var textForPages = ["MUSIC EDUCATION                   IN THE LIGHT OF RESEARCH                   (GLWHG E\\ 0DUHN 6HGOiĆHN                                                 Brno 2018","","Masaryk University                                              Faculty of Education                                 Music Education in the Light of Research                                               Edited by Marek Sedláček                                                                                     Brno 2018","SBORNÍK PRACÍ PEDAGOGICKÉ FAKULTY                                           MASARYKOVY UNIVERZITY č. 273                                          ŘADA HUDEBNĚ VÝCHOVNÁ č. 29                         (Proceedings of the Faculty of Education, Masaryk University no. 273, Series Music Educational no. 29)                            Published under the financial support of the Masaryk University project                                                     MUNI/A/1068/2017                               Reviews:      Prof. PhDr. Jindřiška Bártová                              Prof. Michal Košut, Ph.D.                                 © 2018 Masarykova univerzita                  ISBN 978-80-210-9214-3                https://doi.org/10.5817/CZ.MUNI.P210-9214-2018","Content                    Introduction ................................................................................................................................. 4                 List of authors .............................................................................................................................. 5                Inverted Classroom – Use of Learning Videos in Music Studies ....................................................... 6                     Georg Brunner                Music School of the Brno Music Association (Brünner Musikverein):                Conservatory or Academy? ......................................................................................................... 25                     Lenka Kučerová                University Students in the Czech Republic and Their Relationship                to the Contemporary Art Music .................................................................................................. 33                     Marek Sedláček                The Czech Pupils and their Musical Preferences in Comparison                with some possibilities of Education in Elementary Art Schools                in the Czech Educational System ................................................................................................. 40                     Renata Horáková                Musical Activities in Flow ........................................................................................................... 45                     Nikolaj Nikitin                Didactic Materials Used in Teaching Music at Elementary Art Schools                in the Czech Republic according to Research at Department of Music                at Faculty of Education of Masaryk University in 2018 ................................................................. 51                     Zdislava Voborná Záleská                 Hanns Eisler: Variations on American Children’s Songs ................................................................ 60                    Bence Asztalos                 Multimedia and Music Software in Music Theory Classes in Elementary Art Schools                in the Czech Republic – Research Outcomes of the Department of Music                at the Masaryk University’s Faculty of Education in 2018 ............................................................. 63                     Ondřej Musil                 Folk Song in Czech Schools: A Challenge for Music Education and Ethnomusicology ..................... 73                    Judita Kučerová                 Representation of Musical Activities in the Teaching of Music Theory                at Czech Elementary Art schools – Particular findings of the Exploratory Survey                of the Department of Music at the Faculty of Education, Masaryk University in Brno 2018 ........... 85                     Hana Havelková                                                                 3","Introduction                           The  proceedings  contain  full-text  papers  presented  in  the  sub-section  of  the                   th                29  international  music  teacher  conference  MUSICA  VIVA  IN  SCHOLA  organized  by                the Department of Music, the Faculty of Education, Masaryk University in Brno (the Czech                                    st                Republic) on 30–31  October 2018.                        The conference with the topic \"Music education in the Light of Research\" preferred                 the original scholarly papers that could be thematically divided into two parts:                        A)  Digitalization or new media in general music education                            There  were  presented  the  results  of  musical  empirical  sociological  research                           conducted in recent  years and the papers that are closely related to the entry of                            modern technologies into the process of teaching/learning the music in education.                        B)  Current issues in music education                           The papers in this section were more broadly focused to reflect new circumstances                            (especially  musically  sociological  nature)  affecting  music  education  in  recent                           years.  Other  contributions  have  also  been  given  to  the  issue  of  new  methods,                            concepts and standards of music education.                        The  proceedings  present  besides  the  historical  studies  (Kučerová  L.,  Asztalos)  and                 ethnomusicological studies (Kučerová J.) especially the research empirical studies about the                music preferences of the children and youth (Sedláček) and the teaching/learning issues at the                 elementary  art  schools  (Horáková,  Voborná  Záleská,  Musil,  Havelková)  in  the  Czech                Republic. Other studies are focused on the new conceptions and didactical issues in music                 education from the research (Brunner) and philosophical point of view (Nikitin).                               th                Brno, 10  December 2018                                                                                           Marek Sedláček                                                                      4","List of authors                                                     /in alphabetical order/                    Dr. Bence ASZTALOS                Prof. Dr. Georg BRUNNER                 MgA. Mgr. Hana HAVELKOVÁ                PhDr. Renata HORÁKOVÁ                 Doc. PhDr. Judita KUČEROVÁ, Ph.D.                Mgr. et Mgr. BcA. Bc. Lenka KUČEROVÁ, DiS., Ph.D. et Ph.D.                 Mgr. Ondřej MUSIL                 Mgr. art. Nikolaj NIKITIN                Doc. PhDr. Marek SEDLÁČEK, Ph.D.                 Mgr. Zdislava Voborná ZÁLESKÁ                                                                                                                5","Inverted Classroom – Use of Learning Videos in Music Studies                                                       Georg Brunner                                 (University of Education, Music Institute, Freiburg, Germany)                 Abstract: This article discusses the Inverted Classroom Model (ICM) as a concept (use of                learning  videos)  for  university  teaching  and  presents  the  results  of  an  evaluation  and                effectiveness  study  conducted  in  the  summer  semester  2018  at  the  Institute  of  Music  of                the University of Education Freiburg within the field of musicology. After a brief introduction                to the concept of ICM, the focus of the article will be on the intervention and research design.                Using qualitative and quantitative research methods, it will be explored what effects ICM has                on  attendance  during  scheduled  class  time,  how  students  respond  to  the  videos,  how  they                evaluate  the  concept  and  especially  the  classroom  sessions,  and  what  effects  on  students’                learning success can be attributed to ICM. Furthermore, the article will provide an outlook on                further possible uses of ICM for Music Studies.                 Key  words:  Inverted/flipped  classroom  model,  music  studies,  learning  videos,  University                Teaching, evaluation and effectiveness study, student-centered teaching                  Inverted Classroom Model                         Since the Bologna Process was initiated in 1999, university course work and learning                achievements have been measured based on the European Credit Transfer  System (ECTS).                 One ECTS point corresponds to a workload of 30 working hours, which in turn are divided                into  class  time  and  self-study  phases.  A  two-hour  university  course  with  a workload  of                 3 ECTS points, for example, consists of 30 hours in class and 60 hours of self-study, based on                 a total  of  15  classroom  sessions  per  term,  (cf.  http://ec.europa.eu/education/ects/users-                guide/docs/ects-users-guide_en.pdf 21 July 2018 ). However, there is no further specification                 of the type(s) of activities associated with each phase. In traditional lectures, the acquisition of                knowledge usually takes place in class – as opposed to the Inverted Classroom Model:                         \"An inverted (or flipped) classroom [the terms are by and large used synonymously] is                 a specific type of blended learning design that uses technology to move lectures outside the                classroom and uses learning activities to move practice with concepts inside the classroom.\"                 (Strayer,  2012,  p.  171;  see  also  Fischer  \&  Spannagel,  2012;  Warter-Perez  \&  Dong,  2012;                Bishop  \&  al.,  2013;  Bates  \&  al.,  2017;  Handke  \&  Sperl  2012;  Handke,  2017).                 The independent  acquisition  of  (in-depth)  knowledge  takes  places  prior  to  the  classroom                session. Teachers provide students with materials (primarily videos, but also texts, structuring                 tasks,  presentation  slides,  etc.)  and  organise  opportunities  for  feedback  (e.g.  via  an  online                 tool). Class time is then used to further engage with the course materials in communicative,                                                              6","collaborative and cooperative activities (e.g. clarification of questions, exercises, discussion,                 application  of  materials,  further  planning,  etc.).  \"The  presence  of  an  instructor  to  guide,                accompany,  support,  comment  on  and  correct  student  discussions  and  work  processes  in                a competent manner is very important during this phase\" (Fischer \& Spannagel, 2012, p. 227).                 That  specific  tasks  are  assigned  before  the  actual  course  session,  e.g.  in  the  form  of                 homework, such as reading texts, is not a new concept. ICM is an approach that is both old                and at the same time new, by taking into account new technical developments – basically \"old                 wine in new bottles\" (Spannagel, 2017). However, one new aspect is that multimedia formats                (such  as  learning  videos)  are  now  the  primary  source  for  presenting  and  acquiring  new                 knowledge.                         The concept was developed by two teachers in Colorado, US. Their objective was to                bring students who had missed classes to the same level as the other students by providing                 them with videos of PowerPoint presentations used in class (Bates \& al., 2017).                        Existing  research  on  ICM  is  primarily  based  on  examples  from  subjects  such  as                 mathematics and physics (Fischer \& Spannagel, 2012; Weidlich \& Spannagel, 2014; Strayer,                 2012;  Bishop  \&  al.,  2013;  Brandenburger  \&  Mikelskis-Seifert  i.  Print).  However,  there  is                little or no research on this subject in the field of music, although teaching in the fields of                 musicology and in music teacher training faces challenges similar to those in sciences or other                subjects, where the focus is usually on imparting (specialised) knowledge. In addition, there                 are  subject-specific  task  areas,  such  as  the  practice  of  music  teaching  and  music  theory                (Grant, 2013; Duker \& al., 2015; Bowman, 2014).                      Various  examples  of  the  use  of  videos  are  described  in  the  research  literature                 (van Treeck, 2016):                      –  Explainer video: explains the basics of a new topic.                    –  Recordings  on  tablets  /  drawings  /  notes  on  classroom  boards:  uses  the  process                        character of videos.                    –  Impulse video: generates cognitive dissonance, contains a call to action.                     –  Video showing everyday situations: activates underlying understanding.                    –  Case description: shows a complex problem situation.                     –  Video  recorded  task-solving  in  class:  shows  the  current  level  of  knowledge  of                       students.                                                                  7","The research literature discusses various conditions for the success of ICM based courses                 (Engel  \&  al.,  2017,  p.136,  137;  Spannagel  2017  Handke,  2017,  p.12f).  The  motivation  of                students plays a key role. In addition to explaining and substantiating the concept (kick-off                 meeting), students must be made well aware of the need for thorough preparation before each                class  session  in  order  to  fully  benefit  from  this  type  of  course.  Course  time  must  be                 consistently designed in such a way that students are expected to come to class prepared. At                the same time, it should be emphasized that the classroom sessions are not compulsory and                                            1                rather an offer for students.  Furthermore, the process should be transparent and offer flexible                options to react to changing needs and requirements of students. Motivation can be further                enhanced  by  asking  questions  in  advance,  which  will  then  be  discussed  in  class.                 The e-learning  phases  should  be  structured  as  simply  as  possible,  for  example  through                a platform for a complex arsenal of quality-assured digital teaching materials (e.g. alongside                 videos,  in-depth  questions,  ppt  slides,  additional  reading).  Accompanying  (test)  questions                must be clear, transparent and, if necessary, scheduled; the purpose of preparation before class                 and the follow-up after class must be self-explanatory and students must be given feedback.                 Exams should be provided with clear and transparent criteria right from the start.                    Evaluation Study                  Presentation of the Intervention                         During  the  summer  semester  of  2018,  a course  which  had  previously  been  held  as                 a traditional  lecture  within  Module  1  of  the  Teacher  Training  Courses  (Examination                Regulations 2015) (“Epochs of Music History – Popular Music”; 14 sessions of 90 minutes                 each)  at  the  Freiburg  University  of  Education,  was  taught  according  to  ICM  principles.                Approximately 14 students attended the course regularly, which equals an attendance rate of                 40–50%, based on the number of students present in the first class (34 students). (diagram 1).                 The basis for the videos (a total of 102 videos, 83 of which were compulsory for students)                were PowerPoint presentations of the \"regular\" lecture on the above topic. The presentations                 were divided into sections according to topics (8–H15 minutes each). The videos were then                animated and complemented with  audio.  They also  included a number of music and audio                 examples,  as  well  as  short  video  clips.  The  videos  were  available  for  download  on                  1   Only  20%  of  all  courses  in  the  teaching  degree  programme  have  compulsory  attendance  requirements.                Attendance in the courses discussed in this paper is not compulsory                                                             8","the university's  intranet  (ILIAS).  The  course  concept  was  largely  based  on  the  criteria                 proposed by Engel \& al. and Handke (2017) as well as Spannagel (2012), as presented above.                According to the criteria, each video included review and guiding questions. In addition, four                 online tests in the form of self-assessment tests were integrated into the video series (after                sessions 6, 8, 10, 12). The tests could be repeated indefinitely and students received feedback                 on the percentages achieved. In addition, students were able to view the correct answers. The                final exam of the course was primarily based on these test questions (see below).                         Before the classroom sessions started (a total of 13 sessions)  – and also in the first                 session – students received basic information about the ICM model via an introductory video.                In addition, students were provided information on the number of videos to be watched in                 preparation  for  each  class  (assignment  of  5–8  videos  per  teaching  unit,  with  each  video                 approximately  8–15  minutes  in  length).  As  well,  the  information  included  details  on  the                advantages of the concept (opportunity for students to study at their own pace, possibility to                 repeat, pause and rewind the videos etc.). Students were also  given advice on how to best                work with the videos (take notes after each video: What are the most important key terms?                 What questions can I ask that help me understand the video? Where do I still struggle? What                 should  be  discussed  in  further  detail?),  and  what  to  expect  in  class  (bring  notes  to  class,                collect  and  answer  comprehension  questions,  develop  more  in-depth  understanding  of  the                 subject  by  working  on  a variety  of  tasks,  further  reading,  and  examples,  etc.).  A  brief                overview  of  the  course  topics  concluded  the  introduction  (the  course  is  based  on  a broad                 definition  of  popular  music;  terminology,  manifestations  of  the  genre  in  the  19th  century,                jazz,” Schlager” [German pop hits], musical, pop/rock music from the mid-1950s until today).                         The classroom sessions usually began with a \"chatting phase\", during which students                 could  exchange  notes  with  their  partners  and  ask  questions.  This  included  questions  that                 students could share prior to class in an online forum on ILIAS. However, it turned out that                students had rather few concrete questions beforehand. Most questions were raised during the                 in-class sessions.                         The classroom sessions were not meant to duplicate the videos (Fischer \& Spannagel,                2012). The objective, however, was on the one hand to work with the contents of the videos                 and on the other hand to deepen the newly acquired knowledge through cooperative learning                (Nikodemus, 2017), which is usually not part of regular lectures. A range of methods was                 used to review new course materials, for example, tasks requiring students to match listening                                                               9","examples with specific music styles (and state reasons for their choice), partner discussions,                 inside-outside-circles, or \"lucky pot\" (students draw terms which, for example, they discuss in                small groups). In order to develop a deeper understanding of the course materials, students                 formed expert rounds in which they further expanded on specific topics. Tasks of these rounds                included, for example, the development of a piece of music (songs, rhythmic turnarounds) or                 a dance,  the  development  of  a short  arrangement  (with  the  help  of  a music-writing                programme),  the  creation  of  an  audio  score,  applying  knowledge  on  other  examples  by                 working on secondary texts (e.g. analyses of pieces) or internet research, discussing questions,                 etc.  The  results  were  then  presented  in  the  form  of  posters,  mind  maps,  PowerPoint                presentations, simulated panel discussions, or presentation of the music pieces. In the course                 of  the  sessions,  students  were  given  more  and  more  freedom  to  select  which  forms  of                presentation they wanted to use.                   Objective and questions of the evaluation and effectiveness study                      The evaluation and effectiveness study focused on the following questions:                      1.  How does ICM affect course attendance (also in comparison to regular lectures)?                     2.  How do students respond to the videos and how do they evaluate the concept?                    3.  How do students rate the in-class sessions (also in comparison to regular lectures)?                     4.  What impact does attending an ICM course have on students’ learning success in the                       module exam compared to attending a regular lecture?                     Samples, Survey Instruments and Research Design                         To  answer  the  above  questions,  the  research  design  included  qualitative  (open                questions in questionnaires) and quantitative elements (standardised course evaluation with                 additional items), as well as the evaluation of further sources of information (attendance lists,                results  of  module  exams,  online  test).  An  online  student  survey  was  carried  out  using                 a standard  questionnaire  for  course  evaluation  of  the  Freiburg  University  of  Education                (https://www.ph-freiburg.de/evaport/lehrveranstaltungsevaluation.html).  Additional  items                (quantitative)  based  on  the  evaluation  project  on  ICM  by  Fischer  and  Spannagel  (2012,                 p. 232)  were  added  on  the  survey.  In  addition  to  these  closed  questions,  the  questionnaire                contained  open  questions  (qualitative)  (What  did  you  like  most  about  this  course  so  far?                 What did  you  not  like?  What  should  be  changed?).  The  results  were  compared  with  an                                                             10","evaluation (standard evaluation) of a similar lecture (Epochs of Music History: Baroque and                Classical Music) from the 2017 summer semester. A short evaluation (paper-pencil-test) was                 conducted  in  the  third  last  class  to  provide  information  on  certain  aspects  of  the  in-class                sessions  (working  with  texts,  group  work  phases,  presentation,  handling  tests).  Further                sources of information included the evaluation of attendance lists and the results of module                 exams (including those of previous lectures), the download figures of the videos and the usage                data of the online tests.                         Fourteen persons, who attended the in-class sessions quite regularly (see table 1), took                 part in the online survey. 34 persons were present in the first session of the course. As can be                seen in diagram 1, the attendance levelled off to 40–50% midway through the semester, which                corresponds  to  approximately the number of participants  in  the survey.  It  can therefore be                 assumed  that  this  was  almost  a complete  survey  of  those  students  who  had  participated                regularly.                   Results                 Question 1: How does ICM affect course attendance (also in comparison to regular lectures)?                  Attendance lists of this and previous courses were compared to answer this question.                                Attendance history Summer Semesters 2016–2018                                          Epochs of Music History                       120%                        100%                        80%                     Attendance   60%                                              SoSe2016                          40%                                                         SoSe2017                                                                                   SoSe2018                        20%                         0%                             1   2  3   4   5  6   7   8  9   10  11  12  13                                                 Session                  Diagram 1 – Epochs of Music History: Attendance rates 2016–18 in comparison                                                                11","As  expected,  attendance  was  high  at  the  beginning  of  the  course.  During  the  2018                 summer semester (= ICM), however, attendance rates decreased less rapidly up until session                4, but more evenly than in 2016 and 2017. A clear drop occurred in session 7, which took                 place after the Pentecost break. Afterwards, numbers settled in at approximately 14 students,                which equals an attendance rate of about 40-50% of the number of students present in the first                 session (34 students) (in previous years, however, due to public holidays, the course ran for                only 11 sessions). The number of course participants in 2018 was below the level of the two                 previous  years  (2018:  61%,  2017:  68%,  2016:  70%).  The  number  of  those  who  attended                 90–100% of the courses was similar over the three semesters examined (2018: 32%, 2017:                35.4%, 2016: 30.64%).                         These findings are consistent with the download data of the videos. At the beginning                 of  the  course,  the  number  of  downloads  was  relatively  high.  As  the  course  progressed,                the number decreased in correlation to in-class attendance rates.                                           Mean values “read by”                    30                    25                    20                    15                    10                     5                     0                           Diagram 2 – Video downloads on the intranet platform                                                                         12","Question 2: How do students respond to the videos and how do they evaluate the concept?                         The  majority  of  respondents  (71.43%  “fully  applies”,  “largely  applies”)  rated                the concept as very useful. 70.81% said (“fully applies”, “largely applies”) that learning with                 lecture videos is easier than learning in traditional lectures. Although the majority of students                was only in their first two semesters and had hardly had any comparable lectures in music, as                 student  teachers,  they  had  experienced  lectures  from  other  subjects  as  well  as  educational                 sciences  and  were  therefore  able  to  draw  comparisons  (moreover,  some  students  were  in                higher semesters). This is also consistent with the feeling that students expressed with regards                 to preparations for the classroom sessions. 71.43% felt well prepared for the classes (“fully                applies”, “largely applies”). For more than half of the respondents (57.14% “fully applies”,                 “largely applies”) the tasks in class represented a useful consolidation of the course contents.                 For  7.14%,  this  “does  rather  not  apply”;  35.71%  say  this  \"applies  partly\".  Almost  three-                quarters of respondents (71.43% “fully applies”, “largely applies”) found the discussions in                 class to be productive.                      The question on the use of the videos returned particularly interesting results. Exactly half                of the respondents  (50%;  “fully applies”,  “largely  applies”) planned  enough time to  watch                 the videos in advance. However, a little more than a third only partially managed to allow for                sufficient time, which is confirmed by random checks of the download data before the last                 three sessions. Approximately 25% of students accessed the videos on ILIAS three days after                their activation, four days later it was approximately half of the students etc. Videos were still                 downloaded on the day of the session. Students developed their own work strategies. When                 asked \"If I don't have enough time to watch the video, I choose according to the following                criteria\", the following answers were given (total of 9 answers):                     –  According to interest. (2)                     –  The subgenre I find most interesting.                    –  I watch the videos in the given sequence. In case I don’t have enough time, the last                        videos are always the ones that are left to watch.                    –  I watch as many videos as I can in the given sequence. (2)                     –  I and other course participants split the course contents among us.                    –  I don’t pay attention to the audio, I only summarise the slides.                        I usually fast-forward the audio samples that take longer to listen to.                                                                 13","This  means  that,  on  the  one  hand,  students  mostly  followed  the  given  sequence  of                 videos, although they did not always manage to watch them all, or they selected videos based                on their interest. On the other hand, students developed individual coping strategies in order                 to  save  time  (e.g.  splitting  of  content  between  class  mates,  summarising  slides  only,  fast-                forwarding).                 On the other hand, the videos were stopped (a total of 11 replies) in order to:                    –  ... be able to take notes (4) and review the contents.                     –  Take notes (4), rewind if I missed anything, if the pace is too fast.                     –  Review excerpts containing lots of information.                    –  I don't (stop videos).                     –  Google artists.                         Summing up, students often stopped videos when too much information was presented                and they could not keep up with taking notes. One person indicated they did further research                 on their own, another person did not use this strategy at all (there were also some students                 who did not take notes at all and therefore did not have to stop videos; see below).                         It  is  interesting to  note that the videos were almost exclusively used to prepare for                 the lecture, less so as a follow-up (85.72% “does rather not apply”, “does not apply at all”).                Only  7.14%  used  the  videos  to  gain  a more  in-depth  understanding  of  the  topic.  Another                 85.72% (“does rather not apply”, “does not apply at all”) usually took notes after watching the                videos, while 14.28% only viewed the videos without taking notes. More than half (57.14%;                 “fully applies”, “largely applies”) watched the videos in a concentrated manner and without                interruptions.  For  7.14%,  this  did  rather  not  apply;  35.71%  rate  this  statement  as  “applies                 partly”. Students almost always viewed the videos alone (there was an additional item asking                 whether respondents watched the videos alone or in small groups; 14.29% of ratings were                invalid; 85.71% viewed the videos alone).                         