musical creativity in primary school programmes for music education in montenegro and slovenia jelena martinović bogojević University of Montenegro, Academy of Music jelena.bo@ucg.ac.me Abstract: Encouraging musical creativity in primary schools in Montenegro and Slove- nia is determined by the course programs for music education, according to which music teaching in two countries is realised through three musical activities: performing, listen- ing and creating. The similarities between the two primary education systems are char- acterised by the nine-year duration of primary school, which is divided into three three- year cycles. Programme for the course Music Culture in Montenegro, dating from 2003, has been developed in collaboration with Slovenian experts. Thus, creation, as an activi- ty, was clearly defined and has been represented in all the revised and new programs that followed. The aim of this paper was to analyse the representation of creation as an activ- ity through which some of the important goals and learning outcomes are achieved in both general primary education systems. The obtained results show that this activity is more concretely represented in the Slovenian programme, and that a higher level of sys- tematicity in its definition has been achieved. Comparative analysis can also serve as a guideline for future improving the programmes and a clearer definition of what is meant by musical creativity in the teaching of music in primary schools of two educational sys- tems. Key words: music education, primary school, musical creativity, course programmes, Montenegro, Slovenia glasbena ustvarjalnost v osnovnošolskih učnih načrtih za glasbeno vzgojo v črni gori in sloveniji Izvleček: Spodbujanje glasbene ustvarjalnosti v osnovnih šolah v Črni gori in Sloveniji do- ločajo učni načrti za glasbeno vzgojo, po katerih poučevanje glasbe v dveh državah po- teka s tremi glasbenimi dejavnostmi: izvajanjem, poslušanjem in ustvarjanjem. Za oba osnovnošolska sistema je značilno devetletno trajanje osnovnih šol, ki je razdeljeno na tri triletne cikle, in jih je mogoče povezati s prvimi reformami v Črni gori, ki so se naslanja- le na »slovenski model«. Učni načrt iz leta 2003 je bil razvit v sodelovanju s slovenskimi strokovnjaki. Tako je bilo ustvarjanje kot dejavnost jasno opredeljeno in od takrat zasto- pano v vseh revidiranih in novih učnih načrtih. Cilj prispevka je bil analizirati aktualne učne načrte za glasbeno izobraževanje v osnovnih šolah v obeh državah s poudarkom na predstavitvi ustvarjanja kot dejavnosti, s katero se dosegajo pomembni cilji in učni izidi. Rezultati kažejo, da je ta dejavnost konkretneje zastopana v slovenskem učnem načrtu in da je v njeni opredelitvi v primerjavi s črnogorskim učnim načrtom dosežena višja ra- ven sistematičnosti. Komparativna analiza je lahko tudi vodilo za izboljšanje učnih načr- Pregledni znanstveni članek ◆ Review Article https://doi.org/10.26493/2712-3987.16(33)43-57 g la sb en o pe d ag o šk i z bo r n ik ◆ le t n ik 16 ◆ št ev il k a 33 44 tov in za jasnejšo opredelitev, kaj pomeni glasbena ustvarjalnost pri poučevanju glasbe v osnovnih šolah v obeh izobraževalnih sistemih. Ključne besede: glasbena vzgoja, osnovna šola, glasbena ustvarjalnost, učni načrti, Črna gora, Slovenija Representation of musical creativity is one of the main strategies of mod-ern music pedagogy in achieving the goal of supplementing the para-digm of music education, which mainly relies on performing and listen- ing to music. Kratus (1990, p. 34) points out that in creating curricula for music education that promote creative learning, goals and objectives need to be clear- ly articulated. Goals should contain three important components: the compo- nent of the person (student’s attitudes and predispositions), the component of the process (the way of engaging in these activities) and the component of the prod- uct (understanding of the musical components and “the ways music works” in these activities). Creation (sl. ustvarjanje; cnr. stvaranje) represented as an ac- tivity in curricula for music education in Montenegro and Slovenia, demands of pupils to create small musical units, musical dialogues, sound images, to im- provise the given melody, create a melody to a given text and vice versa, create an accompaniment, complement an already started melody etc. Creation re- fers, also, to an expression of a musical experience visually, verbally or by move- ment/dance. These two types of musical creativity Oblak (1987; 2001) defined as creativity in music and creativity with music. According to Borota (2013), cre- ativity in music is an active form of learning, in which the pupils, trough dif- ferent forms of work, and diverse tools of