Dionyssiou, Z., Aggelidou, S. & Kokkidou, M. (2022). “Musical iconography in the music classroom: methods and teaching approaches for critical and creative use of music images in education”.

ТРАДИЦИОНАЛНО И САВРЕМЕНО У УМЕТНОСТИ И ОБРАЗОВАЊУ ТЕМАТСКИ ЗБОРНИК МЕЂУНАРОДНОГ ЗНАЧАЈА www.art.pr.ac.rs ISCAF 2016 ТЕМАТСКИ ЗБОРНИК МЕЂУНАРОДНОГ ЗНАЧАЈА ТРАДИЦИОНАЛНО И САВРЕМЕНО У УМЕТНОСТИ И ОБРАЗОВАЊУ Косовска Митровица, 2022. ТРАДИЦИОНАЛНО И САВРЕМЕНО У УМЕТНОСТИ И ОБРАЗОВАЊУ (тематски зборник међународног значаја) TRADITIONAL AND CONTEMPORARY IN ART AND EDUCATION (thematic collection of papers of international significance) Издавач Универзитет у Приштини са привременим седиштем у Косовској Митровици, Факултет уметности За издавача Проф. мр Естер Милентијевић, декан Уредници Проф. др Драгана Цицовић Сарајлић Доц. др Петар Илић Чланови редакције Проф. мр Естер Милентијевић, проф. др Саша Божидаревић, проф. др Драгана Цицовић Сарајлић, проф. др Вера Обрадовић Љубинковић, проф. др Слободан Кодела, проф. др Бранка Гугољ, доц. др Јелена Арнаутовић, доц. др Војислав Илић, доц. др Јелена Павличић Шарић, доц. др Немања Савковић, доц. др Петар Илић. Рецензенти Зборника Светозар Рапајић, проф. емеритус Др Ивана Медић, виши научни сарадник Музиколошког института САНУ Др Моника Милер, редовни професор, Универзитет за образовање Лудвигсбург, Немачка Дизајн и прелом Проф. мр Естер Милентијевић Лектура и коректура Грозда Пејчић Лектура радова на енглеском језику Доц. др Јелена Бабић Антић Штампа Ц-штампа, Београд Тираж 150 ISBN-978-86-83113-59-0 Наставно-уметничко-научно веће Факултета уметности Универзитета у Приштини са привременим седиштем у Косовској Митровици својом Одлуком бр. 2000 од дана 02. 12. 2022. прихватило је позитивне рецензије овог тематског зборника међународног значаја. Универзитет у Приштини са привременим седиштем у Косовској Митровици, Факултет уметности ТРАДИЦИОНАЛНО И САВРЕМЕНО У УМЕТНОСТИ И ОБРАЗОВАЊУ (тематски зборник међународног значаја) TRADITIONAL AND CONTEMPORARY IN ART AND EDUCATION (thematic collection of papers of international significance) Косовска Митровица, 2022. САДРЖАЈ / TABLE OF CONTENT ПЛЕНАРНА ИЗЛАГАЊА Лука Кецман ПОЛОЖАЈ И СТАТУС ДРАМСКОГ ТЕКСТА / ДРАМЕ У НОВОМ ДОБУ ......................................................................................................................................................................11 Ivan Moody BYZANTIUM AS A CONSTITUTIVE ELEMENT IN BALKAN CULTURE / ВИЗАНТИЈА КАО КОНСТИТУТИВНИ ЕЛЕМЕНТ У БАЛКАНСКОЈ КУЛТУРИ ......................................................................................................................................................................21 Бошко Миловановић УЛОГА И ПРОБЛЕМИ ПЕДАГОШКИХ ЦИЉЕВА И ЗАДАТАКА ......................................................................................................................................................................32 УМЕТНОСТ КАО ПРОСТОР ПАМЋЕЊА Rosana Ratkovčić EGZISTENCIJALISTIČKI MISTICIZAM – ROMAN DERVIŠ I SMRT U BALETU I DRUGIM FORMAMA VIZUALNE UMJETNOSTI / EXISTENTIALIST MYSTICISM - THE NOVEL DEATH AND THE DERVISH IN BALLET AND OTHER FORMS OF VISUAL ART ......................................................................................................................................................................43 Милена Јокановић УМЕТНИЧКИ ПРИСТУПИ У ОЧУВАЊУ НАСЛЕЂА ДРУГЕ ЈУГОСЛАВИЈЕ / ART APPROACHES IN PRESERVING THE HERITAGE OF THE SECOND YUGOSLAVIA ......................................................................................................................................................................58 Вања Шибалић ИНТЕРПРЕТАЦИЈА ТРАДИЦИЈЕ У ТЕЛЕВИЗИЈСКОЈ СЕРИЈИ КОРЕНИ / INTERPRETATION OF TRADITION IN TELEVISION DRAMA SERIES ROOTS ......................................................................................................................................................................74 Лазар Димитријевић, Александра Димитријевић КАЛИГРАФИЈА КАО ТРАДИЦИОНАЛНА ТЕХНИКА У НОВОЈ УМЕТНИЧКОЈ ПРАКСИ / CALLIGRAPHY AS A TRADITIONAL TECHNIQUE IN THE NEW ARTISTIC PRACTICE ......................................................................................................................................................................89 Vladimir Paunović DOKUMENTARNI FILM KAO METODOLOŠKA ALATKA U KULTURI SEĆANJA / DOCUMENTARY FILM AS A METHODOLOGICAL TOOL IN THE CULTURE OF MEMORY ....................................................................................................................................................................104 5 Традиционалнo и савременo у уметности и образовању САВРЕМЕНО ТУМАЧЕЊЕ УМЕТНИЧКОГ ДЕЛА – МУЗИКА И ПЕРФОРМАНС Suzana Marjanić RITUAL I IZVEDBA SKULPTURALNOGA