Comprehension problems appeared to occur only to a limited extent, which is evident                 –  apart  from  the  survey  results  (see  below)  –  by  the  fact  that,  for  example,  hardly  any                questions were asked in the introductory part routinely scheduled at the beginning of each                 classroom session. An online forum set up in ILIAS was also barely used over the course of                 the semester until the week before the exam when students posted some questions.                                                                14","Question               Fully     Largely   Partly     Does      Does not   Mean       Standard                                       applies   applies   applies    rather not   apply at   Value   deviation                                                                      apply     all                I find the seminar concept                „flipped classroom“ to be   28.57%   42.86%   21.43%     7.14%     0.00%        3.93        0.92                useful.                The exercises and tasks in                the classroom sessions help                me gain a deeper         35.71%    21.43%    35.71%      7.14%     0.00%        3.86        1.03                understanding of the course                contents.                 I find learning with the                lecture videos easier than   35.71%   35.71%   14.29%   14.29%     0.00%        3.93        1.07                learning in traditional                lectures.                 Discussions in the                classroom sessions are   21.43%    50.00%    21.43%      7.14%     0.00%        3.86        0.86                productive.                 After watching the videos, I                feel well prepared for the   50.00%   21,43%   21,43%    7,14%     0,00%        4,14        1,03                lecture.                 I plan enough time for                watching the videos      21.43%    28.57%    35.71%     14.29%     0.00%        3.57        1.02                between lectures.                 I re-watch the videos after                the lecture, for example, to   7.14%   0.00%   7.14%    14.29%    71.43%        1.57        1.16                do the exercises.                If I have problems                understanding the video   7.14%    42.86%    28.57%     14.29%     7.14%        3.29        1.07                content, I will ask specific                questions in class.                While watching the videos                I take notes to prepare for   64.29%   21.43%   0.00%    0.00%    14.29%        4.21        1.42                the lecture.                I usually watch the videos                in a focused manner, i.e.   21.43%   35.71%   35.71%     7.14%     0.00%        3.71        0.91                without interruptions.                 I have attended all sessions   35.71%   35.71%   21.43%   7.14%   0.00%        4.00        0.96                regularly so far.                   Table 1 – Evaluation of additional items (N = 14)                           The open comments section of the standardised course evaluation provided additional                 valuable  insights.  A  summary  analysis  of  the  content  (based  on  Mayring  2015)  revealed                the following aspects.                                                                    15","In general, students rated the topic \"Popular Music\" itself and the clear structuring of                 a major period of music history through videos, as well as the audio examples included in                them, as positive (\"What did you like about the course so far?\"). Students felt it served as                 a good access into the subject matter. Positive emphasis was also placed on the combination                of information available in advance (videos) and the seminar-like consolidation of knowledge                 in the classroom meetings. In addition, students highlighted the independent learning aspect                as an important element of the course concept: \"To be able to determine the pace of learning                 and to decide for oneself which content I would like to listen to/view, and which content I                 would rather skip\". Especially the fact that the videos were the basis for the in-class sessions                motivated students (extrinsically) to watch the videos in advance.                         The suggestions for improvement (\"What did you not like? What should be changed                 about this course?\") provided particularly useful insights. Several times students criticized the                major  time  investment  spent  on  course  preparation  (this  was  already  an  early  result  of                 a \"flashlight\" evaluation after approximately one third of the classroom sessions). Above all,                the length and number of videos as well as the time and work invested in taking notes was                 seen  as  problematic.  One  suggestion  was  to  integrate  videos  or  lecture  phases  into  the                 classroom session, or having to work through a small number of videos (3–4) in advance as an                introduction to the topic, which would then be further worked on in class. Furthermore, one                 person  expressed  the  wish  that  the  lecturer  should  provide  a summary  of  the  contents  at                the beginning of class. Another student suggested having further in-depth discussions – also                 of the video content – instead of a general overview in class.                     Question  3:  How  do  students  rate  the  in-class  sessions  (also  in  comparison  to  regular                              lectures)?                         The course evaluation results of the ICM course compared to those of the lecture from                 2017 showed no significant differences in the overall rating (both 3.86) as well as for some                other items. However, there were considerable differences in the following items relevant to                 our study (1 = “does not apply at all”; 5 = “Fully applies”):                                                                      16","Number    Items                                                     Summer       Summer                                                                                    semester     semester                                                                                    2018         2017                                                                                     (n = 14)     (n = 14)                                                                                     Popular      Baroque –                                                                                    Music        Classical                                                                                                 Period                  1         Seminar methods and class arrangements (e.g. individual          4.21        3.79                          work, partner work, group work / work in plenary sessions)                          are used appropriately with regards to the course format.                  2         The lecturer responds appropriately to students' questions.      3.79        4.71                  3         The time structure of the individual sessions is appropriate to   3.50       3.00                          the content and objectives of the meetings.                 4         I have actively participated in the classroom sessions so far.    4.21       2.93                  5         I have learned a great deal in this course so far.               4.36        3.43                 6         I would be able to explain the essential contents of this course   3.86      3.50                          to other people.                  Table 2 – Comparison of the 2017 and 2018 course evaluation items                         The more positive evaluations of item 1 and 4 are certainly owed to the ICM concept.                In a traditional lecture, these aspects are usually given much less space. Obviously, students                 also responded to the time structure of the classroom sessions more positively. Furthermore,                 students rated their learning gains (item 5) higher by almost one point and felt slightly more                confident to explain course content to others. Why item 2 turned out to be significantly more                 negative in the case of the ICM course is currently difficult to interpret. As mentioned above,                 hardly  any  questions  were  asked.  Traditional  lecture  settings,  on  the  other  hand,  generally                allow only little space for questions.                         The open questions of the course evaluation questionnaire (see above) provide further                information.  Students  found  the  provided  opportunities  for  active  participation  in                 the classroom  sessions,  e.g.  the  discussion  of  follow-up  questions  on  previously  assigned                 videos, practical exercises such as dancing, singing, internet research assignments, creating                posters, cooperative learning, and the compulsory presentation of the results, very positive.                 However, cooperative work phases also gave rise to criticism. Some students found them to                                                              17","be stressful (too stereotypical, irrelevant tasks such as dancing). Instead, more time should be                 set aside for the presentations.                        Some  conversations  with  students  led  to  the  collection  of  further  data  on  some                 additional  aspects.  A  short  evaluation  took  place  in  the  third  last  in-class  session                (4 July 2018), which focused on the  ILIAS test  (see below), working in groups  and  group                 presentations.                  Question                                                                  Mean value – scale                                                                                          (1 = little, 6 = very)                 How helpful was the discussion of texts for the understanding of PM?                   3,00                 How helpful was the presentation for the understanding of PM? (your group)             3,78                 How helpful was the presentation for the understanding of PM? (other group)            2,92                 How effective was working in the group?                                                3,07                  Table 3 – Results of short course evaluation (4 July 2018)                         Students found the presentation of results in one's own group to be most helpful, while                all other aspects were rated around a mean value of 3.                     Question 4: What impact does attending an ICM course have on students’ learning success in                              the module exam compared to attending a regular lecture?                         As mentioned above, an online assessment was set up for the course during the 2018                summer semester. This gave students the opportunity for further practice, as the test could be                 repeated  indefinitely  and  feedback  (correct  solutions  can  be  viewed;  display  of  achieved                percentages) was integrated.                         The question whether ICM (in combination with the test) can help increase learning                 success compared to previous module exams, is of particular interest. It must be noted that                a comparison  is  only  possible  to  a limited  extent,  as  some  changes  occurred  during                 the evaluation  period.  The  course  discussed  in  this  paper  (Epochs  of  Music  History  with                 changing contents: Baroque/Classical, Romantic/Modern, Popular Music) has been part of the                written  exam  of  Module  1  since  the  summer  semester  2016.  During  this  period,  different                 instructors  were  responsible  for  the  course,  which  resulted  in  the  exam  questions  to  vary                accordingly.  In addition,  the  exam  in  the  summer  semester  of  2018  was  largely  based  on                                                             18","modified questions from tests already taken throughout the course (although the exam also                 included open questions). Best comparable are the results of the courses held by the same                lecturer (grey shaded). This shows clear improvements:                  Exam results (maximum number of points in the exam: 15):                  Semester      Summer 16       Winter 16/17     Summer 17      Winter 17/18    Summer 18                 Mean value    10.82           12 (substitute   9.72           8.00            11.72                of points                     instructor)                achieved                  Table 4 – Comparison of module exam parts of “Epochs of Music History”                          The online test offers the possibility to retrieve numbers of page visits and the time                spent  working  on  the  test.  Assuming  a correlation  between  the  length  of  the  visit  and                 the achieved grade, one may conclude that intensive work on the test usually helped improve                 the  mark.  However,  it  must  be  added  that  up  to  the  course  session  in  which  the  short                evaluation took place (04 July 2018), the tests had been accessed on average only 0.75 times.                 In other words, most students only used the tests for exam preparation.                                         Exam mark depending on the                                       total time spent on all tests                       16                      14                      12                     Exam mark   10                       8                        6                       4                       2                       0                         0      100      200     300      400     500      600     700                                         Time spent working on tests [min]                 Diagram 3 – Exam mark depending on total time spent on all tests                                                                      19","Discussion                         As far as student motivation to attend the classroom sessions is concerned, the number                of students at the beginning of the flipped classroom course decreases less rapidly compared                 to  traditional  lectures,  but  then  levels  off  at  a slightly  lower  level  compared  to  student                numbers  for  traditional  lectures.  The  in-class  sessions  are  therefore  regarded  as  a useful                 addition  to  the  videos.  This  result  is  by  and  large  consistent  with  experiences  from                 comparable mathematics courses taught with the ICM model at the Heidelberg University of                Education (information from C. Spannagel 29 June 2018). The student group at the Freiburg                 University of Education was comprised of 11 students who had to take module examination                1 immediately  after  the  end  of  the  semester;  a number  of  students  who  will  be  taking  the                 module exam in the following semester, as well as some students from higher semesters who                 study under previous examination regulations and attended the course as part of a module-                based  portfolio  they  are  required  to  complete  without  needing  to  take  the  course  exam                 (6 students). Although all students who attended the first course session were registered on                ILIAS  and  received  information  about  the  course  and  download  options  via  email,                 presumably only those used the online platform who attended the course sessions regularly. It                 remains to be seen to what extent students will make further use of the provided materials.                The course is offered only once in a two-semester module. It is therefore to be expected that                 the number of downloads will rise again before the next exam date.                        As  in  comparable  studies,  students  overall  rate  the  concept  very  positively  (Lage,                 Platt, Treglia, 2000; Schullery \& al., 2011). More than half of them plan sufficient time for                 watching  the  videos  between  the  course  dates.  With  regard  to  time  management  in  the                preparation for viewing the videos, the timing of the video downloads suggests that, at least                 towards the end of the semester, students do not succeed to distribute self-study time between                 course sessions evenly. In purely mathematical terms, approximately 90 minutes should be                spent on preparation. Distributed evenly over seven days, this would mean a daily effort of                 approx.  13  minutes.  The  later  the  materials  are  downloaded,  the  more  compressed  the                available  time  slot  becomes.  However,  students  developed  appropriate  self-regulating                 strategies  to  cope  with  time-management,  which  should  certainly  be  reflected  upon  again                together  with  students.  A  large  majority  of  students  compile  their  own  notes  in  advance                 (despite being provided with ppt slides). The possibility to determine one's own learning pace                 is also perceived as positive.                                                               20","The  classroom  sessions  seem  to  be  a mostly  useful  addition  that  provides  an                 opportunity  to  deepen  the  understanding  of  course  materials.  However,  a possible                improvement could  consist  of reducing the number of videos in  the preparation phase and                 enriching  part  of  the  class  with  selected  input  phases  of  the  lecturer.  Another  Alternative                could be a mixture of ICM and traditional lecture, as was the case at the physics department                 of the University of Education Freiburg (Brandenburger \& Mikelskis-Seifert, 2018). It also                seems to be useful to link test questions to the learning videos in order for students to receive                 immediate  feedback  (Spannagel  2017).  With  regard  to  readings,  further  thought  could  be                 given to the use of adapted primary literature, i.e. research articles edited and simplified from                a didactic  point  of  view  \"for  learners  with  comparatively  low  research  and  content                 knowledge\". (Nückles \& al., 2015, p. 95).                       The combination of video preparation and in-depth study in the classroom sessions,                 most  probably  along  with  the  tests,  helped  students  achieve  a higher  level  of  activation,                a higher  self-assessment  of  their  learning  gains  and  of  their  explanatory  competence,                 compared  to  traditional  lectures.  In  particular,  many  perceived  the  integration  of  various                 music-related activities (making music, creating arrangements, singing, dancing, music and                video analysis) as a special enrichment compared to traditional lectures.                         It can be noted – although certainly not empirically sufficiently valid – that ICM in                 combination with practice through test questions (including feedback) tends to lead to better                learning success (Helmke, 2015, pp. 204–208; Roediger \& Karpicke, 2006; Hattie Ranking,                 https://visible-learning.org/hattie-ranking-influences-effect-sizes-learning-achievement/                18 September 2018). However, this would have to be further investigated in additional and                 better controlled studies.                     Outlook                         In  this  study,  ICM  was  applied  to  a relatively  traditional  course  (music  history).                Although  music-specific  activities  were  already  included  in  the  classroom  sessions,  in                 addition to cognitive tasks (work with texts, internet research, analyses), ICM seems to open                up  many  new  fields  of  creativity,  particularly  in  applied  music  practice  and  music  theory.                 A current research project at the Freiburg University of Music, for example, focuses on the                 development of learning videos for practical piano playing (song accompaniment) at school                and  for  selected  areas  of  harmony  theory  (Scherer,  2018)  and  researches  their  possible                                                             21","practical  applications.  In  addition,  the  Institute  of  Music  at  the  Freiburg  University  of                 Education  is  testing  the  use  of  video  tutorials  in  the  areas  of  ensemble  conducting,  aural                training, working with songs and playing music instruments, which are made available on an                 internet platform. It is certainly worthwhile to develop, test and evaluate further perspectives                in this area and include them in the curriculum of university teaching.                     REFERENCES                       BATES,  J.  Edward,  ALMEKDASH,  Hasan  \&  GILCHREST-DUNNAM,  Maggie  J.                      (2017).  The  Flipped  Classroom:  A  Brief,  Brief  History.  In  Lucy  Santos  GREEN,                       Jennifer R.  BANAS  \&  Ross  A.  PERKINS  (Eds.),  The Flipped College  Classroom  –                       Conceptualized and Re-Conceptualized. 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HAAKE \& Christian                      SPANNAGEL  (Eds.),  DeLFI  2012:  Die  10.  e-Learning  Fachtagung  Informatik  der                       Gesellschaft für Informatik e.V. Bonn: Gesellschaft für Informatik e.V., pp. 225–236.                     GRANT,  Catherine  (2013).  First  inversion:  a rationale  for  implementing  the  ‘flipped                       approach’ in tertiary music courses. Australian Journal of Music Education, 2013 (1),                       3–12.                     HANDKE, Jürgen \& SPERL, Alexander (Hg.) (2012). Das Inverted Classroom Model.                       Begleitband zur ersten deutschen ICM-Konferenz. München: Oldenbourg.                      HANDKE,  Jürgen  (2017).  Gelingensbedingungen  für  den  Inverted  Classroom.  In  S.                      ZEAITER \& J. HANDKE (Eds.), Inverted Classroom – The Next Stage. Lehren und                       Lernen im 21. Jahrhundert. 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Test-Enhanced  Learning.                      Taking Memory Tests Improves Long-Term Retention. Psychological Science, 17 (3),                       207, 249–255.                      SCHULLERY,  Nancy  M.,  RECK,  Robert  F.  \&  SCHULLERY,  Stephen  E.  (2011).                      Toward  Solving  the  High  Enrollment,  Low  Engagement  Dilemma:  A  Case  Study  in                       Introductory Business. International Journal of Business, Humanities and Technology,                      1(2), 2011, 1–9.                      SPANNAGEL, Christian (2017). Amat Victoria Curam – Sei vorbereitet!.                       TEDxUniversityofWürzburg. Retrieved from https://www.youtube.com/watch?v=hrq7k                      v94cwo (21 February 2018).                                                                 23","     STRAYER,  Jeremy  (2012).  How  learning  in  an  inverted  classroom  influences                       cooperation. innovation and task orientation. Learning Environ Res (2012) 15, 171–193.                      DOI 10.1007/s10984-012-9108-4.                      TREECK,  Timo  van  (2016).  Flipped  Learning  –  Experimente  und  Erfahrungen.  TH                       Köln. Retrieved from https://docs.google.com/presentation/d/16n5wuzBOOgXO0Yddo                      WkdPp5-a9D1Ba7ui9d7hFQUeLA/edit#slide=id.p4 (22.02.2018).                      WEIDLICH,  Joshua  \&  SPANNAGEL,  Christian  (2014).  Die  Vorbereitungsphase  im                      Flipped  Classroom  Vorlesungsvideos  versus  Aufgaben.  In  Klaus  RUMMLER  (Ed.),                       Lernräume  gestalten  –  Bildungskontexte  vielfältig  denken  (Waxmann  Medien  in  der                      Wissenschaft; 67). Münster u.a.: Waxmann, pp. 237–248.                      WITTWER,       Jörg,    NÜCKLES,       Matthias,    MIKELSKIS-SEIFERT,         Silke,                       SCHUMACHER, Markus, ROLLETT, Wolfram \& LEUDERS, Tim (2015). Kohärenz,                      Kompetenz-  und  Forschungsorientierung  –  Zur  Weiterentwicklung  der  Lehrerbildung                       am  Standort  Freiburg.  In  Winfried  BENZ,  Jürgen  KOHLER,  Philipp  POHLENZ  \&                       Uwe  SCHMIDT  (Eds.),  Handbuch  Qualität  in  Studium  und  Lehre.  Berlin,  Stuttgart:                      Raabe, pp. 93–115.                                                                                                          24","Music School of the Brno Music Association (Brünner Musikverein):                                             Conservatory or Academy?                                                        Lenka Kučerová                   (Masaryk University, Faculty of Education, Department of Music, Brno, Czech Republic)                   Abstract:  This  article  traces  the  teaching  at  the  Music  school  of  German  Brno  Music                Association Brünner Musikverein. Before of foundation of Conservatory of Brno, it played an                important role in Brno music education. After foundation of Czechoslovakia, it is not known                why this association used titles “Conservatory“ and „Academy“. If it was possible according                to the condition of written source documents, this text describes a study programmes of this                school.                 Key  words:  Brünner  Musikverein,  Conservatory  of  Brno,  Academy  of  Brno,  Brno  Music                Association, Music School                         After  1918,  together  with  the  change  of  political  situation,  the  change  in  school                 institutions organization appeared. Some associations together with their schools finished, the                activity  of  others  continued,  but  their  music  schools  became  independent  and  were                 nationalized, which besides other things meant a total separation of education from the church                 influence. The Ministry of Cult and Education was renamed The Ministry of Education and                National  Enlightenment.  The  school  system  did  not  change  significantly.  Secondary                 comprehensive  schools  were  organized  in  two  grades  (lower  and  higher  grade),  the  total                length of the study took eight years (Vališová, 1997: 76).                         Music  could  be  studied  either  privately  (private  lessons)  or  at  private  or  public                 schools.  Private  teachers  who  did  not  have  their  own  music  school  had  to  be  kept  in  the                                                         2                register if they had more than five pupils  (Branberger, 1921: 60). The private music school                could be opened by anyone who had professional qualifications,  i.e. conservatory graduate                 examination, or who did the state examination in the given field.  This  type of school  was                organized either by a person or public group – the village, association etc. This second type of                 the school usually received state subventions. This was e.g. Hudební Budeč, but also many                other elementary music schools which were established in this period in big towns. In 1921,                 there were twelve municipal schools, 3 schools of national association of education and 13                schools  which  were  supported  by  music  associations.  According  to  J.  Branberger,                 the foundation of association schools was mostly spread in Moravia (Branberger, 1921: 61).                  2                  Rule no. 62.124 from 15. 10. 1920.                                                            25","The  year  division  was  various  at  these  schools.  Usually,  the  play  level  had  3  grades:                 elementary, training and concert.                        Typically, German schools  offered education of most orchestra instruments.  On the                 other hand, Czech schools focused more on violin, piano and voice education (solo and choir)                and in  the curriculum there were much more often theoretical  music subjects  (Branberger,                 1921).                         The  crucial  moment  in  music  education  in  this  period  was  the  foundation  of  Brno                 Conservatory which together with Prague Conservatory formed the highest category of music                                                                 3                education. Conservatories were secondary schools  and their graduates had the same level of                education like graduates of grammar schools or Realschule. Master schools at conservatories                “[…] are the continuation of the studies at the secondary school of conservatory and they                 offer  opportunity  for  a higher  improvement  of  the  most  gifted  students  for  composers’                                                                 4                creation and virtuoso activity in instrument play.”  (Branberger, 1921: 64). Here, the studies                took at least one year and were supposed to be of a university character. The teachers were                 “[…]  the  most  famous  artists  who  are  appointed  and  remunerated  like  university                            5                professors.”  (Branberger, 1921: 64). The graduates of this grade of education did not have                the  same  rights  like  graduates  of  other  universities.  Let  us  mention  that  The  Academy  of                Performing Arts in Prague and Janáček Academy of Music and Performing Arts in Brno were                 established in the second half of the 1940s.                   The Use of the Title “Conservatory”                         In  connection  with  the  foundation  of  the  State  Music  and  Drama  Conservatory  in                Brno, also the German school of the Brno Music Association sought to gain the official title                 “conservatory”, although it was still private. At the beginning of the 1920s, this problem was                the main topic of the correspondence between the association management and the Ministry                 of Education and National Enlightenment. The conflict started in 1919, the first letter between                institutions is from November 20, 1919. The association did not respond to the notice of the                 Ministry and used the title “conservatory” in official documents. Two years later, we read that                 “According to the regulation of the Ministry of Education and National Enlightenment no.                  3  According to the law from March 19, 1920 no. 179 Sb.                4                   In  original:  „[…]  jsou  pokračováním  studia  na  střední  škole  konservatoře  a dávají  příležitost  k nejvyššímu                zdokonalení nejnadanějších posluchačů pro tvorbu skladatelskou a virtuosní působení ve hře nástrojové.“                5                  In original: „[…] nejslavnější umělci, kteří jsou ustanovováni a honorováni jako vysokoškolští profesoři.“                                                            26","60426/6621  from  November 18,  1920  /the  regulation  of  provincial  authorities  no.  88 693                 from November 24, 1920/ the title “conservatory” is protected because with this title the title                of higher music school is connected; that is why it is not possible to admit that private schools                 not  meeting  these  preconditions  use  this  title,  only  if  they  were  given  permission  by  the                            6                ministry.“   (Archive  of  Brno.  R  26/5).  “According  to  the  inspection  report  of  the  music                inspector,  your  institute  uses  the  title  “conservatory”  without  meeting  requirements  of                                       7                a higher music school.”  (Archive of Brno. R 26/5). The inspection of German music schools                was done by the state music inspector Fidelio Finke. The conclusion was that “Following the                 regulation  of  the  provincial  political  authorities,  we  forbid  you  to  use  this  title  for  your                            8                institution.”  (Archive of Brno. R 26/5). However, the conflict did not finish. Two years later,                the association again asked for the permission on behalf of which it could use the status of                conservatory.  The  answer  of  the  Provincial  political  authorities  in  Moravia  was  again                 refusing: “In the regulation from July 3, 1923, no. 66244/23-V., the Ministry of Education                and  National  Enlightenment  replied  to  the  request:  Music  school  of  the  Brno  Music                 Association is a private school which has neither right of the public nor the curriculum equal                 to public institutions, i.e. state conservatories, the schools cannot be considered vocational                                                                                                          9                schools in the sense of § 6. I. paragraph 1., law no. 394/22 and the request cannot be met.”                (Archive of Brno. R 26/5).                         Still in 1938, we find in the sources mentions about the efforts of the association to                officially use this title. However, to use the name “conservatory”, the school would have to be                 the  same  as  Prague  Conservatory  regarding  the  curriculum  and  organization.  Otherwise,  it                was a private music school (Archive of Brno. R 26/5).                         The change of music school into conservatory was not possible not only because it                 remained  private,  but  also  due  to  the  fact  that  doubts  were  found  about  the  appropriate                 qualifications of some teachers. As the federal school was subsidized by the state, it had to                meet  stricter  conditions  as  for  professional  pedagogues:  “Following  the  regulation  of  the                  6                  In original: „Výnosem ministerstva školství a národní osvěty č. 60426/6621 z 18. listopadu 1920 /výnos zem.                spr. pol. č. 88 693 ze dne 24. listopadu 1920/ chrání se titul „konservatoře“, protože s názvem tím je spojen                pojem vyšší hudební školy; proto nelze připustiti, aby školy soukromé, nevyhovující těmto předpokladům, užívaly                tohoto titulu, leč by jim k tomu bylo dáno tímto ministerstvem výslovené svolení.“                7                  In original: „Dle inspekční zprávy hudebního inspektora užívá Váš ústav názvu „konservatoř“, aniž vyhovuje                podmínkám vyšší hudební školy.“                8                  In original: „Z nařízení zem. správy politické zakazujeme Vám užívati dále tohoto názvu pro Váš ústav.“                9  In original: „Výnosem ze dne 3. července 1923, č. 66244/23-V., sdělilo ministerstvo školství a národní osvěty na                tamní žádost toto: Hudební škola „Brünner Musikverein“ jest školou soukromou, která nemá právo veřejnosti                a ani učebního plánu rovnocenného s veřejnými ústavy, t. j. státními konservatořemi, nelze školy považovati za                učiliště ve smyslu § 6. I. odst. 1., zákona č. 394/22 a nelze proto žádosti vyhověti.“                                                            27","Ministry of Education and National Enlightenment from October 20, 1922, no. 100.357/22,                 we again notify that at music schools subsidized by the state o n l y the graduates of the state                conservatories or stately examined teachers might teach as definite or temporary teachers. By                 all means, they always have to be professional musicians. If teachers work at your school                who do not meet these conditions, give us their names and subjects they teach, inform us on                 what condition they were appointed, why the positions they have were not given to qualified                                                               10                teachers and report how they have done so far”.  (Archive of Brno. R 26/5).                        In 1924, the owners of private schools had to show the authorities their curriculum,                 especially teaching plans for the fields of piano playing, violin playing and singing, with an                exact  division  into  years.  In  this  year  it  was  found  in  the  school  of  the  Brno  Music                 Association  that  “Some  teachers  do not  care about  the correct  posture  of  the arm, others                 choose too difficult compositions and consequently due to the high pace of the compositions                pupils do not play carefully. With advanced pupils, it is necessary to know well the whole                 educational process, according to which the pupils must not play demanding compositions                until they are ready for them thanks to chosen etudes and technical exercises. It is necessary                 to pay attention to correct rhythm. The correct performance of melodic ornaments and legato                                                  11                are without doubt an obvious fact.”  (Archive of Brno. R 26/5).                        Pupils’  productions,  although  they  were  supposed  to  take  place  only  with  the                 permission of the art manager of the school, were also a target of inspection criticism. In the                inspection report  from  1924, we find  a long enumeration of mistakes  which the inspection                 found  at  public  performances  of  the  school:  “During  performances,  it  is  necessary  to  pay                 a bigger attention to quality, not quantity of the compositions. Next time, the choice of pupils                for  public  performance  should  be  more  careful  and  only  the  decision  of  the  head  will  be                 determinant. The programmes of these productions – which should be a model for the pupils –                 must be complied with the greatest context. It is not recommended to combine classic and                   10   In  original:  „Ve  smyslu  výnosu  ministerstva  školství  a nár.  osvěty  ze  dne  20.  října  1922,  čís.  100.357/22,                opětně upozorňujeme, že na hudebních školách státem subvencovaných, jako definitivní neb prozatímní učitele                mohou  vyučovati  p o  u  z e  absolventi  státních  konservatoří,  neb  státně  zkoušení  učitelé.  V každém  případu                musí  to  vždy  býti  hudebníci  z povolání.  Působí-li  na  Vaší  škole  učitelské  osoby,  které  těmto  podmínkách                nevyhovují,  sdělte  s námi  jejich  jména  a předmět,  kterému  vyučují,  na  jakém  podkladu  byli  ustanoveni,  proč                nebyla  místa,  která  zastávají  svěřena  učitelům  kvalifikovaným  a jak  se  v dosavadní působnosti  na  Vaší  škole                osvědčily.“                11                   In  original:  „Někteří  učitelé  nedbají  správného  držení  ruky,  jiní  opět  volí  příliš  těžké  skladby  přednesové                a následkem  příliš  rychlého  tempa  skladby  se  hudlaří.  U  žáků  pokročilých  nutno  dobře  znáti  celý  postup                vyučovací, dle kterého nesmí se cvičiti těžké přednesové skladby dříve, dokud žáci nejsou připraveni správně                volenými  etudami  a technickými  cvičeními.  Neustále  třeba  dbáti  správného  rytmu.  Přesné  provádění                melodických ozdob a legata jest zajisté věcí samozřejmou.“                                                            28","modern compositions without a certain educational tendency. In serious productions, there is                 no space at all for the compositions by pseudo-composers. The productions should be longer                than  1  ½  hour  but  maximum  2  hours.  Pupils’  productions  with  stylistically  perfect                 programmes should be held also during the school year. The final concerts should be first                devoted to the school graduates and the overview of school activity should be presented only                 in  the  briefest  form.  Not  the  quantity,  but  always  quality  of  the  performance  should  gain                school new friends and pupils. Next time, this should be omitted during productions: inviting                 pupils to acknowledge applause, flower gifts for pupils and teachers and mainly bowing of                                                    12                teachers after pupils’ performances.”  (Archive of Brno. R 26/5).                        At the beginning of the 1920s, roughly 500 students studied always at the school of the                 Brno  Music  Association.  Out  of  theoretical  subject,  music  history  was  taught  by  Franz                 Peschek, composition and harmony by Josef Wizina, general music education, music theory,                music dictation and music history by Erich Metze. The field music theory took three years                 and in 1924/25, 13 students studied it as their main field.                         The  inspector  F.  Finke  visited  the  school  in  1925  and  now  he  complained  to  the                management  about  the  following:  The  management  is  aware  of  the  fact  that  the  state                 inspector of music education F. Finke found out during the inspection of the music school on                November  16  and  17,  that:  1/  Miss  Ráblová  has  weak  results  in  piano  lessons.  2/Miss                 Lazarová does not observe the curriculum and does not let pupils play the ordered etudes                sooner  than  they  play  Beethoven’s  sonatas.  After  all,  she  devotes  time  to  playing  salon                 compositions.  3/Mrs.  Neumann-Neumannová     [13]   should  observe  the  curriculum  more.                 4/Mrs. Kalliwodová [14]   should  pay more attention to  rhythm, phrasing of  compositions  and                           12  In original: „Při produkcích jest věnovati větší péči jakosti, než množství skladeb. Pro příště nechť výběr žáků                schopných  k veřejné  produkci  jest  pečlivější  a jen  rozhodnutí  ředitele  budiž  směrodatné.  Programy  těchto                produkcí  –  jež  mají  žákům  býti  vzorem  –  musí  býti  sestavovány  s největší  souvislostí.  Není  radno  směsovati                skladby klasické a moderní bez ladu a skladu bez určité výchovné tendence. Ve vážných produkcích pak vůbec                není místa pro skladby pseudo-skladatelů. Produkce buďtež delší jak 1 ½, nejvýš 2 hod. Žákovské produkce se                slohově  dokonalými  programy,  mají  býti  pořádány  i  uprostřed  školního  roku.  Závěrečné  koncerty  mají  býti                věnovány v prvé řadě absolventům školy a přehled celé činnosti školy má býti podán jen ve formě nejstručnější.                Nikoliv množství, ale vždy jen jakost výkonů mají škole získávati nových přátel a žáků. Při produkcích budiž                příště  vynecháno:  vybízení  žáků  k děkování,  dary  květinové  pro  žáky  a učitele  a hlavně  klanění  se  učitelů  po                výkonech žákových.“                13  We did not manage to find which person it is.                14                  We did not manage to find which person it is.                                                            29","15                5/it  is  recommended  that  no  more  than  4  pupils  are  in  the  lesson.”   (Archive  of  Brno.                R 26/5).                        These  complaints  did  not  refer  only  to  the  federal  school  of  the  Brno  Music                 Association. In 1926, a unified organizational status for private music schools was published.                “The Moravian Provincial Political Authorities claimed in the regulation from February 26,                 1926,  no.  18.599/VII-a  the  following:  the  inspector  of  music  education  in  Moravia  and                 Silesia, prof. Antonín Hromádka in Brno, developed a new unified “Organisational Status for                Private Music Schools” and “Negotiating Order for the Curator of Private Music Schools”.                 The Ministry of Education and National Enlightenment wanted the private music schools to                be  controlled  by  unified  regulations,  so  it  approved  significantly  these  norms  by  the                                                                                                 16                regulation from January 16, 1926, no. 4546-26 v for one year for the time being.”  (Archive                of Brno. R 26/5). Unfortunately, further information and the content of the organization status                did not survive.                         During  the  association  existence,  the  regulations  were  changed  twice.  First,  they                 became valid on January 28, 1928, the head of the association was Josef Frieb who was the                head of Brno Realchule. (Archive of Brno. R 26). Here the issues referring to running of the                 association and school did not change. In the enclosed letter, it is written that the association                has  250  pupils  every  year  and  19  teachers  work  in  the  music  school.  As  the  association                                                                               17                “bought  for  its  purposes  the  house  Na  Hradbách  no.  5”,   (Archive  of  Brno.  R  26)                the management requires further subsidy.                              15                  In original: „Ředitelství se uvědomuje, že státní inspektor hudebního školství F. Finke při inspekci tamní hud.                školy konané dne 16. a 17. listopadu 1925 zjistil: 1./ že slabé výsledky vyučovací má v klavíru sl. Ráblová. 2./ že                sl. Lazarová nedodržuje učebnou osnovu a nedá hráti žákům předepsané etudy dříve, než přikročí žáci k hraní                sonat  Beethovenových.  Konečně,  že  pěstuje  hraní  salonních  skladeb.  3./  že  také  učitelka  pí  Neumann-                 Neumannová  měla  by  více  dodržovati  učební  osnovu.  4./  že  učitelka  pí  Kalliwodová měla  by  více  přihlížeti                k rytmu, fraseování skladeb a 5./ že se doporučuje, aby nebylo ve skupinách vyučováno více, jako 4 žáci.“                16                   In  original:  „Mor.  zemská  správa  politická  oznámila  výnosem  ze  dne  26.  února  1926,  čís.  18.599/VII-a                následující: Inspektor hudebního školství na Moravě a ve Slezsku, prof. Antonín Hromádka v Brně, vypracoval                nový  jednotný  „Organisační  statut  pro  soukromé  hudební  školy“  a „Jednací  řád  pro  kurátora  soukromých                hudebních  škol“.  Ministerstvo  školství  a národní  osvěty  ve  snaze,  aby  soukromé  hudební  školy  byly  řízeny                jednotnými stanovami, schválilo zásadně tyto normativy výnosem ze dne 16. ledna 1926, č. 4546-26 v prozatím                na dobu jednoho roku.“                17                  In original: „koupil pro účely svoje dům Na Hradbách č. 5.“                                                            30","The Brno Music Association and its “Academy”                        The change in the second half of the 1930s is  more significant.  In 1936, there still                 existed  the  school  of  this  association,  but  in  the  regulations  the  relationship  between  the                school and association was not clearly defined. The school was presented as an independent                 juridical person. This relates to the argument of the Brno Music Association about the right                for calling the music school “academy”.                         In  1929,  the  Ministry  of  Education  and  National  Enlightenment  got  into  its  files                 a school  report  where  the  heading  has  the  name  of  the  school  Staatlich  subvencionierte                 Musikakademie des Brünner Musikvereines [The State Subsidized Music Academy of the Brno                Music Association]. “The title “academy” might confuse the public. Those who do not know                 the issue well, equal this school with state conservatories in Brno and Prague and Slovak                                                                               18                Music  Academy  in  Bratislava,  which  produces  discrepancies.”   (Archive  of  Brno.  R  26).                During the 1930s, the issue was re-examined several times, the association still argued about                the name. The letter to the police management in Brno dealing with the issue occurs in the                 materials many times; the requests from the Ministry are from August 20, 1934, then from                 1936 on the occasion of intended change of the regulations, which did not take place, as we                mentioned. The association defends against these reprimands: “The association uses the name                 Musikakademie des Brünner Musikvereines [Music Academy of the Brno Music Association]                on all occasions, it has the boards with this title on its house, on school reports, on forms,                 exercise books and letter paper. Also the school stamp has “The Music Academy and School                of  the  Brno  Music  Association”.  The  example  of  the  school  report  and  one  leaflet  with                 a stamp is enclosed. As long as the association received subvention from the state, it used the                 title The State Subsidized Music Academy of the Brno Music Association, which finished after                subventions. As it had many printed forms and school reports ready in advance with the name                                   18                  In original: „Tento název „akademie“ uvádí zřejmě obecenstvo v omyl. Ti, kdož dobře věc neznají, kladou tuto                školu na roveň státním konservatořím v Brně a v Praze i slovenské akademii hudební v Bratislavě, čímž vznikají                různé nesrovnalosti.“                                                            31","The State Subsidized etc., it used these until 1933, to deplete them. Now, it omitted the                                                                                             19                first two words in the title and uses the name as mentioned at the beginning.”  (Archive of                Brno. R 26).                         Similarly, a year later, the association defends its position and wants to keep the title                which refers only to state schools. According to the regulations, the association holds concerts                 of  chamber  music  and  orchestral  concerts  of  which  the  title  “music  academy”  is  typical.                 Moreover,  it  runs  a prestigious  music  school  according  to  an  organizational  plan.  Thus,                the association should have the right to use its statutory name also for the name of the music                 school “Music Academy” (Archive of Brno. R 26).                         After  the  long  rigmarole  of  the  school  title,  the  association  management  solved                the situation. In 1939, the association was ended and its school was put under the management                 of the town. Consequently, its new title had to be accepted. In 1940, the school is registered as                Musikschule  der  Stadt  Brünn  (The  Music  School  of  the  City  of  Brno).  The  seat  remained                 the same until the following war years.                    REFERENCES                       Archive of Brno. Fond R 26.                     Archive of Brno. Fond 26/5.                      BRANBERGER,  Jan  (Ed.).  (1921).  Hudební  almanach  Československé  republiky                       [Musical Almanacs of the Czechoslovak Republic]. Praha: Hudební nakladatelství.                     VALIŠOVÁ,  Alena  (Ed.).  (1997).  Pedagogika  pro  učitele  [Pedagogy  for  Teachers].                       Plzeň: ZČU.                             19  In original: „Spolek užívá názvu Musikakademie des Brünner Musikvereines při všech příležitostech a sice má                na svém domě tabule s tímto názvem, na školních vysvědčeních, na tiskopisech, sešitech i dopisním papíru. Též                školní razítko zní „Musik Akademie und Schule des Brünner Musikvereines“. Vzor školního vysvědčení a jeden                prospekt  s razítkem  je  přiložen.  Spolek,  dokud  dostával  od  státu  subvence,  používal  název  „Staatliche                subvencionierte Musikakademie des Brünner Musikvereines“, s čímž přestal po zastavení subvencí. Jelikož však                měl již předem natištěno mnoho tiskopisů a vysvědčení s názvem „Staatlich subvencionierte atd.“, užíval tyto až                do  roku  1933,  aby  je  vypotřeboval.  Nyní  ony  dvě  první  slova  v názvu  vynechal  a užívá  název  jak  z počátku                uvedeno.“                                                            32","University Students in the Czech Republic and Their Relationship                                          to the Contemporary Art Music                                                        Marek Sedláček                   (Masaryk University, Faculty of Education, Department of Music, Brno, Czech Republic)                  Abstract: The author of the study presents  the selected results  of the nationwide musical-                sociological  research  on  the  attitudes  of  university  students  in  the  Czech  Republic  to                the Czech and world contemporary art music with a focus on the last third of the 20th century                and 21st century. On the background of the research which deals with issues such as positive,                neutral and negative attitude of respondents to the selected music samples in comparison with                respondents’ identification ability of the listened music has also been examined the influence                of the music education.                 Key  words:  contemporary  classical  music,  postmodernism,  empirical  research,  listening                activities, music education                   The  project  of  the  empirical  musical-sociological  research  on  musical  preferences                of contemporary art music                         In years 2012–2016 the Music Department of the Faculty of Education at the Masaryk                University in Brno conducted a series of extensive nationwide empirical musical-sociological                 researches (Sedláček, Kysilková, Ottová, Ostrý \& Horáková, 2016) with the aim to examine                 the  musical  attitudes  of  university  students  in  the  Czech  Republic  to  the  different  musical                styles  of  classical  music.  Most  of  the  research  findings  were  partially  presented  at                                                                                                   20                the international conferences of European Association for Music in Schools (EAS)  in past                years  or  Musica  viva  in  schola  in  Brno.  The  last  research  in  2016  were  focusing  on                                                                                                  th                the contemporary art music of the post-modern period, i.e. the last third of the 20  century                       th                and 21  century (Crha et al, 2016).                        The research was implemented via the Computer Assisted Web Interviewing, which                 combines  an  online  sound  questionnaire  and  a written  questionnaire.  Each  participant  was                required to listen to 12 music samples (about 5 minutes duration for each other = 60 minutes                                                                      th                                                                              th                for all the sound questionnaire) of art music of the 20  and 21  century, however there was                a restriction  that they  could  only listen to  each  composition  once. Participants  also  had an                option to press the stop button and choose a reason why they finished listening to the music                    20                  2016 in Vilnius (Lithuania), 2014 in Nicosia (Cyprus), 2012 in Hague (Netherlands).                                                            33","sample  before  the  end  of  the  piece.  The  objection  of  the  research  was  to  determine                 the positive,  negative  or  neutral  attitudes  of  respondents  to  the  music  samples,  showing                the ability of the respondent to identify music composers (or guess whether the listen music                 sample was composed by Czech or foreign authors) and based on other statistical categories                answer examine the role of music education in it. Does school music education prepare its                 students enough for listening to the contemporary classical music? Has the extended music                education  (elementary  art  schools)  got  an  influence  on  the  musical  attitudes,  and                 the professional music direction?                         2081  participants  from  a range  of  university  students  of  the  Czech  Republic  were                divided into 3 groups according to their level of music education – 1114 students had received                 compulsory music education, which means they studied music as a mandatory subject within                their  elementary  or  secondary  school.  There  were  859  students  with  an  extended  music                 education – participants from this group also attended extra music lessons, e.g. elementary art                 schools. Finally, the remaining 108 students belonged to the group of with professional music                education, who specialized in music, they either studied at a conservatory, music academy or                 music at university.                        The team of university lecturers and doctoral students collected data from April to July                 2016.                        The  research  started  with  the  theoretical  input  which  containing  music  analyses  of                 selected compositions. The basis of this “sound questionnaire” was the following 12 music                 compositions. 6 of the Czech and 6 of the foreign proveniences. Although the intent was to                select the most representative composers and their compositions, selection of music samples                 was more subjective than at previous researches due the fact that most of compositions of that                period are not still time proved:                  Otmar Mácha: Varianty [Variants]. A Small Study for Orchestra          1968                Ctirad Kohoutek: Panteon                                               1970                Svatopluk Havelka: Hommage à Hieronymus Bosch                          1974                Olivier Messiaen: From the Canyons to the Stars (Desert)               1974                Krzysztof Penderecki: The Awakening of Jacob                           1974                Henryk Górecki: Symphony No. 3 of Sorrowful Songs (2nd part)           1976                Miloslav Ištvan: Hry [Games]                                           1977                Pavel Blatný: Hommage à Gustav Mahler                                  1982                Helmut F. Lachenmann: Ausklang for Piano and Orchestra                 1984                Steve Reich: Different Trains (1st part)                               1988                Arvo Pärt: Berliner Mass (Gloria)                                      1990                Michal Košut: Symphony No. 2 “Via Sotterranea” (3rd part)              2003                                                             34","It was interesting to find out whether the individual authors compose their music in a style                 and expression that are characteristic for the region determination.                                             13,44%                           30,17%                                                               positive attitude                                                               neutral attitude                                                               negative attitude                                         56,39%                      Figure 1 – General attitudes of the respondents to the given music samples                  We can see that respondents were generally very tolerable to the listened music.                       Penderecki                     Messiaen                       Havelka                         Reich                        Ištvan                        Mácha                                           positive attitude                       Górecki                                          neutral attitude                     Kohoutek                                           negative attitude                         Košut                  Lachenmann                        Blatný                          Pärt                              0%    20%   40%    60%    80%   100%                 Figure 2 – General attitudes of the respondents to the given composers                   Generally, we can find that the positive values had the compositions with more traditional                compositional techniques (Pärt, Košut, Górecki, Blatný, Ištvan).                          If we look at the results in terms of musical education, musical professionals are able                to appreciate even the difficult compositions from the listeners’ point view. Generally, they                                                             35","showed the highest values. Respondents with extended musical education also showed higher                 values  in  comparison  with  respondents  with  compulsory  music  lessons  and  even  in  the                evaluation of the Košut’s composition surpassed music professionals:                        Penderecki                       Messiaen                        Havelka                          Reich                           Ištvan                                                                                  Professional music                         Mácha                                                    education                        Górecki                      Kohoutek                                                    Extended music education                           Košut                    Lachenmann                                                                                  Compulsory music                         Blatný                                                                                  education                           Pärt                                0%            20%            40%            60%                 Figure 3 – Positive attitudes to music samples according to music education                         The  most  negative  evaluated  music  sample  was  Lachenmann’s  Ausklang  which  is                 quite extreme in its innovative way of composition. It may be the main reason for the negative                 effect and misunderstanding for respondents. Similarly, high levels of negative rating reached                compositions  by  Penderecki,  Mácha  and  Reich.  All  of  these  composers  are  using  new                 compositional techniques and quite unusual expressive elements.                                                                                        36","Penderecki                      Messiaen                       Havelka                         Reich                                                                               Professional music education                         Ištvan                        Mácha                                                                               Extended music education                       Górecki                      Kohoutek                                                                               Compulsory music education                         Košut                   Lachenmann                        Blatný                          Pärt                               0%          20%           40%          60%                  Figure 4 – Negative attitudes to music samples according to music education                 More  neutral  and  positive  attitudes  were  received  from  the  respondents  of  extended  and                 professional  music  education.  Similarly,  the  attempts  of  identifications  of  composers                 (or recognition of the Czech and foreign music) were more successful with these respondents                than respondents with compulsory music education.                                           