Doc.

Jelena Martinovi-Bogojevi Academy of Music University of Montenegro

Interdisciplinary approach in developing textbooks for Music culture Rspectez l'enfance! J.J. Roisseau
Summary: An interdisciplinary approach in drafting the textbooks for work with the youngest age group in primary school involves incorporating music into the learning process through correlation with other subjects and their teaching programs. Development of textbook sets for first, second and third grade, under a common title Magic of Music, represents a creative challenge for the authors. Besides the striving to observe the goals of the Curriculum, encourage student involvement, their creativity, creation and expression of a music experience, the authors wanted to ensure that music also served as a learning transfer. Music transfer has an impact on cognitive processes activated by the experience of a musical event, but it also affects the non-musical cognitive processes. In this way, children gain and upgrade their knowledge in nature and society, language and literature, physical culture, arts, mathematics. Art and folk songs create an idea about cultural identity, while contents presenting culture of all ethnic communities in Montenegro teaches children about multicultural diversity of the country they live in. In this context, music transfer has a positive impact on social behavior of students. Use of hidden object games, puzzles, rebuses (word plays), animated stories provide for direct communication between the textbook and a child. Teachers manual contains basic guidelines for use of music contents in the work with children that are involved in inclusive education. While working on textbooks in the past three years, we had various interdisciplinary fields arising as interesting ones, and we tried to incorporate them, thus encouraging various music and non-music experiences among children. Teachers manual provides guidelines and gives proposals for use of the offered materials, from the presentation of basic methodological approaches, to gradual steps in covering each individual training unit. This paper presents the result of our experience as authors of these materials. Key words: textbook, music culture, music transfer, interdisciplinary approach, learning process, music experience

Introduction In most of the contemporary curricula, music culture teaching is based on an interdisciplinary approach that encourages innovation, creativity and ability to relate, identify and draw conclusions, in a wider cognitive process, between music and non-music contents. Although this approach exists for decades in music pedagogy, many theoreticians justify combination of different contents relying upon Howard Gardners (1983) theory of multiple intelligences, presented in the psychological study Frames of Mind. According to Gardner, intelligence is not permanently established, but can change and develop. In order to develop, there are numerous
1

methods of learning and cognition, and music represents one of the categories in this process, besides verbal-linguistic, logical-mathematical, visual-spatial, physical-kinetic, interpersonal and intrapersonal intelligence. Gardners scientific strategy was to implement his theory in the educational process, in order not only to enable children to get to know the world on their own, but to change it, as well, and to make it a better place to live in. Presenting the views of David Lazner (1911), N. Ivanovic states that these forms of intelligence can be practiced and improved through teaching and adequate subjects in school, and it is up to the teacher himself to identify and develop creative capacities of his students. Connections or the bridging technique, in that context, develops the ability to apply knowledge, skills and capacities built in one area to a totally different area. Then we speak about knowledge transfer (Ivanovic, 2008). When it comes to art subjects, integration of arts or artistic cooperation is especially emphasized in the early age (Reimer, 2003). Children express their skills and artistic talent spontaneously. They represent an integral part of their daily lives, without fear of whether they will accurately sing a song or draw something wrong. For that reason, interdisciplinary approach is especially important in the early school age, when the correlation between subjects through teachers education as a subject can be used in a flexible manner. This is implied by the curricula, which contain not only operational goals, student activity (performance, creation, listening), notions and contents, also contain a column which specifies the possible correlation with other subjects (mathematics, language, nature and society, art culture, physical education). The need for correlation can often result in unjustified connection between materials in various subjects and to simplification and trivialization, whereas it is music that suffers. There are some opinions that music knowledge and skills assist in no way to the understanding of other subjects and vice versa: some other knowledge and skills do not contribute to better knowledge or more efficient skills, or better understanding of music (Rojko, 2012, 115). Through the instructions given in the manual, we have tried to prevent teachers from simplifying things and creating artificial correlations. Basic characteristics of the curriculum Having in mind that the textbooks themselves lean on the curriculum, we will present here some of the fundamental segments used to design the subject Music culture in the first cycle of the nine-year long primary school. According to this curriculum, children in the first, second and third grade of primary school have one hour of music culture per week, that is, thirty-five hours per year. Out of the total number of hours, thirty are planned in the curriculum, while the remaining five are left for teacher to plan. In this way, teachers are given the possibility to complement the offered materials based on the needs of the students and the local community. This primarily means taking into consideration the needs of communities with diverse ethnic groups and more time dedicated to their music folklore. The table below presents an annual plan for the subject Music culture:
Grade Total number of hours Program planned for the Hours left to the 2