PERFORMANSA / THE RITUAL AND PERFORMANCE OF SCULPTURAL PERFORMANCE ....................................................................................................................................................................119 Saša Božidarević INTERTEKSTUALNOST I CITATNOST U RUKOVETIMA DRUGE POLOVINE XX VEKA – NOVI ANALITIČKI PUTEVI I PERSPEKTIVE / INTERTEXTUALITY AND CITATION IN THE HANDFULS OF THE SECOND HALF OF THE 20TH CENTURY – NEW ANALYTICAL PATHS AND PERSPECTIVES ....................................................................................................................................................................131 Nikolaos Katsoulotos CINEMAGRAPH - A NEW VISUAL MEDIUM / SINEMAGRAF – NOVI VIZUELNI MEDIJ ....................................................................................................................................................................144 ИНФОРМАЦИОНО-КОМУНИКАЦИОНА ТЕХНОЛОГИЈА У УМЕТНОСТИ И ОБРАЗОВАЊУ Danica Aćimović, Dragan Jakovljević WORD AND PICTURE IN THE SERVICE OF MANIPULATION / REČ I SLIKA U SLUŽBI MANIPULACIJE ....................................................................................................................................................................163 Војислав Илић, Тамара Стојановић Ђорђевић, СТАВОВИ УЧЕНИКА О КОРИШЋЕЊУ ИКТ У НАСТАВИ ЛИКОВНЕ КУЛТУРЕ / STUDENTS ATTITUDES TOWARD THE USE OF ICT IN TEACHING VISUAL ART EDUCATION ....................................................................................................................................................................177 Marijana Momčilović MOGUĆNOSTI VEŠTAČKE INTELIGENCIJE U NASTAVI/ ARTIFICIAL INTELLIGENCE CAPABILITIES IN TEACHING ....................................................................................................................................................................192 ТРАДИЦИОНАЛНИ И САВРЕМЕНИ ПРИСТУПИ У УМЕТНИЧКОМ ОБРАЗОВАЊУ И ВАСПИТАЊУ Милица Војводић Савић, Сања Филиповић ПРИМЕНА ИСХОДА УЧЕЊА У КОМПАРАЦИЈИ СТУДИЈСКИХ ПРОГРАМА И ПРОГРАМСКИХ САДРЖАЈА ФАКУЛТЕТА КОЈИ ОБЕЗБЕЂУЈУ КОМПЕТЕНЦИЈЕ ЗА РАД У ОБЛАСТИ НАСТАВЕ ЛИКОВНЕ КУЛТУРЕ / APPLICATION OF LEARNING OUTCOMES IN A COMPARISON OF STUDY PROGRAMS AND PROGRAM CONTENT OF FACULTIES THAT PROVIDE COMPETENCIES FOR WORK IN THE FIELD OF TEACHING OF FINE ARTS ....................................................................................................................................................................209 6 Горан М. Јанићијевић МЕТОДИЧКИ АСПЕКТИ ПИТАЊА ТРАДИЦИЈЕ У ОКВИРИМА ЛИКОВНЕ КУЛТУРЕ НА ОСНОВУ ЕФЕКАТА И ИСКУСТАВА ИЗ ОБЛАСТИ НЕФОРМАЛНОГ ОБРАЗОВАЊА / METHODOLOGICAL ASPECTS OF THE ISSUE OF TRADITION WITHIN THE FRAMEWORK OF ART CULTURE BASED ON THE EFFECTS AND EXPERIENCES IN THE FIELD OF NON-FORMAL EDUCATION ....................................................................................................................................................................225 Александра Паладин МУЗИЧАР XXI ВЕКА / MUSICIAN IN THE 21ST CENTURY ....................................................................................................................................................................248 Zoe Dionyssiou, Sophia Aggelidou, May Kokkidou MUSICAL ICONOGRAPHY IN THE MUSIC CLASSROOM: METHODS AND TEACHING APPROACHES FOR CRITICAL AND CREATIVE USE OF MUSIC IMAGES IN EDUCATION / МУЗИЧКА ИКОНОГРАФИЈА У МУЗИЧКОЈ УЧИОНИЦИ: МЕТОДЕ И НАСТАВНИ ПРИСТУПИ ЗА КРИТИЧКУ И КРЕАТИВНУ УПОТРЕБУ МУЗИЧКИХ СЛИКА У ОБРАЗОВАЊУ ....................................................................................................................................................................259 Јелена Дубљевић, Љиљана Војкић УПОТРЕБА ДЕЧЈИХ ПЕСАМА У ФУНКЦИЈИ СТИЦАЊА ПОЧЕТНИХ ЗВУЧНИХ ПРЕДСТАВА О МОДУЛАЦИЈИ / USE OF CHILDREN’S SONGS FOR THE ACQUISITION OF INITIAL SOUND IMAGES ON MODULATION ....................................................................................................................................................................274 Гордана Рогановић ИГРОВНИ ЈЕЗИК ПАУН КОЛА У ФУНКЦИЈИ ИНТЕГРАЛНОГ ПРИСТУПА И ВАСПИТНО-ОБРАЗОВНОГ РАДА СА ДЕЦОМ ПРЕДШКОЛСКОГ УЗРАСТА / PLAYFUL LANGUAGE OF PEACOCK KOLO AND IT’S FUNCTION IN THE INTEGRAL APPROACH AND EDUCATIONAL WORK WITH PRESCHOOL CHILDREN ....................................................................................................................................................................290 Петар Илић, Бошко Миловановић, Александар Попадић КОРЕЛАЦИЈА ДИДАКТИЧКО-МЕТОДИЧКЕ АПАРАТУРЕ УЏБЕНИКА ОСНОВНА ТЕОРИЈА МУЗИКЕ (1940) МИЛОЈА МИЛОЈЕВИЋА И ОСНОВНА ТЕОРИЈА МУЗИКЕ (1981) МАРКА ТАЈЧЕВИЋА / CORRELATION OF DIDACTIC-METHODICAL APPARATUS OF TEXTBOOKS BASIC THEORY OF MUSIC (1940) BY MILOJE MILOJEVIĆ AND BASIC THEORY OF MUSIC (1981) BY MARKO TAJČEVIĆ ....................................................................................................................................................................320 Весна Краварушић ЕСТЕТСКО ВАСПИТАЊЕ У ПРЕДШКОЛСКОЈ УСТАНОВИ / AЕSTHETIC EDUCATION IN PRESCHOOL ....................................................................................................................................................................339 Зорица Сорак, Владимир Б. Перић ПОДУЧАВАЊЕ КЊИЖЕВНОСТИ КРОЗ МОНТЕСОРИ МЕТОД КАО ПРЕВЕНЦИЈА ДИСКРИМИНАЦИЈЕ / TEACHING LITERATURE THROUGH MONTESORI’S METHODS AS THE PREVENTION OF DISCRIMINATION ....................................................................................................................................................................356 7 37.091.3::78 7.04 Zoe Dionyssiou, PhD Associate Professor Ionian University Faculty of Music and Audiovisual Arts Corfu, Greece dionyssiou@gmail.com Sophia Aggelidou, MA Music Educator Thessaloniki, Greece saggelidou@gmail.com May Kokkidou, PhD Adjunct Lecturer European University, Cyprus ugenius@otenet.gr MUSICAL ICONOGRAPHY IN THE MUSIC CLASSROOM: METHODS AND TEACHING APPROACHES FOR CRITICAL AND CREATIVE USE OF MUSIC IMAGES IN EDUCATION Abstract: The present study focuses on Greek mythology through music iconography sources, coming from images on ancient Greek vases created between the 5th and the 4th Century B.C. The aim of the study was to examine how children in the music classroom perceive and use musical representations of Greek mythology depicted on ancient Greek vases. It proposes and examines an alternative pedagogical approach in the music classroom, in which musical icons are at the centre of children’s activities. Icons with musical scenes can act as a stimulus for enquiring into music civilizations, cultures, people, and practices. Βy analysing an icon, children get to know historical and cultural information, they begin to notice meticulous artistic details, they learn to see and think critically, they practise on how to compare and read images in multiple ways. For the above purpose we designed and run a field research study which was carried out in two primary schools in Greece (six classes, three experimental and three control ones). We took the example of two myths from the Greek mythology: i) the creation of auloi (double flutes) by Athena and ii) the musical competition between Apollo and the satyr Marsyas. In the experimental groups we adopted the triadic PhenomenologicalHermeneutic-Dialectic approach (PHD) and we placed the images at the centre of educational activities. In the control group we started from the narration of the myths. The results of our study indicate the PHD approach as an effective strategy of using musical iconography in the music classroom, in order to lead students into a contextual understanding of the myths, and the uses and functions of music in ancient times. Keywords: musical iconography, music education, visual literacy, ancient Greek myths 259 Традиционалнo и савременo у уметности и образовању Musical Iconography is a a ranch of art history and music studies. Its purpose is to analyse icons that contain musical representations through cultural reading. An image is more than a reflection of something, it is a reflection of ideas and practices that shaped human ehaviors and events of the past in the certain period in hich the image is dated. Therefore, musical iconography it an ideal means for e amining past civili ations for hich e have little kno ledge and fe or not at all sound documents. Musical iconography can offer a lot in music education, as it is a useful tool to help children ac uire musical kno ledge ithin the cultural and historical conte t of past and present times. Images are usually very attractive to children of all ages, as they have the po er to enhance children s imagination and stimulate their kno ledge in unfailing eading an image for educational purposes is not al ays as easy as it seems. decodify an icon, it means that hen e e inform students a out the images, hence them to ards discussing, understanding its meaning ays. e lead ithin the general historical and cultural conte t, and interacting ith it. There is evidence that in educational conte ts, teaching children ho to respond to images is mainly a teacher directed practice, hile less time and opportunities are given to students in order to interact and e press their ideas a out the images eid Leigh Elkins ren aig . ithin the field of music education, using music images and representations can help students to enhance their understanding of music and their engagement ith it. The present project