expression, use musical knowledge and spontaneously create musical units. This also implies the principles of con- structivist theory, according to which learning is realised by discoveries, under- standing and acquiring knowledge in a new context (Webster, 2011; Wiggins, 1999; 2002). Creation also represents an activity in which a creative product is valued according to the individual progress made by the pupil, who produces something new for himself/herself, and this represents development of “little c” and “mini c” creativities in education (Kaufman and Bagetto, 2009). A good solution, therefore, are open-ended tasks, which have no set limitations, aim- ing at being challenging, but not too demanding (Wiggins, 2002). The teach- er should thoughtfully come up with steps in which these activities are inter- twined. The lesson duration of 45 min and a high number of pupils in one class, should present some obstacles, but in such cases, group work and stimu- lation of collaborative creativity could be one of the ways to overcome difficul- ties and enable all pupils to be engaged in creative processes. The presence of musical creativity in all nine grades is the starting point for implementing cre- ative tasks in teaching practice, which keeps pace with strategies in contempo- rary music pedagogy, which seeks to encourage the expression of creative po- tential of each pupil in the music classroom context. j. m a rtin o v ić bo g o jev ić ◆ m u sic a l c reativ ity in prim a ry sc h o o l pro g ra m m es fo r m u sic ed u c atio n in m o n ten eg ro a n d slo v en ia 45 general characteristics of music education in primary schools in montenegro and slovenia Systems of primary education in Montenegro and Slovenia can be analysed through their numerous similarities, resulting from the reform of the edu- cational system in Montenegro, which began in 2001 and which took as its primary model the Slovenian education system. In music education, similar- ities were, primarily, related to the definition of musical activities, operation- al goals, didactic recommendations and teaching outcomes within three three- year cycles (Predmetni program Muzička kultura,1 2003).2 Music education is present, in both educational systems, as an obligato- ry subject during all nine years of primary school. The legal framework, both in Montenegro and Slovenia, offers the specialist teacher a possibility to teach music from the fourth grade of primary school onwards.3 The following table presents the annual class load for subjects Music Cul- ture/Muzička kultura in Montenegro (ME) and Music Education/Glasbena umetnost in Slovenia (SI), including the total number of lessons during the nine-year primary school education. Table 1: Annual number of music lessons as obligatory subject in Montenegro and Slovenia State 1 st grade 2nd grade 3rd. grade 4th grade 5th grade 6th grade 7th grade 8th grade 9th grade Total ME 35 35 35 35 35 35 35 35 31 311 SI 70 70 70 52,5 52,5 35 35 35 32 452 Source: Predmetni program Muzička kultura za I, II, III, IV, V, VI, VII, VIII i IX razred osnovne škole (2017); Holcar Branauer and Sicherl Kafol (2011). We can observe a considerable difference in the annual number of lessons between Montenegro and Slovenia. In Slovenia, music is present in the first cy- cle (1st, 2nd and 3rd grades) with two lessons a week, i.e. 70 lessons per year, while in Montenegro, music is present with one lesson a week, or 35 lessons per year. The number of lessons decreases in Slovenia in the second cycle (52.5 lessons), which is 17.5 lessons more than in Montenegro (35 lessons). In the third cycle, 1 Course Programme Music Culture. 2 The first textbooks, teaching manuals and audio materials were created by The Agency for School Books and Teaching Materials from Podgorica in cooperation with the Slovenian publishing house Rokus Klett. 3 In the Republic of Slovenia, personnel requirements were defined by the document “Pravil- nik o izobrazbi učiteljev in drugih strokovnih delavcev v izobraževalnem programu osnovne šole” (2011), člen 1.1.4. Glasbena umetnost. See: http://www.pisrs.si/Pis.web/pregledPredpi- sa?id=PRAV10943. g la sb en o pe d ag o šk i z bo r n ik ◆ le t n ik 16 ◆ št ev il k a 33 46 the difference is negligible, as music is present in both systems with 35 lessons, except in the ninth grade with the annual lesson number of 32 in Slovenia and 31 in Montenegro. By comparing the total number of lessons of music as oblig- atory subject during all nine primary school grades, it is clear that pupils in Slo- venia have 141 lessons more than pupils in Montenegro. The latest reform of primary education completed in Montenegro in 2017, which, with its revision of previous programmes, decreased the