individual school and local community to design I 35 30 5 II 35 30 5 III 35 30 5 Table I: Curriculum for the subject Music culture for the first cycle of primary school ( Bureau for Education Services, 2011)

respective no of hours

In the fourth and fifth grade, number of hours increases to 70 per year, and from sixth grade, number of hours comes back down to 35 per year. In the final, ninth grade, this number is reduced to 25 hours per year. In the description of the subject Music Culture, and nature and purpose of the approved program for the subject, it is stated, inter alia, that music as a branch of art, due to its universal language and messages it carries, has become a communication tool between individuals, groups and wider communities As a specific combination of knowledge and skills, it provides endless creative possibilities, and the impact of music exceeds by far the time and place of its origin, making it an important segment of development of each and every society (Programs for the individual subjects in the curriculum, 2005, 67). General goals of this subject are set to be as follows: development of music skills and performance skills (singing and playing Orffs instruments), active listening, expressing music experiences, developing criteria and selecting music contents. It is also emphasized that music has an impact on the creation of understanding of oneself and others, in a wider psychological and sociological context. Through these goals, students should develop communication skills, readiness and ability to cooperate through teamwork, develop a desire to belong to a collective/ group encouraging friendship and patience in a group; students should also learn about the most valuable achievements of humans, as well as the ones that determine cultural identity of nations and communities introduction to traditional music heritage, they should also develop a positive attitude towards national and international music culture (Programs for the individual subjects in the curriculum, 2011). The curricula also define additional general goals, such as the ones saying that students should: - develop positive feelings for music - develop interest, responsibility and understanding of various forms of participating in music - develop communication skills, readiness and capacity to cooperate through teamwork - create music based on their capacity - express music experiences and understanding through dance, painting, orally and in writing. - make a distinction between important notions in music expression tools, types and forms, thus enabling for better understanding of music
3

- learn about the use of modern (computer) technologies. These are only a few of the stated general goals for this subject, which were reviewed in 2011. Objectives of the program contain objectives that are rather general, not specific, such as the ones that students should gain music knowledge in school and after school, they should be informed about folklore arts, music arts, they should understand what music is telling us, develop music talent and feeling for rhythm, try to develop vocal expression and gradually expand their vocal range, etc. Having in mind the number of hours projected in the curriculum, the question arises whether it is possible to achieve numerous goals of the curriculum and offer content/ material that would incorporate during the teaching process all the activities of the students, which are divided into three groups: performing, creating and listening to music. When selecting songs to sing, special emphasis is put on folklore and development of feeling of identity through music heritage. Besides the most important classical instruments, students should recognize the looks and instrumental color of the folklore instruments: gusle, tapan, svirala, dipalo. In this way, the curriculum articulates the national (folklore) element. The curricula includes Albanian artistic and folklore songs. It is considered especially important for students to be introduced to folklore of other entities living in Montenegro. Students of early primary school age learn the text and melody spontaneously, through the method of learning by listening to the song. Unfortunately, practice shows that in the first cycle, there are practically no songs in Albanina language, although this is specified in the curriculum. The curriculum for the first cycle of nine-year primary school includes folklore and artistic (copyright) songs that, through their content, complement the program for Language and literature and Nature and science. This correlation was achieved, inter alia, through common goals with regard to teaching about seasons of the year. In the teachers manual for the subject Music in Primary School, the author, Nada Ivanovic, stated: When defining how to implement the contents regarding musical folklore, one should take into consideration the school year as a timeline, i.e. teaching in music should represent a road through the annual cycle of nature, and various forms of folklore musical expression should be presented according to the current season of the year (Ivanovic, 2008, 47). The authors felt that students should gradually develop their vocal capacity and build clear intonation, thus, in the first grade the songs should not exceed the pitch class of a trichord, in the