ena led us to test possi le strategies for using musical iconography in the music classroom, in alignment ith the present practices of creative, interdisciplinary and e periential music teaching and learning. umans have een using images as a form of communication for more than . years. Images have the po er to represent thoughts, ideas, and information. They can e used e tensively as an educational tool ne kno ledge for all age groups hich can motivate learning and construct aylen D Al a . As our time is descri ed as an era of visual literacy , today s students have an increasing need to e visually competent and literate. According to Dallo culture, is comple , multidimensional, and em edded isual literacy, like visual ithin a range of visual, cognitive, aesthetic, and nonvisual emotional, ethical dimensions 260 p. . Falihi Zoe Dionyssiou, Sophia Aggelidou, May Kokkidou, MUSICAL ICONOGRAPHY IN ... and ason Ellam claim that y reading an image the reader makes sense of each element represented on it, y negotiating and interpreting relationships et een them. They further state that the meaning of an o ject cannot e grasped completely if it is not considered in conte t p. . In this sense, visually literate individual is one ho is a le to decode and interpret a visual composition, ut also one that is a le to encode and compose images capa le of having a commonly understood meaning orges , p. eed . presents evidence from empirical studies that human learning is influenced y visual images hich help us learn and reason p. . et, at school, since ords dominate our education system, looking at visual images is often regarded as a less important activity than reading a te t. Images are usually regarded as descriptive representations of facts e amined in the lesson, or as decorative elements in te t ooks Cope iannis Kalant is rettos . , in a study that e amined the use of images in Greek history school te t ooks, found out that images function mainly as decoration, in order to entertain children and replicate the lesson. n the contrary, educational research supports the use of images in order to stimulate, uestion, analyse, provide e tra material for discussion and multiple readings. Images are not supposed to mean the end of the educational process, ut the eginning of it. oth language and images are necessary in the educational procedures, as they transmit different aspects of reality rettos . In search of a methodology for using musical iconography in education e started from Er in Panofsky s three stages of reading an icon a Pre iconographical description, Iconographical analysis and c Iconographical interpretation . Similarly, See ass ro n identifies three stages of reading an icon the scholar must first descri e the formal elements of a picture secondly they must do so in the light of the cultural convention that influenced the depiction of those elements allegorical or metaphorical meaning . Thirdly the student may esta lish an iconology of the intrinsic meaning of the picture and discuss it in a deeper level p. egarding the use of images for educational purposes, three rettos . suggests ays of reading an image a First, the phenomenological approach tries to discover the image itself, hile diminishing the su stantial element in reading and understanding it, namely to uncover the reality of the image. Second, the hermeneutic approach tries to e plain the o ject, and place the image in its socio 261 Традиционалнo и савременo у уметности и образовању cultural conte t. c Third, the ialectic approach searches for the meaning of the image through dialogue and discussion from various points of vie . similarities to the ena ine isual Thinking Strategies rettos model has TS methodology see ailey, Miller . Accordingly, Marta orges proposes three distinct levels for the development of visual literacy. The first level refers to the a ility to identify a visual e pression the second level refers to the a ility to interpret it, ased on the social, cultural, and political history of each individual. The third level refers to the a ility to organi e this ne understanding in order to increase our kno ledge a out certain reality, and to improve our a ility to communicate. This level implies an active commitment to ask uestions and seek ans ers to the multiple meanings of the visual e perience orges , p. . There seems to e a common line among the a ove mentioned researchers regarding the inductive understanding of an image in three successively stages. The phenomenological approach is not sufficient to reach the meaning of an image. The hermeneutic approach is a step further, ecause the reader understands the image ithin its conte t. Then, the dialectic approach leads to a more advanced understanding