Presumption of the Czech or Foreign Composer                                                                                       Correct      Correct                                            Czech         Foreign       No idea                                                                                     (Czech)     (Foreign)                 Compulsory music           10,24%         26,79%        62,97%        6,86%       17,18%                education                  Extended music             11,01%         34,11%        54,88%        7,52%       20,78%                education                  Professional music         11,50%         44,75%        43,75%        8,02%       27,24%                education                  Figure 5 – Presumption of the Czech or foreign composer                 75,14% of  respondents  stated  their  reason  for  early  finishing  of  the  listening.  The  most                 common  reasons  were  a lack  of  time,  poor  interest  in  the  listened  music  sample  or  its                complexity.                                                              37","The frequent answers why the respondents finished their listening earlier                    45,48%            “I don´t have time to listen to the sample till the end.“                    34,48%            “the composition didn´t interest me at all.“                    23,80%            “the composition is too distant to popular music that I listen to.“                     10,91%            “the composition is too difficult for listening and I don´t understand it.“                    9,18%             „I do not like that kind of interpretation“.                    1,76%             „I know the composition“.                  Figure 6 – Reasons for early finishing of the listening                  The typical respondent                       In  our  research,  the  typical  respondent  is  a woman,  aged  22,  who  graduated  from                 the compulsory music education in  elementary  and secondary school.  From selected music                examples of the last third of the 20th century, she mostly likes Pärt, Košut, Górecki, Blatný                 and Ištvan. She has the least tolerant and, at the same time, the most negative attitude to the                 Lachemann’s sample. She took a neutral attitude for more than half of the samples, almost                a third  of  a negative  attitude  and  about  the  seventh  of  a positive  attitude.  This  respondent                 tolerates listened music. We can say that the typical Czech listener is more tolerant of Czech                music.  The  typical  respondent  tried  to  identify  the  authors  of  music  samples  very  rarely,                 the correct identification was one in seven.                    Conclusion                        Without knowledge of 20th century art music concepts it is very difficult to understand                it. This kind of music may seem too complex, chaotic or boring to uninformed listeners.                        The magnitude of positive reception of classical music directly depends on the depth                of musical education. Thus, much depends on the quality of the ongoing system that supports                 music education and subsequently the individual himself/herself in terms of music reception.                                                                          38","REFERENCES                      CRHA,  Bedřich  et  al.  (2016).  Postoje  vysokoškolských  studentů  v  České  republice                      k artificiální hudbě poslední třetiny 20. století [The Attitudes to Artistic Music of the                       Last Third of the 20th Century in University Students in the Czech Republic]. Brno:                      Masarykova univerzita. 282 p. ISBN 978-80-210-8442-1.                      CRHA,  Bedřich  et  al.  (2015).  Postoje  vysokoškolských  studentů  v  České  republice                       k artificiální hudbě prvních dvou třetin 20. století [The Attitudes to Artistic Music of the                      First Two Thirds of the 20th Century in University Students in the Czech Republic].                       Brno: Masarykova univerzita. 248 p. ISBN 978-80-210-8089-8.                     SEDLÁČEK,  Marek  (Ed.).  (2015).  Music  Preferences  of  Youth  as  a Contemporary                       Music Education Issue. Brno: Masarykova univerzita, 2015. 113 p. ISBN 978-80-210-                       8108-6. doi:10.5817/CZ.MUNI.P210-8108-2015.                     SEDLÁČEK, Marek, KYSILKOVÁ, Martina, OTTOVÁ, Markéta, OSTRÝ, František                       \& HORÁKOVÁ, Renata. (2016). K hudebním preferencím artificiální a nonartificiální                       hudby vysokoškolské mládeže (2012–2016) [To the Musical Preferences of the Art and                      Non-art Music of the University Students (2012–2016)]. Brno: Masarykova univerzita.                       100 p. ISBN 978-80-210-8445-2.                     SEDLÁČEK, Marek. To the Results of the Research on Music Attitudes to the Artistic                       Music  of  the  20th  in  the  University  Youth  in  the  Czech  Republic  from  the  Point  of                       View  of  Music  Pedagogy.  In  Marek  SEDLÁČEK  (Ed.),  Music  Education  –  Terra                      Cognita?  Brno:  Masarykova  univerzita,  2016.  pp. 41-46.  ISBN 978-80-210-8443-8.                       doi: 10.5817/CZ.MUNI.P210-8443-2016. Retrieved from                      http://www.ped.muni.cz/wmus/studium/sborniky/me_terra_cognita.pdf                      HLADILOVÁ,  Radka  \&  SEDLÁČEK,  Marek.  (2016).  The  Attitudes  of  Czech                       University Students to the Art Music of the First Two Thirds of the 20th Century as an                      Inspiration  for  the  Creative  Activity  for  Children.  In  Rūta  GIRDRZIJAUSKIENĖ  \&                       Emilija  SAKADOLSKIENĖ  (Eds.).  Looking  for  the  unexpected:  Creativity  and                      innovation in music education. Vilnius (Lithuania): Klaipėda university. pp. 72-76, 5 p.                       ISBN 978-9955-18-924-4.                                                                        39","The Czech Pupils and their Musical Preferences in Comparison with some                       possibilities of Education in Elementary Art Schools in the Czech                                                   Educational System                                                      Renata Horáková                   (Masaryk University, Faculty of Education, Department of Music, Brno, Czech Republic)                  Abstract: The author of the study presents the results of research on the attitudes of students                in the Czech Republic to the contemporary art music with a focus on findings from The Czech                School Inspectorate, reflects on the possibilities of cooperation between musical professionals                and art schools and elementary schools.                 Key words: music, research, musical preferences, music education, art schools in the Czech                Republic                          The Music Department of the Faculty of Education at the Masaryk University in Brno                 realized  during  years  2012–2016  a series  of  different  empirical  musical-sociological                researches with the aim to examine the musical attitudes of university students in the Czech                 Republic to the different musical styles of classical music (see Sedláček, Kysilková, Ottová,                 Ostrý \& Horáková, 2016). Most of these findings were presented at the EAS conferences in                the  past  years  (e.  g.  in  2016  in  Vilnius).  The  last  research  (in  2016)  was  focused  on  the                 contemporary  art music of the post-modern period. The research was implemented via the                Computer  Assisted  Web  Interviewing,  which  combines  an  online  sound  questionnaire  and                 a written questionnaire. The objection of the research was to determine the positive, negative                or  neutral  attitudes  of  respondents  to  the  music  samples,  showing  the  ability  of  the                 respondents  to  identify  music  composers.  The  main  questions  like  Does  school  music                 education prepare its students enough for listening to the contemporary classical music? Has                the  extended  music  education  (elementary  art  schools)  got  an  influence  on  the  musical                 attitudes, and the professional music direction? were asked and partially answered. (Sedláček,                2016)                         The  findings  above,  there  were  some  of  the  main  reasons  to  compare  results  from                 these researches with annual reports from the state institution which evaluate internal as well                as external process of music education in the Czech schools (not only Art).                         The subject of musical preferences (not only in the Czech Republic) is repeatedly one                 of those which attention is  constantly focused on because it touches  every individual who                                                              40","perceives music (or comes into contact with it). As the researches in the music field showed,                 we  can  probably  find  “a  new  type  of  not  a listener  but  an  universal  medial  consumer  of                music” (Crha, Sedláček, Košut, Jurčíková \& Prudíková, 2012, pp. 153–154).                         That  is  why  the  Czech  School  Inspectorate  also  deals  with  the  evaluation  of                the results, which it receives during its inspection activity not only in primary and secondary                 schools, but also in basic art schools. We contemplate why pupils in elementary art schools                 prematurely end their studies there and why the active \"producer\" of music is just a \"passive                listener\".  Furthermore,  whether  the  \"active  musicality\"  of  the  Czech  nation,  Czech  youth,                 declines in the 21st century compared to the previous centuries, in proportion to the expansion                of multimedia technologies. This is also related to the issue of maintaining folklore traditions,                 with an emphasis on the folklore elements of some regions in South Moravia.                         The Czech Republic has a well-sophisticated system of music education for children,                pupils and students in Europe and has no conceptual match amongst other European countries                 yet. Children begin to be educated in music in kindergarten, according to a specific school                 curriculum,  which  must  be  in  accordance  with  the  Framework  Educational  Program  for                Preschool  Education.  One  of  the  objectives  is,  among  other  things,  the  development  of                 children's reception and perception abilities and skills. However, even in this system, partial                deficiencies in the initial diagnosis can be found.                         Prior to 1989, musically talented children were selected and diagnosed by specialists                 (usually ages 4 to 5) and parents were advised, for example, to choose a musical instrument                for their child, taking into account, among other things, physiological assumptions, i.e. body                 maturity and the constitution of an individual. These days, the input does not consist of such                 primaries in diagnostics. It is up to the parents whether they accept the recommendations of                their  acquaintances,  colleagues,  friends  and  their  child  in  the  primary  art  school.  This  is                 considered  to  be  one  of  the  biggest  systematic  errors  in  education  (not  just  pre-school                education), which has a direct impact on the development of music education for children,                 pupils and consequently young generations. (Horáková, 2015, pp. 106–112)                         In  Czech  primary  schools,  there  is  a compulsory  time  allowance  set  in  the  musical                (aesthetic) area at least 1 hour per week throughout the school attendance. Emphasis is put on                 the  development  of  practical  skills  (singing,  movement,  listening  and,  to  a minor  extent,                 theoretical  ones).  In secondary schools, the  focus  of interest  is  shifted  onto  the theoretical                area,  pupils  mostly  focus  on  broadening  their  knowledge  of  music  history,  considerable                                                             41","attention is paid to listening, the musical component is actively developed by choirs, music                 groups or other informal ensembles.                        The cooperation between institutions across the educational system (from maternity,                 primary, secondary schools to universities) is one of many examples, such as the Masaryk                University in Brno, the Elementary School in Lipov and the local musical-dance ensemble.                 Another example is the international cooperation, namely the cooperation between the Czech                 Republic, Germany, France and Hungary in the area of support for the development of music                education,  where  experts  from  the  given  countries  are  transferring  their  experience  of                 the realized researches. (Kučerová \& Havelková, 2016, pp. 128–135)                         Equally  important  is  the  active  cooperation  of  the  elementary  art  schools  with  all                the above-mentioned  institutions.  Specific  forms  of  cooperation  consist,  for  example,  of                 the organization of concerts, competitions and shows. The cooperation of some elementary art                schools with theaters, such as Janáček Theater in Brno, where pupils in the singing section are                 actively involved in theatrical performances, seems to be very beneficial.                         The Art School can be considered a kind of extension of basic music education, which                 is available to all age categories (even adults), because the primary school offers high quality                education not only in music, but also in art, dance and literary-dramatic. The interest in this                 type of education by the general public is considerable, and it has a long tradition in the Czech                Republic,  even  though  it  is  an  education  with  tuition  fees.  In  the  school  year  2013/2014,                 approximately  240,000  pupils  were  educated  in  basic  art  schools  (e.  g.  in  2013/2014  –  in                486 institutions,  (Zatloukal  et  al.,  2015,  pp.  100–121),  in  2016/2017  –  in  489  art  schools                 (Zatloukal, 2017, pp.146–171). Pupils, in the following year (2014/2015) approximately, were                 244,000, and this number was rising steadily (in the school year 2016/2017 – there were more                than  248,000  pupils.  There  is  an  interesting  fact,  that  the  highest  number  of  pupils  (in  art                 schools) is not in the capital city of the Czech Republic (Prague) and its surroundings but they                are in the South Moravian region (which was mentioned above), where almost 29,000 pupils                 were  educated in  64 art schools.  In terms  of percentage, there are about  65% of pupils in                the music field, less than 20% in art, about 11% in dance and less than 4% in the literary and                 dramatic field. (Zatloukal et al., 2017, pp. 146-171). It can be said that the systematic support                 of music of Czech pupils and the young generation is in the Czech Republic set relatively well                under given conditions. Although there are criticisms of the primary diagnosis of children in                 kindergartens, where it may well happen that some talents will remain unrevealed.                                                              42","Conclusion                        The quality of reception of classical music directly depends on the depth of musical                education.  Thus,  much  depends  on  the  quality  of  the  ongoing  system  that  supports  music                 education and subsequently the individual himself/herself in terms of music reception.                   REFERENCES                        CRHA,  Bedřich,  SEDLÁČEK,  Marek,  KOŠUT,  Michal,  JURČÍKOVÁ,  Taťána                      \& PRUDÍKOVÁ,  Markéta.  (2012). Výzkum  hudebních  preferencí  vysokoškolské                       mládeže. [A Research of Music Preferences of University Students]. Brno: Masarykova                      univerzita.                      HORÁKOVÁ, Renata. (2015). Music Preferences in Primary Schools from the Point of                       View of the Czech School Inspectorate in Comparison with the Research carried out by                      Masaryk University Brno. In Marek SEDLÁČEK (ed.), Music Preferences of Youth as                       a Contemporary  Music  Education  Issue.  Brno:  Masarykova  univerzita.  pp.  106–112.                      Retrieved from http://www.ped.muni.cz/wmus/studium/sborniky/youth_music_preferen                       ces_as_music_education_issues.pdf                      KUČEROVÁ,  Judita  \&  HAVELKOVÁ,  Hana.  (2016).  An  EU-Project  “Promoting                      Creativity  and  Entrepreneurship  by  Means  of  Music,  Performance  and  Cultural                       Cooperation”  (Musik  kreativ+).  Presentation  of  the  Czech  Concept.  In  Ruta                      GIRDRZIJAUSKIENĖ  \&  Emilija  SAKADOLSKIENĖ  (Eds.),  Looking  for  the                       unexpected. Creativity and innovation in music education. Vilnius: Klaipéda University,                       pp. 128–135.                     SEDLÁČEK, Marek \& HORÁKOVÁ, Renata. (2017). How Do Young People Accept                       Contemporary Art Music? A Research into Musical Attitudes of University Students in                       the Czech Republic. In JOINT (AD)VENTURE MUSIC: Networking as a Challenge for                      Music Teachers.                      SEDLÁČEK, Marek, KYSILKOVÁ, Martina, OTTOVÁ, Markéta, OSTRÝ, František                      \& HORÁKOVÁ, Renata. (2016). K hudebním preferencím artificiální a nonartificiální                       hudby vysokoškolské mládeže (2012–2016) [To the Musical Preferences of the Art and                      Non-art Music of the University Students]. Brno: Masarykova univerzita. 100 p. ISBN                       978-80-210-8445-2.                                                                43","     SEDLÁČEK, Marek. (2016). To the Results of the Research on Music Attitudes to the                       Artistic Music of the 20th in the University Youth in the Czech Republic from the Point                      of  View  of  Music  Pedagogy.  In  Marek  SEDLÁČEK  (Ed.),  Music  Education  –  Terra                       Cognita? Brno: Masarykova univerzita, pp. 41-46. doi: 10.5817/CZ.MUNI.P210-8443-                      2016. Retrieved from                       http://www.ped.muni.cz/wmus/studium/sborniky/me_terra_cognita.pdf                      HLADILOVÁ,  Radka  \&  SEDLÁČEK,  Marek.  (2016).  The  Attitudes  of  Czech                      University Students to the Art Music of the First Two Thirds of the 20th Century as an                       Inspiration  for  the  Creative  Activity  for  Children.  In  Rūta  GIRDRZIJAUSKIENĖ                      \& Emilija  SAKADOLSKIENĖ  (Eds.),  Looking  for  the  unexpected:  Creativity  and                       innovation in music education. Vilnius (Lithuania): Klaipėda university, pp. 72–76.                      ZATLOUKAL, Tomáš et al. (2015). Výroční zpráva České školní inspekce za školní rok                      2014/2015 [The Annual Report of the Czech School  Inspectorate for the school  year                       2014/2015]  (2015).  [online]  [cit.  2016-09-04].  Praha,  2015.  Retrieved  from                       http://www.csicr.cz/getattachment/eaa8291f-7e38-4614-b1d1-f6f89b52c2af                     ZATLOUKAL, Tomáš et al. (2017). Výroční zpráva České školní inspekce za školní rok                       2016/2017 [The Annual Report of the Czech School  Inspectorate for the school  year                      2016/2017]  (2017).  [online]  [cit.  2018-10-25].  Praha,  2017.  Retrieved  from                       https://www.csicr.cz/getattachment/cz/Dokumenty/Vyrocni-zpravy/Kvalita-a-efektivita-                      vzdelavani-a-vzdelavaci-soust/VZ_CSI_2017_web_new.pdf                      Rámcový  vzdělávací  program  pro  základní  vzdělávání.  [The  Framework  Educational                       Program  for  Basic  Education]  (2017).  [online]  [cit.  2017-09-04]  Retrieved  from                      http://www.msmt.cz/vzdelavani/zakladni-vzdelavani/upraveny-ramcovy-vzdelavaci-                       program-pro-zakladni-vzdelavani                                                                                     44","Musical Activities in Flow                                                        Nikolaj Nikitin                   (Comenius University, Faculty of Education, Department of Music Education, Bratislava,                                                          Slovakia)                 Abstract:  Topic  discussed  is  the  theory  of  flow  and  its  significance  in  the  context  of  the                teaching  of  musical  improvisation  in  elementary  music  education.  The  theme  is  closely                related  to  musical  psychology  and  deals  with  the  experiences,  feelings  and  psychological                conditions  associated  with  interpretation.  The  flow  condition  helps  to  cope  with  stress                situations,  increases  concentration  and  brings  joy  or  feelings  of  musical  activity,  thereby                improving the quality of life. It is a musical improvisation and is a suitable form to achieve                a flow condition. This is one of the important arguments for introducing music improvisation                into the music school syllabus.                Key  words: musical  improvisation,  flow  theory,  musical  psychology,  pedagogy,  musical                education                         The  flow  theory  was  selected  as  one  of  the  pillars  of  a theory,  which  can  serve  as                 a basis  for  the  research  of  musical  improvisation.  The  flow  theory  confronted  with                the psychology  of  creativity  enables  to  run  a qualitative  research  of  musical  improvisation                 teaching at primary art school. The research situation is complicated by the age limitations of                pupils.                         According  to  the  theory  author,  Mihaly  Csikszentmihalyi  (2008),  flow  is  a state  of                mind,  which  is  related  to  the  activity  of  a person  doing  an  activity,  into  which  he/she  is                 absolutely immersed with a vision of the target. An individual is able to reach one’s physical                 or mental limits. According to the theory, we can reach a state when we are in control of our                emptions,  we  are  focused  and  fuelled  by  motivation  leading  us  to  a goal  or  better                 performance. Emotions are helpful within this process. A restless person in mental discomfort                cannot reach the flow state. Simply put, flow is the state of a deep concentration on an activity,                 emotion or self. “The state in which people are so involved in an activity that nothing else                 seems to matter; the experience itself is so enjoyable that people will do it even at great cost,                for the sheer sake of doing it.” (Csikszentmihalyi, 2008).                         Csikszentmihalyi describes his theory as a theory of optimal experience. Flow should                be  a state  facilitating  improvement  of  the  quality  of  life,  achievement  of  success  and                 happiness. People however slip into desire for fulfilment rather by maximizing the pleasures                 and  delight  (wealth,  power,  sex).  However,  if  we  want  to  improve  the  quality  of  our  life,                                                             45","overcome obstacles, only direct control of experience may help the ability to find immediate                 delight in what we are doing.                        Musical activities such as composition and musical improvisation are favourable for                 an easier reaching of the state of  flow. Musical improvisation requires musical knowledge,                skills  (audition,  rhythm  perception),  skills  (instrument  playing).  These  components  enable                 a feedback  and  control.  They  are  helping  to  concentrate  on  activities,  which  differ  from                the “main  reality”  of  everyday  existence.  During  musical  improvisation,  the  players  stop                 behaving rational and rather focus on the particular reality of music.                         One  of  the  most  demanding  forms  of  musical  improvisation  is  free  improvisation.                Simultaneously,  it  is  the  most  suitable  example  for  demonstrating  the  flow  theory.  Let  us                 again  mention  the  differences  between  technical  and  artistic  improvisation.  In  case  of                technical improvisation we focus on skills, theoretic knowledge and musical abilities. When                 engaging in artistic improvisation the performer does not have to intensively think about the                technical aspect. He/she plays more intuitively and in the state of flow.                         It  needs  to  be  considered  that  there  are  barriers  between  which  each  improvisation                 moves and even with one person in may vary according to his/her state of mind, concrete                work of arts or other influences. If we do not get to immerse deeply because we are nervous                 or are not in a good condition, we can balance it out with our technical skills and experience.                         The function of such activities should be bringing joyful experiences. This counts for                arts, sports or rituals.                         Csikszentmihalyi’s  definition  of  music  is  very  inspirational.  He  describes  music  as                a grouping of tones which should capture the auditors and evoke in them the desired mood.                 Just  like  with  any  art,  it  does  not  necessarily  have  to  be  joy  or  a specific  emotion.                In functional music it is easier to name and grasp it compared to the contemporary music or                 experimental music. In any case, music fulfils certain needs of the listener and brings him/her                 an improvement in his/her quality of life.                        Music requires attention – listening, concentration. And on the contrary, it is popular                 because  it  satisfies  needs  (relax,  emotions,  activities).  Musical  improvisation  is  a real-time                creation. It would be the subject of another research to find out the reactions of audience to                 a live  performance  which  would  include  also  musical  improvisation  and  the  reactions  of                auditors to a record of such performance.                                                               46","Anyway, even an experienced listener should be able of achieving the state of flow.                 In that  case  we  cannot  forget  to  mention  the  fact  that  each  performer  must  be  first  of  all                a good and focused listener. All musical activities bringing the state of flow are connected                 also with a focused listening to music.                        Listening to music is not important only from the perspective of analytical listening,                 but mainly from the perspective of what we are experiencing as we are listening to music.                This is transmitted also into interpretation (improvisation) by pupils. It is important to know                 what they are experiencing during listening to and also playing music.                         Playing  a musical  instrument  includes  also  the  reading  of  a note  text.  In  musical                improvisation it may involve the reading of musical marks – symbols or graphic marks and                 scores. In this case the musician is decoding signs and turning them into music. Some of the                most  exciting  experiences  are  created  inside  the  mind  and  they  are  rather  challenges  for                 our capacity to think than to use the abilities of our sense. Besides activities corresponding to                the  physical  potentials  of  the  body,  also  each  mental  activity  is  able  to  provide  joy  in  its                 concrete form. One of the many available intellectual activities bring the flow is for example                 the reading.                        In music, we can give several examples. Reading of musical symbols in jazz requires                                                                                                          7                more than the theoretical comprehension of the accord symbol. On the example of accord C ,                we can explain the intervallic structure based on thirds (C-E-G-Bb) and individual relations                 among the tones. To each accord we can assign the mode – a scale, which will derive from the                 respective major or minor scale in which the accord is naturally contained. For example, if we                                                   7                are in C major, then the accord Dmi  corresponds with the Dorian mode. However, in order to                play  the  melody,  based  on  the  accord,  we  need  imagination  and  creativity.  When  reading                accord  signs  we  are  also  employing  our  inner  imagination  and  hearing.  Experienced                 performers and improvisers hear the sound of accord signs and the possibilities of their sound                 performance even before they are played. A similar and more complex example is the reading                of musical score and its inner hearing.                         At the highest level of musical skills there might be imaginary sounds more perfect                than any interpretation. Such ability is an advantage for the conductors. If a musician wants to                 enjoy such activity, he/she must meet the same conditions which are decisive about whether                a physical activity is pleasant or not. In case of musical improvisation, there is a “symbolic                                                                 47","system”, which needs rules just like the system of physical activities. Equally important are                 concentration, estimation of one’s abilities, one must be able to react.                        “Thus, although flow always involves the use of muscle and nerve, on the one hand,                 and  will,  thought,  and  feelings  on  the  other,  it  does  make  sense  to  differentiate  a class  of                activities  that  are  enjoyable  because  they  order  the  mind  directly,  rather  than  through  the                 mediation of bodily feelings. These activities are primarily symbolic in nature, in that they                depend  on  natural  languages,  mathematics,  or  some  other  abstract  notation  system  like                 a computer language to achieve their ordering effects in the mind. A symbolic system is like                 a game in that it provides a separate reality, a world of its own where one can perform actions                that are permitted to occur in that world, but that would not make much sense anywhere else.                 In  symbolic  systems,  the  “action”  is  usually  restricted  to  the  mental  manipulation  of                concepts.“ (Csikszentmihalyi, 2008).                         One of the signs of experiencing music is a different perception of time. It is well-                known that when we are suffering the time goes infinitely slowly and in case of delights, on                 the contrary, time passes very quickly. Music is objectively measurable (BPM, tone pitch in                 Hz, time signature, use  of instruments,  sounds,  etc.). When listening to  or interpreting the                music, we apply our subjective experience. Perception of time can be compared to pleasant or                 unpleasant feelings – some parts seem longer and other seem shorter than they actually are. In                 case of listeners it is maybe easier. Just like when playing-interpreting something makes us                feel  pleasant  –  unpleasant  (pain,  joy,  joyfulness).  