second grade of the tetrachord, while in the third grade it is possible to sing songs in the pitch class of a pentachord. Program outcome for the first cycle is determined through the defined knowledge standards, according to which students should: - be able to sing, individually or in a group, eight folklore songs and artistic songs, in accordance with the individual capabilities and in different performances (polyphonic singing, with instrumental back-up or without). - know five counting-out rhymes, with rhythmic backup (using hands, legs or Orffs instruments) - be able to perform three music dances (didactic, dances involving singing, dances with instrumental backup, short music dramatizations) - be able to identify nine previously heard musical compositions - make a distinction between sounds, tones and silence - recognize and name instruments by sound (childrens, folklore, classical) - differentiate vocal color (childrens, female, male) - recognize who is performing the music composition: voice, individual (solo), group (chamber) or collective (choir, orchestra) - differentiate notions: melody, tact, loud-quiet, fast-slow, higher-lower and longer-shorter tones - list and understand notions: choir choirmaster, music composition composer, director, counting out rhyme, musical fairytale, music performance - know how to find their way with basic symbolic scripts - know how to perform one shorter composition on xylophone or a traditional instrument and provide rhythmic backup for two songs, using Orffs instruments (Curriculum for the subject Music culture, 2011, 25). In the first cycle it is not planned to introduce systematic music literacy. Teaching in music culture is provided by teachers of teachers education up to fifth grade of primary school. The curriculum plans for introduction of music notes in the fourth grade. Offered materials are based

on folklore and artistic songs, counting out rhymes, music games and proposals for music to be listened, adapted to the respective age groups. We are mentioning here only the main characteristics and requirements of the curriculum based on which the textbook set Magic of Music 1, 2 and 3 was created, which consists of the following: textbook, teachers manual, CD for teachers and CD for students. Authors experiences in the development of textbooks In the design of textbook sets Magic of Music (Martinovic-Bogojevic, Papic, Durkovic, 2010, 2011, 2012), besides the curriculum for this subject, we were also guided by the methodical experiences of various authors (Stokovic, Stojanovic, Pozgalj, Goran, Maric, Jablanov, Ilic). The leading idea was the intention to ensure that in the first cycle of primary school (children of the age 6 to 9), lessons in music culture should represent a natural continuation of playing. Jun-Ruar Bjerkvol (2005) was among those who spoke about the potential of the child of this age, in his book Nadahnuto bice (Inspired creature). He developed a theory of ecology of learning, from childrens culture to school culture. He believes that a seven year old child is an imaginative master of the game, a quintessence of the Original inspired creature. That child is close to the world, it feels it, directly in the language, songs and physical development. Not as an aesthetic or formalized ability, but rather, as a spontaneous, necessary life expression (Bjerkvol, 2005, 164). Music games (movement, song), counting out rhymes (complemented by tapping, clapping hands, playing Orffs instruments), singing short songs in the required range, inventing a choreography, expressing musical experience in painting, literary expression, through movement, have all enabled for implementation of the aforementioned goal. Textbook for first grade is designed as a working material, which allows to solve different music tasks in the textbook itself: finalizing illustrations or sticking stickers with pictures of animals, instruments, natural phenomena, which the students should recognized by listening. This additionally encourages communication between the child and the textbook, and in the first grade this textbook is more of a picture book with complementary audio material, having in mind that development of systematic literacy among students is planned for the second grade. The authors have introduced in the textbook certain characters that are present throughout the cycle a girl named Ena and a boy named Ivo. These characters were used in some sort of a
6

pictogram in the beginning of each training unit, presenting the basic activities covered in that training unit (singing, playing an instrument, dancing or listening to music). It turned out that children of this age are happy to identify themselves with the illustrated characters who guide them through various contents. Animals were not used intentionally, trying to make the textbook realistic, as it is children who participate in music, who reproduce and create it. Gradual preparation of children for music literacy takes place during the first three years, so the melody of songs they perform is presented with symbols. Instead of the vocal pitches and values of music notes, there are symbols used, which correspond to the theme of the song (in the Birthday song, the symbol used are the birthday hats, in the folk songs, there are different symbols used hats from the national costume, gusle as an instrument, in the song in Albanian language ljodra is used, etc). Symbols follow the melody, by being posted higher or lower (following the tones of the melody) and in different sizes (following the values of music notes). The procedure is easier to understand using an example, as follows:

Picture Durmitor

I:

example

of

an

illustrated melody of a folk song

Teachers

manual

contains notography of all counting out rhymes and songs planned to be performed. Songs are introduced according to the defined method of learning the song by listening. A great assistance in this respect is the material provided on CD, which contains not only the songs performed in the arrangements specially adapted to the needs of the textbook, but an instrumental version of the song, as well, used as backup when the students are singing. On the other hand, there is a fear that presence of the live sound will be neglected, because practice shows that teachers responsible for teachers education often avoid singing in class, and usually use recorded material, which questions the learning method.
7

Textbooks are divided into four chapters, corresponding to the seasons of the year. For the first grade, on the pages dividing the chapters there are illustrated motives from nature and one animal on each of these papers, which may symbolize a specific season of the year. This provides for the correlation with the subject Nature and Society. In the second and third grade this division was maintained, but we have added adjectives to the titles of the various chapters: Singing Autumn, Magic Winter, Dancing Spring, Cheerful Summer, and in the third grade, these titles include also some music terminology: Autumn tones, Winter melodies, Sounds of Spring and Rhythm of Summer. Illustrations of the dividing papers in the second grade contain some music symbols, such as notes, keys, lines and spaces, for children to register them visually. In the third grade this idea is progressively expanded, so now the illustrations include performers with instruments that the students have studied, with examples for listening to music. In the dividing paper for the chapter Autumn Tones, there is an illustration of a boy and a girl playing violins, and the page contains the sound of a fragment from Vivaldis Four Seasons (Autumn). The manual contains instructions for the teacher on how to introduce students to listening of a music example and what the students should identify while listening to music. On the dividing page for the Winter Melodies, there is an illustration of children listening to music, and the music presented is Debussys Prelude Snowflakes are dancing. The third chapter uses the sounds of the fragment from Vivaldis Four Seasons (Spring), while the dividing page for the last chapter, Rhythm of Summer contains Tarregas Memories of the Alhambra. Introduction to chapters, analysis of illustrations, listening to music examples, expressing feelings and active listening, seemed to be a good connection between the different segments. Understanding and acceptance of the notion of sound in the first grade is projected in several ways. A song was written specifically for that purpose, with inserted sounds, and it was recorded on CD. The text is read by the narrator, and the students connect the sound with illustrations: Sve to uje, to je zvuk: Mora um i vjetra huk, Cvrkut ptice, kinu kap, kada pada kap kap kap. Mace mnjau, kuce av, kada rie neki lav, Zvrrrr i klik, bum i tras, kada pjeva na sav glas. apat, kripa, kreket, huk, sve to uje, to je zvuk.
8

(text: J. Martinovi-Bogojevic) This provides for a connection between the literary text and the audio presentation of sounds in question. Already at the next page ( Magic of Music 1, pg. 9) the students are given the task to carefully listen to the sounds from CD and connect them with the illustrations in the textbook. Ultimately, they should discover which illustration is left without a sound example (sound of the sea). The next teaching unit is connected with Nature as a subject. Students are listing wild and domestic animals that they know and are attempting to imitate their sounds. Then, they listen to the sounds of various animals on CD and put stickers with their pictures on the page with the illustration of a Montenegrin village. Each student can put the animals as he wants. Examples used for listening to music are fragments from Camille Saint Saens Carnival of the Animals (Roosters and Chicken, Donkeys). Part of the material is related to important holidays. Students put ornaments on their Christmas tree in the textbook, by listening and identifying instruments they have studied, and then relating them to the illustration on stickers (ornaments) and put them on the Christmas tree as they wish. Pages with the hidden object games are related to introducing musical instruments. Illustrations of the instruments open up and reveal new ones, showing how the instruments are held when they are played. This system of hidden object games was used in the second grade, too, when the students are introduced to the music school. Literary text, with inserted music examples, which the students listen to and are supposed to guess which instrument or group is playing, are complemented with an illustration of a music school. Windows of the school open up and the students can find an adequate illustration for the sound example they are listening to. Through the games that actively involves the students; the textbook for third grade makes a link to the subject Language and Literature, where they are introduced to the characteristics of a comic book. Music professions are presented in the form of a comic. Some parts of the comic have sounds music examples on CD. Correlation with Language and Literature is also provided through the counting-out rhyme ABCs, where the students pronounce thirty-two letters of the Montenegrin alphabet in the assigned rhythm. Teachers manual also contains descriptions of musical dances and choreographies for specific folklore songs. We made sure to have songs of all the ethnic groups in the region
9

