Snježana Dobr ota, PhD, Marija Matoković Primary School Teachers’ Attitudes toward Professional Development in Music Pr ejeto 02.08.2022 / Spr ejeto 15.1 1.2022 Znanstveni članek UDK 373.3-051:374:78 KLJUČNE BESEDE: glasbena vzgoja, str okovno iz- popolnjevanje, osnovnošolski učitelji POVZETEK – Prispevek raziskuje stališča osnovno- šolskih učiteljev do str okovnega izpopolnjevanja pri pr edmetu glasbena vzgoja ter razlike v stališčih glede na let a delovnih izkušenj in stopnjo njihove str okovne usposobljenosti. V okviru raziskave sta bila upora- bljena Vprašalnik splošnih podatkov in Vprašalnik za pr everjanje stališč osnovnošolskih učiteljev o str o- kovnem izpopolnjeva nju pri pr edmetu glasbena vzgo- ja. Rezultati potrjujejo, da so osnovnošolski učitelji zmerno zadovoljni z možnostmi str okovnega izpopol- njevanja pri pr edmetu glasbena vzgoja. Po mnenju učiteljev je tr eba največ pozornosti med str okovnim izpopolnjevanjem nameniti glasbenemu ustvarjanju, najmanj pa petju in igranju instrumenta. Učitelji na splošno ocenjujejo, da glasbena izobrazba, pridoblje- na v času študija, zadošča za kakovost no izvajanje glasbenega pouka. Rezultati potrjujejo, da ni razlik v stališčih osnovnošolskih učiteljev do str okovnega izpopolnjevanja pri pr edmetu glasbena vzgoja glede na njihove delovne izkušnje in str okovno izobrazbo. Received 02.08.2022 / Accepted 15.1 1.2022 Scientific paper UDC 373.3-051:374:78 KEYWORDS: music, pr ofessional development, pri- mary school teachers ABSTRACT – The paper explor es the attitudes of pri- mary school teachers towar d pr ofessional development in the subject of music and the differ ences in attitudes with r egar d to the teachers’ years of work experience and their level of pr ofessional qualifications. For the purposes of the r esear ch, we used the General Data Questionnair e and the questionnair e examining the Attitudes of Primary School T eachers towar d Pr ofessi- onal Development in the Subject of Music. The r esults confirm that primary school teachers ar e moderately satisfied with the opportunities for pr ofessional deve- lopment. Accor ding to the teachers’ opinions, pr ofes- sional development training should pay the most at- tention to making music, and the least to the activities of singing and playing. T eachers generally estimate that the music education acquir ed during their studies is sufficient for conducting quality music classes. The r esults confirm that ther e ar e no differ ences in the at- titudes of primary school teachers towar d pr ofessio- nal development in the subject of music with r egar d to their work experience and pr ofessional qualifications. 1 Introduction Typical of modern society are intense globalization and economic, political, and technological changes. Due to globalization, education is also exposed to significant changes (Dubaseniuk et al., 2020). Countries around the world, including Croatia, are facing reforms in the educational system, which are changing the type and nature of learning outcomes to be achieved by students. The modern school aims not only to transfer knowledge of individual subjects and prepare students for further education and work, but also to educate active students (Holcar Brunauer et al., 2021) who are cognitively, emotionally, socially, and techno- logically competent; who make independent decisions, think critically and creatively, and cooperate with other participants in the educational process. Furthermore, the mod- 66 Didactica Slovenica – Pedagoška obzorja (3–4, 2022) ern school promotes equality and social justice, and contributes to creating a society of equality and freedom (Čilić and Kovačević, 2021). The key figure in any educational reform is the teacher. There is currently wide- spread agreement among policymakers, scholars, and educators that providing teachers with opportunities for professional development (PD) is a cornerstone to achieving the ambitious goals of educational reforms (Darling-Hammond et al., 2009). To meet the needs of a modern educational system, the teacher needs to possess a range of pro- fessional and personal competencies (Drljić and Kiswarday, 2021). Teachers should provide all students with learning opportunities and encourage their overall develop- ment, cooperating with other participants in the educational process. A modern teacher is expected to engage in lifelong learning and constantly adapt to the requirements of modern society, which are reflected in the educational system. Avalos claims that the focus and ultimate goal of teacher professional development should be the benefit of students’ learning and achievement. “Professional development is about teachers learning, learning how to learn, and transforming their knowledge into practice for the benefit of their