of the image and its meanings. approach , hen e just descri e the image phenomenological e are far a ay from e plaining it hermeneutic approach and from understanding its deeper meanings dialectic approach rettos . The role of education is to lead students to a deeper e planation, understanding and connection ith the image, its meaning and its conte t. Driven from our elief that images attract children of all ages and can e a very stimulating educational tool hen studying music, iconography project in primary school classes. ur aim e implemented a music as primarily to get students in touch ith selected musical images derived from Greek Mythology, ena le them to learn from them and through them, understand the musical myths, realise the role and po er of music in them, and use them as inspiration in their creative activities. Another aim as to deepen our comprehension of the music e periences through teaching a specific methodology of musical iconography, and e amine ays in could e supported to use musical icons in the music classroom. hich children hich is the est approach for the use of musical iconography in order to enhance children s motivation 262 Zoe Dionyssiou, Sophia Aggelidou, May Kokkidou, MUSICAL ICONOGRAPHY IN ... in learning music and a out music ur main hypothesis as that the est educational method is not only the identification of the image, ut also to understand its conte t and proceed into a dialogue rettos ith it through the a ove three stages, as descri ed y into the henomenological stands as our ermeneutic ialectic approach that here mo el . The present study as ased on action research, carried out in si classes of primary schools in t o cities of Greece, Corfu and Kavala.1 primary school children of e chose si rd Grade classes of years old . Three out of si classes constituted the e perimental group and the other three classes constituted the control group. orked for t o periods in each class of minutes each . Lessons ithin the spring period of the same school year. e ere carried out e took the e ample of t o myths from the Greek mythology a the creation of auloi dou le flutes y Athena and the musical competition et een Apollo and the satyr Marsyas. These t o myths ere chosen ecause they allo multiple readings and negotiate interesting musical and social issues. e follo ed P D. rettos triadic Phenomenological e chose Grade students of years old ermeneutic Dialectic model ecause students of this Grade have studied Greek mythology in the history lesson in the same year. Children of this age are uite mature in their thinking and the use of language. Therefore, e assumed that it might not e difficult for them to reach the third level of rettos model, the dialectic approach. The evaluation of the project as ased on data derived from group intervie s ith students and our personal diaries and notes. Selected images of the t o myths, hich ere photographic representations of archaeological vases, ere printed in hard paper and presented in the class Medusa s decapitation from Perseus, the gorgons mourning and Athena playing the auloi Myth A, figures Myth the musical contest of Apollo and Marsyas, Apollo playing 1 Kavala is a city in the north-east Greece and Corfu is one of the seven Ionian Islands in the west of Greece. 263 Традиционалнo и савременo у уметности и образовању his string instrument lyre or guitar , Marsyas performing on auloi, and t o Muses as judges audience Myth , figures . In the three classes of e perimental groups e adopted the triadic P D approach starting from the images. Follo ing the principles of cooperative learning ohnson ohnson, , e divided the class into small groups children , distri uted one image per group, and asked them to descri e the images and share their ideas for minutes . Then each group presented their descriptions to the the presentations, images. hole classroom. After e, as teachers researchers, narrated the myths referring to the n the third step e led a discussion on the meanings and lessons out of the myths, encouraging children to give their o n e planations. Finally, e carried out creative activities. In the three control classes e started form the narration of the myths discussed them and at the end of this discussion e e presented the images to the classroom, hich can e characterised as traditional style of using images in school. Then, e collected the images and proceeded ith creative activities. In this approach e dominated class discussion to a significant degree. For oth groups creative activities follo ing Eisner s ere designed to fit the aims of the project, conception a out artistic e pression in the classroom. The activities e carried out had as follo s u ical compo ition e asked children to create music