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Lucia Craciun Teodora Danielescu Programul de Invatare pe Parcursul Intregii Vieti Grundtvig, Parteneriate pentru Invatare GUIDE US INTO ARTS! ( INVATAM PRIN ARTA) (GUIA) GRU 11 P LP 258 DJ PL

EDUCATIA INCLUZIVA PRIN ARTE GHID METODOLOGIC DE EDUCATIE MUZICALA PENTRU ADULTII CU DIZABILITATI MENTALE Traducere: Corina Teck Laura Craita Prejoianu2 PROGRAMA DE EDUCATIE ARTISTICA PENTRU ADULTII CU DIZABILITATI MENTALE EDUCATIE MUZICALA INCLUZIVA INTRODUCERE Pentrurealizareaprogramuluideeducatieartistica incluziva propus prin proiectul Grundtvig cu titlul ,,GUIDE US INTOARTS!,proiectcarearecagruptintapersoanelecu dizabilitatimentaledelaComplexulpentruServicii ComunitaredinTg.Carbunesti,asadarpersoanecunevoi educationalespeciale,amelaborat,,Programadeeducatie muzicala incluziva.Programa si-a propus realizarea unor obiective ce vizeaz atatintegrarea/incluziuneainprogrammedeeducatie nonformalaaunorgrupurideadulticunevoispeciale,catsi dezvoltarea aptitudinilor muzicale ale adultilor care invata: Educarea ritmului; Formarea abilitii de a utiliza instrumente muzicale; Stimularea deprinderii de a cnta; Asigurareauneilegturicorespunzatoarentrecnti micare; Programasi-amaipropusdezvoltareaunorabilitatisicompetentemuzicale specifice: Dezvoltarea interesului pentru muzica; Formarea i dezvoltatrea auzului muzical (simul ritmic, melodic i armonico-polifonic); 3 Educarea vocii ca principal mijloc de redare a muzicii; Formarea unor deprinderi practice muzicale (deprinderi decnt,melodice,ritmice,armonico-polifonice,de interpretare, de utilizare a instrumentelor si altele); Formarea i educarea deprinderii de a audia muzica; Integrareainstitutiilorspecialepentrupersoanecu handicap n sistemul educatiei nonformale, in programe de invatare pe parcursulintregii vieti, in viaaartistica a comunitatii; Cultivareacreativitiiiaimaginaieipersoanelor adulte implicate in activitatile de invatare; Cultivareatrsturilordecaracterpozitivecareajutla echilibrarea personalitii subiecilor; Dezvoltareaabilitatilordesocializare,prinparticiparea laactivitileorganizateincolectiv:pegrupuri,pe echipe. Creareadesituatiidecomunicarecaresafavorizeze nuanareaexprimrii verbale; Dezvoltarea sensibilitii cromatice muzicale; Determinareaunorstridedeconectare,bucurie, ncntare; Imbuntireaorientriispaio-temporaleicoordonrii motrice; Educarea expresivitii mimico-gesticulare.4 Inactivitatiledeinvatareproiectate,accentulsepune peproces,sinupeprodus,continuturileinvatariisunt simplificate,valorificandu-seexperientaanterioaraa cursantilor,implicareaemotionalasiatitudinala,rezultatele obtinutefiindsieleunaspectalsituatiilorspecificede invatare.Evaluarearezultatelorsefacepermanent,prin aprecierileexprimatedeprofesorulformator/facilitator,catsi caevaluarefinala,prinorganizareaunorspectacoleinfata publicului din comunitatea locala.Activitatiledeinvatareprinarta,prineducatie muzicala,proiectatesiorganizateintr-operspectivaincluziva pentrugrupurideadulticucerinteeducationalespeciale corespundatatnevoilorindividualedevalorizaresipotentare, catsicelorsocialedeparticiparesidezvoltarepromovateprin proiectele Grundtvig, proiecte de educatie pe parcursul intregii vieti. 5 OBIECTIVE CADRU 1.Valorificarea in practica muzicala vocala si instrumentala a elementelor de limbaj muzical receptate. 2.Exprimarea prin muzica. A.Obiective de referinta si activitati de invatare 1.Valorificarea in practica muzicalavocala si intrumentala a elementelor de limbaj muzical receptate Obiective de referinta Exemple de activitati de invatare 1.1.La sfarsitul sesiunilorde educatie muzicala, cursantii vor fi capabili: Pe parcursul activitatilor de educatie muzicala, se recomanda urmatoarele activitati: 1.2.Sa diferentieze sursele muzicale si directia de propagare a sunetului -Exersarea acuitatii auditive de diferentiere; -Exercitii de diferentiere timbrala a sunetelor; -Exercitii de diferentiere spatiala a sunetelor; 1.3.Sa diferentieze sunetele vocale de sunetele instrumentale -Exercitii intuitive: sunete cantate sau vorbite; -Exercitii intuitive: sunete vocale sau instrumentale; -Exercitii de audiere comparata; 1.4.Sareproduca un repertoriu de cantece receptate dupa auz -Exercitii de redare fragmentara si integrala, in colectiv,in grupuri mici sau individual, a cantecelor din repertoriul propus; 6 -Exersarea deprinderilor de cantare in colectiv sincronizata: pozitie, preluarea tonului, respectarea semnalului de inceput, emisie naturala, dictie, sincronizare;1.5.Sa evidentieze elementele de limbaj muzical intalnite in melodia cantecului prin miscari ritmice adecvate-Exercitii de miscare ritmica in functie demelodie, text etc. -Asocierea cu miscare diferentiata a nuantelor contrastante si a timbrului vocal; -Exercitii de diferentiere a miscarilor sugerate de mersul melodiei executate instrumental; 1.6.Sa delimiteze prin miscare diferentata structura cantecului -Exercitii de marcare a strofei de refrenul cantecului prin respiratie si prin miscare; 1.7.Sa diferentieze, in cantare, intensitatea, durata, inaltimea sunetelor muzicale -Audierea comparata a sunetelor de intensitati diferite, de durate diferite, de inaltimi diferite; -Exercitii de emitere vocala a sunetelor de intensitati diferite, de durate diferite, de inaltimi diferite; -Exersarea unor formule ritmice; 1.8.Sa interpreteze, in colectiv, cantecele invatate, respectand structura melodica si cea ritmica si disciplina impusa de cantarea in colectiv-Exercitii de marcare a structurii ritmice a cantecului; -Exercitii de interpretare a cantecului cu marcarea structurii ritmice si melodice; -Exercitii de cantare individuala si in colectiv; 7 3.Exprimarea prin muzica Obiective de referinta Exemple de invatare 2.1.Sa cante vocal si vocal- instrumental, in aranjamente armonico-polifonice simple -Interpretarea cantecelor, cu acompaniamentul instrumental manuit de professor; 2.2.Sa cante in grup si individual, cu acompaniament muzical -Cantarea pe grupe si individual, alternative, in lant, in dialog, de la un vers la altul; 2.3.Sa utilizeze nuanta potrivita in cantarea colectiva, potrivit continutului de idei si caracterului melodiei; -Cantarea colectiva in nuanta potrivita continutului de idei si caracterului melodiei; -Participarea la cantarea colectiva, aprecierea propriei contributii la interpretarea colectiva; -Participarea la spectacole; 2.4.Sa acompanieze cantecele, marcand ritmul si timpii egali ai masurii, folosind si instrumentele realizate de ei, cu mijloace proprii -Acopanierea cu propriul corp: batai din palme, pe genunchi, pe masa, pe podea, cu talpa; -Acompanere cu jucarii muzicale: bete, tobe, clopotei, tamburina, gong etc;2.5.Saclasifice cantecele invatate dupa melodie, continut, tamatica etc; -Compararea cantecelor din repertoriu; -Selectarea cantecelor de interpretat in anuminta moment si la anumite evenimente/serbari; 8 -Diferentierea tematica a cantecelor; -Evidentiere legatirii dintre continutul de idei si caracterul melodiei; 2.6.Sa improvizeze diferite combinatii ritmice sau melodice, insotite de miscare -Exercitii de improvizare a unor combinatii ritmice, de onomatopee, insotite de miscari, in jocuri colective; -Exersarea unor motive ritmice, pe melodii improvizate; -Exersarea unor ritmuri insotite de miscare, sincronizate in grup; -Catarea unor melodii improvizate spontan, cu diferite motive ritmice; 2.7.Sa se exprime prin muzica -Cantarea individuala si in colectiv/cor; -Participarea la evenimente organizate cu melodii interpretate individual sau in grup; 2.8.Sa isi exprime impresia fata de muzica audiata sau interpretata -Conversatie despre muzica audiata sau interpretata; -Exprimarea emotiilor, a trairilor generate de muzica in povestiri imaginare inspirate de muzica; -Miscarea pe muzica, dans, hora; -Audierea unor creatii folclorice legate de traditii si obiceiuri; -Audiere unor piese muzicale din muzica culta. 9 B.CONTINUTURILE INVATARII -Cantarea vocala individuala si in colectiv (pozitia, emisia naturala a sunetelor, dictia, sincronizarea).-Cantarea instrumentala:- jucarii muzicale; - percutie corporala; - cantarea cu acompaniament -Elemente de limbaj musical: - Timbrul - Ritmul - Melodia - Interpretarea