total number of lessons by 10% at the primary school level, resulting in the negative trend of reduction of class load for the subject Music Culture, i.e. the fourth and fifth grade saw the decrease by 50%. In Montenegro, since 2019/2020 school year, pupils of the third three-year cycle have had a choice of an optional subject named Music Workshop/Muzič- ka radionica (Course Programme Music Workshop/Predmetni program Muzič- ka radionica, 2019), dominantly oriented towards musical creativity, with one lesson per week. In Slovenia, pupils in the third three-year cycle can choose op- tional music subjects, with 2 or 3 lessons per week.4 The Montenegrin programme lists choir and orchestra as obligatory les- sons, provided pupils pass the musical ear check. It recommends that special attention should be given to musically gifted pupils and, also, to pupils attend- ing music school, in order to encourage and maximise their musical potential. The planned number of lessons includes two lessons of choir or orchestra week- ly. The lessons are noted in class register as obligatory, forming part of a for- ty-hour working week for teachers, which means that they are not counted as weekly class loads, by contrast to Slovenia, where choir lessons represent a part of the class load and are, thereby, more highly valued. general goals of the course General goals of courses Music Culture (ME) and Music Education (SI) re- fer both to the musical and extra-musical goals/outcomes, by which music be- comes a tool for development of emotional intelligence, as a founding prin- ciple for learning and emotional-social maturity of children. Music helps develop aesthetic criteria, critical thinking, appreciation of music, meaningful use of modern technologies (Program osnovna šola glasbena umetnost. Učni načrt, 2011); problem-solving competencies, decision-making ability, a positive self-perception, self-awareness and autonomy, work discipline during partic- ipation in practical musical tasks, which demand a high degree of focus and 4 See: https://www.gov.si/assets/ministrstva/MIZS/Dokumenti/Osnovna-sola/Ucni-nacr- ti. j. m a rtin o v ić bo g o jev ić ◆ m u sic a l c reativ ity in prim a ry sc h o o l pro g ra m m es fo r m u sic ed u c atio n in m o n ten eg ro a n d slo v en ia 47 continual practice (Predmetni program Muzička kultura za I, II, III, IV, V, VI, VII, VIII i IX razred osnovne škole, 2017).5 The Montenegrin programme defines general goals related to musical as- pects in the following way: (The pupil) obtains musical literacy, including the rules of writing music; links the knowledge acquired through music with other as- pects of his/her life; shows understanding and appreciation of artistic and aesthetic expression; researches possibilities for life-long active participation in certain forms of music as an art. (Predmetni program Muzička kultura za I, II, III, IV, V, VI, VII, VIII i IX razred osnovne škole, 2017, p. 2) The Slovenian programme specifies the general goals more precisely, mak- ing them oriented more towards the musical and less to extra-musical aspects. This implies: Stimulation of musical experience and expression of music both through musical activities and other media; participation in various forms of musical activities, becoming acquainted with musical lit- erature, artists and performers, and with legitimacy of the musical language; development of musical abilities by work forms; develop- ment of mutual exchanges and communication by musical language; expression of musical experience by movement, visually or verbally. (Program osnovna šola glasbena umetnost. Učni načrt, 2011, p. 5) Both programmes emphasise the significance of education through appre- ciation of music, development of a critical approach and connection of music with everyday life. Extra-musical goals are related to the development of problem-solving competencies, critical thinking and decision-making abilities; development of positive self-perception, self-motivation and independence; social interac- tion; inter-cultural understanding and mutual respect by encounters with mu- sic and musical tradition of various cultures (Predmetni program Muzička kul- tura za I, II, III, IV, V, VI, VII, VIII i IX razred osnovne škole, 2017). The general goals of the Slovenian programme include: development of sensory intelligence as a point of departure for learning and sensory-social ma- turity of children; awareness of the role of musical activities, such as techniques for relaxation of body and mind (music therapy); association of music with other arts. (Program osnovna šola glasbena umetnost. Učni načrt, 2011, p. 2) As a resume of general goals of music teaching in Montenegro and Slove- nia, we can conclude