in groups ased on the story of the myth, using percussion classroom instruments. ra ing e asked children to individually dra paint the scene of one of the t o myths that impressed them the most e.g. figures reati e tor riting telling . e asked children to individually rite one of the t o myths in their o n ords, using any details and giving any ending they ished. In shortage of time, e carried out the same activity orally. rama e asked children to create and perform a drama presentation in groups, ased on one of the t o myths. After each lesson e kept notes on children s reactions, attitudes, interest and products of their ork. All these ere used in our analysis. or the i a es we used in the ro ect see fi ures 264 . Zoe Dionyssiou, Sophia Aggelidou, May Kokkidou, MUSICAL ICONOGRAPHY IN ... In order to gain further insight on the impact of the project upon children, after the completion of the project e intervie ed them in groups informal group intervie s of the hole class in appro imately minutes . Students ere intervie ed a out their e perience and participation in the creative activities. Their ans ers ere audio recorded, transcri ed and analy ed through content analysis method. The intervie s elicited detailed data a out the type of instruction eing implemented, and students perception a out learning outcomes. The themes hich emerged have as follo s a interest and motivation, confidence and competence, c musical understanding. A common element in all intervie s as the high level of satisfaction that students e pressed regarding their involvement in the project. The students from the e perimental groups ere found to enjoy more their o n e ploration of the images and their effort to discover hat as depicted on the pictures. Most of them said it as not difficult for them to descri e the images and they liked making up stories and creating music. They further stated that they found the t o lessons to e more fun and different from the conventional music lesson. y our side e noticed that they enjoyed the opportunity they had to interact and communicate ith each other hile discussing the elements of the icons in groups. Students appreciated the fact that several interpretations of the same icon ould e ist ithin a group as ell as ithin an individual. The students from the control groups stated that they enjoyed their participation in the project. et from their reactions e came to the conclusion that they regarded it more as a typical lesson than an e citing ne indicated a general agreement that it learning e perience. Their comments as the myth narration rather than the images hich raised their imagination and this helped them to perform musically and creatively. Comparing the t o approaches, e found out that in the e perimental groups the students easily managed to read the images phenomenologically detail hat they sa hen descri ing in in the pictures e.g. clothing, poses, instruments . They reached the hermeneutic phase in the myth narration ith some help from the teacher. Finally, they achieved to reach the dialectic phase eing engaged in passionate discussion a out 265 Традиционалнo и савременo у уметности и образовању the meanings of the myths. Children personalised the myths and managed to give various e planations and possi le scenarios. In the control groups stories e used the images only as visual representation of the e narrated in the eginning. e did not discuss e plicitly the details of the images, ut e led the discussion around the myth. Students understood the myths, ut they captured partial details of the images. As they had relied solely on narration, it as difficult for them to learn from visual resources and they felt less confident to analyse and evaluate elements of the icons. They did not engage to any disussion a out the meaning, the cultural and historical conte t of the myths, or their dialectic engagement ith the images. Students from oth groups appeared to e engaged musically and creatively in the lessons. o ever, e noticed a num er of differences regarding their achievements and the ays they e perienced the hole process. In particular, icons o servation and investigation in the e perimental groups raised students visual memory, as they had to look carefully and search for details. It also raised their ver al skills, as they had the opportunity to e engaged in group discussions. All the a ove helped the children to decode the icons in a meaningful conte t, an a ility that is usually not developed to the ma imum at their age. Students of the control groups ere found to e less capa le to interpret the icons meaning. The a ove findings are consistent Matoush ren aig ith previous studies Zander Cunningham eid Leigh Congdon , hich found that children are