SCENARII DIDACTICE

Caobiectdenvmntcefacepartedinsistemul educaional, muzica are dou scopuri bine definite:a)scopul general, care se refera la educaia plurivalent a subiecilor i b)scopulspecial,carearenvedereeducaiaestetica acestora,alturidecelelalteactivitideexpresie: corporal, plastic, grafic. Indemersulnostrueducaional,ampusaccentpe realizareaacestorobiective,pentrucabeneficiariinostris neleag,srecepteze,sainteriorizeze,saconstientizezeis valorifice frumosul. Vomprezentactevascenariididacticencaresunt evidentiate secvenele activitatilor de invatare muzicala care se 10 potorganizadectreprofesorulformator/facilitatorn demersulsudidactic,indomeniuleducatieinon-formalecu grupurideadulticunevoispecialedeinvatare.Fiecaredintre scenariile prezentate poate fi un cadru metodologic ce se poate realizapeparcursulmaimultorsesiunideinvatare.Am intitulatfiecarecurs/sesiunedeinvataremuzicala,folosind sintagmeplastice,sugestive,mizandsiastfelpeimpactul afectiv asupra beneficiarilor programului de educatie. 11 Sesiunea 1: Soareledininterior Fericireaestearmoniadintreceeacegndeti,ceeacespuiiceeace faci. (MahatmaGandhi) Evenimentul educational Activitatea de nvare CaptareaateneiScurteexerciiideintonarecu formulemelodiceiritmice consacrateextinderiiambitusului vocal. Enunul obiectivelorO1-Formareadeprinderiidea interpreta i audia muzicaO2-Formareadeprinderiidea cnta corect individual i n grup; O3-Reproducereaunormicri ritmice,dedans,careexprim situaii i emoii; O4-Intonareaexpresiv,individual i sincronic; O5-Stimulareacreativitiii cultivareainteresuluipentru manifestrile artistico-muzicale; O6-Stimulareasubiecilorcu aptitudini deosebite; Reactualizarea ancorelorSetrecenrevistrepetoriul grupului vocalConducerea noii nvri Dirijareaproceselorde nvare Asigurareafeed-back-ului Profesorulprezinttitlulnoului cntec,dupcaresetrecela nvarea textului; Subieciinvatextulsimelodia, ajutai fiind de cei mai talentai; 12 Repetareacntecului,utiliznd intensitateacerutincepndla comanda dirijorului; Audiereaireproducereaselectiva a unor fragmente muzicale; Exercitidecntare,insotitede miscari ritmice sijoc/ dans;EvaluareaCursantiivorrspundela ntrebrile puse de profesorAsigurarearetenieiia transferului Vafiverificatcalitateanoii nvri,leciaterminndu-secu cntec i dans Sesiunea 2: Competiiacunoinine Cndvreislauziuncopil,laud-Ifaptele,nulludapeel.Fcndastfelveincurajacomporta-mentele. (Lucian Blaga) Evenimentul educational Activitatea de nvare CaptareaatenieiScurteexerciiideintonarecu formulemelodiceiritmice consacrateextinderiiambitusului vocal.;Prezentarea instrumentelor construite de profesor Enunul obiectivelor O1-Dezvoltareacapacitiide difereniere a timbrului sunetelor; O2-Sidentificeisdiferentieze 13 surselesonoredinmediul nconjurtor; O3-Sidentificeuneleinstrumente muzicale ; O4-Dezvoltareacapacitiidea-iconstruipropriileinstrumentede percuie; Reactualizarea ancorelor Se trece n revist repetoriul grupului vocal Conducereanoii nvri Dirijareaproceselorde nvare Asigurareafeed-back-ului Cursantiisuntdirijatindiscuii despresunetele/zgomotelecare provin din mediul nconjurtor; Eivorfipusisrecunoascdiferite surse/instrumentecareemitsunete specifice; Profesorulprezintgrupului materialeledincaresepotconstrui instrumentemuzicaledepercuie: recipientedediferitedimensiunidin plastic,lemn,sticl,clopoei, mrgele, boabe de cereale, linguri de lemn,capacefolositedegospodine labuctrie,dopuridelasticlelede plastic,trianglu,tobie,jucrii muzicale,elasticefixatepeoram de lemn i altele; Cursantiiiconstruiescpropriile instrumentedinmaterialeleaflatela dispozitie:beioaredelemn,sticle deplastic,cutiidemedicamente, pietricele,metale,care antrenate/lovite/ciupiteemitdiferite sunete; Melodiilenvatesuntinterpretate 14 de grupul de cntrei, de dansatori i de percuioniti; EvaluareaCursantiivorrspundelantrebrile pusedeprofesorlegatede procedeelefolositelaconstruirea propriilorinstrumentesidespre efectelesonorealeutilizariilorin cantare; Asigurarea reteniei i a transferului Vafiverificatcalitateanoii nvri,leciaterminndu-secu cntec i joc;

Sesiunea 3: Sdiimuguriiiubirii Nu ct de mult dm conteaz, ci ct dragoste punem n ceea ce facem Maica Tereza

Evenimentul educational Activitatea de nvare CaptareaatenieiScurteexerciiideintonarecu formulemelodiceiritmice consacrateextinderiiambitusului vocal.Enunul obiectivelorO1-Formareadeprinderiideaaudia lucraridindiferitegenurimuzicale, carevorcontribuilaformareaunor elementedeculturmuzicala cursanilor; O2-Dezvoltareacapacitiidea interpreta melodii cu acompaniament 15 instrumentalsimplu(prinncercri repetate); O3-Formarea deprinderii de a intona individualsaungrupcuajutorul susinutalprofesorului,cntece, melodii, colinde; O4-Dezvoltareacapacitilor interpretative ; O5-Dezvoltarea ateniei distributive; O6-Formareaidezvoltarea memorieilogicecuajutorul jocurilor/cntecelor; O7-Dezvoltareaiconsolidarea deprinderilordearecunoate diferitelejocuriicntecedin repertoriul nvat; Reactualizarea ancorelor Se trece n revist repetoriul grupului vocal Conducereanoii nvri Dirijareaproceselorde nvare Asigurareafeed-back-ului Tinandseamadepreferintele cursantilor,profesorulprezintCD-uricusoliticonsacrai,pentruafi audiate; Dupaudiieuneledincntece,sunt interpretatedesolitiitalentaiai grupului i de grup; Profesorulsolicitsubiecilors executeunelemicrisugeratede text,concomitentcucntarealiniei melodice, deoarece prinjoc, miscare sidanssedezvoltuneleabilitati psihologice participative/incluzive ; Vorfivalorificatenpracticavocal i instrumental cntecele nvate; Profesorulstimuleazactivitateade 16 invatareagrupuluiprinimprimarea audio-videoapieselorinterpretatesi vizionarea acestora.EvaluareaSubieciivorrspundelantrebrile pusedeprofesorlegatedeaudiia efectuatAsigurarea reteniei i a transferului Vafiverificatcalitateanoii nvri,leciaterminndu-secu audiiaimprimriigrupuluisicu interpretarea repertoriului. Sesiunea 4: Educaia ntrevisirealitate Celstpnitdevisnumaicunoatendoiala. (Sharmos OSheel) Evenimentul educational Activitatea de nvare CaptareaatenieiScurteexerciiideintonarecu formulemelodiceiritmice consacrateextinderiiambitusului vocal.; Enunul obiectivelorO1-Dezvoltareacapacitiidea interpretamelodiicu acompaniament instrumental; O2-Formarea deprinderii de a intona individualsaungrupcuajutorul susinutalprofesorului,cntece, melodii, colinde; O3-Dezvoltareacapacitilor 17 interpretative ; O4-Dezvoltarea ateniei distributive; O5-Dezvoltareaiconsolidarea deprinderilordearecunoate diferitelejocuriicntecedin