that they represent the multifold significance of music in elementary education. The Programme for Music Culture (Predmetni program Muzička kultura za I, II, III, IV, V, VI, VII, VIII i IX razred osnovne škole, 5 Course Programme Music Culture for 1st, 2nd, 3rd, 4th, 5th, 6th, 7th, 8th and 9th Primary School Gra- des. g la sb en o pe d ag o šk i z bo r n ik ◆ le t n ik 16 ◆ št ev il k a 33 48 2017) resulted from the latest reform of primary education. This reform led the teaching process to being more focused on educational and learning outcomes, as well as on activities and didactic recommendations for their achievement. The Slovenian programme offers operational goals, which are equivalent to learning outcomes in the Montenegrin programme. The operational goals re- fer to the three activities separately, which make them more concrete than the learning outcomes and activities as specified in the Montenegrin programme. comparative analysis of creation as an activity in course programmes The following table shows learning outcomes and activities related to musi- cal creativity in the first cycle of nine-year primary school general education in Montenegro (ME). Table 2: Learning outcomes and activities related to musical creativity for the first cycle (1st, 2nd and 3rd grade) in Montenegro 1st cycle Learning outcomes and activities 1st grade Pupils - create a simple rhythmical accompaniment on rhythmical instruments of Orff ’s instrumentarium - experience of music is creatively expressed by movement - use drawings, movement or narratively show/describe personal thoughts, images and feelings 2nd grade - create and perform rhythmical motives and sound effects on rhythmical instruments of Orff ’s instrumentarium, on the basis of the learned song, nursery rhymes or a musical game - create and perform simple and short rhythmical improvisations on rhythmi- cal instruments of Orff ’s instrumentarium - use drawings, movement or narratively show/describe personal thoughts, images and feelings to musical examples adapted to the 2nd grade age - discuss with others about own experience of music, providing arguments - describe the character of different compositions in own words j. m a rtin o v ić bo g o jev ić ◆ m u sic a l c reativ ity in prim a ry sc h o o l pro g ra m m es fo r m u sic ed u c atio n in m o n ten eg ro a n d slo v en ia 49 1st cycle Learning outcomes and activities 3rd grade - create and perform simple and short rhythmical improvisations - create and perform short melodic phrases on a melodic instrument of Orff ’s instrumentarium - improvise movements while listening to musical examples of school material for 3rd grade; - creatively express experience of music by movement; - create (improvise) short rhythmical units; - shape rhythmical accompaniment to songs already worked on; - create a short continuation of melody or rhythm; - create rhythmical and melodic-rhythmical units; - describe impressions of musical pieces listened to; - question their views of the experienced feelings after the heard musical piece, discussing with their partners or grade peers, providing arguments for their opinions; - think critically and show tolerance for a differently expressed musical experi- ence of peer. Source: Predmetni program Muzička kultura za I, II, III, IV, V, VI, VII, VIII i IX razred osnovne škole (2017). In the field of creativity the first cycle in Slovenia (SI) contains operation- al goals as follows: Table 3: Operational goals in the field of creativity for the first cycle (1st, 2nd and 3rd grade) in Slovenia 1st cycle - Operational goals Pupils - research sound colours and by them express sound thoughts; - research sounds of instruments, notice and describe differences; - through sound, they recognise things, animals, and languages, events from their surroun- dings and extended environment and nature; - perform songs, stories and instrumental contents; - create content and sound images. Shape their own musical thoughts: supplement melodic and rhythmical units, music questions and answers, melodies to a given text and vice versa; - invent image signs/labels, musical symbols, classify and order them into musical image notes (e.g. for shaped parts, individual elements of a sound: colour, brightness, duration and pitch); - creatively express their musical and extra-musical experiences and images visually, verbally or by movement; - express by movement their audio experience of tone duration and pitch, intensity and tone colours, and shaped units; - are introduced into evaluation of artistic achievements, and musical works and their presentation in various forms of communication and media. Source: Program osnovna šola glasbena umetnost. Učni načrt (2011, p. 7). g