involved in all of the three grades, together with the characteristic examples form the international music heritage (elements of Spanish, Russian, Chinese, Roma, Greek music), and adequate examples of pop music (Michael Jackson: Billy Jean, Queen: We will rock you, Lady Gaga: Just dance...) for which the students usually invent their own choreographies, or they simply move spontaneously to the rhythm of the music (correlation with the subject Physical education). Songs tailor-made for the textbook also contain messages about healthy living styles (Sports, Eat healthy food) and environment (Preserve your planet). Some songs have elements of rap music, with a refrain being sang, which assists with proper and expressive pronunciation of text, development of the feeling for rhythm and group performance. Knowledge check in the third grade is planned in the part called Lets remind ourselves. Students solve tasks in class, given in the form of rebuses (music notions), audio tests (identifying songs that they have learned by listening to their instrumental versions, recognizing the sound of an instrument, recognizing fragments from the already heard music pieces), by solving crossword puzzles or by specifying which of the offered statements are true or untrue. Elements of identity Close relationship between music and identity, whether it is personal identity or feeling of belonging to a specific group, is studied in many ways. Inclination to a specific type of music maps out our identity. The curricula pay special importance to the development of this feeling of national identity through musical folklore, which represents introduction of musical mother tongue into the learning process. In the early school age, there is less pronounced prejudice regarding folk music, which later, in higher grades, represents some sort of anachronism. Ambitus of a number of folk songs corresponded to the requirements of the program - to have a melody ranging within trichord or tetrachord (Durmitor, Oj svijetla majska zoro, Rosa plete ruse kose, Tekla voda na valove). Multicultural elements were introduced through the Albanian folklore (kolo dance, instruments, songs, national costumes), Serbian folklore (Ersko kolo, uta kua), Croatian folklore (folk songs Tri livade, Kruka, apple, plum), then, elements of Muslim and Bosniac folklore from the Kotor Bay region. The textbook for third grade contains a music story, in which the elements of folklore are incorporated into contemporary music, tailormade for the textbook by the composer Nina Perovic (music piece Orao Eagle, with gusle, Konj bjei sa farme Horse escaping the farm , where tapan is used to present the sound of the
10

running horse). In this way, we have combined analytical listening to sic, with the identification of sound of folk instruments in a different context. Our attempt was to have a textbook that will present multicultural character of the Montenegrin society. At this age, it is not possible to speak about a wider, ethno-musicological context. There is a correlation with the Language and Literature and Nature and Society, as subjects covering ethnic creative work/ folklore, thus, the teachers are proposed to use the materials provided on CD in those classes, in order to give students a more comprehensive picture of their cultural heritage. Art as a tool in creating a national, but first of all, cultural identity should present the differences as prerequisites, thus building the feeling of understanding for others among students, as well as their willingness to accept others that are different. Music, more than any other form of art, offers exactly this possibility of engaging in an intercultural dialogue, through a common music experience. What to expect in practice? The main problem in our pedagogical practice, when speaking about the first cycle of primary school, represents the division into less important and more important subjects. Irrespective of the reform process, which was preceded by the Step by step program, and which gave the same importance to all the subjects, the teachers education teachers are still making some sort of gradation when it comes to importance of different subjects. If spontaneous learning and spontaneous game represent the main resource that children have available to gain knowledge and develop skills, why are mathematics and language and literature still considered to be the most important subjects? Bjerkvol says that the idea of key subjects is based on the division that is contrary to the ecological prerequisites of an inspired person for learning, which are to preserve the learning chain in the classroom. Learning without inspiration and enthusiasm cannot be ecological/ environmental. Children find analogue correspondence between the physical, cognitive, verbal, dancing, singing elements, which result in long-lasting knowledge (Bjerkvol, 2005, 165). For that reason, reform represents a long process that does not end with programs/ curricula and textbooks, but with the need of the pedagogues themselves to accept them, apply them and change the ordinary way in which they used to work. This was the aim the authors had in mind when designing the manual, giving teachers numerous ideas for organization of classes, emphasizing though, that these are examples only that should not prevent their
11