uite capa le of comple and deep thought a out art o jects, and that critical dialogue among students fosters visual literacy skills. Students proved to e a le to construct their o n kno ledge and successfully negotiate multiple meanings em edded in the illustrations of images. As ailey, Miller and ena ine put it, asking students to think out loud and talking a out hat they see as they look, results in concrete data a out the process of visual meaning making. In our study, it is found that children of the e perimental groups gained some historical and cultural kno ledge, and ecame a le to notice meticulous artistic details. The phenomenological phase gave students a clear starting point and helped them to e plore their o n interpretations of the images in communicative activities hermeneutic phase , and synthesise them hich resulted in gaining a ne dialectical phase . In a similar vein, Siegesmund 266 suggests that hen insight e ask Zoe Dionyssiou, Sophia Aggelidou, May Kokkidou, MUSICAL ICONOGRAPHY IN ... children to make meaning of a ork of art e ask them to make inferences or ualitatively reasoning to construct a meaning. As for the ceative activities, the t o approaches gave interesting results. Dra ing data from oth intervie s and our diaries, e assume that children in the e perimental groups enjoyed the lesson more and ere more creative in all activities. Students dra ings from the e perimental group resem led more the images in vases, ecause they had orked more closely upon them. As for the creative story telling in e perimental groups, children ere more inventive and came up ith more challenging stories than the control groups. As for the drama activities, e noticed no differences among the groups. All in all, from our research it ecame clear that hen students are encouraged to construct their o n kno ledge a out images, they can develop more effective strategies to e plore their content, they synthesi e information and use richer voca ulary. e can assume that the asic motivational factors that led in etter results in the e perimental groups ere a team ork, active learning, c constructivist dynamic learning environment, d pro lem solving techni ues, and e the fact that e as teachers acted as facilitators of learning rather than instructors. hile using images for educational purposes is currently a popular research topic, there is little research that focuses specifically on the use of musical iconography in music lessons. The findings of this study supports that students like to descri e hat they see, and are capa le of transforming musical representations into music sounds. Icons have the po er to raise their imagination, and inspire them to perform creatively com ining music making ith painting, language narration y riting, drama, and other creative educational activities. It also support that the est method is to lead students from the phenomenological approach to the hermeneutic and the dialectic approach P D method . The P D model ena led students to e perience icons as generators of ideas and as a stimulus for discussions among them. This of course presupposes etter or e a le ost children ave the ri e to arsyas instead of ollo and so e others ade interestin variations of the two stories. s for edusa ost children were e cited a out her death ecause it was a scary fi ure as it could free e everyone who loo ed at her. or e a le they reco nised ollo y the lyre or the uitar and his wreath on his head and they reco nised thena as the oddess of wisdo wearin a hel et. 267 Традиционалнo и савременo у уметности и образовању teacher preparation to help students to construct a meanings and gain kno ledge a out the role of music in people s lives in the Greek mythology. The P D method can e used ith children of all ages on various other topics in music education. It can e also applied in other school su jects as ell e.g. visual arts, media, history etc. . A limitation of the study study as the duration of the project eek course . This as e ploratory and although the findings demonstrated the positive effects of the P D approach, further research is re uired. An interesting topic hich future research could investigate is hether the P D model affects metacognition. Athena invented the dou le flute auloi in order to transform in music the Gorgons mourning for the killing of their sister Medusa y Perseus. et, Athena soon realised that playing dou le flutes deforms her face and deprives her speech, so she thre the instrument a ay. The satyr Marsyas took it and ecame a competent player. Marsyas as a Phrygian Satyr. e found the very first flute hich had een crafted ut cast a ay y the goddess Athena hen she had een displeased y the loating of the cheeks. Marsyas ecame a competent