However,  when  speaking  of  the  state  of                 flow,  a feeling  of  time  shows  only  a little  connection  to  the  lapsing  of  time  measured  by                means of a watch. Estimation of objective time, typical for activities is though possible also                 during the state of  flow. Such exception is  represented by activities requiring  a time-based                scheduling of actions. The examples being surgeons or sportsmen. The loss of the feeling of                 time is a part of the state of flow and it is a sort of by-product of intense concentration. We                 can  only  guess  whether  this  loss  contributes  to  improvement  of  the  quality  of  life  or  not.                “Although it seems likely that losing track of the clock is not one of the major elements of                 enjoyment,  freedom  from  the  tyranny  of  time  does  add  to  the  exhilaration  we  feel  during                a state of complete involvement.” (Csikszentmihalyi, 2008).                         During the state of flow it is not important what activity we are performing, but it is                 about  the  approach  and  relationship  to  a concrete  activity.  In  artistic  activity  or  sports                motivation  is  usually  higher  than  in  common  work  activities  such  as  for  example  manual                 work on a conveyor belt. However, it is not ruled out that an employee on a on a conveyor                                                            48","belt may not equally like the activity he/she has been performing long-term and on a regular                 basis.  A  sportsman  is  motivated  to  achieve  improvements,  records  or  great  wins.  Also  an                employee on a conveyor belt without any audience can set such goals. In the given activity,                 he/she is making order and giving it new meanings and goals. Therefore, each activity has                a potential to achieve the state of flow.                         A  paradox  created  by  these  situations  is  a double  view  on  the  work  activity  in                employment. Just like an employee on a conveyor belt, also musicians are active in various                 orchestras, chamber groups or bands. They describe the moments on the stage as their most                 positive life experiences. At the same time, they tend to have the need to complain about their                work  saying  they  would  rather  prefer  not  to  work.  The  research  carried  out  until  now                 (Csikszentmihalyi, 2008) shows that people working in the state of flow were in a surprisingly                bad mood during the desired relax time. Therefore, we suppose that also in case of musical                 activities the quality of experience is the better the more frequently the artists are in the state                 of flow. In the state of flow we feel strong, active, focused, creative and motivated. This can                cause a lower quality of experience during a longer relax.                         An important part in musical interpretation is played by handling performance-related                stress. Concentration on performance, managing the stage fright or other disruptive elements                 is a daily worry of the performers. Every person handles stress in a different way and there are                 many  ways  how  to  eliminate  it.  Improved  communication,  distribution  of  tasks  in  a team,                autogenous  trainings  or  improvement  of  family  life.  However,  the  best  way  is  to  consider                 stress a part of the general strategy towards improvement of the overall quality of experience.                Everyone handles stress differently, but this topic needs to be addressed in case of pupils in                 a very sensitive way. A typical situation (not only for pupils) is a public performance. It is                even more demanding in case of musical improvisation because the performer is creating in                 real  time,  so  he/she  does  not  play  from  the  prescribed  notes,  i.e.  material  rehearsed                 beforehand.  He/she  creates  based  on  the  rules  of  style  improvisation,  either  he/she                himself/herself or accompanied. The state of flow or any coming near this state eliminates the                 negative impacts such as for example stage fright. If working with a pupil for a longer time, it                is important for him/her to know his/her goals, understand all processes during arrangements                 for the concert. It is necessary to gradually develop the skills, abilities, analytical thinking and                talk about experiences during interpretation. On one side, this gives the students a feeling of                 security, but on the other side also a feeling that they are doing something meaningful and                 thus fulfilling their goals. Their joy after the concert will be that much bigger.                                                             49","This  leads  us  to  joy  and  quality  of  life.  For  these,  Mihaly  Csikszentmihalyi                 recommends two key strategies:                    1.  Try to accommodate the external conditions as to correspond with our goals. This we                        perceive in  the context  of the  classical musical  education  at  the primary art school                       including notes reading, performance, chamber play.                    2.  Change our perception of external conditions as to make our goal fit in them better.                       This we perceive as suitable for the area musical creation and improvisation.                         As mentioned above, the feeling of security can be changed in the way that we will                 constantly  work  with  the  pupil  on  all  significant  musical  abilities  and  skills.  These  are                the conditions, which are in line with our goals. The second method means changing what we                 imagine when talking about security. When a pupil does not expect a perfect security in form                of written notes, when he/she considers risks as inevitable and he/she is able to find pleasure                 also in not quite predictable music, then the threat of insecurity will not get such a chance to                thwart  his/her  performance.  Naturally,  success  of  either  of  the  strategies  would  not  work                 without  one  another.  This  is  the  reason  we  consider  important  including  musical                 improvisation in the syllabus of primary art school.                    REFERENCES                       BAILEY, Derek (1993). Improvisation: its nature and practice in music. New York: Da                      Capo Press. 146 p. ISBN 0306805286.                     BULLOCK, Michael T. (2010). Self-Idiomatic Music: An Introduction. Leonardo 43(2),                      April 2010, pp. 141–144. Academic Search Complete, EBSCOhost.                     CSIKSZENTMIHALYI, Mihaly (1991). Flow: The Psychology of Optimal Experience.                      New York: HarperPerennial. 303 p.                     FRANĚK,  Marek  (2005).  Hudební  psychologie  [Musical  Psychology].  V  Praze:                      Karolinum. 238 p. ISBN 978-80-246-0965-2.                     PODRACKÝ, Ján (2015). Hranie bez hraníc: Voľná improvizácia ako edukačný princíp                      [Limitless Playing: Free Improvisation as an Educational Principle]. [Bachelor’s Degree                      Thesis].  [online].  Brno:  Masaryk  University  [cit.  2018-12-01].  Retrieved  from                      https://theses.cz/id/1wchxo/.                     ZLÁMAL,  Pavel  (2010).  Volná  improvizace  –  jiný  pohled  na  hudbu,  otázky  a výzvy                      [Free Improvisation – A Different View of Music, Questions and Challenges]. [Diploma                      Thesis]. Brno: JAMU, 50 p.                                                                  50","Didactic Materials Used in Teaching Music at Elementary Art Schools                   in the Czech Republic according to Research at Department of Music at                                Faculty of Education of Masaryk University in 2018                                                   Zdislava Voborná Záleská                 (Masaryk University, Faculty of Education, Department of Music, Brno, Czech Republic)                 Abstract:  The  article  deals  with  didactic  materials  used  in  elementary  art  schools  in  the                Czech  Republic  in  the  study  subject  of  Music.  The  didactic  materials  are  divided  into                textbooks, songbooks and other didactic materials used by both teachers and pupils. The data                was obtained by the method of questionnaire survey in the framework of the research Current                trends  in musical-theoretical  teaching  at  elementary  art  schools  in  the  Czech  Republic.                The research  focused  on  the  education  in  the  musical  field  of  elementary  art  schools.  The                purpose of this research was to look at the content of the curriculum and the teaching methods                used. The aim of the research was then to find out the current state of this issue and propose                possible  improvements  of  the  quality  of  teaching,  for  example  through  the  preparation  of                didactic materials.                Key words: research, elementary art school, music, didactic materials                   Introduction                        This article is looks at some of the results gathered from the research Current Trends                 in Musical Theoretical Teaching at the Elementary Art Schools in the Czech Republic, carried                out  at the  Faculty  of  Education  of  the  Masaryk  University  in  Brno  in  2018.  The  article                 especially focuses on a specific question – the teachers were asked about didactic materials                used in their teachings. The respondents were asked if they, or their students, use didactic                 materials during their lessons. If the response was positive, they were also asked to fill in the                titles  of  the  materials  used  as  well  as  their  personal  evaluation  of advantages  and                 disadvantages of these materials. These questions were divided into three areas – textbooks,                 songbooks and other didactic (teaching) materials (including didactic aids). In total 146 of the                teachers asked took part in the research.                  Textbooks                        Out of the 146 respondents (teachers) 88 answered that they are using textbooks when                they teach the Music lessons, 39 responded that they are not using textbooks at all and 19                 respondents  did  not  answer  this  question.  The  same  question  also  asked  how  many  of                 the respondent’s students use the same textbooks during their lessons or for their studies. This                sub-question was answered positively by 73 respondents and negatively by 49.                                                               51","A textbook Hudební nauka pro ZUŠ [Music theory for elementary art schools] written                 by  Martin  Vozar  was  the  most  frequently  mentioned  with  63  respondents  using  it.                The respondents  stated  that  they  are  satisfied  with  it  because  the  textbook  is  easy  to  use,                 systematic,  comprehensible,  comprehensive,  practical,  well-designed  and  serves  as                a complement to the lessons. It also offers a wide variety of activities that pupils enjoy. The                 textbook contains a songbook with a wide selection of songs, practice exercises and fun tasks                such as quizzes, crosswords and games, musical terminology, and examples for writing and                 reading musical tones.                       Another textbook, Hudební nauka pro malé i větší muzikanty [Music theory for small                and larger musicians] by Dagmar Lisá, is reportedly being used by 9 respondents. They have                 found this textbook to be easy to follow and positively evaluated the fact that it contains basic                and brief information, definitions and overviews. It was also mentioned that this particular                 textbook is suitable for laymen. This textbook however does not contain a workbook, lacks                creative exercises and does not include activities suitable for lessons.                       The same number of respondents was also using a textbook Hudební hry [Music games]                 by  Rafaela  Drgačová  and  Cyril  Kubiš.  This  textbook  was  evaluated  by  them  as  well                constructed, entertaining, offering an opportunity to teach in a playful manner and being well                 liked  by  respondents’  pupils.  It  was  also  mentioned  that  this  textbook  contains  interesting                 suggestions,  an  overview  of  the  curriculum  and  some  great  ideas  for  a creative  teaching                of Music.  It  was  however  not  used  by  pupils  and  served  mainly  as  an  inspiration  when                 planning lessons.                      Other textbooks mentioned by more than one respondents were: ABC Hudební nauky                 [ABC of the music theory] by Luděk Zenkl, ABC intonace a sluchové analýzy [ABC intonation                and auditory analysis] by Luděk Zenkl, publications written by Eva Jenčková, Dějiny hudby                 [History of music] by Miloš Navrátil, Mladí muzikanti [The young musicians] by Jaroslava                 Neoralová and Učebnice Harmonie [The textbook of harmony] by Jaroslav Kofroň.                      The  following  textbooks  were  used  by  only  one  of  teachers:  Domeček  plný  notiček                 [House  full  of  notes]  by  Karla  Havelková  (containing  basics  of  curriculum  in  a playful                manner),  Harmonie  rozborem  [Analysis  of  harmony]  by  Karel  Janeček  (which  includes                 demonstrations and works with theory in music itself), Hudební nauka [Music theory] by Eva                Procházková,  Klíček  hudební  nauky  [The  key  of  music  theory]  by  Eva  Šašinková,                 Kompendium  základů  hudební  teorie  a hudebních  dějin  by  Jiří  Šimáček,  My  jsme  malí                 muzikanti [We are little musicians] by Petr Jistel and Jaroslav Koutský, Noťáček [\"book of                music\"] by Hana Šípková, Slovník české hudební kultury [Dictionary of czech music culture]                                                             52","by  Jiří  Fukač,  Jiří  Vysloužil  and  Petr  Macek,  Učebnice  intonace  a rytmu  [Textbook  of                 intonation and rhythm] by Jaroslav  Kofroň,  Notopísanka  [Exercise book of  music]  by  Eva                Šašinková,  magazine  Mistři  klasické  hudby  [Masters  of  classical  music],  and  books                 containing history of art, encyclopaedias and works from seminars.                      5  teachers  use  their  own  materials  during  their  lessons.  The  main  advantage  of  this                 approach is that it is possible to easily adapt to the curriculum and to the needs of pupils as                well as to the requirements of the school. The combination of textbooks and own materials is                 used by 16 respondents and was evaluated by them as the most flexible option. Some of the                 teachers  also  responded  that  they  do  not  use  any  textbooks  during  their  lessons.  These                teachers use a combination of materials (that were not specified) or materials of their own.                        As can be seen every teacher uses publications that seems to fit their own criteria which                 widely vary depending on what they need to teach as well as what is currently required from                them.                    Songbooks                       86  of  the  teachers  responded  that  songbooks  are  used  by  them  to  teach  Music,                 34 teachers do not use the songbooks during their lessons and 26 respondents did not answer                the question in either way. The teachers wrote down more than 30 different songbooks and                 45 combinations of two or more songbooks. 7 teachers have created their own songbooks that                are used during their lessons.                       The following songbooks are used by both teachers and pupils: Já, písnička [Me, song:                 a songbook  for  students  of  elementary  school]  by  Petr  Janský  which  was  mentioned  by                45 teachers. This songbook contains a large selection of well-known songs varying from folk                 song  to  authored  songs.  Songs  are  appropriate  for  people  of  all  ages  and  can  be  used  to                 practice  the  already  taught  curriculum.  The  book  however  contains  mistakes  in  melody,                chords and lyrics. It is also necessary to sometimes transpose the songs.                        6  teachers  responded  that  they  use  Písničky  z  pohádek  a dětských  filmů  [Songs  from                fairytales and children's movies] by Ondřej Suchý. Do-re-mi [Do-re-mi] by Marie Lišková                 was mentioned by 4 teachers. This particular songbook contains pictures and is quite popular                 due to the choice of songs in it. A songbook Písnička 1. Zpěvník pro 1. stupeň základní školy                by Markéta Svobodová  and Bohumil  Polívka  [The song  for  elementary  school]  is  used by                 3 teachers, songbooks by Jaromír Nohavica by 2 teachers and regional songbooks by the same                                                              53","amount.  Mladí  muzikanti  [The  young  musicians],  which  combines  theory  with  songs,  by                 Jaroslava Neoralová was mentioned by 2 teachers although it is focused only on folk songs                and lyrics. The  following songbooks  were then  mentioned by  a single teacher: songs  from                 workbooks by Martin Vozar and a songbook Hudební výchova by Marie Lišková and Lukáš                Hurník. 4 of the respondents also mentioned that they are using the internet on a regular basis.                 The following songbooks are used by teachers only to a small extend: songbooks by Zdeněk                Svěrák  and  Jaroslav  Uhlíř,  songbooks  by  Marie  Kružíková,  songbooks  by  Eva  Jenčková                 (which contains ideas for working with songs). In a songbook Já a písnička: [Me and song]                 by Soňa Kozáková, Jiří Zima and Jiří Macek the teachers were happy about the choice of                songs,  but  occasionally  noted that there  are some mistakes  regarding the chords. Amongst                 other songbooks mentioned were Barevní cinkání [Colorful jingling] by Vlasta Beilová, Jak                počítají  koťata  [How  kittens  do  count]  by  Pavel  Jurkovič  and  Jiří  Žáček,  Národní  zpěvník                 [National songbook] by Jaromír Gelnar, Špalíček lidových písní [Songbook of folk songs] by                Josef  Krček  et  al.  (which  includes  chords,  duets  and  some  well-known  national  songs),                 a songbook by Petr Skoumal, a songbook by Jiří Pavlica, a songbook by Lenka Pospíšilová,                 a songbook by Pavel Jurkovič, Zora Jandová and Vladimír Merta, Zpíváme v Kyjově [We sing                in Kyjov: folk songs] by Jiří Petrů. The respondents also mentioned several children, folk and                 Christmas  songbooks  as  well  as  songbooks  with  popular  music,  spiritual  music,  CDs  and                 materials originating from the internet.                       The  advantage  of  combining  different  songbooks  is  the  ability  pick  the  right  songs                whenever  possible.  Songbooks  are  easily  available  in  general  and  contain  a wide  range  of                 songs from all different musical genres. Songs in them are also often known and suitable for                pupils of all ages. Some of the songbooks are also split to categories according to the songs                 included in them. Additional possible division would be according to the presence of texts and                 songs edited specifically for children and presence of ideas and tips for activities that could be                included in lessons. Some of the teachers responded that they are satisfied with the type of                 their voice as well as with the possibility to create their own musical accompaniment, which                 seemed to be desirable for the majority of respondents. The teachers, who are creating their                own materials, found the biggest advantage of this approach in the variability and possibilities                 presented.                                                                     54","Other didactic materials used in music                       95  teachers  mentioned  specific  materials  and  85  of  them  also  wrote  down  their                advantages.  40  teachers  are  using  some  variants  of  their  own  materials,  for  example                 worksheets,  didactic  aids,  CDs, arrangements  of songs, rhythm or intonation exercises.  As                didactic aids teachers mentioned for example cards, puzzles, dominoes, quizzes, crossword                 puzzles, accessories, stones or bottle caps serving as musical notes. The teachers are usually                satisfied with the level of their own materials as these materials are verified and tested by time                 but some of the teachers are considering updating what they have available in a near future.                 The  teachers  stated  that  having  own  materials  offers  a wide  variety  of  lessons,  takes  into                account the way Music is taught at their school and are quite easy to adapt according to the                 current curriculum. Didactic materials are considered to be fun for the pupils, effective and                enrich  the  lessons.  Having  self-created  materials  also  provide  visual  aid  in  lessons,                 opportunity  for better explanations,  exercises and memorizing of lessons.  Materials  can be                linked to listening, history of music or culture. Teachers who use their own presentations also                 have an opportunity to connect their lessons with other types of art. Pupils are also allowed to                 have all the materials available at any time which eliminated the need to use textbooks. Even                though the creation of new materials takes a lot of time the teachers are using them regularly.                        Other didactic materials  mentioned were for  example  a blackboard with  a note sheet,                 interactive whiteboard,  magnetic tables, musical instruments  tables,  pictures, charts,  games                and  cards.  Didactical  aids  make  the  lessons  more  diverse  and  make  learning  easier.                 The didactic aids serve as a motivation for pupils and attract interest in the subject. Pupils can                perceive the learning by all of their senses, which helps them to remember the lessons better                 as well as with the practice. Musical instruments (such as piano and guitar) also seem to be                 quite  popular  amongst  the  students  and  help  with  the  practice  of  rhythm  as  well  as  with                the memorising of the curriculum.                        Other  materials  mentioned  by  teachers  originated  from  seminars,  workshops  and                 projects.  Teachers  are  using  worksheets,  tests  and  exercises.  The  best  score  was  given  to                worksheets that are serving mainly as supplements to lessons, mainly for practice and home                 preparations.  The  biggest  advantage  is  that  they  also  simplify  and  accelerate  the  learning                process.                       The  internet  was  mentioned  by  14  respondents.  The  advantage  of  the  internet  is  its                 speed, availability, up-to-date information selection, a wide variety of possible activities and                the diversity of ideas  and sources  of inspiration.  It  was  also  mentioned that the  internet  is                                                             55","mainly used due to the unsatisfactory variety of didactic materials on the market. Media, such                 as cassettes,  CDs,  DVDs,  videos,  presentations  or  music  software,  were  mentioned  by                6 respondents. Some of the teachers also use copies of the music notation.                       Other didactic materials, that were not mentioned above, were: ABC hudebních forem                [ABC  musical  forms]  by  Luděk  Zenkl,  Dějiny  evropské  hudby  [The  History  of  European                 music] by Gracian Černušák, Hry s hudbou a techniky muzikoterapie [The games with music                and music therapy techniques] by  Zdeněk Šimanovský,  Hudba v současné škole  [Music in                 the current school] by Eva Jenčková, Hudební výchova pro ZŠ [Music theory for students of                 elementary school] by Jindřiška Jaglová, Opera nás baví [We enjoy opera] by Jiřina Marková                and Anna Novotná, Příběhy, pověsti a pohádky paní Hudby [Tales, rumors and fairytales by                 Mrs. Music] by Anna Hostomská, Učebnice intonace a rytmu by Jaroslav Kofron, songbook                My  jsme  malí  muzikanti  [We  are  little  musicians],  publications  by  Lenka  Pospíšilová  and                 Mistři klasické hudby [Masters of classical music] (both the magazine and the CD). Some of                the teachers also mentioned that they are regularly using excerpts from biographies of famous                 authors,  lyrics  of  opera,  specialised  literature,  popular  music,  intonation  and  rhythmic                 exercises and German publications about music.                   Summary                        The  article  provides  information,  obtained  through  a questionnaire,  on  the  didactic                materials  used  by  pupils  and  teachers  in  the  Music  lessons  as  well  as  their  advantages  or                 disadvantages. Answers in teacher's questionnaire show that many teachers, or their pupils, do                not use any materials at all. Teachers are mostly satisfied with the didactic materials, but they                 are  finding  minor  shortcomings  in  almost  every  publication  mentioned.  Some  teachers                 therefore mentioned that for these reasons they use several sources for their lessons or are                creating their own materials which are also able complement the textbooks and songbooks.                 Teachers  often  prefer  materials  that  are  suitable  for  their  pupils,  enrich  their  lessons  or                provide sources of entertainment and inspiration for their lessons.                                                                             56","REFERENCES                       CMÍRAL,  Adolf  (1957).  Základní  pojmy  hudební  [Basic  musical  terms].  Praha:                       SNKLHU. 313 p.                     ČERNUŠÁK, Gracian (1964). Dějiny evropské hudby [The History of European music].                       Praha: Panton. 486 p.                      GELNAR,  Jaromír  (1987).  Národní  zpěvník:  zpěv  s  doprovodem  kytary,  harmoniky                      nebo klavíru [National songbook: singing accompanied by guitar, harmonica or piano].                       Praha: Supraphon. 143 p.                      HAVELKOVÁ,  Karla  (2001).  Domeček  plný  notiček:  metodika  k  pracovnímu  sešitu                      hudební teorie pro PPHV, PHV ZŠU a 1. třídu ZŠ [House full of notes: methodology for                       workbook of music theory for children (3-6 years)]. Brno: LYNX. 24 p.                     HOSTOMSKÁ, Anna (1959). Příběhy, pověsti a pohádky paní Hudby [Tales, rumors                       and fairytales by Mrs. Music]. Praha: Státní nakladatelství dětské knihy. 437 p.                      Já, písnička: zpěvník pro žáky základních škol [Me, song: a songbook for students of                      elementary school]. Cheb: Music (1995). 267 p.                      JAGLOVÁ,  Jindřiška  (1998).  Hudební  výchova  pro  1.  ročník  základní  školy  [Music                      theory for students of elementary school]. 2., upr. vyd. Brno: Nová škola. 48 p.                      JANEČEK,  Karel  (1963).  Harmonie  rozborem  [Analysis  of  harmony].  Praha:  Státní                       hudební vydavatelství. 213 p.                     JELÍNEK, Stanislav (1998). Základní hudební pojmy v otázkách a odpovědích [Basic                       musical terms in questions and answers]. Kladno: Nakladatelství Vladimír Beneš. 60 p.                      JENČKOVÁ,  Eva  (1997).  Hudba  v  současné  škole  [Music  in  the  current  school].                      Hradec Králové: Orlice. 55 p.                      JISTEL,  Petr,  JANA  KOŠŤÁLOVÁ  a Brigita  PROKŠOVÁ  (1982).  My  jsme  malí                       muzikanti [We are little musicians]. Praha: Panton. 26 p.                     JURKOVIČ, Pavel (2010). Jak počítají koťata [How kittens do count]. 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Slovník  české  hudební  kultury                      [Dictionary of czech music culture]. Praha: Editio Supraphon. 1035 p.                      ZENKL,  Luděk  (1982).  ABC  hudební  nauky  [ABC  of  the  music  theory].  Praha:                       Supraphon. 200 p.                     ZENKL,  Luděk  (1984).  ABC  hudebních  forem  [ABC  musical  forms].  Praha:                       Supraphon. 87 p.                      ZENKL, Luděk (2000). ABC intonace a sluchové analýzy [ABC intonation and auditory                      analysis]. Praha: Editio Bärenreiter. 124 p.                                                                                                                    59","Hanns Eisler: Variations on American Children’s Songs                                                        Bence Asztalos                 (Eötvös Loránd University, Faculty of Primary and Pre-School Education, Music Department,                                                    Budapest, Hungary)                   Abstract: Hanns Eisler’s Suite for Septet No.1 op.92a (Variations on American Children’s Songs) is                film  music,  composed  for  Joseph  Losey’s  documentary,  A  Child  Went  Forth,  shown  in  1942.                The musical content of the film, about children’s summer camp, has been adopted from such nursery                rhymes as Little Ah Sid, Strawberry Fair or Sourwood Mountain. This study points out, besides the                work’s  musical  attributes,  a few  typical  momentums  of  composition,  adding  tips  to  film  programs                already operating in schools.                 Key words: Eisler, nursery rhymes, film music, film programs, chamber music                   Introduction                        The objective of this study is to introduce Hanns Eisler (1898–1962), composer of film                 music, through the Film Music Program of the Rockefeller Foundation. To get to know this                side of the composer, it is worth to look at the more important events in Eisler’s life.                         The son of a professor of philosophy and a butcher’s daughter in Leipzig, Hanns Eisler                grows  up  in  Vienna,  where  he  studies  composition  under  Arnold  Schönberg.  Eisler  is                 mentioned later as the third most gifted student of Schönberg after Anton Webern and Alban                Berg (Eisler, 1977). He is already getting commissions and a job with Universal Edition while                 still in  Vienna. By the  middle of the 1920s  he is  in  Berlin  of the Weimar Republic, so  is                 Arnold Schönberg. Currently, Berlin is the most important center not only of Fascism but also                the  Moscow-following  left  wing.  So,  it  is  not  surprising  that,  after  the  Nazi  takeover,  the                 strongly left-leaning Eisler, composing music also for the proletariat, can no longer stay in                 Berlin. In 1938 he tries to settle in the USA. When he is refused residence permit, he leaves                New York and works and teaches in Mexico City. After obtaining a USA visa he is absorbed                 in  Hollywood’s  film  industry  like  many  other  immigrants  among  them  Max  Reinhardt,                Thomas Mann, Arnold Schönberg or Bruno Walter. Eisler is the only Schönberg-student who,                 though unwittingly, followed his master to Berlin and California (Betz, 1976).                   