creativity, but encourage it instead. Irrespective of the fact that teachers are trained to teach music culture, many of them avoid playing in class. Notographies contain melody lines f the songs, with the basic functions. The question arises whether students of the first cycle actually need a textbook for the subject Music Culture? In his book Metodika glazbene kulture (Methods of music culture), Dr. Pavel Rojko says as follows: One of the important characteristics of the textbook is the possibility for students to use it on their own. That is why it is relatively easy to write a textbook in the fields where knowledge is gained, while it is very difficult or almost impossible, to write textbooks for the fields where skills are developed. As in teaching music we are dealing with gaining skills rather than with gaining knowledge, the ability to use textbooks is very limited. For some fields that are taught, such as music literacy, music creation and listening to music, a textbook that a student could use on his/her own, cannot be written. It is only musicological contents that can be covered in a textbook, but a multimedia textbook, not a regular one. (Rojko, 2012, 120). Sharing this view, we have tried to write a textbook, with an accompanying CD, which will enable communication with a child. This communication is more intensive in the second, and even more so in the third grade. Practice showed that students are quite willing to listen and perform recorded songs on their own, at home. These elements of the draft textbook deepened this communication, especially for first graders. In one version of design of contents and concept, the authors were thinking about use of DVDs, in order to encourage a visual experience, as well, especially when it comes to examples used to introduce new instruments, elements of folklore and fragments from ballet performances, or cartoons using famous music pieces. On the other hand, besides the illustrated textbook and audio material, video material can limit individual experience and understanding of music, and among children of this age group connect music with visual, rather than a listening experience. The approach to teaching music should be such to get children directly involved as participants in the music context. This is the only way for long-lasting learning and gradual development of skills. Incorporation of various disciplines as logical transfers can help with a more dynamic and comprehensive learning process. In such a system, a textbook does not seem necessary, it is only one of the links in the process, which should give teachers a creative impulse, and invite children to play. This is a true challenge for any author.
12

Bibliography 1. Bjerkvol, J. R. (2005), Nadahnuto bie, Beograd: Plato 2. Goran, Lj., Mari, Lj.(1987), Zapjevajmo slono svi, Zagreb: kolska knjiga 3. Hiba, N. (1986), Muzika za najmlae, Beograd: Zavod za udbenike i nastavna sredstva 4. Ivanovi, N. (2008.), Muzika u osnovnoj koli, Podgorica: Zavod za udbenike i nastavna sredstva 5. Martinovi-Bogojevi, J., Papi, M., Durkovi, B. (2010), arolija muzike 1, Podgorica: Zavod za udbenike i nastavna sredstva 6. Martinovi-Bogojevi, J., Papi, M., Durkovi, B. (2011), arolija muzike 2, Podgorica: Zavod za udbenike i nastavna sredstva 7. Martinovi-Bogojevi, J., Papi, M., Durkovi, B. (2012) arolija muzike 3, Podgorica: Zavod za udbenike i nastavna sredstva 8. Pogalj, J. (1975), Metodika glazbenog odgoja u osnovnoj koli, Zagreb: Prosvjetni sabor Hrvatske 9. Reimer, B. (2003). A Philosophy of Music Education: Advancing the Vision. New Jersey: Prentice Hall 10. Rojko, P. (2012), Metodika glazbene nastave. Teorijsko-tematski aspekti, (Drugo izmijenjeno i dopunjeno izdanje- elekroniko), raspoloivo na: http://bib.irb.hr/datoteka/566005.ROJKO_Metodika_nastave_glazbe._Teorijsko_tematski_aspekt i.pdf , [10. 12. 2012) 11. Stojanovi, G. (1996), Nastava muzike kulture od 1. do 4. razreda osnovne kole, Beograd: Zavod za udbenike i nastavna sredstva 12. Stokovi, P. (1988), Nastava muzike kulture od 1. do 4. Razreda osnovne kole, Knjaevac: Izdavaka organizacija Nota, Beograd: Zavod za udbenike i nastavna sredstva 13. Predmetni program, Muzika kultura (2011), Podgorica: Zavod za kolstvo, 159. 14. Economidou Stavrou, N.,Chrisostomoy, S., Socratous, H.(2011), Music Learning in the Early Years: Interdisciplinary Approaches based on Multiple Intelligences, U: Journal for Learning through the Arts, Center for Learning in the Arts, Sciences and Sustainability, UC Irvine, raspoloivo na: http://escholarship.ucop.edu/uc/item/7771k131 , [2.12.2012]

13

14