repertoriul formaiei; Reactualizarea ancorelorSetrecenrevistrepetoriul grupului vocal Suntsupuseatenieifragmentedin cntecele nvate anterior Conducerea noii nvri Dirijareaproceselorde nvare Asigurareafeed-back-ului Profesorulprezintorga- instrumentulcarevaacompania grupul la cursuri si la spectacol; Subieciisuntantrenain interpretareaindividual/ngrupa cntecelor nvate; Seremarcsolitiicaresuntpostai n centrul formaiei; Cantareacuacompaniament,orga, exercitandoatractivitatespeciala prinsonoritateasa,antreneazsi dinamizeaza efectiv tot colectivulEvaluareaSubieciivorrspundelantrebrile pusedeprofesorlegatede acompaniamentul cu orga Asigurarearetenieiia transferului Vafiverificatcalitateanoii nvri,leciaterminndu-secu interpretareacntecelor/melodiilor nvate; 18 Sesiunea 5: Speranasenva Speranaestehranasufletelor. ( Ohilon) Evenimentul educational Activitatea de nvare Captareaateniei Exerciiideintonarecuformule melodiceiritmiceconsacrate extinderii ambitusului vocal. Enunul obiectivelorO1-Formareadeprinderiidea receptafrumosuliarmoniadin natur, din mediul nconjurtor, din via; O2-Dezvoltareacapacitiidea interpretacolinde,adevaratepilde morale de nlare spiritual, ce pot determinaindividulsdevinmai bun,maincreztornforele proprii; O3-Imbogirearepertoriuluicu cntece;O4-Dezvoltareatririlorpozitive durabile; O6-Dezvoltareacapacitiide integrareinactivitatideinvatare colectivasiindividuala,cese realizeazcumaimultuurinprin intermediul muzicii; O6-Formareaieducareaspiritului de ordine i disciplin. Reactualizarea ancorelorSetrecenrevistrepetoriul grupului vocal. 19 Conducerea noii nvri Dirijareaproceselorde nvare Asigurareafeed-back-ului Profesorulconduceconvorbirea despre srbtorile de iarn; Subieciicntalacererea profesorului,colindelenvaten anii anteriori; Pentrunnoirearepetoriului, profesorulpropunenvareaunor noicolinde,caretrezescinteresul cursantilor; Esterepetattextulpentruafibine nsuit,dupcaresetrecela nvarea melodiei. EvaluareaSubiecii vor rspunde la ntrebrile pusedeprofesorlegatede pregtirea pentru serbare Asigurarearetenieiia transferului Vafiverificatcalitateanoii nvri,leciaterminndu-secu interpretareacntecelor/melodiilor nvate; Sesiunea 6: Cltoriesprestele Colectivitateaesterdcinaindividului,iarindividulsedez-voltporninddelacolectivitate. (Alexandruafran) Evenimentul educational Activitatea de nvare CaptareaatenieiScurteexerciiideintonarecu formulemelodiceiritmice 20 consecratenclziriivocilori extinderii ambitusului vocal.; Enunul obiectivelorO1-Formareaidezvoltarea capacitiideacntancor, activitateceajutsubieciisse asculteindividual,daripealii,s seautocontrolezeisse sincronizeze cu colegii; O2- Se dezvolt formele profunde i complexe ale sentimentelor estetice, caresuntcondiionatede sensibilitatea muzical; O3-Inducereaimeninereapetot parcursulactivitiiastrii emoionale specifice artei n general i muzicii n special; O4-Dezvoltareatririlorpozitive durabile; O5-Educareaidezvoltarea spiritului de ordine i disciplin; O6- Valorificarea influenei pozitive pecareoareeducaiamuzical asupralaturiisocio-comportamentale ; O7-Stimulareasincretismuluin art;Reactualizarea ancorelorSerepetsecveneleimportanteale serbrii Conducerea noii nvri Dirijareaproceselorde nvare Asigurareafeed-back-ului Profesorul verific inuta artitilor; Corulrepetcolindele,cntecelei poeziilecaresuntprezentatela serbare; Laorafixat,aezainformaie, ncepespectacolul,programul 21 derulndu-seconformscenariului proiectat; Comunicareapubliculuicuartistii, acestiasuntrspltiicuaplauzei cadouri pentru efortul de a pregti i oferiunfrumosprogramartistic, conversatie public-cursanti.EvaluareaCursantiinostri-adultiicu dizabilitatidelaCentrulPilot,sunt apreciaipentrumuncadepus, pentrucomportament,sensibilitate, foradeexpresie,trireaafectivi interpretare. Asigurarearetenieiia transferului Serbareaprezentatdepersoanele cunevoispecialedelaComplexul dinTrgu-Crbunetiafosto reuit. 22 EDUCATIA MUZICALA INCLUZIVA SI MELOTERAPIA

De-a lungul timpului, cercettorii, specialiti n domeniul muzicologiei,psihologiei,pedagogiei,sociologieiialaltor tiinealeeducaieiauevidentiatfaptulcartamuzicalaare menirea de a mbogi, de a armoniza tririle artistice i estetice ideacontribuinprocesuleducaional,peparcursulintregii vieti. Educatiamuzicalapoatefioactivitatecontinu, sistematic,cesepoatedesfasuradinaniicopilrieipanalasenectute, indiferent de ocupatia de baza a fiecrei persoane. Interesulpentrumuzicaaloamenilorestegeneralsise manifestprinreceptareamuziciiiredareamelodiilordin genurimuzicalediverse,limbajulmuzicalfiinduniversal.Un demerseducativinsa,presupunedinparteaprofesorilor investirea unui efort pedagogic si metodologic sistematic si de durata,planificatsiaplicatpeungruptintadeterminat. Activitatiledeinvataresunt,pedeopartededicatedezvoltrii auzului muzical i a predispoziiilor native i, pe dealt parte, selectariiunuirepertoriudecnteceijocurimuzicale atractive,interesante,antrenante,adaptatevarsteisi particularitatilorindividualesaucaracteristicilorgrupuluide personae care participa la activitatile de educatie muzicala. Muzicanuestedoarosursdedivertisment,cumde multeoriesteperceputa,eaestesiocaledesensibilizarea omului,favorizeazaparticipareasiintegrarea,usureaza comunicareaafectivadintreoameni,eaeducidezvolt procese psihointelectuale, avand un puternic rol formativ.Artamuzicalasatisfacenevoiadefrumosafiecruiom,nevoie care devine o aspiraie nobil cu semnificaii deosebite. Muzicadeclaneazatririafectiveputernice,dedurat, capabilesinfluentezenaturaumanaprincontactulcuarta autentic,pentrucamuzicareprezintoartaprincare 23 sentimenteleiideilesuntexprimatecuajutorulsunetelor combinatenarmoniispecificecarepenetreazasitransced constiinta si afectivitatea omului.Dinpunctdevedereteoretic,invatareainmuzicase bazeazapeinsusireactorvaelementespecific:ritmul, armonia si melodia. Ritmul,ntr-ofrazmuzical,sereferlaaezarea accentelortonice.Elprezint,insa,rezonanediferitepentru fiecarepersoan,nfunciedevrst,stareadesntate, dispoziie sufleteasc, moment sau nivel cultural. Armoniaestembinareamelodioasasuneteloriarela baztehnicaacordurilor.Attritmul,ctiarmoniasunt elementeeseniale,elefiindcelecareasigursuccesulunei melodii, al unui cntec sau al unui exerciiu. Melodiareprezintrezultatulfinalalunorcombinaiide sunete, ritmuri, acorduri care alctuiesc o compoziie muzical. Cu ct sunt mai originalcombinate acesteelemente, cuatto lucraremuzicalaestemaireusita,iarefectulasupra auditoriului este mai puternic. Limbajulmuzicalrezoneazntr-omanieraintimacu personalitateauman.Viaapsihicaafiinteiumaneimplic dinamism,ritm,iarreceptareasonoramuziciipoate determinaritmulsidinamismulinemotiilesisentimentele esteticealeindividului.Viaaafectivseimbogatesteprin trairiledeterminatedemuzica,dereceptareamelodiei,iar viaamentalpresupuneinmaremasurasicontientizarea lumiisonore,armoniasonoracontribuindlastareadebinea omului. *** PrinimplementareaproiectuluiGrundtvigcutitlul,, Guideusintoarts!laComplexuldeServiciiComunitare,am doritatatintegrareapersoanelorcudizabilitatimentalein programedeinvatarepentruadulti,catsirealizareaunor elementedemeloterapie,deterapieeducationala.Interapia 24 educaional,limbajulmuzicalesteunlimbajuniversalsi, totodata,foarteaccesibil.Elpoatesdeterminecreareaunei motivaiipozitive,facilitndatitudiniparticipative,o deschidereaindividuluisprealtioamenisisprecolectivitate, ctre comunicare