la sb en o pe d ag o šk i z bo r n ik ◆ le t n ik 16 ◆ št ev il k a 33 50 The above table (SI) shows that the descriptions of activities are similar to those in the Montenegrin programme and that they are realistically set with re- gard to the number of lessons. Invention of musical symbols, organised by pu- pils into meaningful units is absent in the programmes in Montenegro. This goal seems logical, as it develops creativity through creation of notation. Image sym- bols for tone marking are used in the first cycle of music education in both sys- tems. In this way, pupils can connect the visual with the auditive, gradually under- standing the meaning of symbols (movement of melody, pitch and tone duration). In the 4th, 5th and 6th grade music literacy is gradually introduced. The fol- lowing table shows learning outcomes and activities related to creativity in the second educational cycle. Table 4: Learning outcomes in the field of creativity in the second cycle (4th, 5th and 6th grade) in Montenegro 2nd cycle Learning outcomes and activities 4th grade Pupils - perform musical games (develop musical memory, stimulate creativity, deve- lop a feeling for rhythm and melodic phrase); - develop a feeling of belonging to the group; - shape rhythmical accompaniment; - create (improvise) short rhythmical units; - create rhythmical and melodic-rhythmical units and perform on instru- ments; - link movement to music and naturally react to musical content, phenomena and dynamic; - express their impressions by movements during and after the heard piece, paying attention to the character and expressive elements; - create and perform movements which are an expression of their experience of the heard musical piece. 5th grade - create short rhythmical units with sixteen notes and dotted quarter note; - shape rhythmical accompaniment; - shape rhythmical accompaniment for memorised songs; perform in the “Rap” style memorised songs; - create musical questions and answers in a form of musical sentence, create short melodic-rhythmical continuations; - create short rhythmical and melodic-rhythmical units, perform on instru- ments; - describe impressions of heard compositions of folk and art music; - express their impressions in a visual, literary and dance form. 6th grade - create rhythmical units with rhythmical figures – triplet and syncopation; - create melodic-rhythmical continuations; - shape rhythmical accompaniment of memorised songs; - rapping memorised songs. Source: Predmetni program Muzička kultura za I, II, III, IV, V, VI, VII, VIII i IX razred osnovne škole (2017). j. m a rtin o v ić bo g o jev ić ◆ m u sic a l c reativ ity in prim a ry sc h o o l pro g ra m m es fo r m u sic ed u c atio n in m o n ten eg ro a n d slo v en ia 51 Table 5: Operational goals in the field of creativity for the second cycle (4th, 5th and 6th grade) in Slovenia 2nd cycle - Operational goals Pupils - by singing and/or rhythmically expression, supplement and create musical contents and forms; - by singing create different kinds of tones; - by rhythmical expression, create one-, two- or polyphonic contents and forms; - create the same, similar and different units. By instruments they supplement and create different musical contents and forms (form of a song, cannon, rondo, theme, variation); - with instruments, they create different kinds of tones; - by movement-dance, visually and verbally they express musical and non-musical experien- ces and images; - present, perform and assess their achievements; - express a special dedication to music and musical expression. Source: Program osnovna šola glasbena umetnost. Učni načrt (2011, p. 8). In the second cycle (SI), operational goals are considerably more demand- ing, particularly if they concern creation of musical units into musical forms, with which pupils become acquainted in the second cycle (form of a song, a theme with variations, rondo, canon). Instrument playing suggests that the goals related to playing are, also rarely reachable. In the second cycle (ME), cre- ation refers to creation in the shape of a musical sentence. Instrument playing and presentation and assessment of own achievements (SI) are present in the Montenegrin programme, too, but they refer to performance activities. Fur- ther, there is no demand of pupils (ME) to create polyphonic contents and forms by rhythmical expression. The creation of rhythmical units implies the use of rhythmical figures, such as triplet and syncopation. One of the activi- ties in Montenegrin programme, comparing with Slovenia, is performance of memorised songs as “Rap” songs, which represents a form of style improvisa- tion. In the third cycle (7th, 8th and 9th grade), both programmes emphasise oper- ational