Page 55 - Glasbenopedagoški zbornik Akademije za glasbo, letnik 16, zvezek 33 ◆ The Journal of Music Education of the Academy of Music in Ljubljana, year 16, issue 33
P. 55
Although the programmes cannot be expected to deal with this topic j. martinović bogojević ◆ musical creativity in primary school programmes for music education in montenegro and slovenia
in more detail, there are manuals for teachers, as an integral part of textbook
sets in both countries, further analysis of their content when it comes to musi-
cal creativity would give a clearer picture of how much support is provided to
teachers through proposals for various solutions for the implementation of this
activity. Until the next revision of the curriculum, it remains for teachers in
Montenegro to define more clearly, through research of their practice, how to
make a gradual progression in creative tasks, as well as how to evaluate creative
products of pupils in higher grades. Although composing is not explicitly stat-
ed in any of the analysed programmes, since musical creativity is more orient-
ed towards improvisation, teachers in Slovenia were given the opportunity to
develop their competencies in this area through mentoring pupils during the
manifestation Music Olympiad (Rotar Pance, 2018). Analysing the Sloveni-
an programme, it can be concluded that it consists the components represent-
ed by Kratus (1990): person, process and product. From the stated contents, it
is possible to see which goals are expected from pupils, what the creative pro-
cesses imply, as well as what acquired knowledge students understand through
product creation.
References
Borota, B. (2013). Glasbene dejavnosti in vsebine. Univerza na Primorskem,
Znanstveno-raziskovalno središče, Univerzitetna založba Annales.
Kaufman, J. C., and Beghetto, R. A. (2009). Beyond big and little: The four
C model of creativity. Review of General Psychology, 13(1), 1–12.
Kratus, J. (1990). Structuring the music curriculum for creative learning.
Music Educators Journal, 76(9), 33–37.
Oblak, B. (1987). Ustvarjalno učenje v glasbeni vzgoji na stopnji razrednega
pouka osnovne šole [Unpublished doctoral dissertation]. Univerza
Edvarda Kardelja v Ljubljani.
Oblak, B. (2001). Glasbena slikalnica 3: priročnik za učitelje. DZS.
Odena, O., and Welch, G. (2009). A generative model of teachers’ thinking
on musical creativity. Psychology of Music, 37(4), 416–442.
Pravilnik o izobrazbi učiteljev in drugih strokovnih delavcev v
izobraževalnem programu osnovne šole (2011). Uradni list Republike
Slovenije, (109). https://www.uradni-list.si/glasilo-uradni-list-rs/
vsebina/2011-01-4943?sop=2011-01-4943
Predmetni program Muzička kultura za osnovnu školu. (2003). Podgorica:
Zavod za školstvo.
Predmetni program Muzička kultura za I, II, III, IV, V, VI, VII, VIII i IX
razred osnovne škole. (2017). Zavod za školstvo.
Program osnovna šola glasbena umetnost. Učni načrt. (2011). Ljubljana:
Ministrstvo za šolstvo in šport, Zavod RS za šolstvo. https://www.gov.
55
in more detail, there are manuals for teachers, as an integral part of textbook
sets in both countries, further analysis of their content when it comes to musi-
cal creativity would give a clearer picture of how much support is provided to
teachers through proposals for various solutions for the implementation of this
activity. Until the next revision of the curriculum, it remains for teachers in
Montenegro to define more clearly, through research of their practice, how to
make a gradual progression in creative tasks, as well as how to evaluate creative
products of pupils in higher grades. Although composing is not explicitly stat-
ed in any of the analysed programmes, since musical creativity is more orient-
ed towards improvisation, teachers in Slovenia were given the opportunity to
develop their competencies in this area through mentoring pupils during the
manifestation Music Olympiad (Rotar Pance, 2018). Analysing the Sloveni-
an programme, it can be concluded that it consists the components represent-
ed by Kratus (1990): person, process and product. From the stated contents, it
is possible to see which goals are expected from pupils, what the creative pro-
cesses imply, as well as what acquired knowledge students understand through
product creation.
References
Borota, B. (2013). Glasbene dejavnosti in vsebine. Univerza na Primorskem,
Znanstveno-raziskovalno središče, Univerzitetna založba Annales.
Kaufman, J. C., and Beghetto, R. A. (2009). Beyond big and little: The four
C model of creativity. Review of General Psychology, 13(1), 1–12.
Kratus, J. (1990). Structuring the music curriculum for creative learning.
Music Educators Journal, 76(9), 33–37.
Oblak, B. (1987). Ustvarjalno učenje v glasbeni vzgoji na stopnji razrednega
pouka osnovne šole [Unpublished doctoral dissertation]. Univerza
Edvarda Kardelja v Ljubljani.
Oblak, B. (2001). Glasbena slikalnica 3: priročnik za učitelje. DZS.
Odena, O., and Welch, G. (2009). A generative model of teachers’ thinking
on musical creativity. Psychology of Music, 37(4), 416–442.
Pravilnik o izobrazbi učiteljev in drugih strokovnih delavcev v
izobraževalnem programu osnovne šole (2011). Uradni list Republike
Slovenije, (109). https://www.uradni-list.si/glasilo-uradni-list-rs/
vsebina/2011-01-4943?sop=2011-01-4943
Predmetni program Muzička kultura za osnovnu školu. (2003). Podgorica:
Zavod za školstvo.
Predmetni program Muzička kultura za I, II, III, IV, V, VI, VII, VIII i IX
razred osnovne škole. (2017). Zavod za školstvo.
Program osnovna šola glasbena umetnost. Učni načrt. (2011). Ljubljana:
Ministrstvo za šolstvo in šport, Zavod RS za šolstvo. https://www.gov.
55