i socializare. In cadrul activitilor muzicale de invatarecu grupuri de persoanecuanumitedizabilitatisi,implicit,cunevoispeciale de educatie, profesorul formator devine facilitator, el trebuie s fieinteresatnspecialdeefectelemuzicii,utilizatein modalitati diverse, pentru implicarea, activizarea si incluziunea acestorpersoaneindemersurieducationalesistematiceside durata. Attncoalaobinuit,ctilaactivitilemuzicale desfuratecupersoanelecudizabilitatimentaledela ComplexuldeServiciiComunitarecuSeciiProtejatepentru RecuperareaiReabilitareaPersoanelorcuHandicapdela Trgu-Crbuneti am putut constata c muzicaexercit o serie de efecte benefice cum ar fi:determin o serie de stri afective tonice; aducesubiecilorostaredelinite, conducnd la reducerea tensiunilor sau anxietii; faciliteazaparticiparealaviata colectivului,inducand o stare de siguranta; amplifictonusulfiecruiairezistena laefort,contribuindlanvingereaunorobstacole inerenteexisteneicumarfistareadeboalsau handicap; favorizeaza comunicarea ntre persoane; contribuieladezvoltareaunorfunciii procesepsihice,ncepndcuceleprimare,senzaii, percepiiireprezentrisiterminndcucelemai complexe,cumarfideexempluafectivitateai imaginaia; 25 amelioreazcomportamentuliajut individual subiectul s socializeze; Programadeterapieeducaionalcomplexiintegrat destinatpersoanelorcudizabilitatimentaleacordoatenie deosebitactivitilordeterapieocupaional,cati psihoterapiei de expresie. Activitile de educatie artistica pot avea, asadar, si efecte terapeutice,putndu-seorganizandiferiteinstituiide nvmnt:colispeciale,centredezipentrupersoanecu nevoi speciale, cmine coal/ internat, spital. ***

ExperienaactivitilordeinvataredelaCentrulPilot Trgu-Crbunetine-ademonstratclapersoanelecunevoi specialenutrebuiesainemseamaneaparatdeaptitudinile muzicale pe care acetia le posed, asadar nu se face o selectie propriu-zisaacelorcareparticipalacursuri.Aici,muzicaa fostutilizatcaactivitateeducativa,activitatedeinvatare incluziva,catsinscopterapeutic,contribuind,datoritmoduluispecificdereceptaresicalitilorsaleestetice,la educatiaprinartaabeneficiarilordingrupultintasilaomai buna integrare in activitate si in viata sociala a acestora. Principalulobiectivalactivitilornoastredeeducatie muzicalaafostaceladeastabilicontactulsicomunicareacu persoanelecudizabilitatimentale,deafacilitacomunicarea ntreacestiadultiimplicatiintr-unprogrameducativi profesorul formator/ facilitator, dar si intre ei, ca persoane care facpartedintr-ungrupdeadulticareinvata.Nuinultimul rand, am urmarit realizarea comunicarii si integrarii adultilor cu dizabilitatimentaleincomunitatealocalacareiaacestiaii apartin,prinorganizareaunorspectacolelacareauparticipat diverse categorii de personae din oras, dar si de la organizatiile judetele. In activitatile desfasurate, am utilizat muzica n scopul 26 recuperrii/reabilitariisiimplicariiinactivitatiorganizate sistematic pe o perioada lunga de timp. Inprogramuldesfasurat,ne-ampropussnufacemo difereniere neta intreinvatarea prin muzica, utilizarea muzicii n scop terapeutic i utilizarea acesteia n scop recreativ. Tipul activitilorpropusedenoipoatefincadratsicamuzica functionaladeoarece,conformteorieicercettoruluiWeigel, terapia aplicat de noi la Centrul Pilot de la Trgu-Crbuneti a avut n cuprinsul su si obiective practice. Inliteraturadespecialitatereferitoarelaactivitatile muzicale,s-aevidentiatfaptulcinstrumenteledepercuie cum ar fi castagnetele, clopotele, tobele, tamburinele, ambalul, xilofonulfaciliteazintr-omasurafoartemarecomunicarea, attlaeleviiobinuiictincazulpersoanelorcunevoi speciale. Psihologii recomand ca n colectivele de persoane cu nevoispecialesfieintroduseinstrumenteledepercuie naintea altor categorii de activiti, deoarece s-a demonstrat c ritmul(vocaliinstrumental)estemaipuinanxiospentruei. Lapersoanelehiperactive,sauinstabileemotivamutilizat meloterapiapentruameliorareainhibiieivoluntareaactelor motorii pentru a determina:diminuarea tensiunilor; reducerea agresivitii; mbuntirea cooperrii n interiorul grupului; ameliorarea muncii n echip. Meloterapiai-aajutatvizibilpeceicutulburri relaionale,deoareceafavorizatparticipareaspontanla activitateadegrup,lucrulinechipa,diminuareaconflictelor, comunicarea si colaborarea. Demersurileeducativeefectuatelagrupulpersoanelor cunevoispecialedelaTrgu-Crbunetine-aoferitindicii preioasedesprepreferineleacestorapentrudiversetipuride activitatipecareleinducemeloterapia,analizafcndu-sela niveluldeactivismalgrupuluitinta.Nivelulcrescutde 27 activism global al unor subieci a fcut ca cei ce se ncadrau la aceast categorie s aleag solo-ul vocal sau recitarea poeziilor, ceicunivelmediudeactivismglobalaualesgrupa percuionitilor, iar cei cu nivel sczut de activism au participat la activitatile de grup, la cor, discret, cu rezerv. Incadrulactivitilormuzicale,persoaneleadultecu dizabilitati mentale s-au implicat efectivsi au manifestat de la bunnceputomaredisponibilitatepentruritm,armoniesi melodie,ceeaceafcutcasesiuniledeinvataresse desfoarentr-oatmosferaextraordinara,prinparticiparea afectiva a tuturor cursantilor i un entuziasm total.Activitatile de educatie muzicala si meloterapie efectuate la cursurile noastre pot fi mprite n dou categorii:-activitaticuparticiparedirecta/activitati directe,ncaresubieciiinterpreteazmuzic instrumental sau vocal fie individual, fie n grup; -activitaticuparticipareindirecta/activitati indirecte,ncares-aufacutaudiiimuzicale, activitateadereceptaresolicitand,deasemenea,un anumit grad de participare din partea ascultatorilor. *** Toateactivitilepropuseaufostrealizategradat, determinndprincombinarealorstructurareaaptitudinilor muzicale complexe la persoanele cu nevoi speciale asigurndu-se n final compensarea unor deficiene din sfera personalitii, n special ale celor legate de psihomotricitate. In programa de educatie muzicala am introdus mai multe activitatincarecursantiiaufostantrenainconstruirea propriilorinstrumentedepercuiecucaresacompanieze cntecele executate de soliti i de cor. Tamburinaafostfolositpentruaacompaniaritmic formaia.Infelulacestacursantiii-aufixatritmuliprin 28 aciunealorasuprainstrumentuluii-aumbuntit performanelendomeniulmotricitii.Aceastareprezint cheia unei adevarate terapii a succesului. Pentrusubieciianxioiipentruceihiperkineticiam folosit clopoeii, avnd n vedere c sunt instrumente care emit sunete prelungi i deosebit de armonioase. i ca un corolar, dup ce au nvat bine textul cntecelor ialpoeziilorcareintraunalctuireaprogramuluipentru spectacolul de Craciun ,,Am venit sa colindam!, am introdus orga cu rol de instrument ajuttor, acompaniator, conductor. Latoatevrsteleilatoioameniiinteresulpentru muzicasemanifestpregnantprinreceptareiredarei reprezint o bucurie, o plcere, un resort al voinei, o adevrat surs de energie psihica. Cursuriledeeducatiemuzicalarealizateprinproiectul nostru,auinfluenatianumiteaspectelegatedelaturasocio-comportamental.Astfel,integrareanactivitatesiin colectivitate s-a realizat cu mai mult uurin prin intermediul muzicii si prin activitatile specifice desfasurate.Procesuldeeducatiemuzicalaincluzivaesteunproces complex, in cadrul caruia, in afara de aspectele metodologice si organizatorice specifice domeniului muzical, trebuie sa luam in consideraresiaspectelepsihopedagogicespecificegrupului tintaimplicatinactivitatiledeinvatareprinmuzica.Muzica