Film Music Program                     In  Hollywood  Eisler  composes  music  to  various  documentaries  and  eight  films.  Found                 amongst them are Spanish Main (1945), Deadline at Dawn (1946), A Scandal in Paris (1946),                                                            60","The Woman on the Beach (1947). Best known and regarded from them are the Hangmen Also                 Die! (1943) and Non but the Lonely Heart (1944). Both films received an Oscar-Nomination                in Musical Score of a Dramatic or Comedy Picture category.                     In 1940 Eisler, with Theodor Adorno, is appointed to direct the Film Music Program of                 the Rockefeller Foundation, supported by a donation of 20,000 dollars from the Rockefeller                 family. The program’s objective is to bridge the gap between the more advanced technology                of  scenery  and  photography  and  the  much  more  lagging  film  music.  Beside  musical                 technology,  questions of dramaturgy  and aesthetics, as  well  as connections  between music                and picture, are to be investigated. Adorno and Eisler (1944) summarize the results of their                 practical experiments in their book Composing for the Films, following the program’s closure                 in 1942. The program worked independently from the film industry, however, big-name film                companies like Twentieth Century Fox or Paramount Pictures have shown an active interest                 and offered film details for the work. The program used the following scenes:                     –  14 ways to Describe the Rain a composition to Joris Ivens’ documentary Rain, which                        shows the rich variations of an Amsterdam rain’s effects.                    –  News broadcasts’ details, war scenes.                     –  Pictures  of  nature,  idyllic  and  dramatic  series,  snowstorm,  icebergs,  volcanic                       eruptions.                     –  Movie details scenes from Grapes of Wrath and Forgotten Village.                     –  Children’s’ scenes in a camp A Child Went Forth.                  A Child Went Forth                     A  Child  Went  Forth  (Children’s  scenes  in  a camp,  directed  by  Joseph  Losey,  1942)  is                 a 22 minutes long film without action, in which a line of genre pictures is loosely connected                by the film’s location, the children’s camp. The director has separated, well noticeable, the                 basically simple and non-assuming film’s scenes: each has a definite subject from the camp’s                 life, playing, sleeping, confrontations, eating. The scenes are of similar length and end with                a little bang.                     For Eisler, the suit appears the most adaptable form to the film’s music. Not a consciously                 thorough  running,  rich-in-transition  musical  form,  but  a series  of  small,  clear  in  character,                 easy to distinguish from each other, complete in themselves, parts where the beginning and                the end is easily recognizable.                                                               61","The material of the music came from American children songs, such nursery rhymes as                 Strawberry  Fair,  Sourwood  Mountain  or  Little  Ah  Sid.  The  composer  thought  that  it  is                possible  to  play  music  freely  with  the  simplest  musical  material,  applying  constructive                 methods and abandoning conventions. The music notes require 7 instruments: flute, clarinet,                bassoon, 2 violins, viola, cello. From the film’s music Eisler composed an independent suite:                 Suite for Septet No. 1, Op. 92a (Variations on American Folk Songs.)                     It  is  worth  to  lift  out  from  the  film  the  following  typical  compositional  moments                 (SehgalTV, 2013):                     –  2’34”–3’15”: The children are tinkering, painting toys, working industriously, which                        is expressed in the music with a little sedulous fugato.                     –  3’20”–4’19”:  In the next scene, the inhabitants of the camp carry heavy stones, the                        fugato theme is preserved, expressing the work's tiring nature. At the end of the scene,                       a fighting breaks out, the music shows it with the gesture of jostling.                      –  11’05”–11’41”: In another scene, the children are feeding new-born mice. Swift, high                        frequency, shrieking music, the most difficult item both technically and for teamwork.                     –  11’42”–12’51”:  In another scene, the children are washing dogs. The string session                        plays a banjo-like pizzicato, the children song sounds also on clarinet then, at the end                       of the item, to the tone of the Code, the dog free of the washing shakes himself.                    REFERENCES                       ADORNO, Theodor \& EISLER, Hanns (1947). Composing for the Films. New York:                      Oxford University Press.                      BETZ, Albrecht (1976). Hanns Eisler. Musik einer Zeit, die sich eben bildet. München:                       Edition text + kritik.                     EISLER,  Hanns  (1977).  A  zene  értelméről  és  értelmetlenségéről  [The  meaning  and                       meaninglessness of music]. Budapest: Gondolat.                      [SehgalTV]. (2013, September 15). A Child Went Forth (1942) [Video File].[LOSEY,                      Joseph  (dir.)].  Retrieved  from  https://www.youtube.com/watch?v=85nJ5UHLlt0                       (10.10.2018).                                                                 62","Multimedia and Music Software in Music Theory Classes in Elementary                 Art Schools in the Czech Republic – Research Outcomes of the Department                       of Music at the Masaryk University’s Faculty of Education in 2018                                                         Ondřej Musil                   (Masaryk University, Faculty of Education, Department of Music, Brno, Czech Republic)                   Abstract:  The  main  aim  of  the  contribution  is  to  familiarize  those  who  are  interested  in                multimedia  and  modern  technologies  in  music  education  with  the  current  state  of  using                multimedia in music education, which follows the research of the Department of Music at the                Masaryk University's Faculty of Education in 2018. This research focuses on teaching music                theory  in  elementary  art  schools  in  the  Czech  Republic.  One  section  of  the  questionnaire,                which was intended for the music teachers, focused on the area of modern technologies and                music software. The submitted text presents the outcomes of teachers' answers and tries to                explain them.                 Key words: multimedia, modern technologies, music software, research, music education                    Introduction                       The Department of Music at the Masaryk University’s Faculty of Education has been                 dealing with the issue of using modern technologies in music education since 2010, when first                 series of researches, concentrating mainly on the frequency of using technologies in music                lessons  and  level  of  teacher's  and  student's  competency  towards  their  active  using,  were                 carried out. Last year, the comparative research called Using Multimedia in Music Education                in Primary and Secondary Schools – State of Research in 2017 (see Košut et al., 2017) was                 done. Its aim was to discover potential improvement in modern school facilitation and again                mostly in their usage.                        Outcomes of the research evaluated answers of both teachers and students. Questions                 concentrated on technical equipment of selected schools, general notion of respondents about                different types of music software and on direct experience with using them. Emphasis was put                                                        21                on notation and compositional software , as well as on educational one. Naturally, mobile                applications  were  included  too.  Last  questions  inquired  about  opinions  of  respondents  on                further education in given field and also on current offer of courses, seminars, workshops etc.                     21                   This  term  classifies  non-standardly  both  strictly  notation  software  and  also  the  so-called  DAW,  which  is                software for (but not exclusively) recording and editing sound.                                                            63","To  the  2017's  research  are  connected  partial  results  of  this  year's  research  by  the                 Department  of  Music  at  the  Masaryk  University’s  Faculty  of  Education  entitled  Current                Trends in Musical-Theoretical Teaching at the Elementary Art Schools in the Czech Republic                 (Kučerová  et  al.,  2018).  The  last  section  of  an  electronic  questionnaire  for  teachers  was                devoted to the use of modern technologies by music teachers and was designed in a similar                 way as in the previous year's research.                  Outcomes of the 2018’s research                        The  first  question  of  given  field  examined  the  direct  experience  with  some  of  the                compositional and notation software and level its usage. As shown by the research findings,                 the most widely used software at elementary art schools is Sibelius by Avid Technology, Inc.                52,1%  of  all  respondents  who  answered  this  question  is  working  with  this  software.  The                 second most popular is Finale by MakeMusic, Inc., here already with noticeable decrease in                percentage  (30,8%).  On  the  third  place  appears  MuseScore  by  Werner  Schweer.  The  only                 given representative of DAW software was Cubase by Steinberg Media Technologies GmbH.,                 and was selected by 14 respondents, i.e. 9,6%.                                       Compositional and Notation SW                                             – experience                       Capella                 MuseScore                     Encore                   Cakewalk                      Finale                    Sibelius                     Sequel                      Cubase                      other                            0%      10%      20%     30%      40%      50%     60%                 Figure 1 - Compositional and Notation SW – experience                         The option \"other\" was selected only by four teachers, and some of them mentioned                 more than one representative of particular music software; for example: GuitarPro by Arobas                Music,  Adobe  Audition  by  Adobe,  Pro  Tools  by  Avid  Technology,  Inc.,  Garageband  by                                                              64","Apple,  Inc.,  Wave  Lab  and  Audacity  both  developed  by  Steinberg  Media  Technologies                 GmbH. Preferences of DAW software outweigh those of solely notation-based ones.                       Aside  from  asking  on  experience  concerning  individual  software  mentioned,                 respondents were asked whether they also use the software actively, which might be much                more valuable for the consequent evaluation. Despite lower number of responses, reacting on                 the question, precisely 72, i.e. 49,3%, there was not any significant differences in results. The                only exception was MuseScore, which in comparison with Finale, is used by more teachers.                 Sibelius, however, is still the most prominent musical software.                                       Compositional and Notation SW                                            – active using                       Capella                 MuseScore                     Encore                   Cakewalk                      Finale                     Sibelius                     Sequel                     Cubase                      other                           0%       5%      10%      15%     20%      25%      30%                 Figure 2 – Compositional and Notation SW – active using                         The  reason  for  such  phenomenon  is  probably  Sibelius'  professional  equipment,                 designed  for  diverse  usage,  not  limited  only  to  notation  purposes  in  relation  to  competing                software (Finale, Notion, …) and also its remarkable progressivity in user-friendly approaches                 and  marketing.  Another  advantage  on  behalf  of  Avid's  product  are  long-term  and  verified                support,  methodical  background  and  financially  convenient  versions  for  schools  and  other                 entities. Results concerning MuseScore are on the other hand very prosaic. The undeniable                popularity can be explained by its freeware platform and the still-growing community of users                 spread around the world, who can share their works thanks to adjusted virtual options.                        Next question in teachers' questionnaire is similar to the preceding one. In both cases                teachers  selected  most  commonly  EarMaster  by  the  company  of  the  same  name.  Another                 frequently  used  representatives  were  Score  Trainer  and  Rhythmus  Trainer  by  German                                                              65","company Midimaster. Earmaster's leading role is caused by its permanent development and                 design modernization following the latest trends. Moreover, same as Sibelius, EarMaster has                full Czech distribution and user support, which has merit for software's Czech environment.                 However, the results concerning the active use of mentioned software are not so significant.                                    Educational music SW – experience                                Instruments                                  Musition                                 Compass                             Sibelius Auralia                                EarMaster                     Midimaster ScoreTrainer                 Midimaster RhytmusTrainer                                     other                                          0%   2%    4%   6%    8%   10% 12% 14%                 Figure 3 – Educational music SW – experience                                     Educational music SW – active using                                Instruments                                 Musition                                  Compass                             Sibelius Auralia                                EarMaster                     Midimaster ScoreTrainer                 Midimaster RhytmusTrainer                                     other                                         0%    2%     4%    6%    8%    10%    12%                 Figure 4 – Educational music SW – active using                                                                   66","Interestingly, only two respondents selected the option \"other\" when asked about their                own  experience  with  other  notation  software,  and  only  three  when  asked  about  the  active                 usage. The most interesting answers include mobile application Noutee by Czech company                Noutee, s.r.o. Unfortunately, these particular  results  are inconclusive due to  lower level  of                 participation.  Only  about  20%  of  all  respondents  actually  answered  the  questions  on                 experience  and  active  using.  It  is  than  highly  probable  that  educational  software  is  not                common component in lessons at elementary art schools.                       The following question was directed from the specific representatives of the software                 to  the  training  area  in  the  field  of  music  software  and  modern  technologies.  60%  of                 respondents would appreciate further education in this sphere. 21% answered negatively and                the remaining 19% did not answer. From these results it can be concluded that most music                teachers feel deficiencies in the use and possibilities of modern technologies and would like to                 learn more in this respect.                                       Music SW – interest in training                                             no answer                                         18,5%                                         No                     Yes                                    21,2%                  60,3%                          Figure 5 – Music SW – interest in training                         Positive  results  arose  from  the  multiple-choice  question,  asking  on  personal                approaches of respondents towards the main two components of modern technologies, namely                 a computer and interactive board. In both cases, only a small number of respondents did not                answer the question. More than three quarters  of respondents  aimed their answers on  four                 proposed options. In the case of computer, three answers featured with almost identic score:                 \"It  is  a good  means  for  teacher's  preparation\"  (45,9%);  \"It  is  a good  means  for  lesson                diversification\" (45,2%); \"It is a good means for improving teaching efficiency\" (44,5%). The                answer:  \"It  is  an  essential  component  in  teaching  music\"  showed  slightly  lower  result                                                             67","(33,6%). In the case of interactive board, \"good means for lesson diversification\" and \"good                means for improving teaching efficiency\" showed the highest results. The interactive board                 was  as  an  \"essential  component\"  considered  only  by  35  respondents  (24%),  and  in                comparison with a computer, only 10,3% of all respondents considered it as a \"good means                 for  teacher's  preparation\".  The  other  opinions  on  using  computer  and  interactive  board  in                 music lessons were negligible. If selected, respondents only used them for expressing their                negative views, justifying their preferences of personal, verbal communication.                                  Opinion on using computer in music theory lessons                                An essential part of teaching                                   Good means to efficiency                               Good means to diversification                  Redundancy, traditional methods are better                                     Disruption of teaching                         Good means to teacher's preparation                                                   other                                                       0%     10%    20%     30%    40%     50%                 Figure 6 – Opinion on using computer in music theory lessons                                                                                            68","Opinion on using interactive board in music theory lessons                                An essential part of teaching                                   Good means to efficiency                               Good means to diversification                   Redundancy, traditional methods are better                                     Disruption of teaching                         Good means to teacher's preparation                                                   other                                                       0% 5% 10% 15% 20% 25% 30% 35% 40% 45% 50%                 Figure 7 – Opinion on using computer in music theory lessons                          The  penultimate  question  of  this  area  was  no  longer  concerned  with  the  music                software itself. Attention was focused on teachers' interest in further education in the field of                 teaching music. Overall, there were 125 respondents, which is a relatively large percentage of                representation  (85,6%).  76,7%  of the responses  were positive,  and 8,9%  were negative.  In                 addition,  the  teachers  involved  were  asked  to  mention  in  what  specific  area  they  would                appreciate further education. Because of the diversity of such answers, here are introduced                 only  the  most  frequent  ones.  Responses  were  also  categorised.  However,  many  responses                 overlap with each other, or respondents mentioned more areas at a time.                       It is evident from the results that methodology and didactics are areas where teachers                 would most appreciate further education (12,8%). Almost the same results were recorded at                experience-based  learning,  educational/didactic  games  or  other  creative  activities,  with                 elements  of  action  learning  in  music  education  (15%).  In  relation  to  the  previous  and                subsequent questions, the representation of modern technology (8%) is also quite important,                 as  well  as  working  with  children  and  motivating  them  (8,8%),  which  is  important  in  all                 spheres  and levels  of  education. The reason  for  certain  open answers might  be  applied on                opinion of music teachers that current methods  could be insufficient, especially when they                 adhere to obsolete approaches or when they are not updated in respect to the needs of modern                 society  and  nature  of  contemporary  pupils'  thinking.  Constant  question  then  remains  the                                                             69","motivation  itself  and  the  way  how  to  activate  children  to  actually  do  something  new  and                 creative  in  music  lessons.  In  this  respect,  there  is  still  a large  space  for  improvement,                verification and provision of new ideas.                                 Interest in further music theory training                                              no answer                                          14,4%                                    No                                    8,9%                                                            Yes                                                      76,7%                     Figure 8 – Interest in further music theory training                          The  last  question  of  the  questionnaire  follows  some  of  the  preceding  ones,  asking                whether  there  is  a sufficient  offer  of  courses,  seminars  or  workshops  for  music  teachers.                 Responses to this question were quite balanced in respect to the frequency of each answers.                Although the most representative is the answer \"yes\", the negative responses marked only one                 vote less. The difference is then only a few tenths of a percent. The remaining respondents                (28%) chose the option \"I do not know\".                                                                                        70","Sufficient offer of courses, seminars,                                           workshops etc.                                                                  Yes                                      I don't know       30,8%                                        24,0%                                       no answer                                     15,1%                                                     No                                                   30,1%                   Figure 9 – Sufficient offer of courses, seminars, workshops etc.                          Equal ratio of positive, negative and even neutral answers cannot be easily explained.                One of the interpretations could be that some of the respondents use the offers of existing                 courses, workshops, etc., and others do not have enough information about such options or                 they  are  not  actively  looking  for  such  offers.  Negative  responses  cannot  be  considered  as                meaningful  because  teachers  nowadays  have  more  opportunities  for  educating  themselves                 than ever before, especially in the area of multimedia and music software. Several years ago,                there  have  been  platforms  and  institutions  that  concentrated  on  multimedia  training  for                 teachers  (cf.  Musil,  2018,  pp.  12–18).  Since  then,  the  situation  has  undoubtedly  improved                significantly, not only because of the aforementioned projects with broader focus in the field                 and nationwide scope.                                                                                     71","Conclusion                        Finally,  it  is  worth  pointing  out  that  the  universe  of  music  software  and  mobile                applications especially, is growing fast exponentially and offers a number of useful means for                 making teaching music more effective and especially more facilitating. This phenomenon, on                the  other  hand,  raises  respect  and  concerns  of  overloading  everyday  life  with  modern                 technologies,  which  leads  to  the  consequent  loss  of  human  contact  and  access  that  is                irreplaceable during the educational process.  However, concerns of gradual replacement of                 traditional  methods  and  approaches  are  to  a certain  extent  unnecessary,  because  without                 proper  directing  and  humane  pedagogical  attitude  towards  school's  work  environment,                modern devices alone are not very useful. Modernizing trend, however, does not affect only                 the  educational  field,  but  the  whole  social  life.  Hopefully,  the  current  efforts  aimed  at                digitizing  different  spheres  of  human  activities,  including  education,  will  not  only  lead                 towards meaningful implementation of technology into schools, but also towards meaningful                usage of the modern technologies in general.                   REFERENCES                       KOŠUT,  Michal,  SEDLÁČEK,  Marek,  TAYLOR,  Daniela,  ŠURANSKÝ,  Pavel,                      MUSIL, Ondřej, HRBÁČOVÁ, Alžběta, RODIČOVÁ, Jaroslava, OTTOVÁ, Markéta,                       SCHŐNOVÁ,  Kateřina,  ČERTKOVÁ,  Terezie,  NEPAUEROVÁ,  Radka,  OSTRÝ,                       František,  DVOŘÁKOVÁ,  Martina,  SZENDIUCHOVÁ,  Markéta  \&  RAFAILOV,                      Kristina (2017). Využívání multimédií v hudební výchově na ZŠ a SŠ – stav v roce 2017                       [The Use of Multimedia in Music Education at Elementary and Secondary Schools – the                      State  of  Research  in  2017].  Brno:  Masarykova  univerzita.  272  p.  ISBN  978-80-210-                       8850-4. doi:10.5817/CZ.MUNI.M210-8884-2017.                      MUSIL, Ondřej (2015). Multimediální výuka hudební výchovy [Multimedia Music                      Education]. Brno: Masarykova univerzita. Diploma thesis. 87 p.                      Současné trendy hudebně teoretické výuky v základních uměleckých školách České                       republiky [Current Trends in Musical-Theoretical Teaching at the Elementary Art                      Schools in the Czech Republic] (2018) [online]. [cit. 2018-09-27]. Masarykova                       univerzita. Retrieved from: https://www.muni.cz/vyzkum/projekty/41165                                                                    72","Folk Song in Czech Schools: A Challenge for Music Education and                                                   Ethnomusicology                                                         Judita Kučerová                  (Masaryk University, Faculty of Education, Department of Music, Brno, Czech Republic)                  Abstract: The authoress bases her paper on a belief in the values of the Czech traditional folk                music, representing an organic part of the national culture and the need for the presentation                this  heritage  at  schools.  In  the  historical  section,  it  deals  with  development  of  the  care  of                musically-folklore heritage at schools on territory of the Czech Republic, from the end of the                19th  century  to  the  present.  This  development  has  affected  different  personalities  of  the                artistic, scientific and educational sphere. Part of the treatise is Janáček´s approach to the folk                songs in teaching process. In the area of presenting folklore heritage to the youth is necessary                the cooperation between music educators and ethnomusicologists. The results of research and                edition  activities  of  ethnomusicologists  might  help  music  pedagogy.  The  author  gives                examples  of  musically-educational  and  cultural  practice  in  the  field  of  folklore  heritage                presentation  to  the  youth  and  possibilities  of  interdisciplinary  cooperation.  She  bases  on                historical sources and current researches at schools.                 Key  words:  folklore  heritage,  music  education,  ethnomusicology,  interdisciplinary                cooperation, school practice                  Introduction (The Care of Musically-Folklore Heritage at Schools)                         The traditional folk song and music create an organic part of national culture, in Czech                schools they represent the starting point for the development of music skills and abilities of                 children. The requirement pervades Czech musically-educational system of the last century in                 different forms; it was thoroughly processed by professionals, especially in didactic materials                created  forty  years  ago  (Sedlák,  1977;  1979;  1985).  Its  existence  originates  in  previous                 periods of culturally-historic development, or rather efforts of the members of educated Czech                                                                              th                (and European) society who especially in last decades of the 19  century realized the changes                of  traditional  folklore  culture  and  vanishing  of  some  values.  Thanks  to  their  effort,  many                 manifestations of folk tradition were maintained on the basis of external impulses. The folk                song  and  music  became  a part  of  preserved  cultural  heritage  of  the  nation  (Pavlicová                 \& Uhlíková, 1997).                       Thanks to a written record of the manifestations in collections, selective anthologies or                 song  books,  the  rich  folklore  material  was  stored  in  the  area  of  the  Czech  Republic.                 The knowledge and popularity of folklore songs started to decrease sharply especially from                                  th                the  end  of  the  19   century  as  a result  of  changes  in  spontaneous  transfer  of  phenomena.                                                            73","The importance of school and family education in presenting folk songs was mentioned by                 many Czech writers, music composers (Bartoš, 1874; Neruda, 1891; Bartoš \& Janáček, 1890),                scientists (Hostinský, 1906; Helfert 1925) and other significant personalities of cultural life.                  Folk Song in Musically-Pedagogical Work by Leoš Janáček                                                                                                           th                       Significant  supporters  of  these  tendencies  in  Moravia  were  at  the  end  of  the  19                                                 th                century  and  beginning  of  the  20   century  especially  two  important  personalities  of  Brno                cultural, art and pedagogical sphere – philologist and folklorist František Bartoš (1837–1906)                                                                                22                and music composer Leoš Janáček (1854–1928). They gathered  a network of co-workers,                especially teachers from village and town schools, active in collecting and publishing of folk                 songs or school songbooks.                       