Page 74 - Music Education in a Digital Era 1

Then we continue with a dramatic interpretation for educational purposes. Given what

Jerome Bruner said, "it is more likely, by acting, to evoke in yourself a feeling, than by
feeling, to move to action" , in every activity an image-associatively constructed

interpretation is performed when playing a piece of music. In this case, it is Grieg's ‘’In
the Cave of the Mountain King’’. In the process of the cognitive activity, a plot is

created, which is related to crossing a mountain, and the bridge on which the children
move is the corresponding line or interline of the five-line on the floor applied as a

didactic tool. Thus the emphasis is on the affectively oriented reflection, which, apart

from being a component of education, is also an expression of emotional identity
manifested in collective activity under the influence of the relevant elements of musical

expressiveness.
The next cognitive component of the lesson serves the rhythmic sense by recalling

the tonal duration of a whole, half and quarter note, solfeges a musical example
(Image #6) with the help of the leader of the lesson. During the performance, it is

monitored for the correct counting of quarter and half notes, as well as for the correct

reading of the pitch.

Image #6 Summary example

Due to the short period of interaction and the specificity of the educational activity in

the private art organization, the aim is not to gradually work out the components for
the formation of a metrorhythmic sense, but to set a goal that is related to the

numerical value-note value relationship.

The last cognitive activity is related to playing bobotubes. Each child receives a fixed-
tone trumpet from C major. A C-major scale is performed in ascending and

descending order, with the help of the teacher and then independently, with each
child monitoring his correct inclusion.

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