The numerous factors affecting secondary school students’ musical preferences show how difficult the role of music educators is. Their task is to use competent, creative music teaching to lead students away from an emotional, connotative approach towards a syntactic strategy of listening, to develop analytical musicological processes, and to gradually develop their musical tastes with a highquality aesthetic value system. Research into the relationship between socio-demographic variables and musical preferences among students in year 1 and year 4 of gymnasiums and (...) vocational schools has affirmed differences in knowledge of and preferences in attested musical styles according to sex, type of school, age, and academic performance. The results of this research indicate the need to include music instruction in vocational schools, educational institutions that lack music programmes, as well as the need to increase the breadth of existing music programmes so that young people in their formative years, in addition to building a positive relationship towards artistic music, develop openness and tolerance towards various cultures and subcultural phenomena. (shrink)

With the outbreak of the pandemic, general and music education shifted completely to remote learning as the only possible form. The research looks into didactic approaches using digital technology adopted by active teachers and students in the Slovenian music school in asynchronous distance learning. On a sample of 9 active teachers and 16 students, the research study examined 31 interactive learning materials in order to identify innovative didactic approaches using digital tools which were applied to achieve learning objectives within musical (...) activities of the Music Theory and Solfeggio. Based on qualitative-quantitative approach, the research showed a low presence of didactic approaches using digital tools. Even though the results show a higher level of use of digital technology among students, the research focused much more on the presence of e-learning materials as well as predominantly traditional teaching approaches, similar to the classical type of classroom teaching. Opće i glazbeno obrazovanje u situaciji pandemije u potpunosti je prešlo na model učenja na daljinu. Istraživanjem se željelo ustanoviti koje su didaktičke pristupe primjenjivali učitelji i učenici u slovenskim glazbenim školama tijekom asinkronog učenja na daljinu. Na uzorku od 9 aktivnih učitelja i 16 učenika analiziran je 31 interaktivni nastavni materijal kako bi se odredili inovativni didaktički pristupi u korištenju digitalne tehnologije s ciljem ostvarenja ishoda učenja na nastavi Glazbene teorije i Solfeggia. Primjenom kvalitativnih i kvantitativnih metoda došlo se do rezultata koji ukazuju na nisku zastupljenost didaktičkih pristupa koji koriste digitalne tehnologije. Iako su rezultati pokazali visoku učestalost korištenja digitalne tehnologije među učenicima, istaknuta je i prisutnost materijala za e-učenje te tradicionalnih nastavnih pristupa, poput onih korištenih u klasičnom tipu učioničke nastave. (shrink)

Glazbena djela skladateljica važan su, ali nedovoljno obrađen segment glazbeno-povijesne baštine te u nedovoljnoj mjeri zastupljen element suvremene glazbene kulture. Djeca se s djelima skladateljica u prvom redu upoznaju u okviru osnovnoškolske nastave glazbe. U radu je prikazano istraživanje kojemu je cilj bio utvrditi zastupljenost djela skladateljica namijenjenih za slušanje i pjevanje u udžbenicima za Glazbenu kulturu koji su u uporabi u Hrvatskoj, a posebno djela hrvatskih skladateljica. U istraživanju je analiziran 21 udžbenik triju hrvatskih nakladničkih kuća. Rezultati ukazuju (...) na to da su u udžbenicima najviše zastupljena djela skladatelja, potom tradicijske skladbe, dok su djela skladateljica zastupljena u bitno manjoj mjeri. Autori predlažu revidiranje popisa djela za slušanje i pjevanje u udžbenicima za Glazbenu kulturu kako bi se u njih u većoj mjeri uvrstilo stvaralaštvo domaćih i stranih skladateljica. The female composers’ musical pieces are an important but relatively unknown part of the musical and historical heritage. They are also underrepresented in the contemporary musical culture. Children are introduced to works of female composers mainly through the music curriculum in primary schools. This paper presents the research of the Music education textbooks that are in use in primary schools in Croatia. The main aim of the research was to establish the number of compositions by female music composers in the overall number of compositions listed for listening and singing in textbooks, especially the presence of pieces authored by Croatian female composers. We have analyzed 21 textbooks from three Croatian publishing houses. Results show that compositions by male compositors are most often, and then follow traditional compositions, while the compositions of female composers are significantly less present. We propose the revision of the compositions for listening and singing that are included in the Music education textbooks in a way that would enable greater participation of work by both Croatian and other female composers. (shrink)