students’ growth. Teacher professional learning is a complex process, which requires cognitive and emotional involvement of teachers individually and collectively, the capacity and willingness to examine where each one stands in terms of convictions and beliefs, and the perusal and enactment of appropriate alternatives for improvement or change” (Avalos, 2011, p. 10). Singapore is often cited as an example of a well-organized teacher professional development system. Tan and Dimmock (2014) believe that the quality of the Singa- pore educational system is the result of the development at three independent levels: the macro level (socio-cultural and economic-political factors), the organizational level (quality of schools, teachers, curricula, etc.), and the family level (parenting and sociali- zation). The system of professional development belongs to the organizational level. Bautista et al. (2015) cite the basic determinants of the Singaporean system of profes- sional development. They say the system (Bautista et al., 2015, p. 313): □ “is subject-matter specific and connected to classroom practice; □ is intensive and ongoing; □ provides teachers with opportunities for active learning; □ promotes collective participation amongst teachers both across and with- in schools; and □ is coherent with teachers’ needs and interests, and aligned with school and national priorities”. Educators, teachers, professional associates, and head teachers are initially edu- cated through their higher education courses, but also through professional training and continuous professional development. Professional training and professional de- velopment are carried out through formal and informal, group or individual forms of education and acquisition of additional knowledge and skills with the aim of improving personal abilities and skills in their profession and overall educational work. Quality and continuous professional development of educational workers is prescribed by law and represents their right, obligation, and responsibility. The following acts and ordinances prescribe professional development for educa- tional workers in Croatia: Zakon o odgoju i obrazovanju u osnovnoj i sr ednjoj školi 67 D obr ota, PhD , Matoković: Primary School T eachers’ Attitudes towar d Pr ofessional... (Primary and Secondary School Education Act, NN 87/08, 92/19, 105/10, 90/11, 5/12, 16/12, 86/12, 126/12, 94/13, 152/14, 07/17, 68/18, 98/19, 64/20), Zakon o pr edškolskom odgoju i obrazovanju (Preschool Education Act, NN 10/97, 107/07, 94/13, 98/19), Pravilnik o napr edovanju učitelja i nastavnika u osnovnom i sr ednjem školstvu (Or- dinance on Promotion of Teachers in Primary and Secondary Schools, NN 68/2019), Državni pedagoški standar d osnovnoškolskoga sustava odgoja i obrazovanja (National Pedagogical Standards for Primary Education System, NN 63/2008), and Zakon o Agen - ciji za odgoj i obrazovanje (Education and Teacher Training Agency Act, NN 85/2006). In the past, music education in Croatia developed mainly under the influence of the foreigners ruling our country. Thus, the 18th and 19th centuries saw the influence of Austria (Rojko, 1996). As for the content of music education in the then primary schools and grammar schools, the focus was mainly on singing traditional and church songs and the adoption of elements of music literacy. In 1950, compulsory eight-year primary education was introduced, and since then music education has been mainly carried out through the activities of singing, music literacy, listening to music, playing, and making music. From 2006 to 2019, music education in Croatian primary schools was carried out on the basis of a document entitled Nastavni plan i pr ogram za osnovnu školu (Teaching Plan and Programme for Primary School, 2006). Psychological and cultural-aesthetic principles are cited as basic principles that permeate music education. The first principle stems from the knowledge that students love music and want to actively engage with music. According to the second principle, music education enables students to become competent music users. This programme is open, which means that listening to and get- ting to know music is the only mandatory area, while the teacher is free to choose the method of active music making. Music education in grammar schools was carried out according to Nastavni plan i pr ogram za gimnazije (Teaching Plan and Programme for Grammar Schools, 1999). According to this document, the purpose of music education in grammar school is “comprehensive education of young people in the area of culture, including education of the young who will become familiar with the basic features of music, and preferably the education of active participants in the musical life of their environment” (Nastavni plan