favorizeazperceperea,recunoatereaireproducereamelodiilor,executareaunorjocurimuzicale,exerciii-joc,a cntecelor sau cntecelor de joc/hore. Dezvoltareapsihofizicasiintelectualaesteceacare trebuiessteancentrulpreocupriloratuncicandproiectam activitatideinvatare.Dezvoltareasenzorialimotric, dezvoltarea si interiorizarea percepiilor, dezvoltarea operaiilor gandiriisiagandiriilogices-aupututrealizacumultsucces prinactivitatilemuzicaledesfasurate.Auditiilemuzicale,nelegereacreaieimuzicale,executareaunorexercitiiritmice 29 cuinstrumenterealizatedecursantiiinsisi,catsicantarea individualasiingrup/coraufostactivitatilepecarele-am desfasuratpeparcursuldesfasurariicursurilordeeducatie muzicala din proiectul ,,Guide us into arts!Alaturi dealteactivitatiumane, muzicaare menirea dea stimula viata psihica, dar si unele caracteristici ale gndirii cum arfi:flexibilitateasisupleeagandirii,independena,creativitatea,capacitateadeaanalizaidifereniasunetele muzicale,structurileritmico-melodice.Prinstimularea participariiactiveicontientelainterpretareacntecului, sesiunile muzicale organizate de noi prin programul Grundtvig au intreinut atenia subiecilor pe o durat prelungit prin ritm, liniemelodic,armonie,text,auprovoacatemoiiprofunde, puternicetririinterioare,care,larandulloraudeterminat formareaatitudinilorparticipativesiacomportamentelor sociale pozitive. ***

30 INCLUSIVE MUSIC EDUCATION SYLLABUS FOR ADULTS WITH MENTAL DISABILITIES INTRODUCTION In order to develop the artistic education programme proposed in the Grundtvig Project GUIDE US INTO ARTS!, a project which has as target group people with mental disabilities from the Community Services Complex in Targu-Carbunesti - people with special needs we have elaborated the Syllabus for Inclusive Music Education.The syllabus intends to achieve some aims regarding the inclusion/ integration of some groups on adults with special needs in non-formal education programmes, as well as developing musical abilities in the adult learners: Educating rhythm; Developing the ability to use musical instruments; Encouraging the habit of singing; Ensuring an appropriate link between singing and movement; The syllabus also intends to develop the specific musical skills and competencies: Developing interest in music; Training and developing musical audible range (the sense ofrhythm, melody and harmony); Educating the voice as the primary means of singing; Developing some practical musical skills (singing, melodic, rhythmic, harmonic, polyphonic, interpretation skills, the skill of using instruments, etc); Developing and educating the skill oflistening to music; 31 Integrating the special institutions for disabled people in the system of non-formal education, in lifelong learning programmes, in the artistic life of the community; Educating creativity and imaginationofthe adults involved in the learning activities; Educating the positive character traits which help balance the subjects personality; Developing social skills through participation in activities organizedin groups, teams; Creating communication situations which may favour verbal expression; Developing the chromatic sensibility of music; Creating some circumstances ofjoy, delightand relaxation; Improving orientation in space and time, as well as movement coordination; Educating the way one expresses by means of gestures. In the designed learning activities, the focus is not on the product but on the process. The content of learning is simplified using the previous experienceofthelearners,theiremotionalandbehavioural involvement,thefinal results being an instance of the specific learning activities. The evaluation of results is done on a permanentbasis throughopinionsexpressedbytheteacher-trainer/facilitator, as wellas a finalevaluation byorganising someperformances in front of an audience made up of the local community. Thelearningactivitiesthroughart,throughmusic education,designedandorganizedfromaninclusive perspective for groups of adults with special educational needs meet both individual needs of using and strengthening, as well asofsocialparticipationanddevelopmentpromotedby Grundtvigprojects, projects oflifelong learning. 32 GENERAL AIMS 1.Using the perceived elements of musical language in the practice of singing and playing an instrument. 2.Expressing oneself through music. A.Learning Objectives and Learning Activities 1. Using the perceived elements of musical language in the practice of singing and playing an instrument Learning ObjectivesExamples of Learning Activities At the end of the music education sessions, students will be able: During the music education activities, we recommend the following activities: 1.1To differentiate sound sources and sound propagation direction. - Practicing the differential perceptive listening; - Exercises of distinguishing between the tones of sounds; - Exercises of spatial differentiation of sounds. 1.2To make the difference between sounds made by means of the voice and sounds made by instruments. - Intuitive exercises: sounds sung or spoken; - Intuitive exercises: vocal or instrumental sounds; - Exercise of parallellistening; 1.3To reproduce a repertoire of songs perceived by - Exercises offragmentary and complete singing of the songs in the proposed repertoire, in small 33 listening.groups or individually; - Practicing the skills of synchronising group singing: position, tone, starting sign,natural emission, diction, timing; 1.4To highlight the musical language elements found in the song by appropriate rhythmical movements. - Exercises of rhythmical movement based on the type of song, text, etc; - The contrasting nuances and the vocal tone are associated with different movement;- Exercises to distinguish between movements suggested by the instrumental song; 1.5To show the structure of the song by different types of movement. - Exercises meant to differentiate between the stanza and the chorus through breathing and movement. 1.6To show the intensity, length, height of sounds by means of singing. - Parallel listening of musical sounds of different intensity, length and height; - Exercises of vocal sound emission of different intensity, length and height; - Practicing some rhythmical structures;1.7To sing, in groups, the songs learned keeping the rhythmic and melodic structure and discipline required by group singing - Exercises of marking the rhythmical structure of the song; - Exercises of singing and marking the rhythm and the tune of the song; - Exercises of individual and group singing. 34 2. Expressing oneself through music Learning ObjectivesExamples of Learning Activities 2.1To sing simple polyphonic and harmonious tunes using the voice and the instruments. - Singing songs with instrumental back up from the teacher; 2.2Group and individual singing with musical back up. - Singing both in groups and individually, alternatively, in cascade,in dialogue, from one line to another. 2.3To use the right tune in joint singing, according to the content and character of the song. - Joint singing according to the content and the character of the song;- Participating in the collective singing, appreciating ones own contribution to the collective singing; - Taking part in performances. 