Vrednovanje i ocjenjivanje u nastavi Glazbene kulture važna je sastavnica odgojno-obrazovnog procesa koja sa sobom nosi razne poteškoće i subjektivnost. U nastavi Glazbene kulture realiziraju se različite glazbene aktivnosti i sadržaji, koji su više ili manje specifični te se navedeno odražava i na vrednovanje i ocjenjivanje. Navedene aktivnosti i sadržaji u okviru Kurikuluma nastavnog predmeta Glazbena kultura za osnovne škole i Glazbena umjetnost za gimnazije organizirane su u okviru tri domene/nastavna područja: Slušanje i upoznavanje glazbe, Izražavanje glazbom i (...) uz glazbu i Glazba u kontekstu. U radu je prikazano istraživanje provedeno tijekom 2019. godine, a koje je obuhvatilo 269 ispitanika, tj. 30 osnovnoškolskih učitelja Glazbene kulture i 239 učenika osmih razreda. Istraživanje je provedeno u Osječko-baranjskoj i Požeško-slavonskoj županiji te je obuhvatilo učitelje Glazbene kulture i učenike osmih razreda šest osnovnih škola od kojih se četiri nalaze u urbanom, a dvije u ruralnom području. Cilj ovog istraživanja bio je doznati stavove učenika i učitelja o vrednovanju i ocjenjivanju u nastavi Glazbene kulture, utvrditi moguću povezanost sociodemografskih varijabla i mišljenja učitelja i učenika te utvrditi na koji se način provodi ocjenjivanje u nastavi Glazbene kulture. Slušanje glazbe i pjevanje su aktivnosti koje se, prema mišljenju i učitelja i učenika, najčešće vrednuju i ocjenjuju u nastavi Glazbene kulture. Ujedno, učitelji u većoj mjeri smatraju da provode individualno i skupno ocjenjivanje nego li to smatraju učenici. Utvrđeno je da učitelji najčešće ocjenjivanje provode tako što tijekom svakog sata prate učenike, skloni su učenike ocijeniti odmah na satu i najčešće usmeno. Utvrđeno je da su učitelji i učenici mišljenja da učenik ne treba imati razvijene glazbene sposobnosti za ocjenu ‘odličan’ u predmetu Glazbena kultura. S obzirom na povezanost sociodemografskih varijabla i mišljenja ispitanika o vrednovanju i ocjenjivanju, pokazalo se kako su područje na kojemu se nalazi škola i spol značajni prediktori učeničkih stavova, dok se kod učitelja nijedna varijabla nije pokazala prediktorskom. Evaluation and grading in the teaching of Music Culture is an important component of the educational process that carries various difficulties and subjectivity with it. In the course of Music Culture, various music activities and contents are realized, which are more or less specific and also reflect on the evaluation and evaluation. The activities and contents of the Curriculum for the Elementary School Music Culture and High School Musical Arts curricula are organized within three domains/teaching areas: Listening and learning about music, Expressing music and with music, and Music in context. The research was conducted in 2019 and included 269 respondents, i.e. 30 elementary music teachers and 239 eighth grade students. The survey was conducted in Osijek-Baranja and Pozega-Slavonia counties and it included Music teachers and eighth grade students from six primary schools, four of whom are in urban and two in rural areas. The aim of this research was to find out students’ and teachers’ views on evaluation and assessment and to determine the possible correlation of sociodemographic variables and teachers’ and students’ opinions on evaluation and assessment in Music Culture teaching and to determine how the assessment is conducted in Music Culture teaching. Listening to music and singing are activities that, in the opinion of both teachers and students, are most commonly evaluated and graded in teaching Music Culture. At the same time, teachers are more likely to carry out individual and group assessments than students. Teachers usually conduct their assessment by monitoring students every class, they tend to evaluate students during class and most often orally. Teachers and students think that student should not have the developed musical skills to score excellently in Music Culture. Considering the correlation between sociodemographic variables and the respondents’ opinions on evaluation and grading, it was shown that the area in which school is located and gender are significant predictors of students’ attitudes, while in the teachers no variables proved to be predictive. (shrink)

The female composers’ musical pieces are an important but relatively unknown part of the musical and historical heritage. They are also underrepresented in the contemporary musical culture. Children are introduced to works of female composers mainly through the music curriculum in primary schools. This paper presents the research of the Music education textbooks that are in use in primary schools in Croatia. The main aim of the research was to establish the number of compositions by female music composers in the (...) overall number of compositions listed for listening and singing in textbooks, especially the presence of pieces authored by Croatian female composers. We have analyzed 21 textbooks from three Croatian publishing houses. Results show that compositions by male compositors are most often, and then follow traditional compositions, while the compositions of female composers are significantly less present. We propose the revision of the compositions for listening and singing that are included in the Music education textbooks in a way that would enable greater participation of work by both Croatian and other female composers. (shrink)