i program za gimnazije, Glazbena umjetnost / Teaching Plan and Programme for Grammar Schools. Music, 1999, p. 77). The curriculum reform was one of the first measures to start the implementation of the Education, Science, and Technology Strategy. Its goal was to establish a harmonized and efficient educational system through comprehensive content-related and structural changes. A result of the reform was the 2019 adoption of the document entitled Kuri - kulum za nastavni pr edmet glazbene kultur e za osnovne škole i glazbene umjetnosti za gimnazije u Republici Hrvatskoj (Curriculum for the Subject of Music for Primary Schools and for Grammar Schools in the Republic of Croatia, 2019). In the first part of the document, the purpose of the subject is defined, followed by the description of the subject; the educational goals of learning and teaching; the struc- ture ‒ domains of the subject curriculum; the educational outcomes; the content; the levels of adoption by grades and domains; links with other subjects and cross-curricular topics; learning and teaching, and finally the evaluation of the adoption of educational outcomes. 68 Didactica Slovenica – Pedagoška obzorja (3–4, 2022) The document features two attachments, i.e., a list of educational outcomes, an elaboration of outcomes, the levels of adoption, recommendations for achieving educa- tional outcomes by grades and domains, and a list of songs, nursery rhymes, and musi- cal games to be used during music classes in classroom teaching. This is accompanied by a list of composers and musical pieces classified according to educational cycles, musical-expressive components, and musical types (at the recommended level). The fundamental difference between the curriculum and the 2006 programme is that the curriculum covers the entire educational vertical, i.e., primary and secondary school. Furthermore, the activities from the 2006 programme, such as singing, playing, listen- ing to music, have been replaced by three new domains: □ listening to and becoming familiar with music, □ expressing through and with music, and □ music in context. Finally, the curriculum is based on educational out- comes, which are realized within each domain. The curriculum emphasizes that “music education encourages and enhances stu- dents’ aesthetic development, encourages student creativity, develops students’ musical abilities and interests, develops their awareness of the need to preserve historical and cultural heritage, and enables them to live in a multicultural world. In music classes, students become familiar with and experience music of different origins, styles, and types, and adopt the basic elements of musical language and musical literacy” (Kuri- kulum za nastavni predmet glazbene kulture za osnovne škole i glazbene umjetnosti za gimnazije u Republici Hrvatskoj / Curriculum for the Subject of Music for Primary Schools and for Grammar Schools in the Republic of Croatia, 2019, p. 5). The part re- ferring to the preservation of historical and cultural heritage and the ability to live in a multicultural world also suggests the contents to be addressed during music education, within all three domains. As for the principles that permeate music education in primary and secondary school, in addition to the psychological principle, the cultural-aesthetic principle, and the principle of synchronicity, there is the principle of interculturality, according to which “by getting to know music, peoples, cultures, religions, and customs, students develop awareness of different but equally valuable individuals, peoples, cultures, reli- gions and customs” (Kurikulum za nastavni predmet glazbene kulture za osnovne škole i glazbene umjetnosti za gimnazije u Republici Hrvatskoj Curriculum for the Subject of Music for Primary Schools and for Grammar Schools in the Republic of Croatia, 2019, str. 7). In the entire curriculum, contents related to listening to and performing music often focus on Croatian traditional music and various world music. 2 Research Aim and Problems The aim of this research was to analyse the attitudes of primary school teachers toward professional development in the subject of music and the differences in attitudes with regard to the teachers’ years of work experience and their level of professional qualifications. 