player. So good his playing as, ho dared to challenge the god Apollo in a musical contest. Muses acted as judges in that musical contest. In the first round Marsyas impressed everyone y his e peritse. In the second round the God Apollo demanded that they played their instruments upside do n. This as possi le for the lyra, ut not for the flute. Marsyas lost the contest. Apollo gained the price and Marsyas cruel punishment had to follo . As a punishment for his hu ris, Apollo asked that Marsyas as tied to a tree and flayed alive. The rustic gods then transformed him into a stream. Figures . Baylen, Danilo M. and D’Alba, Adrianna (eds.), Essentials of Teaching and Integrating Visual and Media Literacy, pringer International Publishing, ew ork, 5. Borges, Marta, Illustration as a tool for the development of visual literacy , in: Proceedings of the International Conference on Illustration & Animation ( ovember December ), fir, Portugal, Barcelos: IPCA, , pp. 4 5 . Brown, Howard Mayer, Iconography of Music , in: tanley adie George Grove, The New Grove Dictionary of Music and Musicians, ol. , pp. , ondon, Macmillan, . Congdon, ristine G., Toward a theoretical approach to teaching for art: A definition , in: Studies in Art Education, ( ), , 4. 268 Zoe Dionyssiou, Sophia Aggelidou, May Kokkidou, MUSICAL ICONOGRAPHY IN ... Cope, Bill and alantzis, Mary (eds.), Multiliteracies Literacy Learning and the Design of Social utures, outledge, ew ork, , . Cunningham, Alan, anguage used by young children in appraising artwork , ournal of the Australian Institute of Art Education, ( ), 5, 4 . Dallow, Peter, The isual Complex: Mapping ome Interdisciplinary Dimensions of isual iteracy , in: ames lkins, Visual Literacy, outledge ew ork, , . isner, lliot W., Arts and the Creation of Mind, ale niversity Press, ew Haven, lkins, ames (ed.), Visual Literacy, outledge, ew ork, . . Falihi, Anahit and Wason- llam, inda, Critical isuality: n the Development of Critical isual iteracy for earners’ mpowerment , International ournal of Learning, ( ), ,4 4 . Hailey, Dabney, Miller, Alexa and enawine, Philip, nderstanding isual iteracy: The isual Thinking trategies Approach , in: Danilo M. Baylen and Adriana D’Alba, Essentials of Teaching and Integrating Visual and Media Literacy, pp. 4 , pringer, ew ork, 5. Heid, aren and eigh, ebecca, First Graders Constructing Meaning Through Drawing and Writing , ournal for Learning through the Arts, 4( ), . ohnson, David and ohnson, Practice, ( ), , oger T., Making cooperative learning work , Theory into . Matoush, Marylou, isual iteracy A Gateway to Critical Dialogue Among Children , International ournal of Learning, ( ), , . eed, tephen ., Thin ing Visually, Psychology, ew ork, oung . eebass, Tillman, Iconography , in: tanley adie and ohn Tyrrell (eds.), The New Grove Dictionary of Music and Musicians, ol. , pp. 54 , , Macmillan, ondon. iegesmund, ichard, Teaching qualitative reasoning: Portraits of practice , Phi Delta a an, ( ), 5, ept., . rettos, George ., I ei ona sto analyti o rogramma ai sto s oli o eg eiridio tis Istorias Image in the curriculum and in the istory te t oo , Art of Text, Thessaloniki, 4. Wren, ulie and Haig vonne, Children talking to understanding aesthetics in visual art , International ournal of Learning, ( ), , . ander, Mary ane, Talking, thinking, responding and creating: A survey of literature on talk in art education , Studies in Art Education, 44( ), , 5. 269 Традиционалнo и савременo у уметности и образовању igure . The Gorgons mourning for the death of their sister Medusa, Paris, Ca inet des Medailles, . igure . The decapitation of Medusa y Perseus, London, ritish Museum, E igure . e 270 ork, Metropolitan Museum . . . Zoe Dionyssiou, Sophia Aggelidou, May Kokkidou, MUSICAL ICONOGRAPHY IN ... igure . ologna, Museo Civico Archeologico, igure . Images on ancient Greek vases used in the project depicting the myth of the killing of Medusa and the invention of auloi y Athena igure . Marsyas playing the dou le flute hile Apollo atches and the Muses stand eside them ritish Museum, London igure . Museum of Fine Arts, oston . 271 Традиционалнo и савременo у уметности и образовању igure . Paris, Mus e du Louvre, Louvre K igure . The musical contest et een Apollo and Marsyas hile Athena, ike, ermer and Artemis stand eside them ochum, uhr Universitat, Kunstsammlungen, S igure 272 . Images on ancient Greek vases used in the project depicting the myth of the musical contest et een Apollo and Marsyas Zoe Dionyssiou, Sophia Aggelidou, May Kokkidou, MUSICAL ICONOGRAPHY IN ... igure . Selected children s dra ings depicting the musical competition et een Appolo and Marsyas : , , 5. 4. , , ) ( - , . , ). . . , , . ( ) , ) - ( ) , : . , , : . , . , . . . . , , 273