The socio-cultural dimension of creativity is an essential aspect of theoretical examinations of the phenomenon of musical creativity. Empirical research and practical experience have resulted in the need to reconceptualise and reinterpret the concept of musical creativity in education. The concept of collaborative creativity developed through the socio-cultural context itself. In school practice, collaborative creativity can be achieved among pupils, as well as among teachers who cooperate through integrative teaching, extracurricular activities, and project teaching. This paper will present some ways (...) in which to encourage collaborative musical creativity, with a special view to student experiences and the influence that collaborative creative processes have on their socialisation, motivation, and the practical implementation of acquired knowledge. The action research methodological framework was implemented in a Year 5 elementary school class during the 2017/2018 school year. The goal of the paper is to examine the potential for encouraging collaborative creativity in regular music teaching, as well as to indicate objective difficulties in undertaking this type of creative process in schools. (shrink)

The purpose of music listening in school is to shape students’ world view regarding culture and arts, as well as to contribute to their aesthetic education. Croatian elementary schools use the ‘standard model’, which focuses on the cognitive dimension. In order to increase attention, motivation, listening habits, and acceptance of artistic music, a cognitive-emotional approach is suggested that connects musical and extra-musical content in multiple modalities. The goal of the research is to compare the effects of the cognitive-emotional approach versus (...) the standard approach to music teaching on the cognitive and emotional aspects of music listening. 557 year 5 students from 30 classes participated in the research. They listened to Khachaturian’s Masquerade, Beethoven’s Wellington’s Victory, Rimsky- Korsakov’s Scheherazade, and Fauré’s Pavane, as well as answering questions related to the cognitive and emotional aspects of music listening. Fifteen classrooms used the standard approach, while the other fifteen used the cognitive-emotional approach. Student responses generally did not differ in the cognitive aspect. In the emotional aspect, Scheherazade and Pavane engendered somewhat more intense dominant emotions when the cognitive-emotional approach was used. (shrink)

Numerous studies have confirmed the correlation between music education and child development. In some studies, musical activities based on rhythm have been highlighted as a means of stimulating children’s development in non-music domains. The paper deals with the role of the temporal dimension of music for both the musical and general development of the child. The text presents knowledge about the perception, processing, and performance of music rhythm, pulse, and meter, as well as the course of the rhythmic development of (...) the child. An overview is provided of the impact of rhythm-based music activities on non-music developmental domains together with recommendation for early work on rhythm. We emphasized the need to conduct experimental research to shed light on the role of rhythm in the development of the child and the rhythmic models applicable in child care institutions, including therapeutic and rehabilitation institutions. (shrink)

The paper explored the influence of high school education and age/year of study on students’ intercultural effectiveness and their world music preferences, the relationship between intercultural effectiveness and world music preferences, and the influence of familiarity of music on music preferences. The research was conducted on a sample of students from different faculties of the University of Split and the University of Zagreb, using a questionnaire composed of three parts: The Sociodemographic Questionnaire, The Intercultural Effectiveness Scale and The Music preferences (...) Questionnaire. The results do not confirm the influence of the type of high school education or age/year of study on the level of the students’ intercultural effectiveness, nor on their world music preferences. The existence of a relationship between the level of students’ intercultural effectiveness, world music preferences and between familiarity of music and music preferences has been confirmed. The obtained results have significant implications for music pedagogy, especially in the context of higher education. (shrink)

This paper presents the results of empirical research conducted to examine the opinion of teachers of vocal, instrumental, and theoretical teaching at Croatian and Serbian music schools on distance learning. The survey was conducted during May 2020, at a time when all music schools have completely switched to a distance learning system due to the COVID-19 pandemic. The results showed that teachers, despite numerous problems, especially poor internet connections and poor sound quality obtained by electronic devices, have successfully coped with (...) the realization of distance music teaching. Statistically significant differences were found in teachers’ responses about distance learning regarding the type of classes led by teachers, so teachers who lead instrumental and vocal classes are better at performing distance learning compared to those who lead theoretical classes. Despite the belief of teachers that the transfer of complete knowledge is impossible through technology, most of them are open to the possibility of meaningful application of ICT. Therefore, the issue of professional development and continuous support to teachers by the competent institutions of Croatia and Serbia is intensifying. (shrink)