69 D obr ota, PhD , Matoković: Primary School T eachers’ Attitudes towar d Pr ofessional... In accordance with the above aim, the following research problems were defined: □ To examine the satisfaction of primary school teachers with the opportunities for professional development in the subject of music. □ To examine which institutions offer professional development in the subject of music. □ To examine whether primary school teachers benefit more from professional de- velopment in the subject of music in terms of teaching or in terms of professional advancement. □ To examine which areas of the subject of music should be given the most attention during professional development. □ To examine teachers’ assessments of the adequacy of the music education acquired during their studies for the realization of quality music education. □ To examine the satisfaction of primary school teachers with the offer of professional development in the subject of music. □ To examine whether the attitudes of primary school teachers toward professional de- velopment in the subject of music differ with regard to their years of work experience. □ To examine whether the attitudes of primary school teachers toward professional development in the subject of music differ with regard to their professional qualifi- cations. 3 Method Participants The research was conducted through an online survey on a sample of 214 partici- pants, i.e., primary school teachers from all Croatian counties (Table 1). Table 1 Sample structur e Y ears of work experience N Pr ofessional qualifications N 0–10 61 ScD / MSc 2 11–20 58 university degree 173 21–30 62 college education 39 31–40 29 secondary school education 0 40 < 4 Total 214 Out of the total number of participants, 27 % attended music school or had received some other form of music education, while 26 % of participants engage with music in their leisure time (singing in a choir or band, playing an instrument, etc.). Only 3 % of 70 Didactica Slovenica – Pedagoška obzorja (3–4, 2022) participants have never attended a theatre performance / concert of art music; 80 % of them sometimes attend such events, and 17 % of participants often attend theatres / con- certs of art music (Table 2). Table 2 Additional music education, engagement with music in leisur e time, attending theatr e performances and classical music concerts Additional music education Engagement with music in leisure time Attending theatr e performances and classical music concerts no 73 % no 74 % never 3 % sometimes 80 % yes 27 % yes 26 % often 17 % Resear ch instrument and pr ocedur e A questionnaire was prepared for the needs of the research. In the first part, i.e., the General Data Questionnair e, the sociodemographic data on participants were collected (county and city where the school is located, years of work experience, level of edu- cation, additional music education, engagement with music in leisure time, attending theatre performances and classical music concerts). The second part, Attitudes towar d Pr ofessional Development in the Subject of Music, contains fourteen items that examine different segments of professional de- velopment: □ the opportunities for participating in professional development over the last three years; □ the organization of professional development training; □ the usefulness of the training; □ activities on which professional development should focus; □ self-assessment of music education during studies and satisfaction with the offer of professional development. Each item is accompanied by a rating scale ranging from 1 to 5 (1 = I completely disagree; 5 = I completely agree). The factor structure of the scale was tested using exploratory factor analysis (EFA) employing the principal components method with varimax normalized rotation, and a two-factor structure of the scale was obtained. Seven items had significant saturations on the first factor (items 1, 2, 3, 4, 5, 6, 14) as well as on the second factor (items 7–13). These factors explain 75 % of the variance. The psychometric characteristics of the scale are shown in Table 3. 71 D obr ota, PhD , Matoković: Primary School T eachers’ Attitudes towar d Pr ofessional... Table 3 Psychometric characteristics of the scale Attitudes towar d Pr ofessional Development in the Subject of Music Item F1 F2 Opportunity for pr ofessional development over the last thr ee years (T1) Or ganization of pr ofessional development (T2–4) Usefulness of pr ofessional development (T5–6) Satisfaction with the offer of pr ofessional development (T14) Activities on which pr ofessional development should focus (T7–12) Self-assessment of music education during studies (T13) 1. Over the past three school years, I had the opportunity to participate (live or online) in professional development training in the area of music (seminars, workshops, projects...). During the professional development training in the area of music, special attention should be paid to singing. 2. Professional development training in the area of music is usually organized by the Ministry of Science and Education. During the professional development training in the area of music, special attention should be paid to playing. 