2.4To back up songs, marking the rhythm and the equal length of the measure, using the instruments made by them with their own tools. - Using ones body to back up the songs: clapping hands, tapping the knees, the table, stamping on the floor; - Using musical toys to back up the songs: sticks, drums, bells, the tambourine, the gong, etc.; 2.5To classify the songs learnt by tune, content, topic, etc. - Comparing the songs in the repertoire; - Selecting songs sung at a certain time and at certain events / celebrations; - The song thematic 35 differentiation; - Highlighting the link between the content and the type of the tune. 2.6To improvise different rhythmic or melodic combinations accompanied by motion.- Improvisation exercises of rhythmic combination of onomatopoeia, accompanied by movements in collective games; - Practicing some rhythmic motifs on improvised songs; - Practicing some rhythms accompanied by motion, synchronized in groups; -Singing some spontaneously improvised songs with different rhythmic motifs. 2.7To express themselves through music. - Individual and collective / chorus singing;- Participating in organised events with songs performed individually or in groups. 2.8To express their opinion regarding the music they listened to or sing.- Conversation about music listened to or sung; - Expressing emotions, feelings generated by the music of imaginary stories inspired by music; - Moving on music, dancing, hora- a Romanian dance; - Listening to some folkloric creations related to customs and traditions; - Listening to classical music. 36 B. LEARNING CONTENT -Individual and collective singing (position, natural emission of sounds, diction, synchronisation). -Instrumental singing: - musical toys; - body percussion; - singing with musical back-up

- Elements of musical language: - Tone - Rhythm - Tune - Singing LESSONPLANS Asastudysubject,whichispartofthesystemof education,music has two well-defined aims: a)thegeneralaim,whichreferstothestudents education in varied topics; b)thespecialaim,whichreferstotheiraesthetic education,alongwithbodily,artistic,graphic activities. Inoureducationalendeavour,wefocusedonthe achievementoftheseaimsinorderforourstudentsto understand, hear, become aware, take in and use the beautiful. Inthefollowinglessonplans,wewillpresentseveral scenariosofmusiclearningactivitieswhichcouldbe performed by the teacher trainer/ facilitator in the field of non-formal education with groups of adults with special educational needs. Each of the present scenarios could be a methodological 37 framewhichcouldbeusedalongseverallearningsessions. Eachmusic-learningcourse/sessionwasgivenanameusing suggestivephrases,thuscountingaswellontheiremotional impact on the beneficiaries of the educational programme. Session 1 Inner Sun Happiness is when what you think, what you say, and what you do are in harmony.(Mahatma Gandhi) Learning eventActivityCreating interest-Shortintonationexerciseswithrhythm andmelodyintendedforstretchingthe vocal range.Presentationof lesson aims A1-Todeveloptheabilitytosingand listen to music; A2-Todeveloptheabilitytosing correctly, individually and in a group; A3-Toproducerhythmicaldance movementswhichexpresssituationsand emotions; A4-Expressivesinging,individuallyand in a group; A5-To develop the creativity and cultivate interest in artistical and musical events; A6-Tostimulateparticipantswithspecial skills. Revision Theprevioussongslearnedbythe students are revised.New song Directingthe learning -Theteacherpresentsthetitleofthesong and teaches the text; -The students learn the text, with the help 38 processes Giving feedback of the more talented ones; -Theysingthesongfollowingthe directions of the teacher/conductor; -Theylistentoandplaybackcertain musical fragments; -They sing, dance and move at all times.EvaluationStudents answer some questions about the song. Ensuring retentionand transfer Thequalityofthenewacquired knowledge will be asserted; The new song is sung/played once again, andthelessonfinisheswithsingingand dancing. Session 2 Competing with Ourselves Whenyouwanttopraiseachild, praisehisactionsinstead.Indoing so, you will encourage his behaviour and not his pride. (Lucian Blaga , Romanian poet) Learning eventActivityCreating interest-Shortintonationexerciseswithrhythm andmelodyintendedforstretchingthe vocal range;-Presentationoftheinstrumentsbuiltby the teacher. Presentationoflesson aims A1-Todeveloptheabilitytodifferentiate the sounds; A2-To identify and differentiate the sound sources in the environment; 39 A3- To identify certain instruments; A4-Todeveloptheabilitytobuildown percussion instruments; RevisionTheprevioussongslearnedbythe students are revised. New activity Directingthe learning process Giving feedback -Studentsareencouragedtotalkabout sounds and noises around them; -Studentsareaskedtorecognisedifferent sources/instrumentsthatmake sounds/noises; -Theteacherintroducesbasicmaterials whichcanbeusedtobuildinstruments: containers/boxesofvarieddimensions madeofplastic,wood,glass,beads, grains/beans,woodenspoons,lids,plastic corks,triangles,smalldrums,musictoys, elastic strips on a wooden frame, etc. ; -Studentsbuildowninstrumentsfrom: twigsandsticks,plasticbottles,medicine jars, pebbles, metals; -Theprevioussongslearnedbythe students are performed again with the help ofnewly-builtinstruments,voiceand dance. Evaluation-Thestudentswillanswersomequestions relatedtobuildinginstrumentsandabout thesoundeffectsofusingthemwhile singing. Ensuring retentionand transfer -Thequalityofthenewacquired knowledge will be asserted; - The lesson ends with songs and dance. 40 Session 3 Plant the Seeds of Love How much we give is irrelevant; what really matters is how much love we put into what we do.(Mother Teresa) Learning eventActivityCreating interest-Shortintonationexerciseswithrhythm andmelodyintendedforstretchingthe vocal range.Presentationof lesson aims A1-Totrainstudentstolistento differentmusicalgenreswhichwill contribute to their musical culture; A2-Todeveloptheabilitytoplay melodieswithsimpleinstruments (through repeated tries); A3-Todeveloptheabilitytosingsongs individuallyorinagroupandwiththe teachers help; A4-To develop performance abilities ; A5-To develop distributive attention; A6-To develop logical memory with the help of songs and dances; A7-Todeveloptheabilitytorecognise songs and dances previously learned. RevisionTheprevioussongslearnedbythe students are revised. New activity Directingthe learning process Giving feedback -Teacher plays a CD with a selection of songsfromfamousandlessfamous artists, based on the musical preferences of the learners; -Afterthelisteningactivitycertain talentedstudentsaregiventhe 41 opportunitytoperformsomeofthe songs they heard; -Teacherasksthestudentstomove according to the text and in rhythm with the music. Certain psychological aspects can be developed through movement; -Instrumentsareusedtoplayandsing some of the songs already known; -Teacherfilms/recordsthestudentsand plays the recording. EvaluationStudentswillanswersomequestions related to the songs they listened to. Ensuringretention and transfer Thequalityofthenewacquired knowledge will be asserted;-Thelessonendswiththestudents listeningtotherecordingand performing their repertoire. Session 4 -Education between Dream and Reality He who dreams does not know doubt.