goals (SI) and learning outcomes (ME), related to the domain of music history. Both programmes expect pupils to be able to creatively express them- selves about music of various epochs and to present their musical experiences in diverse ways. As pupils are equipped with certain musical knowledge at this stage, they are expected to create vocal and instrumental musical contents, and to begin using improvisation. Pupils create rhythmical improvisations, impro- vise melodic-rhythmical units, respecting expressive elements of music. In the 8th grade (ME), pupils create a rhythmical accompaniment for heard compositions. At the end of the third cycle, the programme describes the process in the following way, specifying creativity in this cycle, which in- cludes the development of the ability to improvise: g la sb en o pe d ag o šk i z bo r n ik ◆ le t n ik 16 ◆ št ev il k a 33 52 In this cycle, the ability of creativity is manifested – of textual and visual expression of musical impressions, while rhythmical/dance expressions are, mainly, characteristic for certain individuals. The teacher should plan activities thoughtfully and take into account in- dividual interests. If possible, he/she should make pupils improvise (create) vocally or instrumentally short musical contents. Achieve- ments of pupils’ creative work are: sound mosaics, formal parts (mo- tives, themes, melodies, rhythms, songs). (Predmetni program Muzič- ka kultura za I, II, III, IV, V, VI, VII, VIII i IX razred osnovne škole, 2017, p. 63) Table 6: Operational goals for the field of creativity in the third cycle (7th, 8th and 9th grade) in Slovenia 7th grade 8th grade 9th grade Creatively express experi- ences and images about the chosen music of pre-history, ancient and middle ages, renaissance and baroque in other arts Creatively express experien- ces and images about musical works of the 18th and 19th centuries, in other arts Creatively express experien- ces and images of the music of the 20th and 21st centuries, in other arts Pupils - create vocal and instru- mental musical contents; - are trained to use elements of musical improvisation; - reproduce chosen vocal and instrumental musical units; - creatively shape accompaniments and create musical units and contents with their own, Orff ’s, folk and improvi- sed instruments; - demonstrate their own endeavour, motivation and interest for music and musical expression. Source: Program osnovna šola glasbena umetnost. Učni načrt (2011, p. 10). Operational goals in the third cycle (SI) outline an expression, through creativity, of musical experience of works with which pupils become acquaint- ed through musicological contents related to listening to music. As other goals are more general in the third cycle, from the process-developmental perspec- j. m a rtin o v ić bo g o jev ić ◆ m u sic a l c reativ ity in prim a ry sc h o o l pro g ra m m es fo r m u sic ed u c atio n in m o n ten eg ro a n d slo v en ia 53 tive pupils are expected to use the already acquired knowledge and skills in their creative activities. At this phase, pupils are expected to be introduced to the process of improvisation. In the Montenegrin programme, creativi- ty is mentioned only in activities and learning outcomes, while the Slovenian programme highlights activities and, therefore, specific goals related to them. Hence, creativity in the programme in Slovenia is given a greater significance, with a higher number of goals, which are precisely defined. didactic recommendations in the programmes Didactic recommendations (ME) highlight the significance of “auditory im- agination”, “creative expression” verbally, visually, by movement or by various forms of didactic musical games (p. 59). Didactic recommendations (SI) for the first cycle for the field of creation suggests that creativity is a natural and necessary part of arts and musical development. The processes and forms of creation in the first cycle comprise: performance of musical contents, musical production by invention and supplementing of musical contents, creative ex- pression of musical experiences and images through movement, visually or ver- bally. One of the recommendations is encouragement and creation of musical notation. The second cycle (ME) highlights the aesthetic expression by singing and playing, while manifestation of musical experiences remains linked to move- ment, dance, visual or verbal expression. As performance skills improve, the tasks related to creativity in music are expected to be performed at a higher lev- el, while informative knowledge is advanced by practical application through creative tasks (musical dialogues, sound images, rhythmical improvisations). In the second cycle (SI), creation