3. Professional development training in the area of music is usually organized by the Education and Teacher Training Agency. During the professional development training in the area of music, special attention should be paid to listening to music. 4. Professional development training in the area of music is usually organized by publishing houses. During the professional development training in the area of music, special attention should be paid to making music. 5. The knowledge and experience gained during professional development training in the area of music are useful for my teaching practice. During the professional development training in the area of music, special attention should be paid to evaluation and assessment. 6. The knowledge and experience gained during professional development training in the area of music are useful to me because of the credits needed for professional advancement and promotion to the title of mentor, advisor, etc. During the professional development training in the area of music, special attention should be paid to explaining the specifics of the Curriculum for the Subject of Music for Primary Schools and for Grammar Schools in the Republic of Croatia. 7. I am satisfied with the offer of professional development in the area of music. The music education I received during my studies is enough to conduct quality music classes. Cr onbach α 0.80 0.87 M (sd) 21.03 (5.60) 25.47 (5.42) Range 7–33 7–35 Average r value betwe- en the items 0.38 0.51 K-S d 0.09, p > 0.05 0.08, p > 0.05 72 Didactica Slovenica – Pedagoška obzorja (3–4, 2022) 4 Results The first item referred to the teachers’ assessment of the opportunities for profes- sional development in the subject of music over the past three years. The teachers as- signed this item an average score of 2.85 (M = 2.85; sd = 1.37). The next three items referred to institutions that organize professional develop- ment training in the subject of music (Ministry of Science and Education, Education and Teacher Training Agency, publishing houses). The largest number of teachers es- timate that such training is organized by the Education and Teacher Training Agency (M = 3.25; sd = 1.17); a slightly smaller number of teachers opted for publishing houses (M = 3.03; sd = 1.11), and fewest of them think that the Ministry of Science and Educa- tion is the organizer (M = 2.60; sd = 1.12). When asked whether they think that their professional development in the subject of music is useful for teaching or gaining additional credits needed for professional advancement, more teachers chose the benefit for teaching (M = 3.99; sd = 1, 02), and a smaller number of them opted for gaining additional credits needed for professional advancement (M = 2.71; sd = 1.29). When asked which area of the subject of music should be given special attention during professional development, teachers put making music in first place (M = 3.98; sd = 0.98); assessment and evaluation in second place (M = 3.75; sd = 1.16); listening to music in third place (M = 3.64; sd = 0.94); explaining the specifics of the Curriculum for the Subject of Music for Primary Schools and for Grammar Schools in the Republic of Cr oatia in fourth place, and singing and playing activities in last place (M = 3.51; sd = 0.99). Regarding the assessment of the satisfaction of primary school teachers with the music education acquired during their studies and the adequacy of such education for providing quality music classes, more than half of the participants assess their education to be sufficient for the realization of music subject content (Table 4). Table 4 Assessment of the satisfaction of primary school teachers with the music education acquir ed during their studies and the adequacy of such education for pr oviding quality music classes Satisfaction of primary school teachers with the music education acquir ed during their studies and the adequacy of such education for pr oviding quality music classes f f % M sd I completely disagree 11 5.14 3.50 1.12 I disagree 31 14.49 I neither agree nor disagree 55 25.70 I agree 73 34.11 I completely agree 44 20.56 73 D obr ota, PhD , Matoković: Primary School T eachers’ Attitudes towar d Pr ofessional... Finally, as for teachers’ satisfaction with the offer of professional development in the subject of music, as many as 45 % of participants are not satisfied with such offer, and participants have rated this item with an average score of 2.60 (Table 5). Table 5 Assessment of satisfaction with the offer of pr ofessional development in the subject of music Satisfaction with the offer of pr ofessional development in the subject of music f f % M sd I completely disagree 46 21.50 2.60 1.13 I disagree 50 23.36 I neither agree nor disagree 70 32.71 I agree 40 18.69 I completely agree 8 3.74 An analysis of variance was calculated to examine whether the attitudes of primary school teachers toward professional development in the subject of music differ with regard to their work experience (Table 6). The results confirm that there are no differ - ences in teachers’ attitudes toward professional development in the subject of music with regard to work experience. Table 6 Differ ences in primary school teachers’ attitudes towar d pr ofessional development in the subject of music with r egar d to work experience Work experience N M sd F (4. 