(Sharmos OSheel) Learning event Activity Creating interest -Short intonation exercises with rhythm and melodyintendedforstretchingthevocal range. Presentationof lesson aims A1-Todeveloptheabilitytosingsongs with an accompanying instrument; A2-To develop the ability to sing songs and Christmas carols, individually or in agroup 42 and with the teachers help; A3-To develop interpretation abilities ; A4-To develop distributive attention; A5-Todevelopandconsolidatetheability to recognize dance songs and other songs. RevisionTheprevioussongslearnedbythestudents arerevised,withfocusonfragmentsfrom certain songs. New activity Directingthe learning processes Giving feedback -Teacherintroducesthekeyboard, instrument which will accompany the group at concerts and future lessons; -Participantsareencouragedtosing individuallyoringroupsongstheyalready know; -Teacheridentifiesandnominatesstudents-soloists; -Thekeyboardwillengagetheentiregroup through its attractive sounds.EvaluationStudentswillanswersomequestionsabout the keyboard. Ensuring retentionand transfer -The quality of the new acquired knowledge will be asserted;- The lesson ends with singing songs. Session 5 - Hope Can Be Learnt Hope is the food of souls(Ohilon) Learning eventActivity Creating interest-Shortintonationexerciseswithrhythm andmelodyintendedforstretchingthe 43 vocal range Presentationof the objectives A1-Todevelopabilitytobereceptiveto thebeautyinnatureandwhatsurrounds us; A2-TodevelopabilitytosingChristmas carols, which have a spiritual message that can influence the interpreter positively; A3-Toexposethestudentstoreligious songswhichcanhelptoshapetheir personalities and behaviours;A4-To develop positive feelings; A5-Todevelopabilitytointegratewithin a community, which is eased with the help of music; A6-Todevelopthespiritoforganisation and discipline RevisionTheprevioussongslearnedbythe students are revised. New activity Directingthe learning process Giving feedback -Teacherasksquestionsaboutthewinter holidays (Christmas); -Studentsareencouragedtosing Christmas Carols they learned in previous years; -Teacher introduces new carols; -Students learn first the text and then sing the song. EvaluationStudentswillanswerquestionsaboutthe Christmas concert. Ensuring retentionand transfer Thequalityofthenewacquired knowledge will be asserted;-The lesson ends with song singing. 44 Session 6 Trip to the Stars Thegroupistherootofthe individual,andtheindividualgrows within the group.(Alexandru Safran) Learning eventActivity Creating interest-Shortintonationexerciseswithrhythm andmelodyintendedforstretchingthe vocal range. Presentation of the objectives A1-Todeveloptheabilitytosingaspart ofagroup,whichhelpsstudentstolisten tothemselvesandtotheircolleaguesand to become synchronised;A2- To develop deep aesthetic feelings; A3Ttocreateandmaintainacertain emotionalstatespecifictomusicandart in general; A4- To develop positive feelings; A5-Todevelopthespiritoforganisation and discipline; A6- To develop the positive influence that musichasonthebehaviouralandsocial side; A7-To stimulate syncretism in art. RevisionCertain parts of the Christmas concert are revised. New activity Directingthe learning process Giving feedback -Teacherchecksthecostumesofthe artists; -ThegrouprepeatstheChristmas carols/songs and poems which will be part of the programme; - At the fixed time, arranged as previously 45 established,theChristmasconcertbegins andunfoldsaccordingtotheprojected plan; -Thecommunicationofthepublicwith thelearners;theartistsreceiveapplause andpresentsfortheireffortstoprepare andperformanenjoyableprogramme; dialoguebetweentheaudienceandthe learners. EvaluationOuradultlearnerswithdisabilitiesinthe PilotCentrearepraisedfortheireffort, behaviour,sensitivity,expressivity,their inner feelings, and performance. Ensuring retentionand transfer The Christmas programme of the disabled peoplefromtheComplexinTargu-Carbunesti was a success. 46 INCLUSIVE MUSIC EDUCATION AND MELOTHERAPY Alongtheyears,researchers/expertsinthefieldof musicology,psychology,pedagogy,sociologyandother educationscienceshavefoundoutthattheartofmusicis meanttoenrichandharmonizetheartisticandaesthetic experiencesandtocontributetotheeducationalprocessalong ones life.Theprocessofmusicaleducationisacontinuous, systematic activity, which starts during childhood up to the old age, regardless of the persons line of work. Theinterestinmusicismostlymanifestedbyreception andplayback,ofdifferentmusicgenresasthelanguageof musicisuniversal.Theactofteaching,though,asksfora maximumpedagogical/methodicaleffortfromtheeducators plannedandappliedtoacertaintargetgroup.Thelearning activitiesarededicatedtothedevelopmentofmusicalhearing anditsnativepredispositionsononehand,andcarefully selectingarepertoireofattractive,interesting,excitingsongs andmusicalgamesadaptedtotheage,particularitiesand characteristicsofthetargetgroupwhotakepartinthemusic education activities, on the other hand. Musicisnotjustasourceofentertainment-aswe superficially think of it it is a way to sensitize, it educates and developspsycho-intellectualprocesses,havingapowerful formativerole.Theartofmusicsatisfieseveryindividuals need for beauty, which becomes a noble aspiration with special meanings.Itunleasheslonglastingaffectivefeelings,strong andcapabletotransformconsciousnesswhenitcomesto authentic art. 47 Weknowthat,fromatheoreticalpointofview,learning inmusicisbasedonseveralspecificelementssuchasrhythm, harmonyandmelody. Rhythm in a musical phrase refers to the placing of tonic accents.Ithasdifferentresonances,though,foreachperson, dependingontheirage,healthcondition,mood,timeor cultural level. Harmonyreferstothemelodiccombinationofsounds anditisbasedonthetechniqueofaccords.Bothrhythmand harmony are essential elements, and they ensure the success of a melody, of a song or of an exercise. Melodyisthefinalresultofcombinedsounds,rhythms, accords that create a musical composition. The more originally theyarecombined,thegreaterthesuccessofthatparticular piece of music and the effect on the audience is greater. Musicallanguageresonatesquitealotwiththehuman personality.Thepsychologicallifeofapersoninvolves dynamism and rhythm and the reception of the sound in music generatesrhythmanddynamismintheaestheticfeelingsand emotionsoftheindividual.Theaffectivelifeofapersonis enrichedthroughemotionsgeneratedbymusicalsounds,or songs, and the mental life means awareness of the sound world, to the well-being of an individual.ByimplementingtheGrundtvigProjectGuideUsInto ArtsattheCommunityServicesComplexweaimedbothto theintegrationofpeoplewithmentaldisabilitiesinlearning programmesforadults,aswellasobtainingsomeelementsof musictherapy,ofeducationaltherapy.Intheeducational therapy, the language of music is a universal language, as well asanaccessiblelanguage.Itcandetermineapositive motivation,facilitatingparticipativeattitudes,anopeningof theindividualtowardsothersandthecommunity,towards communication and socialising.48 Inthelearningactivitiesofmusicwithgroupsofpeople withcertaindisabilitiesandthuswithspecialeducational needs,theteacher-trainerbecomesfacilitator.Hehastobe especially interested in the effects of music used under various forms, in order to involve, activate and include these people in systematic and long-lasting educational steps.Both in musical activities in normal schools and in those