refers to: “supplementing of musical phrases” (by the principle question-answer), shaping of accompaniment (ost- inato, bordun, etc.), creation of short musical units, shaped on the basis of ex- periences and knowledge of foundational regularities of characteristics of mu- sical forms (song, rondo, variation)“ Source: Program osnovna šola glasbena umetnost. Učni načrt (2011, p. 11). An important recommendation concerns evaluation of achievements in the realm of creativity, which should be defined according to the music-developmental characteristics of pupils. The creative product should, primarily, be a reason for conversations, stimulus, exchange of ideas, and respect of music. The third cycle (ME) emphasises the reception of music through becom- ing acquainted with musical styles and genres. The teacher should be percep- tive with regard to a pupils’ individual abilities and encourage, at this stage, the development of improvisation. The third cycle (SI) specifies that creativity is not only an active form of learning, but that it also enables the use of the exist- ing knowledge in new musical situations. This implies a creative performance g la sb en o pe d ag o šk i z bo r n ik ◆ le t n ik 16 ◆ št ev il k a 33 54 of works of vocal and instrumental literature, creation and supplementing of musical contents, which are based, also, on the use of improvisation and exper- imenting with sound, creatively express musical experience through other arts. Both programmes enable improvisation by the use of the acquired knowledge. Composing as a term is absent from both Slovenian and Montenegrin pro- grammes. The phrase “creative shaping” (SI) implies activities by which a new material is created and generated on the basis of the existing knowledge. Play- ing and improvisation on folk and improvised instruments (SI) is not specified in the programme (ME), which mentions only the instruments of Orff’s in- strumentarium. Didactic recommendations of both programmes do not spec- ify steps of preparation, performance and evaluation of musical creativity. The purpose of these documents is not to provide detailed didactic instructions and ready solutions, which can be counter-productive if they limit teachers in their own inventiveness. The above analysis of the course programmes for Music culture/Music ed- ucation in two distinct school systems demonstrates numerous parallels and similarities, leading to the conclusion that music creativity is present through operational goals and activities (SI) and learning outcomes and activities (ME). The Slovenian programme (SI) specifies these activities more precisely, in- troducing, with a greater progression, a wide spectrum of creative processes in music. In the Montenegrin system (ME), they are mentioned as creation of rhythmical, melodic-rhythmical units, musical continuations, but they are not precisely defined. As activities are mutually interactive (ME), the teacher should link them with the development of new knowledge and development of skills, according to pupils’ abilities and in accordance with the overall peda- gogical-educational outcomes at the level of each school grade or cycle. conclusion The presence of musical creativity in the programmes of music education of both countries shows that there is a continuous tendency towards a holistic ap- proach to music education, which corresponds to the way primary school pu- pils acquire musical knowledge (Wiggins, 2002), and that they are given the opportunity of their own creative music experience. Bearing in mind that, in other segments whose activities include performing and listening to music, the programmes are extensive, the question arises, especially in the Montene- grin system with a smaller number of lessons, whether it is possible to achieve planned goals and learning outcomes in which creativity is continuously real- ised. Although it is difficult to give universal didactic instructions for musical creativity, due to the heterogeneous nature of creative processes (Odena and Welch, 2009), one gets the impression that they are more specifically listed in the Slovenian programme. j. m a rtin o v ić bo g o jev ić ◆ m u sic a l c reativ ity in prim a ry sc h o o l pro g ra m m es fo r m u sic ed u c atio n in m o n ten eg ro a n d slo v en ia 55 Although the programmes cannot be expected to deal with this topic 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. g la sb en o pe d ag o šk i z bo r n ik ◆ le t n ik 16 ◆ št ev il k a 33 56 si/assets/ministrstva/MIZS/Dokumenti/Osnovna-sola/Ucni-nacrti/ obvezni/UN_glasbena_vzgoja.pdf Rotar Pance, B. (2018). Strategies to work with musically talented primary school pupils. In V. Marković and J. Martinović Bogojević (Ed.), Zbornik