209) Work experience N M sd F (4. 209) Attitudes F1 0–10 61 3.14 0.72 1.12 p = 0.35 Attitudes F2 0–10 61 3.79 0.74 1.21 p = 0.31 11–20 58 2.98 0.83 11–20 58 3.53 0.90 21–30 62 3.01 0.81 21–30 62 3.62 0.72 31–40 29 2.77 0.85 31–40 29 3.52 0.67 40 < 4 2.89 0.88 40 < 4 3.93 0.68 The analysis of variance was recalculated to examine whether the attitudes of pri- mary school teachers toward professional development in the subject of music differ with regard to their professional qualifications (Table 7). The results confirm that there are no differences in teachers’ attitudes toward professional development in the subject of music with regard to their professional qualifications. 74 Didactica Slovenica – Pedagoška obzorja (3–4, 2022) Table 7 Differ ences in primary school teachers’ attitudes towar d pr ofessional development in the subject of music with r egar d to pr ofessional qualifications Pr ofessional qualifications N M sd F (2. 21 1) Pr ofessional qualifications N M sd F (2. 21 1) Attitudes F1 PhD 2 2.64 0.91 0.35 p = 0.70 Attitudes F2 PhD 2 4.21 1.11 1.37 p = 0.26 university degree 173 3.02 0.80 university degree 173 3.66 0.80 college education 39 2.95 0.80 college education 39 3.49 0.62 5 Discussion The results of this research confirmed that primary school teachers are moderately satisfied with the opportunities for participating in professional development in the sub- ject of music. The results of the study by O’Dwyer et al. (2010) point to teachers’ dis- satisfaction with the effects of professional development and with the benefits of profes- sional development to improving their pedagogical practice and the impact on student achievement. Desimone (2009) believes that effective professional development should be aligned with the motivation, needs, and preferences of teachers (Bautista and Ortega- Ruíz, 2015). Furthermore, the participants state that professional development training is most often organized by the Education and Teacher Training Agency, a slightly smaller num- ber opted for publishing houses, and the smallest number for the Ministry of Science and Education. Bowles (2002) examined the motivation, needs, and preferences of 496 American music teachers regarding professional development in the area of music, and the results confirm that participants prefer intensive summer courses conducted by pro- fessional educators and artists at the university. Bush (2007) conducted a study on a sample of 42 music pedagogues, who stated that as for the various forms of professional development organization, they prefer discussions with colleagues, weekend and sum- mer courses and workshops, and the use of Internet resources. Most of the participants in our research are intrinsically motivated to participate in professional development in the area of music, stating that professional develop- ment is primarily useful for their teaching. A small number of participants are extrinsi- cally motivated and believe that the only benefit of attending professional development training is gaining additional credits needed for professional advancement. Such results are in line with the results of Bowles (2002), who states that participants’ motivation to attend professional development training is primarily intrinsic (mastering skills and knowledge) and to a lesser extent extrinsic (gaining additional credits for professional advancement). In terms of areas that, in the opinion of teachers, should be the focus of professional development, making music is in first place, followed by assessment and evaluation, 75 D obr ota, PhD , Matoković: Primary School T eachers’ Attitudes towar d Pr ofessional... listening to music, explaining the specifics of the new curriculum, singing and playing activities. In the teaching practice in Croatian schools making music is a rather ne- glected area, primarily due to a lack of concrete methodological advice and instructions for carrying out activities related to making music. However, many authors point to the importance of developing creative thinking during music education and shifting the exclusive focus from reproductive activities to activities related to creation and making music (Webster, 2002; Niland, 2009). The results of the research by Bush (2007), con- ducted on 42 