Although Leoš Janáček became famous in the international context mainly in the area                 of composition and folklore, it is necessary to point to his significant trail in Czech music                                 23                pedagogy as well.  Teacher’s work provided Janáček with basic means of support; all aspects                of his varied activities united in it: choir conducting, composition, culturally-organizational                 and  folklore  activities.  The  folk  song  and  instrumental  music  were  the  source  of  lifelong                inspiration,  rich  emotional  experience  and  spiritual  power  and  also  the  source  of  cultural                 heritage studies, for whose rescue he strived until the end of his life. For him, the folk song                 was a natural  part of musically-educational  work, he differed its use only  according to  the                type of school. He used folklore repertoire very often in the lessons of music education at both                 men and (1873–1904) women (1876–1878) teachers’ institute and at Czech lower grammar                school (1886–1902). The memories of his pupils are stored. They describe which songs, when                 and on which occasion they were sung at school. This is proved also by the copies of teaching                programmes stored in Brno City Archive (Procházková, 2006, p. 28). It is known that Janáček                 included his didactic opinions on folk song use in elementary music pedagogy in a short work                 Návod pro vyučování zpěvu [Manual on Teaching of Singing] (1899). He relied on the then                knowledge  of  music  pedagogy,  although  in  the  area  of  folklore  application  it  was  very                 modest. He followed e.g. the didactics of the voice pedagogue František Pivoda (1824–1898),                  22                  F. Bartoš regularly addressed his co-workers when gathering songs into his three collections of Moravian folk                songs (1882, 1889, 1899–1901). E.g. from the list of contributors to the third Bartoš’s edition  Národní písně                moravské v nově nasbírané [National Moravian Songs Newly Collected], published together with L. Janáček,                follows that the major part of the collectors were teachers (more than 76%). Conf. Bartoš–Janáček, 1899–1901:                The list of contributors and their articles, non-paginated. Also L. Janáček had teachers among his co-workers                already  in  times  of  his  first  collecting  activities  in  Lachia  and  Walachia  (Vysloužil,  1955,  pp.  40–67  ff;                Procházková, 2006, pp. 78–79 ff).                23  Janáček became a founding personality of music education in Brno. From his initiative there were founded                organ school (1881), music school (1882), conservatory (1919).                                                            74","the founder of Prague singing school,  who approached  folklore material from  the point of                 view of his field in his book Návod k vyučování zpěvu na školách obecných a měšťanských                [Instruction  for  the  Teaching  of  Singing  in  Elementary  and  Secondary  Schools]  (1885).                 Janáček  was  to  some  extent  inspired  also  by  a school  songbook  Národní  písně  pro  školy                obecné [National Songs for Elementary Schools] by Antonín Vorel (1843–1925), contributing                 by other choices of songs about improvement of school singing.                       Janáček experienced the life of folk songs in their authentic environment during his                 wandering in search of folk songs, he perceived and emotionally experienced their beauty and                 depth in particular situations. In the musically-pedagogic area, he consistently required that                songs presented to the youth are suitable both artistically and didactically. However, at the                              th                end of the 19  century, he did not find such songbooks in Czech environment. This reality                encouraged  him  together  with  František  Bartoš  to  publish  Kytice  z národních  písní                 moravských [The Bouquet of National Moravian Songs] (1890). The anthology was created as                a representative  collection  of  Moravian  folk  songs  with  the  aim  to  help  make  song  fund                 accessible  and  help  practical  music  purposes.  The  choice  of  174  examples  was  compiled                 regarding  their  music  and  poetic  value  and  content  variety  (Kučerová,  2011,  p.  204).  Not                surprisingly,  Janáček  liked  to  use  this  publication  very  much  in  his  lessons,  especially  in                 future teachers and students at grammar school. He pointed to rhythmical rarities hidden in                 folk  songs  and  used  melodic  specifics  for  intonation  practice.  At  the  same  time,  he                encouraged his pupils to perception of content and aesthetic side of songs, he enabled them                 their  emotional  experiencing.  Kytice  [The  Bouquet]  as  a selective  songbook,  deliberately                published in a pocket format, became an important means of folk songs spreading in Czech                 environment  (and  not  only  at  school),  but  also  the  source  of  inspiration  for  many  music                          24                composers .                                         25                       Thanks to Janáček , an active group of passionate co-workers, collectors of folk songs                                                                       26                and teachers who promoted folk songs singing at schools  was formed. His former students at                teachers’ institute or at organ school belonged to the most significant ones.                     24                   Soon after the publication of Kytice (Bouquet), Janáček wrote a piano accompaniment to the chosen melodies.                Around  1892,  the  first  part  The  Bouquet  from  Moravian  National  Songs  with  Piano  Accompaniment  was                published containing 15 songs. Approximately nine years later, 38 chosen songs were published in the second                part. Both parts were published in the series Moravian Folk Poetry in Songs (probably in 1908). This publication                is still used by applicants for voice studies and erudite singers.                25 He developed folkloristic activities for almost 40 years (from the half of the 1880s until his death).                26                  Into this field belonged e.g. Antonín Novotný (1858–1947), Hynek Bím (1874–1958), Alois Král (1877–1972),                Josef  Černík  (1880–1969),  Jan  Kunc  (1883–1976)  and  others.  Many  of  them  applied,  like  their  teacher,  in                a broad  cultural  and  social  sphere:  education,  collectibles  of  folk  songs,  composition,  editorial  and  cultural-                                                            75","th                Music Folklore in Czech Schools of the 20  Century                                                                                              th                       The  attitudes  of  pedagogues  to  the  folk  song  developed  during  the  20   century  in                accordance with the research in the area of different humane disciplines. At the turn of the                 1930s and 1940s, the literary scientist Bedřich Václavek (1930/40) specified requirements for                practical care of the folk song and folk art. He emphasized that it would not be right to fall                 into  romantic  admiration  for  traditional  folk  culture,  however,  it  is  necessary  to  use  its                manifestations  for  other  creative  activities.  The  thoughts  of  Václavek,  focused  mainly  on                 school education, were later developed by e.g. the literary folklorist Oldřich Sirovátka and                 ethnomusicologist Dušan Holý (Sirovátka, 1973; Holý, 1979; Sirovátka \& Holý, 1985). Both                researchers emphasized the role of teachers whose task is to inculcate love to folk songs in                 children,  develop  their  interest  in  singing  and  maintaining  the  scope  of  local  and  regional                songs where there are still authentic folklore manifestations. The more purposeful activity of                 the  teacher  is  necessary  in  places  where  traditional  phenomena  have  already  disappeared.                 Parallel to these opinions, the didactic topics and teaching materials developed in musically-                pedagogical  practice whose authors  followed their believe in  the potential of folk melody,                 they considered it a means of musicality development. At the same time, they used folklore                fund for extension of children song repertoire.                        If we analyze the individual phases of teachers’ attitudes to traditional folk music, or                 rather  its  use  in  teaching,  we  realize  that  in  connection  with  culturally-social  changes                (industrial, civilizational and political), the tendencies oscillating between idealized view of                 music  folklore  and  its  refusal,  including  aspect  of  distorting  and  misuse  of  real  values                apperaed.  Among  professional  (but  also  non-professional)  public,  there  were  sometimes                 critical but to some extent justified opinions on the character of school repertoire. Already                Janáček (1955, pp. 491–501) mentioned in the study of the year 1906 the following words:                 “…Oh,  the  unhappy  school  songs!”  Similar  reactions  came  from  abroad;  e.g.  the  German                 music scientist and ethnomusicologist Walter Wiora (1906–1997) pointed out in the 1950s                                                27                that songs at school “are wilting” .                       Despite all changes of pedagogical opinions, didactic methods and school textbooks or                songbooks,  it  is  clear  that  the  area  of  folklore  songs  represents  still  irreplaceable  part  of                 educational process (Sedláček, 1999), especially at elementary stage of child’s development                   organizational work. This generation has played an important role in Czech music education, especially in the                field of curriculum content at the elementary stage of musical development.                27  We follow the interpretation of Wiora’s concept expressed by O. Sirovátka in the interview with D. Holý on                the pages of the magazine Ethnographic News (Sirovátka \& Holý, 1985, pp. 73–84).                                                            76","(Jurkovič,  1997).  Folk  songs  are  used  in  pre-school  education,  elementary  schools  or  in                 specialized  instrumental  and  vocal  preparation  at  elementary  schools  of  art.  However,  the                ways  of  application  do  not  correspond  to  present  requirements  of  social  and  pedagogical                 practice.                       In the conditions of the current social development typical of multiplicity and multi-                 layer of cultural phenomena provided by technical media, it is necessary to count with the                changes of attitudes to traditional life phenomena especially in the youth, thus also to musical                 folklore area of music. Although this  area comprises a significant part of cultural heritage,                 without a purposeful education it is receding the perception of the youth with its content and                poetic  (sometimes  also  music)  means  (Kučerová,  2011).  Especially  teenagers  have  a priori                 negative attitude to the activities from the area of folk music, some teachers succumb to the                pressure from them and include folklore genres to lessons only exceptionally.                     If the musically-pedagogic public is informed about critical view of the given area, the                                                                28                ideas for the improvement of the situation appear.  From the teachers’ side there were mostly                these opinions:                     –  Do not place musically folklore phenomena into education for its sake.                    –  Employ the elements of integration.                     –  Use the possibilities of comparison, evaluation.                     –  Teach  pupils  to  be  informed  about  wide  music  offer,  cultivate  their  ability  to                        distinguish values.                     –  Use informed and sensitive approach to the choice of repertoire.                These pedagogical observations offer the stimuli to cooperation with professionals of other                 scientific fields. On their basis, it is possible to update the content of curriculum so that they                meet the needs of the youth.                   What May Ethnomusicology Offer to Music Pedagogy?                       In  the  area  of  presenting  folklore  heritage  to  the  youth,  the  results  of  research  and                 edition activities of ethnomusicologists might help music pedagogy. Their finding might help                     28                   The  issue  was  dealt  with  at  musically-pedagogical  conferences  of  Brno  and  Olomouc  universities.  The                contributions  are  available  in  printed  form  in  anthologies:  Lidová  píseň  a hudební  výchova  [Folk  Song  and                Music  Education],  Olomouc:  Hanex  1997;  Musica  viva  in  schola  XV,  Brno:  Masaryk  University,  Faculty  of                Education 1999. At theoretical level, the thought on educational function of folk song appeared (P. Jurkovič, M.                Sedláček, O. Čenčíková), its importance for music thinking (L. Zenkl, M. Tomanová). Some authors developed                particular proposals of work with folk song at elementary schools and universities (e.g. P. Jurkovič, E. Jenčková,                B. Knopová, K. Folprechtová, P. Klapil, M. Nedělka and others).                                                            77","the extension of the repertoire and interest of the youth in traditional folk music in different                 ways. They touch especially two areas – curriculum content and methodological approach.                       1. Musically-folklore material in school textbooks and songbooks should be varied to                 a certain  extent  and  enriched  by  songs  from  newly  published  editions  or  non-published                archive records. It does not mean that traditional children and “school” folk songs which have                 created  the  basis  of  folklore  youth  repertoire  for  a long  time  will  disappear  from  school                materials. As the partial ethno-musicological researches and analysis of folklore material in                                   29                textbooks suggest,  some song genres are disappearing from the folk repertoire of the youth                and  didactic  materials.  Thus,  it  would  be  beneficial  to  help  with  the  choice  for  school                songbooks  and  enrich the fund of ceremonial  songs,  ballads,  legends or  tunes of so-called                 eastern type with archaic progresses in tune direction, irregular rhythms or more varied latent                harmony.  The  folklore  offer  would  gain  a more  varied  picture  of  traditional  singing,  in                 accordance with the song fund in songbooks.                       2. The change of the folklore repertoire in textbooks might be also accompanied by the                 changes in the methodological approach to songs. Folk tunes will not be only the means of                 music  skills  development,  as  the  current  school  practice  suggests  (Kučerová,  2001;  2003;                2011;  2016),  but  also  the  source  of  new  experience  and  knowledge.  The  youth  might  be                 motivated  by  music  and  out-of-music  means.  If  we  use  ecological  method  (Pajer,  1989),                 which  means  we  integrate  traditional  folk  music  into  various  culturally-historical  contexts                accompanying life in particular songs, we can extent motivational field in education, provoke                 interest in so-far unknown phenomena and relations. The youth might be interested in cultural                curiosities that we uncover, e.g. while presenting a song of a certain ethnic group, religious or                 age group, women, men or children repertoire. During the interpretation or listening to the                song which reflects common or festive moments of human life, means of support, attitudes to                 ethic  and  aesthetic  values  etc.  even  these  cultural  aspects  might  encourage  pupils,  as  they                 have a historical dimension for them.                  How  the  Knowledge  of  Ethnomusicology  Might  Be  Applied  in  Musically-Educational                Practice?                        Ethno-musicological, or rather ethnological knowledge might be realized in musically-                educational practice only in conditions of cooperation of professionals from both disciplines.                 It is essential that on both sides, erudite and sensitive approach and the principle of adequacy                  29  In Moravia, ethnomusicologist Marta Toncrová paid the  greatest attention  to this  issue (see the list of the                references).                                                            78","are  used.  Besides  other  things,  also  with  respect  to  other  music  kinds  and  genres  which                 surround the world of children.                       Ad 1                        The  choice  of  songs  should  correspond  to  children’s  age  and  musically-didactic                regards,  but  also  culturally-historical  and  ethno-musicological  viewpoints.  This  demanding                 task requires sensitive balancing between individual requirements. We carry it out regarding                the  content  and  topics  of  songs,  their  music  or  poetic  rarities,  original  function,  regional                 representation etc. The form with a more complicated music structure might be placed mostly                 together with  listening activities (listening to  folk music is  missing in  the common school                practice). We intensify the educational effect e.g. by connecting audio record with a graphic                 record of the song. While choosing songs, there are alternative ways of doing it: processing of                folklore  material  within  the  regional  education  or  the  choice  from  the  most  significant                 manifestations, typical of individual areas.                       Ad 2                        To raise interest in the youth in the presented music form and to create conditions for                 their full perception, it is necessary to extent the scale of motivational strategies in such a way                that emotional area of young recipients’ perception will be positively touched. The basis is                 convincing interpretation of an adequately chosen song. This might be accompanied by the                 aspects growing from the life of song in the original environment; the starting point is the                ecological method mentioned above.                        We  use  musically-folklore  manifestations  for  musically-didactic  purposes  and                education  in  wider  culturally-historical  sense.  Children  are  led  in  adequate  way  to  the                 perception of music and text side of a folklore form, they are taught the content of the songs.                We  motivate  them  to  purposeful  observation  of  partial  elements,  independent  thinking,                 comparison  and  analysis  by  different  means,  discussion  about  content,  topic  of  the  song,                 about the music they like or do not like and why.                  Conclusion (Some Positive Examples from School Practice)                       Although the use of music folklore is not very satisfactory in today’s Czech schools, in                 pedagogical practice there are also teachers (sometimes leaders of folklore ensembles at the                same time) who apply folklore phenomena in children and youth lives adequately for their age                 and  needs.  We  received  the  knowledge  at  the  visits  of  schools,  music  education  lessons,                 interviews with teachers and students in the field at faculties of education.                                                              79","1.  Example (demonstration from the lesson at elementary school):                                                                           st                       In education of young school age children (at the 1  grade of elementary school) in                Dolní Rožínka, a small village in west Moravia, we found a suitable use of folk song not only                 in music education. The teacher placed song singing accompanied by own violin  play also                before  the  education  (“morning  greeting  with  a song”)  or  at  the  moment  of  required                 motivation  or relaxation of the pupils in different  subjects.  The teacher uses the folk song                together in Czech language, Mathematics, Biology, National History and Geography and all                 educations  (music,  physical,  art,  work  activities)  in  the  sense  of  integrative  education                 conception. She expressed her attitude to the importance of folk song in children education                also in the project Tady jsme doma – Regionální folklor do škol [Here We Are at Home –                 Regional Folklore into Schools], whose initiator and guarantor became the National Institute                of Folk Culture in Strážnice (in southeast Moravia). The outcomes of the project became the                 public presentations of work with children, the edition of the book (Shauerová \& Maňáková,                                                                   30                2015) and the texts on the websites of the institution.                       2.  Example (production of the regional textbooks):                                                            31                       Some textbooks of the regional type  reflect the positive attitude of some teachers to                educational function of traditional folk culture and folklore of own region. These are rather                 exceptional pedagogical and publishing activities, supported by cultural institutions or school                 authorities. They are mostly in the areas where there are still quite live folk traditions, e.g. in                the southeast Moravia (the Slovácko region) and they are especially for children of young and                 middle school age.                       3.  Example (competitions for children singers of folk songs):                        In the region  of Slovácko (southeast  Moravia), there is  more  than  a forty-year long                tradition  of  holding  competitions  for  children  singers  of  folk  songs.  At  the  present,  it  is                 a national competition; 35 best children from the region of Slovácko (coming from 8 micro-                 regions with live manifestations of folk tradition) move on to other rounds of the competition.                    30                   I. Janoušová wrote on the role of the folk song in education: “Folk song is a natural help for teachers in whole                span of their pedagogical activities, not only in pupils’ education (knowledge  and skills passing), but also in                children bringing up. Through folk songs we develop children’s personality, we cultivate their behaviours during                the interpretation of songs, we foster their national pride, at the same time we provide opportunity for them to be                active and experience success. Collective singing of children connects and develops their ability of empathy.                Thus, folk songs are a natural means of moral education of pupils.”                Cf. http://www.nulk.cz/tadyjsmedoma/soubory/Misto_lidove_pisne.pdf, p. 4.                31                  One of the examples represents the publication: Lipov, regionální pracovní sešit pro základní školy [Lipov,                regional  workbook  for  primary  schools],  published  in  2013  within  the  Rural  Schools  project                (CZ.1.07/1.1.00/14.0208).                                                            80","4.  Example (Czech concept of the EU project Musikkreativ+)                                                                        32                       The  Czech  concept  of  a three-year  long  project   held  under  the  patronage  of  the                European  Union  follows  the  use  of  folk  song,  instrumental  music  and  dance  in  music                 education,  especially  for  the  purposes  of  creative  activities.  Developed  and  tried  didactic                topics  comprising  the  file  To  Musically-Folklore  Roots  showed  possibilities  of  work  with                 music and verbal file of Czech folk songs, regional types of tunes, dances and the ways of                instrumental  accompaniment.  Stimuli  to  creative  activities  of  pupils  were  the  aspects                 reflecting functionality of folklore forms, relations to everyday and festive moments in human                 life.                       The  mentioned  examples  of  musically-educational  and  cultural  practice  suggest                 professional  (and  non-professional)  attitudes  of  the  public  to  manifestation  of  musically                folklore heritage and possibilities of interdisciplinary cooperation. If we are to follow cultural                 and educational heritage of our ancestors and use it fully in rational and emotional maturing                of the youth, we must search ways of introducing traditional phenomena, even if in updated                 contexts, so that they attract current and future young generations (Kučerová, 2011). Czech                 ethnomusicologist Dušan Holý emphasized timeless validity of traditional song fund and he                stated that “young generation will accept folklore in the way we will present and transfer this                 cultural  heritage,  if  we  manage  to  clearly  show  the  depth  of  folklore,  its  truthfulness,                 simplicity and purity.” (Holý, 1979, p. 126). And how did Leoš Janáček express to the process                                                                                                         33                of folklore heritage learning? “Do not overestimate – do not underestimate – get to know!”                This concise composer’s statement is still a topical challenge after almost one hundred years.                  REFERENCES                       BARTOŠ, František (1874). Anthologie z národních písní československých [Anthology                       from National Czechoslovak Songs]. Praha: Fr. A. Urbánek, p. IV.                     BARTOŠ, František, \& JANÁČEK, Leoš (1890). Kytice z národních písní moravských                       [The Bouquet of National Moravian Songs]. Telč: E. Šolc.                       32  The project was published electronically on the website http://musik-kreativ-plus.eu/. The aim of the project                called  Förderung  von  Kreativität  und  Entrepreneurship  durch Musik,  Performance  und kulturelle                Zusammenarbeit, whose results I presented at EAS conference in 2016, is to stimulate children’s creativity and                entrepreneurship.                33   Janacek  said  this  statement  in  1922  in  a lecture  about  the  folk  song  organized  by  the  then  Agricultural                University in Brno for rural youth. Cf. Janáček, 1955, p. 434.                                                            81","     HELFERT, Vladimír (1925). K otázce našeho hudebního folkloru [On the Question of                       Our  Music  Folklore].  Morava.  Měsíčník  pro  život  sociální,  vědecký  a umělecký,  1                      [Moravia. A monthly for a social, scientific and artistic life, 1], pp. 230–231.                      HOLÝ, Dušan (1979).  O životnosti  folklóru  [On  Lifetime of  Folklore]. Ethnographic                       News XVI, no. 2, pp. 125–130.                     HOSTINSKÝ,  Otakar  (1906).  Česká  světská  píseň  lidová:  Úvahy  národopisné                       a hudební [Czech Secular Folk Song: Ethnographic and Music Reflections]. Praha: F.                      Šimáček.                      JANÁČEK,  Leoš.  [1898].  Návod  pro  vyučování  zpěvu  [Manual  on  Teaching  of                       Singing]. Brno: A. Píša.                     JANÁČEK, Leoš (1955). O lidové písni a lidové hudbě. Dokumenty a studie [On Folk                       Song and Folk Music. Documents and Studies]. [J. Vysloužil, (Ed.)]. Praha: SNKHLU.                      JURKOVIČ, Pavel (1997). Lidová píseň – slabikář hudební a literární výchovy [Folk                      song – The ABC Book of Music and Literary Education]. In Lidová píseň a hudební                       výchova [Folk Song and Music Education]. Olomouc: Hanex, pp. 7–12.                     KUČEROVÁ, Judita (2001). Lidové písně ve školním vyučování – utopie nebo kulturní                       a výchovná  perspektiva?  [Folk  Songs  in  School  Education  –  Utopia  or  Cultural  and                       Educational Perspective?]. In Musica viva in schola XVII. Brno: Masaryk University,                      pp. 146–156.                      KUČEROVÁ, Judita (2003). Zu den Einstellungen der Jugend zur Volksmusik.  (Am                       Beispiel  von  manchen  Orten  in  Mähren.)  In  Studia  Musicologica  Academiae                      Scientiarum Hungaricae, 44/1–12. Budapest: Akadémiaikiadó, pp. 137–146.                      KUČEROVÁ,  Judita  (2011).  Sběratel  lidových  písní  Martin  Zeman  z Velké  nad                      Veličkou  (1854–1919).  Profil  –  Odkaz  –  Hudebně  pedagogické  inspirace.  [The                       Collector of Folk Songs Martin Zeman from Velká nad Veličkou (1854–1919). Profile –                       Legacy – Musically Pedagogic Inspirations.] Brno: Masaryk University.                     KUČEROVÁ, Judita (2016). Shaping the Attitudes to Music Folklore in the Youth (The                       Chosen  Aspects  of  the  Research  in  the  Context  of  School  Practice).  In  Marek                      SEDLÁČEK  (Ed.),  Music  Education  –  Terra  Cognita? Brno:  Masaryk  University,                       pp. 100–115.                      NERUDA, Jan (1891). Dvě slovíčka včas o národní písni [Two Words In Time about                      the National Song]. National Sheets, June 28, July 5.                                                                 82","     PAJER, Jiří (1989). Svět lidové písně [The World of Folk Song]. Strážnice: The Institute                       of Folk Art.                     PAVLICOVÁ,  Martina,  \&  UHLÍKOVÁ,  Lucie  (1997).  Od  folkloru  k folklorismu:                       Slovník folklorního hnutí na Moravě  a ve Slezsku [From Folklore to  Folklorism:  The                       Dictionary of Folklore Movement in Moravia and Silesia]. Strážnice: The Institute of                      Folk Culture.                      PIVODA,  František  (1890).  Návod  k vyučování  zpěvu  na  školách  obecných                      a měšťanských [Instruction for the Teaching of Singing in Elementary and Secondary                       Schools]. Praha: V. Neubert.                      PROCHÁZKOVÁ,  Jarmila  (2006).  Janáčkovy  záznamy  hudebního  a tanečního                      folkloru.  I,  Komentáře  [Janáček´s  Records  of  Folklore  Music  and  Dances.  I.  Part,                       Comments.]. Praha: Institute of Ethnology of The Czech Academy of Sciences. Brno:                      Appendix.                      SEDLÁČEK, Marek (1999). Lidová píseň jako jeden ze základních stavebních kamenů                       hudební výchovy nebo jako přežitek? [Folk Song as one of the Basic Building Stones of                      Music  Education  or  Anachronism?]  In  Musica  viva  in  schola  XV.,  Brno:  Masaryk                       University, pp. 11–12.                      SEDLÁK,  František  (1977).  Nové  cesty  hudební  výchovy  [New  Ways  of  Music                      Education]. Prague: State Pedagogical Publishing House.                      SEDLÁK,  František  (1979).  Didaktika  hudební  výchovy  na  2.  stupni  základní  školy                       [Didactics  of  Music  Education  at  the  Second  Grade  of  Elementary  School].  