radova s Međunarodnog simpozijuma iz oblasti muzičke pedagogije: muzička pedagogija, izazov, inspircija i kreacija (pp. 29–43). Muzička akademija. Webster, P. R. (2011). Construction of music learning. In R. Colwell and P. R. Webster (Eds.), MENC handbook of research on music learning: Volume 1: Strategies (pp. 35–83). Oxford University Press. Wiggins, J. (1999). Teacher control and creativity: Carefully designed compositional experiences can foster students‘ creative processes and augment teachers‘ assessment efforts. Music Educators Journal, 85(5), 30– 44. Wiggins, J. (2002). Creative process as meaningful music thinking. In T. Sullivan and L. Willingham (Eds.), Creativity and music education (pp. 78–88). Britannia Printers. Povzetek UDC 37.013:159.954 Prispevek je zasnovan na komparativni analizi učnih načrtov za osnovnošolska predme- ta Glasbena kultura v Črni gori in Glasbena vzgoja (Glasbena umetnost) v Sloveniji. Zanima- lo nas je, kako je v učnih načrtih zastopana ustvarjalnost kot ena od treh temeljnih glas- benih dejavnosti. Primerjava števila učnih ur glasbenih predmetov v predmetnikih obeh držav je pokazala, da imajo slovenski učenci v času osnovnošolskega izobraževanja v pri- merjavi s črnogorskimi učenci 141 ur glasbenega pouka več. Največja razlika v številu uč- nih ur je v prvem triletju. Črnogorski učenci imajo v 1., 2. in 3. razredu po 35 ur glasbenega pouka na leto, slovenski učenci pa 70 ur. V Črni gori je do zmanjšanja učnih ur prišlo leta 2016 ob izvedbi zadnje reforme osnovnošolskega izobraževanja. Glasbene ustvarjalne dejavnosti lahko črnogorski osnovnošolski učitelji uresničujejo izven obveznega pred- meta Glasbena kultura tudi skozi različne interesne dejavnosti in izbirni predmet Glas- bena delavnica, ki je bil v šolskem letu 2019/20 umeščen v tretje triletje. Učna načrta obveznih glasbenih predmetov se v državah razlikujeta tudi v uporabljeni metodologiji. Črnogorski učni načrt je usmerjen na rezultate vzgojno-izobraževalnega dela oz. na učne izide, slovenski učni načrt pa na operativne učne cilje na posameznih de- javnostnih področjih. Za razliko od slovenskega učnega načrta, ki ima opredeljene učne cilje na vseh treh dejavnostnih področjih, se izvajanje, poslušanje in ustvarjanje v črno- gorskem učnem načrtu obravnavajo kot učni izidi in kot dejavnosti. V črnogorskem uč- nem načrtu noben krovni učni izid ne vključuje ustvarjanja. Komparativna analiza je po- kazala, da je ustvarjanje v slovenskem učnem načrtu zastopano z večjo preciznostjo in postopnostjo, kar posledično pomeni tudi širši spekter dejavnosti. V črnogorskem uč- nem načrtu ustvarjanje spremlja ostale dejavnosti. Priporočeno je, da se kombinira s po- j. m a rtin o v ić bo g o jev ić ◆ m u sic a l c reativ ity in prim a ry sc h o o l pro g ra m m es fo r m u sic ed u c atio n in m o n ten eg ro a n d slo v en ia 57 slušanjem ali pa z izvajanjem in tako privede do doseganja učnih izidov. Čeprav se upo- števa, da učenci glasbene sposobnosti razvijajo postopno in da v skladu s pridobljenimi glasbenimi znanji manipulirajo s tonskim gradivom in ustvarjajo glasbene celote, v uč- nem načrtu manjka jasna opredelitev glasbene ustvarjalnosti kot dejavnosti. Ugotavlja- mo, da je bilo v Črni gori med zadnjo šolsko reformo v primerjavi s poslušanjem in z izva- janjem najmanj pozornosti namenjene ustvarjanju. Slovenski učitelji v primerjavi s črnogorskimi dobijo jasnejše napotke za vodenje ustvar- jalnih dejavnosti tudi skozi didaktična priporočila, ki so sestavni del obeh učnih načr- tov. Slovenska didaktična priporočila upoštevajo razvojne vidike in postopen napredek učencev skozi vsa triletja. Črnogorski učni načrt izhaja iz kompetenc učitelja na podro- čju ustvarjanja in učitelje na tem področju prepusti njihovim lastnim strokovnim ter pedagoškim sposobnostim. Čeprav oba učna načrta izpostavljata učiteljevo avtonomi- jo in svobodo pri oblikovanju dejavnosti, ugotavljamo, da je slovenskim učiteljem v pri- merjavi s črnogorskimi učitelji jasneje predstavljeno, kaj pomeni in vključuje ustvarjanje pri osnovnošolskem glasbenem pouku ter na kakšne načine lahko realizirajo glasbene ustvarjalne dejavnosti. Komponiranje kot ena od oblik glasbene ustvarjalnosti ni nave- deno v učnih načrtih, kar pa učiteljev ne ovira, da ga ne bi spodbujali v pedagoški praksi. V Sloveniji so h komponiranju spodbujeni glasbeno nadarjeni učenci, ki se pod mentor- stvom osnovnošolskih učiteljev glasbe udeležujejo vsakoletne Slovenske glasbene olim- pijade (Rotar Pance, 2018). Slovenski učni načrt opazneje upošteva tudi priporočila Kra- tusa (1990), kako spodbuditi kreativno učenje skozi opredeljene učne cilje, ki vsebujejo komponente ustvarjalne osebe (učenca), ustvarjalnega procesa in ustvarjalnega produk- ta.