music pedagogues, confirm that participants need the most instruction in the areas of assessment and evaluation, lesson planning, teaching technologies, and cur- riculum design. Similar results were obtained by Tarnowski and Murphy (2002), who surveyed 281 music teachers in the US and concluded that teachers showed the greatest interest in being educated in the areas of the Orff, Kodály and Dalcroze methods; the use of teaching technologies; assessment and evaluation, and in the interdisciplinary and intercultural approach to music education. The participants in Bowles’ research (2002) showed the greatest interest in professional development in the areas of apply- ing teaching technology; assessment and evaluation; making music, and introduction to instrumental-choral literature. The teachers in our research generally estimate that the music education acquired during their studies is sufficient for conducting quality music classes. However, as many as 45 % of participants are dissatisfied with the offer of professional development in the subject of music, which should have direct implications for the organization and offer of professional development training by various institutions. Finally, the results of our research confirmed that there are no differences in the attitudes of primary school teachers toward professional development in the subject of music with regard to work experience and professional qualifications. In this regard, the results of the research of Bautista et al. (2016) are also interesting. They examined the motivation, needs, and preferences of Singaporean teachers with different levels of education (a major in music education, a minor in music education, a generalist with no formal background in music education). The results confirm that all teachers, regardless of their level of education, are intrinsically motivated for professional development, but there are significant differences in the motivation, needs, and preferences for participa- tion in such activities. These authors conclude that the level of music education has a key role in determining teachers’ motivation, needs, and preferences regarding profes- sional development. 6 Conclusion The results of our research have many music-pedagogical implications, both for the organization of the music education of primary school teachers during their studies and for their lifelong education. What is extremely valuable is the fact that teachers are intrinsically motivated for professional development in the subject area of music, and that they want to improve their knowledge and skills to conduct better music classes and enable each child to maximize the development of their musical potential. This is especially important due 76 Didactica Slovenica – Pedagoška obzorja (3–4, 2022) to the fact that musical abilities are partly inherited, but also largely formed under the influence of formal, non-formal, and informal influences. Furthermore, the results of our research confirmed that primary school teachers feel the need to improve their knowledge and skills in the areas of making music, assess- ment and evaluation. Making music is an unjustifiably neglected area of music education and teachers should be continuously encouraged to implement it well, both during their studies and later. Reproductive activities, which are emphasized during music education in kinder- garten and schools, are insufficient for the overall and quality development of children’s musical potential. The area of assessment and evaluation of artistic activities in general, including musical ones, is also very complex and requires more attention than it has received so far. Another valuable finding of our research relates to teachers’ assessment of the qual- ity of their music education during their studies. The fact that a large number of teachers are satisfied with the music education received during their studies testifies to the qual- ity concept of such education, both in qualitative and quantitative terms. Since professional development training and continuous professional development are the right, obligation, and responsibility of all educators, it is necessary to take into ac- count the results of empirical research that examines their views on this type of education. The results of our research provided significant guidelines for the organization of profes - sional development training for primary school teachers in the subject area of music. Dr . Snježana Dobr ota, Marija Matoković Stališča učiteljev do strokovnega izpopolnjevanja pri predmetu glasbena vzgoja Za sodobno družbo je značilna intenzivna globalizacija, zato je tudi izobraževanje izpostavljeno velikim spr emembam. Cilj sodobne šole je pr enašati znanje posameznih pr edmetov in pripravljati učence za nadaljnje