performedwithpeoplewithmentaldisabilitiesatthe CommunityServicesComplexwithProtectedSectionsforthe Recovery and Rehabilitation of Disabled People from Targu-Carbunesti,wecouldnoticethatmusichasanumberof benefits such as: determines a series oftonic affective states; inducesastateofpeace,leadingtoreducing the participants stress or anxiety; allowsthemtoescapefromtheirworld inducing a state of security; enhancestheirtoneandstamina,helpingto overcomeinherentobstaclessuchastheexistenceof their disease or their disability; facilitates communication between people; contributestothedevelopmentofmental functionsandprocesses,startingwithprimaryones, sensations,perceptions,representations,andending with more complex ones, like affection or imagination; improvestheirbehaviourand helps them to socialize. Theprogrammeforcomplexandintegratededucational therapyforpeoplewithmentaldisabilitiespaysspecialattention to occupational therapy and expression psychotherapy activities. Thiscategoryofactivitieshasveryimportanttherapy effects, and can be performed in different institutions: schools, daycaresforpeoplewithspecialneeds,kindergartens, boarding schools, hospitals.49 *** TheexperienceoftheactivitiesperformedatthePilot CentrefromTargu-Carbunestidemonstratedthatwedonot havetotakeintoaccountthemusicalaptitudesofpeoplewith special needs, so there is no selection of the participants to the courses.Here,musicwasusedasaneducationalactivity,an inclusivelearningactivity,withatherapeuticpurpose, contributing-duetoitsspecificwayofreceptionandits aestheticqualitiestotheeducationthroughartofits beneficiaries from the target group and to a better integration in their activity and the social life. Themostimportantobjectiveofourmusicalactivities wastoestablishcontactandcommunicationwithpeoplewit mentaldisabilities,tofacilitatecommunicationbetweenthe adultsinvolvedinaneducationalprogrammeandthe teacher/facilitator,aswellasbetweenthemselvesaspeople whobelongtoagroupofadultswhoarelearning.Finallyyet importantly,weaimedatfacilitatingcommunicationand integratingadultswithmentaldisabilitiesinthelocal communitytowhichtheybelongbyorganisingsome performances with the participation of different people in town and county organisations. Intheunfoldingprogramme,wedidnotwanttomakea differencebetweenlearningthroughmusic,usingmusicasa therapeutic means, and using it as a recreational one. The type ofactivitiesproposedbyusmightberegardedasfunctional music because, according to Weigel, the researcher, the therapy applied by us at the Pilot Centre in Targu-Carbunesti had, in its content, practical objectives. Whileconsultingspecializedliterature,welearnedthat percussioninstrumentslikecastanets,bells,tambourines, 50 cembalo, xylophone and many more, facilitate communication, at a certain extent, for both regular students and for people with specialneeds.Psychologistsrecommendpercussion instrumentsbeforeanyotheractivitiesforpeoplewithspecial needs,becauseithasbeendemonstratedthatthevocaland instrumental rhythm is less anxious for them. Forhyperactiveoremotionallyunstablepeopleweused musictherapytoimprovevoluntaryinhibitionsofmovements in an attempt to: ease tensions; reduce aggression; improve cooperation within the groups; improve teamwork. Musictherapyhelpedthosewithobviousrelationship problems, because it favoured spontaneous participation to the groupactivity,teamwork,diminishingconflicts, communication and collaboration. Theresearchwemadewiththedisabledpeoplefrom Targu-Carbunestigaveusvaluablemethodicalindications abouttheirpreferencesfordifferentformsthatthemusic therapyinduces,ananalysisbeingmadefortheirlevelof activism.Theparticipantshighlevelofactivismmadethem chooserolesofsoloistsandrecitingpoems,thosewitha mediumlevelofactivismchosethepercussionistsgroup,and thosewithalowlevelofactivismparticipateddiscreetlyor with reticence to the group activity. Duringthemusicactivities,theadultswithmental disabilitiesshowed,fromthebeginning,greatinterestin rhythm,melodyandharmony,whichmadethesessionstake placeinanextraordinaryatmosphere,characterizedbya general effusion and a total enthusiasm.Themusictherapyactivityperformedduringourlessons can be divided into two categories:51 activeordirect,wheretheparticipants perform instrumental or vocal music, either individually or in group; responsiveorindirect,wheretheparticipants listentomusicandthereceptionactivityrequireda certain level of participation on their part. *** Allsuggestedactivitieswereexecutedgradually,and theircombinationledtoastructuringofcomplexmusical abilitieswhich,inturn,ledtoacompensationofother deficienciesinthelineoftheirpersonality,especiallyin movement. Inthesyllabusformusiceducation,weintroduced several activities in which the learners were trained in building theirownpercussioninstruments,withwhichtobackupthe singers and the choir. The tambourine was used to rhythmically accompany the band.Thus,thelearnershadtherhythmand,byusingthe instrument, they improved their movement. This represents the true key to success. For the anxious learners and for the hyperkinetic ones, we usedbells,astheyareinstrumentswhichproducelongand special eurhythmic sounds. And, on top ofit all, after learning the songs and poems tobeperformedattheChristmaspartyAmvenitsa colindam! (Here We ComeCarol Singing!) , we introduced the organ as a helping, accompanying and leadinginstrument. Theinterestinmusicmanifestsitselfthroughreception and playback at all ages and for all people. It represents a joy, a pleasure, a trigger of will, a real source of energy. 52 The music education courses organized within our project influencedsomeaspectsrelatedtothesocialandthe behaviouralsideofourlearners.Thus,integrationwas achievedeasier by means of music and the activities performed.Theprocessofmusiceducationisacomplexonein whichtheorganisationalandthemethodologicalpartspecific to the field of music must be taken into account along with the psycho-pedagogical aspects of the target group involved in the learning activities through music. Music favours the abilities of perception,recognizingandplayingbacksongs,performing musical games, role-play,songsor dancing melodies. Psychological,physical,andintellectualdevelopment shouldbethecoreofourconcernwhenweplanthelearning activities.Thedevelopmentofthesensesandmovement,the developmentandinternalisationofperceptions,the developmentofthoughtandlogicwereachievedsuccessfully bymeansoftheunfoldedlearningactivities.Listeningto music,understandingthecreationofmusic,performing rhythmical activities with the instruments built by the learners, aswellasindividualandgroup/choirsingingwerethe activitiesweperformedalongthemusiceducationcoursesin the Guide Us Into Arts! Project. Along with other human activities, music has the purpose tostimulatethepsychologicallifeaswellasother characteristicsofthemindsuchastheflexibilityandthe subtlenessofthought,theindependence,thecreativity,the ability to analyse and distinguish musical sounds and rhythmic andmelodicstructures.Bystimulatingthelearnersinactively andconsciouslyparticipatinginsinging,themusicsessions organisedbyusintheGrundtvigProjectkeptlearnersalert foralongerperiodoftimethroughitsrhythm,melody, harmony,text,anditbroughtdeepemotionsandfeelings, which,inreturn,determinedthedevelopmentofparticipative attitudes and positive social behaviour.