; (5) musicandmovement;and (6) children'smusicalexpressionandcreativity. The repertoire of teachingtopics differsdependingonthe languageof teaching, which implies integrationofmusicalcreationsfrom their ownmusictradition. • Startingfrom VI to IX grade, thebasictaskofteachingmusic consists ofexpanding the knowledgeinthefieldoftheoryandhistoryofmusicthroughteachingsubjects: (1) singing, (2) musicalliteracy, (3) listening to music, (4) playing, (5) basics ofmusicalforms,and(6) folk musiccreation.

8. The subjectMusicalEducationinthe class and subject teaching • ThesubjectMusicEducationistaught throughtextbooksinthenativetongueaccordingtotheprescribedcurriculum. The centralmusicalactivityismanifestedthroughtheworkandperformancesofschoolchoirsin all the schools. • Theactivityofschoolchoirsisespeciallyimportant, and intheirrepertoirethere are songsfromthemusicfolklore too. Inthiscontext, individualcommitmentoftheteacherisveryimportant, which isconfirmedbytheactivitiesofthevocalgroupsinsomeofthe schools thatfosterstrictly Albaniantraditionalmusic. • Of themusicalinstruments, the most dominantis piano, whichinthe recentyearsisthe most preferred instrumentamongtheyoung population. • Based on our findings, we mayconcludethatthestudents tend to show more interest on theWesternmusic, under the influence of globalmusicalflows. • However, musiceducation plays an importantroleinmaintainingmusicaltraditionthroughthecompulsorycontentsofthecurriculumwherethefolk musical creation is studied.

9. Noninstitutionalformsofmusiceducation–– CAS-es • Representthecoresaimingat affirmationofculturalidentity, popularization,andprotectionofthe traditionalculturalheritage. • In eachofthesocieties (4), thenumberofmembersonaveragerangesfrom 100 to 120 personsdividedthreesections: dance, instrumental,andvocal. • Jointperformancesofthesectionsdependontheneedsandthe occasion of publicappearances. • Dance sectionsinclude threesettingsdependingontheageofthe membersthat rangesfrom 10 to 35 years. • Membersoftheyoungestgroupare recruitedfromthe primaryschoolswith mutualcooperationbetween theexperiencedmembersofthe CAS-esandthe musiceducationteachers. Thisisoneofthemostcommon waytomaintainthecontinuousparticipationoftheCAS-es in the interestof expanding thefolkmusictradition. • Folkdancesareaccompaniedbytwokindsofinstrumentalgroups: traditional––sharkia, chiftelia, prim, kaval, zurla, dajre, andtupan (drum), aswellas imported––string andwind instrumentsofWesternprovenance.

10. Noninstitutionalformsofmusiceducation–– CAS-es • Instrumentsthatareusedinthepreparationandpresentationofthe repertoire varydependingontheoccasion, ormoreprecisely,thetypeofmanifestationswhere the CAS participates. • Theirappearancesatfestivals, inaccordancewithpropositions, are usually accompanied by traditionalinstruments. Incontrasttothis, at thenoncompetition performancesorsolo concerts, CAS-esuse a widerangeofmusicalinstruments, mostlycombining traditionalwith Western European, toattracta wider audience. • Withregardtotheprogramitineraryof CAS-es, basedonourresearch, it has been found out thatit consistsoftraditional (authentic) andfolk music (newlycreated). • Vocalanddance performances ofthisrepertoireare realizedsolely through thetraditional instruments. • Folk repertoirefocuses onthenewlycreatedauthorial creationsthatareperformed with the imported instruments. • Transmitting vocal and dance repertoireis stillperformed throughoraltradition. • CAS-es are also importantin forming their own dancing genreandthey representfundamentalensemblesthatcontinuestandardizing folk dances and dancing musicin front ofthewiderdomesticandinternationalaudience.

11. Noninstitutionalformsofmusiceducation–– CAS-es • Sontributetotheaffirmation, popularization, andpreservationofmusicaltradition. • Publicperformancesarerealizedthroughsolo concerts, aswellasthroughparticipationinfestivalsandmanifestationsinthecountryandabroad––Albania, Kosovo, Turkey, andsoon. • Publicappearances are alwaysaccompaniedbypresentationoffolkcostumes authentictotheregionofrepertoire, through which othersegmentsofculturalheritageare also preserved. • Recently, there is an intention topromoteauthentic folk traditionat private collectivemanifestationsas weddings, circumcision, etc., through the professional performances of the membersofCAS-es.. • Besidessecular music, someofthe CAS-esnurturespiritualmusic. • The CAS-eswhoseactivityisbased on enthusiasm, dedication, experience, knowledge, and patience, succeed in developing interest in theyounger generations, thereby contributing to the preservation and widening of theperspectivesofmusical traditioninthe expansion of newmusical tendencies.

12. Conclusion • Despitetheglobalmusicalinfluencesmanyformsofknowledgeandpracticesremainandwillremainlocalbecausetheyaremore influential than the influences, • Therefore, thisprocessdoesnotimplythatthe "wholemusicwillremain thesame" orthatallformsofmusicaltrendsareequally receptive tomixing, • Inthissense, theroleofmusiceducationintheinstitutionalandespeciallynoninstitutionalformsareessentialinnurturingandaffirmation ofthe musicaltradition, • Preservationandcontinuityin carrying of the traditionversusexpansionofthenewmusicaltendencies is achieved through them.