Prague:                      State Pedagogical Publishing House.                      SEDLÁK,  František  (1985).  Didaktika  hudební  výchovy  na  1.  stupni  základní  školy                      [Didactics of Music Education at the First Grade of Elementary School]. Praha: SPN.                      SEDLÁK,  František  \&  VÁŇOVÁ,  Hana  (2013).  Hudební  psychologie  pro  učitele                       [Psychology of Music for Teachers] (2nd ed.). Praha: Karolinum.                     SCHAUEROVÁ,  Alena  \&  MAŇÁKOVÁ,  Magdalena  (2015). Regionální  folklor  do                       škol:  manuál  pro  učitele.  [Regional  Folklore  into  Schools:  Teachers’  Manual.]                       Strážnice: Národní ústav lidové kultury.                     SIROVÁTKA,  Oldřich  (1973).  Bedřich  Václavek  a péče  o  lidovou  píseň  [Bedřich                       Václavek and the Care of the Folk Song]. Národopisné aktuality X(1), 15–26.                      SIROVÁTKA, Oldřich \& HOLÝ, Dušan (1985). O folklóru a folklorismu [On Folklore                      and Folklorism]. Národopisné aktuality XXII (2), 73–84.                                                              83","     TONCROVÁ, Marta (1994). Lidová píseň v učebnicích [Folk Song in Textbooks.]. In                       Tradičná ľudová kultúra a výchova v Európe [Traditional Folk Culture and Education in                      Europe].  Nitra:  Department  of  Regionalism  and  Folklore,  Faculty  of  Education,                       University of Konštantín Filozof, pp. 30–35.                     VÁCLAVEK, Bedřich (1963). O lidové písni a slovesnosti [On Folk Song and Verbal                       Art]. Praha: Československý spisovatel, pp. 236–240.                      VOREL,  Antonín  (1891).  Národní  písně  pro  školy  obecné  [National  Songs  for                      Elementary Schools]. Brno: A. Vorel.                                                                                                                                84","Representation of Musical Activities in the Teaching of Music Theory at                   Czech Elementary Art schools – Particular findings of the Exploratory                         Survey of the Department of Music at the Faculty of Education,                                          Masaryk University in Brno 2018                                                       Hana Havelková                   Abstract: The paper will present  and interpret  the results  of an exploratory survey on the                trends  and  (best  practices  or  teacher  preferences)  in  the  teaching  of  music  theory  at                elementary art schools, specifically in relation to the selection of certain musical activities, the                representation of different genres of music and the application of musical activities within the                genres of music. The exploratory survey was conducted in the form of an online questionnaire                among music theory teachers at the basic art schools. The survey was carried out in the spring                of 2018 as a constituent part of a specific research by the Department of Music Education at                the  Faculty  of  Education  of  the  Masaryk  University  in  Brno  entitled: Current  Trends  in                Musical-Theoretical Teaching at the Elementary Art Schools in the Czech Republic.                  Key-words:  musical  activities,  teaching,  music  education,  music  theory,  elementary  art                school, research                  Introduction                     Deepening student’s knowledge of music theory is considered an inevitable part of music                education at Czech Elementary Art Schools. The interaction of practical skills with theoretical                 knowledge  in  young  people’s  musical  performance  is  assumed  to  form  the  necessary                 prerequisites  for  student’s  successful  musical  self-realization,  either  on  an  elementary  or                professional level.                     Most applicants for the study of teaching Music at the Faculties of Education all over the                country have been firstly educated in music at these elementary art schools. The level of their                 music theory knowledge is verified, among other things, during the entrance examinations.                 While music theory exam scores have fluctuated, over the long-term, a decreasing tendency is                evident.                     Drawing on these findings, in the spring 2018 the Department of Music Education at the                Faculty of Education, Masaryk University in  Brno carried out  an  empirical  survey  dealing                 with the character and level of teaching music theory in Czech elementary art schools named                 Current Trends in Musical-Theoretical Teaching at the Elementary Art Schools in the Czech                Republic.                                                                 85","Although,  research  was  conducted  to  determine  and  characterise  the  general  state  and                 trends  in  teaching  music  theory  in  Czech  elementary  art  schools,  this  paper  focuses  on                presenting  and  discussing  just  part  of  the  survey’s  result,  specifically  dealing  with  the                 selection  of  different  genres  of  music  and  musical  activities  as  applied  to  teaching  music                theory.                  Context of the study                 Music theory in Czech Elementary Art Schools                     Music Theory represents a significant mandatory part of music education in the system of                 Czech  Elementary  Art  Schools.  As  we  look  at  its  focus,  educational  content,  expected                outcomes and subject matter, it covers a broad area of music education. Previously, it was                 perceived as a necessary theoretical basis without which the elementary art school pupil is not                able  to  interpret  and  understand  music.  Nowadays,  it  is  regarded  as  a part  of  all  musical                 disciplines in elementary artistic education, rather as a supportive mean to better interpret and                 understand  the  music,  in  other  words  it  is  considered  as  a “theory  in  music”  rather  than                “theory of music“ (Lojdová, 2015). The main aim of this course is to extend pupil’s music                 theory knowledge through the reception and subsequent reflection on the musical means of                expression in a particular piece of music. In addition to that, the aim is  to develop pupils’                 abilities and enable them to listen to music analytically and create their own compositions.                    Within the default Czech curriculum document called Framework Education Programme                 for Elementary Art Education (RVP ZUV) the subject Music theory is defined in the chapter                 Educational  Content  of  the  area  Reception  and  Reflection  of  Music.  In  terms  of  student                output, the document determines the following expected outcomes for the first stage of basic                 study (RVP ZUV, 2010):                      Student:                     –    Orientates him/herself in the graphical record of the musical work and in some way                          realizes it.                    –    Understands the construction of scales and chords in major and minor, determines the                          intervals, recognizes the tone fiction musical idea.                    –    Understands and uses the most important musical terms, names and terminology.                    –    Creates its own melodic and rhythmic formations.                     –    Transmits a simple melody to another.                                                                86","–    With the understanding of the meaning of harmonic functions creates a simple                         accompaniment.                     –    Orientated in different musical ensembles, understands the principle of the voice / instrument                         distribution, identifies them and classifies them into their certain groups.                    –    Has a basic awareness of the song construction, orientates him/herself in simple musical                          forms.                    –    Actively listens to music, orientates himself in its types and ways of interpretation.                     –    Understands the context of music development, recognizes the characteristics of the musical                         expression within individual epochs, based on one’s own experience individual views on                         sounding music and can justify them.                     –    Links theoretical knowledge with practical skills, understands meaning of this connectionl.                       Musical activities                    As  is  evident  from  the  expected  outcomes  listed  above,  the  Music  theory  curriculum                 consists  of  various  different  music  theory  disciplines,  such  as:  studies  in  harmony  and                counterpoint, musical forms, history of music, musical acoustics, aesthetics and semantics of                 music,  studies  about  musical  instruments.  Individual  music  theory  disciplines  are  usually                 taught through theoretical lecture or practical integration of musical activities. As a musical                activity,  we  consider  the  individual's  communication  with  music  that  takes  place  in  the                 perceptual, reproductive or productive sphere and is  characterized not  only by psychic but                also by behavioural content. (Sedlák \& Váňová, 2013).                     Musical activities do not represent a single concept in the field of musical psychology. In                this  context,  Franěk  (2009)  recalls  the  controversy  over  the  definition  and  conception  of                                                              th                musical  abilities  and  activities  during  the  20   century.  On  one  hand  music  psychologists                argue that musical ability can be understood as a broad and universal factor that is included in                all kinds of musical activities (Seashore, 1938; Karma, 1985; Révész, 1953; Těplov 1965). On                 the  other  hand,  in  contrast  some  psychologists  that  there  are  a number  of  different  factors                specializing in different types of musical activities (Révész, 1953; Michel, 1967).                     When classifying musical activities, it is necessary to specify whether they are considered                in the context of art or music pedagogy. In the artistic field, musical activities can be sorted                 into the categories of creation (composing or artistic improvisation), interpretation (vocal and                 instrumental, or conducting), musical perception and apperception (perception of the musical                work and its decryption content). For the needs of music education, music activities can be                 divided  into  singing,  listening,  instrumental  play,  musical  movement  activities  (Fukač,                                                              87","Tesař \&  Vereš, 2000;  Sedlák  \& Váňová, 2013). Musical  activities are realized both  in  the                 external (subject) plane and in the inner plane (psychological), so their structure is not only                the  activity  of  the  output  organs  (voice,  hands,  legs)  but  also  the  synergy  of  cognitive                 operations  with  other  components.  In  both  types  of  musical  activities  there  is  a change  in                psychological structures, musical ideas and musical thinking are enriched, musical and life                 experience  is  enhanced,  the  musical  abilities  of  the  individual  are  developed  (Sedlák                \& Váňová, 2013).                     In the presented exploratory survey of the Department of Music Education in Brno, the                 research  team  followed  on  the  distribution  of  musical  activities  used  in  music  pedagogy                (Sedlák, 1985; Sedlák \& Váňová, 2013), however, this classification still seemed to be too                 broad. In order to clearly specify the teaching form, some of the activities in the questionnaire                were further described and presented in concrete examples.                   Data collection                     The empirical survey Current Trends in Musical-Theoretical Teaching at the Elementary                 Art  Schools  in  the  Czech  Republic  consisted  of  a written  questionnaire  for  pupils  and  an                 online  questionnaire  for  teachers.  A  total  of  493  Czech  elementary  art  schools  were                approached,  with  146  teachers  completing  the  online  questionnaire.  The  aim  of  the  online                 questionnaire was to investigate teachers’ tendencies and practices in teaching music theory at                Czech  elementary  art  schools.  The  questionnaire  was  carried  out  to  gather  data  in  the                 following areas: demographic characteristics of respondents, participation in the process of                implementing new curricular documents, didactic aids used in teaching music theory, musical                 activities  and  related  preferred  music  genres,  use  of  multimedia  technologies,  further                 education  of  teachers.  Data  collected  from  the  online  questionnaire  for  teachers  were                evaluated and compared with results from the pupils’ written questionnaire. This paper aims                 to inform only about findings from the teachers’ questionnaire related to the area of musical                activities and their associated musical genres.                   Findings                Distribution of musical activities in the teaching of music theory                     The  first  question  of  the  questionnaire  was  devoted  to  the  representation  of  musical                 activities in the teaching of music theory and was intended to find out which components of                 musical activities the teachers prefer to spend the most time on. The majority of respondents                                                             88","consider the oral exposition, among all other components of music activities, to be the most                 common way to extend pupils' knowledge of a music theory (about 25% of the teaching time).                On  the  other  hand,  instrumental,  intonation  and  hearing  exercises,  and  especially  musical                 movement activities, are usually used less frequently by teachers during the teaching of the                music  theory.  A  pretty  dominant  component  seems  to  be  singing,  which  decreases                 significantly with the higher grades, the exception is the 6th and the 7th grade when singing                                                     th                takes more time again. Except for in 7  grade, active listening and music history are practiced                increasingly  as  pupils  move  into  higher  grades.  Rhythmic  exercises  are  consistently                 represented in all grades.                               Percentage distribution of musical activities in the teaching of music                                                          theory                  100%                           10,1        9,4         8,0         7,4        6,7         6,2         8,0                                                                                      2,1                  90%                              5,4         3,6        2,5                     3,4                                       8,6                           11,1                  80%                  5,1         9,7        14,0        23,0        20,6       15,8                            3,0                  70%       7,5        8,5         8,8         8,8                                                                                      7,4         7,1                                                                          7,8                  60%      12,9        12,5        11,3       10,4                    10,4        9,3                                                                          8,2                  50%                           24,3        25,5                                           24,3                  40%                              28,0       27,0        22,3                   23,6                  30%                            8,9        10,0                  20%                              12,2       14,8        19,4        19,7       11,6                  10%      20,4        17,6                                                   13,8       11,4                               13,2                                                                          8,4         10,2                   0%                          1st grade  2nd grade   3rd grade  4th grade   5th grade   6th grade  7th grade                          singing                    listening                 lecture on musical theory                         rhythmic exercises         intonation and hearing exercises  music history                         music movement activities  instrumental play                 Chart 1 – Percentage distribution of musical activities in the teaching of music theory                   The music theory subject focus                     In  the  next  question  the  content  focus  was  investigated  among  teachers.  Of  the                119 responses  to  this  question,  most  of  the  respondents  focus  their  lessons  on  acquiring                 knowledge about musical instruments (74,7%), a little less than they prefer musical-creative                 activities (74,7%) and the least time is devoted to the teaching of musical aesthetics (48,6%).                The question was answered by 27 respondents (18,5%). If we are interested in the realization                                                             89","of all three areas as an ideal state, then 56,3% (67) of the respondents’ state that their music                 theory teaching is focused on all three areas at a time. Fewer respondents, namely 25,2% (30),                teach 2 of the selected areas and only 18,5% (22) of the respondents are, among these options,                 engaged in teaching only one category, either in musical creative activities, or in the theory of                musical instruments.                                             The music theory subject focus                      Knowledge about music aesthetics          48,6                   Knowledge about musical instruments                 74,7                             Musical-creative activities             70,5                                                    0    10    20   30    40   50    60   70    80                                                                   [% of respondents]                  Chart 2 – The music theory subject focus                   Representation of particular music genres in the teaching of music theory                     The purpose of the question nr. 12 was to map the representation of particular genres of                 music as they appear in the teaching of music theory. The broad spectrum of musical genres                has been summarized into 4 categories: classical music, folk music, modern pop music, jazz                 music. Most of the answering respondents, concretely 128 (87,7%), prefer to work with the                genre of classical music. The second most frequently appearing type is folk music (58%). As                 less represented, 54 respondents (37%) reported modern popular music. The least common                 genre is jazz music, as 66 respondents (45%) stated in. The results are confirmed by the fact                that among the respondents a very small number of active jazz musicians appeared and, in                 contrast, there were a relatively high number of classical music oriented musicians.                                                                                90","Representation of particular music genres in the teaching of music                 [% of respondents]                            theory                   60                    50                   40                   30                   20                   10                    0                           Classical music      Folk music      Modern pop music       Jazz music                       1 - the most represented  2 - more represented  3 - less represented  4 - the least represented                 Chart 3 – Representation of particular music genres in the teaching of music theory                   Application of musical activities in the teaching of music theory according to individual musical                types                     The question nr. 13 was concerned with the issue of what types of activities teachers most                 often associate with selected musical genres. The correlation between musical activities and                musical  genres  can  be  seen  from  two  points  of  view.  At  first  glance,  the  comparison  of                 individual musical genres within a given type of musical activity is at the centre of interest.                This  comparison  is  clearly  shown  in  chart  nr.  4.  In  the  second  perspective,  we  focus  on                 comparing the application of specific musical activities within one type of music. This case is                graphically illustrated in the charts nr. 5, 6, 7, and 8.                     Singing  songs  is  most  practiced  in  the  field  of  folk  music,  similarly  to  instrumental                 accompaniment.  In  contrast,  listening  and  interpretation  are  most  realized  in  the  field  of                classical music. The answer \"other\" was rated by the respondents only in a small number of                 cases, without further specification.                                                                                     91","Activities realized in the teaching of music theory according to                                                 particular music genres                   [%]                   100,0                   90,0                   80,0                   70,0                   60,0                   50,0                   40,0                   30,0                   20,0                   10,0                    0,0                           Singing songs   Instrumental     Listening       Lecture          Other                                          accompaniment                                    Classical music  Folk music  Modern pop music  Jazz music                 Chart 4 – Activities realized in the teaching of music theory according to particular music genres                     Of  the  128  respondents'  answers,  in  the  context  of  classical  music  the  majority  of                 respondents  spend  most  of  their  teaching  time  listening  to  music  samples  and                 interpreting them  (86,3%)  as  well  as  lecturing  on  the  significant  events  of  the  music                history (78,1%).                                         Activities realized with the genre of classical music                                       Other   11,6                                    Lecture                       78,1                                   Listening                         86,3                  Instrumental accompaniment           37                             Singing the songs  14,4                                            0    10    20     30    40    50    60    70    80    90   100                                                                   % of respondents                  Chart 5 – Activities related to the genre of classical music                     Among the results, it is no surprise that folk music is represented during music theory                classes mainly in the form of singing folk songs and accompanying them with instruments.                 These activities have the greatest representation across all genres of folk music.                                                               92","Activities realized with the genre of folk music                                       Other  5,5                                    Lecture           34,2                                  Listening          34,2                  Instrumental accompaniment                        74                                Singing songs                          85,6                                            0     10     20    30     40     50     60    70     80     90                                                                  % of respondents                  Chart 6 – Activities realized with the genre of folk music                    A slightly different situation is observed in a modern pop music, where more than half of                 the  respondents  (54,1%)  prefer  listening  to,  rather  than  singing,  popular  songs.  However,                                                   nd                singing modern pop songs is the 2  most common activity in the context of teaching music                theory using modern pop music (48,6%).                                        Activities realized with the genre of modern pop music                                       Other  4,1                                    Lecture                 33,6                                   Listening                          54,1                  Instrumental accompaniment                   39,7                               Singing songs                      48,6                                            0        10        20         30        40        50        60                                                                  % of respondents                 Chart 7 – Activities realized with the genre of modern pop music                     Due  to  the  high  requirements  for  jazz  interpretation,  including  an  advanced  level  of                 listening and improvisation skills, along with a specific rhythmic feel that is not typical of the                 Central European region, it was confirmed that respondents  who incorporate jazz music in                their teaching of music theory mostly do listening activities (57,5%) or complement it with                 a theoretical explanation (36,3%).                                                                 93","Activities realized with the genre of jazz music                                       Other  4,8                                    Lecture               36,3                                  Listening                       57,5                  Instrumental accompaniment    12,3                                Singing songs   11,6                                            0       10       20      30       40      50       60       70                                                                  % of respondents                 Chart 8 – Activities realized with the genre of jazz music                     To recapitulate the findings of the presented survey, we can state that although a wide                 spectrum of musical activities are represented in the teaching of music theory, the emphasis is                still on acquiring music theory knowledge through theoretical lecture. Further, we can claim                 that music theory teachers most often present classical music, less represented is folk music,                even less modern popular music and the least represented is jazz music. While classical music                 is,  according  to  teachers,  predominantly  associated  with  theoretical  interpretation  and                listening to musical examples, in folk music singing and instrumental accompaniment is often                 used. In the context of modern popular music, teachers prefer to actively experience music                 with  their  pupils,  either  in  the  form  of  singing,  instrumental  accompaniment  or  listening.                Considering jazz music, listening to musical performances dominates.                    Concluding remarks and practical suggestions                      „Since the beginning of time, children have not liked to study. They would much rather                play, and if you have their interests at heart, you will let them learn while they play; they will                 find that what they have mastered is child’s play.“ (Orff, 1978)                      Students’ responses gathered in the written questionnaire of the presented survey shows                that  students  lack  the  possibility  of  being  more  actively  and  interactively  engaged  during                 classes  of  music  theory.  Students  would  appreciate  incorporating  more  games  and  active                 music-making mediated by playing the musical instruments, singing, moving with the music                or composing, The data yielded by this survey provide convincing evidence that majority of                 teachers, teaching the music theory, still do not sufficiently use the possibilities of diverse and                                                              94","creative teaching according to the didactic principle of creative activity and pupils' learning                 awareness (Sedlák, 1985). Teachers provide only limited room for independent and creative                child labour and underestimate the importance of pupils' inner motivation in learning, which                 is stimulated by their own musical activity. To cope with that, there is still gradually growing                support of inspirational methodical sources and ideas available to use in the teaching of music                 theory, for instance: Orff Schulwerk (Carl Orff), Eurythmia (Emile-Jacques Dalcroze), Zoltan                Kodaly's  method,  Music  learning  theory  (Edwin  Gordon),  Integrative  music  pedagogy  and                 Polyaesthetic  education  (Wolfgang  Roscher),  Suzuki’s  method  (Shinseki  Suzuki),  Reggio                 Emilia Approaches, Slyšet jinak (Jaromir Synek et al.) and others.                  REFERENCES                      FRANĚK,  Marek  (2009).  Hudební  psychologie  [Musical  Psychology].  Praha:                      Karolinum. 238 p. ISBN 978-80-246-0965-2.                       FUKAČ,  Jiří,  TESAŘ,  Stanislav  \&  VEREŠ,  Jozef  (2000).  Hudební  pedagogika.                      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Praha: Univerzita Karlova v Praze, Pedagogická fakulta. 67 p.                      MICHEL,  P.  (1967).  O  hudebních  schopnostech  a dovednostech  [About  musical                       abilities and skills]. Praha: Supraphon.                      ORFF, Carl. (1978) The Schulwerk – Carl Orff/documentation, his life and works: an                       eight volume autobiography of Carl Orff. New York: Schott Music. 303 p.                                                                        95","     Rámcový  vzdělávací  program  pro  základní  umělecké  vzdělávání  [Framework                       Educational Program for Elementary Art Education] (2010). [online]. Praha: Výzkumný                      ústav pedagogický. 63 p. [cit. 2018-12-15]. Retrieved from:                       http://www.vuppraha.rvp.cz/wp-content/uploads/2009/12/PRM_RVPZUV_NAWEB.pdf                      RÉVÉSZ, Géza (1953). Introduction to the Psychology of Music. London: Longmans,                      Green. 285 p.                       SEDLÁK,  František  (1985).  Didaktika  hudební  výchovy  1  [Didactics  of  Music                      Education 1]. Praha: SPN. 312 p.                      SEDLÁK,  František  \&  VÁŇOVÁ,  Hana.  Hudební  psychologie  pro  učitele  [Musical                       Psychology for Teachers]. Praha: Karolinum. 406 p. ISBN 978-80-246-2060-2                      SEASHORE, Carl E. (1938). Psychology of Music. New York: McGraw-Hill. 408 p.                      TĚPLOV,  Boris  Michajlovič  (1965).  Psychologie  hudebních  schopností  [Psychology                      of musical abilities]. Praha: Supraphon. 228 p.                                                                                                                96","Music Education in the Light of Research                                      Edited by doc. PhDr. Marek Sedláček, Ph.D.                           Published by Masaryk University, Žerotínovo nám. 617/9, 601 77 Brno, CZ                                                 1st electronic edition, 2018                                                  ISBN 978-80-210-9214-3                                     https://doi.org/10.5817/CZ.MUNI.P210-9214-2018",""];