izobraževanje in delo, hkrati pa vzgajati aktivne učence, ki so kognitivno, čustveno, socialno in tehnološko izobraženi, so zmo - žni samostojnega odločanja, kritičnega in ustvarjalnega razmišljanja ter sodelovanja z drugimi udeleženci v izobraževalnem pr ocesu. Ena najpomembnejših značilnosti so - dobne šole je, da takšna šola spodbuja enakost in socialno pravičnost ter prispeva k ustvarjanju družbe enakosti in svobode. Da bi zadostil potr ebam sodobnega vzgojno-izobraževalnega sistema, mora imeti učitelj celo vrsto str okovnih in osebnostnih kompetenc ter mora vsem učencem omogo - čati možnost učenja in hkrati spodbujati njihov celovit razvoj. Od sodobnega učitelja se pričakuje vseživljenjsko učenje in nenehno prilagajanje zahtevam sodobne družbe, ki se odražajo v izobraževalnem sistemu. Vzgojitelji, učitelji, str okovni sodelavci in ravnatelji se najpr ej izobražujejo skozi svoje visokošolsko izobraževanje, nato pa tudi s str okovnim usposabljanjem in stalnim str okovnim izpopolnjevanjem. Str okovno usposabljanje in str okovno izpopolnjevanje se 77 D obr ota, PhD , Matoković: Primary School T eachers’ Attitudes towar d Pr ofessional... ur esničujeta z uradnimi in neuradnimi, kolektivnimi ali individualnimi oblikami izobra - ževanja ter s pridobivanjem dodatnih znanj in spr etnosti z namenom izpopolnjevanja osebnih sposobnosti in spr etnosti v poklicu in pri celotnem vzgojno-izobraževalnem delu. Kakovosten in stalen str okovni razvoj vzgojno-izobraževalnih delavcev je zakon - sko pr edpisan in pr edstavlja njihovo pravico, obveznost in odgovornost. V pr eteklosti se je pouk glasbene vzgoje na Hrvaškem razvijal pr edvsem pod vpli - vom države, kater e del je bila, in tako je bil v 18. in 19. stoletju očiten vpliv A vstrije. Kar zadeva vsebino glasbenega pouka v osnovnih šolah in gimnazijah, je šlo pr edvsem za petje ljudskih in cerkvenih pesmi ter pridobivanje osnov glasbene pismenosti. Leta 1950 je bila uvedena obvezna osemletna osnovna šola, glasbeni pouk pa se je ur esni - čeval pr edvsem skozi dejavnosti petja, glasbene pismenosti, poslušanja glasbe, igranja inštrumenta in glasbenega ustvarjanja. Od leta 2006 do leta 2019 se je pouk glasbe v hrvaških osnovnih šolah izvajal na podlagi dokumenta Učni načrt in pr ogram za osnov - ne šole (2006). Psihološka in kulturno-estetska načela so omenjena kot temeljna nače - la, ki pr evevajo glasbeni pouk. Prvo načelo temelji na spoznanju, da imajo učenci radi glasbo in se želijo z njo aktivno ukvarjati, po drugem načelu pa glasbeni pouk usposobi učenca za kompetentnega poslušalca glasbene umetnosti. Omenjeni pr ogram je odpr - tega tipa, kar pomeni, da je poslušanje in spoznavanje glasbe edino obvezno podr očje, učitelj pa svobodno izbira način aktivnega muziciranja. Glasbeni pouk v gimnazijah je potekal po Učnem načrtu in pr ogramu za gimnazije (1999). V letu 2019 je bil spr ejet dokument z naslovom Učni načrt za pr edmet glasbena vzgoja za osnovne šole in glasbena umetnost za gimnazije v Republiki Hrvaški (2019). Bistvena razlika med učnim načrtom in pr ogramom iz leta 2006 pa je v tem, da učni načrt zajema celotno vzgojno-izobraževalno vertikalo, tor ej osnovno in sr ednjo šolo. Poleg tega so za razliko od nazivov dejavnosti iz pr ograma iz leta 2006, kot so petje, igranje inštrumenta, poslušanje glasbe ipd., sedaj uvedena tri podr očja, in sicer: poslu - šanje in spoznavanje glasbe, izražanje skozi in z glasbo ter glasba v kontekstu. In na - zadnje, kurikulum temelji na vzgojno-izobraževalnih r ezultatih, ki se r ealizirajo znotraj posameznega podr očja. Med načeli, ki pr evevajo pouk glasbe v osnovnih in sr ednjih šolah, je poleg psihološkega načela, kulturno-estetskega načela in načela sinhr onosti omenjeno načelo medkulturnosti. V celotnem učnem načrtu, v okviru vsebin za posluša - nje in izvajanje glasbe, pomembna vloga pripada hrvaški tradicionalni glasbi in glasbi z različnih koncev sveta. Prispevek raziskuje, kakšna so stališča osnovnošolskih učiteljev do str okovnega izpopolnjevanja pri pr edmetu glasbena vzgoja in ali se ta stališča razlikujejo glede na njihova leta delovnih izkušenj in stopnjo str okovne izobrazbe. V okviru raziskave sta bila uporabljena Vprašalnik splošnih podatkov in Vprašalnik za pr everjanje stališč osnovnošolskih učiteljev o str okovnem izpopolnjevanju pri pr edmetu glasbena vzgoja. Z vprašalnikom splošnih podatkov so bili zbrani sociodemografski podatki udeležencev (r egija in kraj, kjer se nahaja šola, leta delovnih izkušenj, stopnja str okovne izobraz - be, dodatno glasbeno izobraževanje, ukvarjanje z glasbo v pr ostem času, obiskovanje gledaliških pr edstav in koncertov klasične glasbe). Drugi del, Stališča o str okovnem izpopolnjevanje pri pr edmetu glasbena vzgoja, vsebuje štirinajst tr ditev , ki pr eučujejo različne segmente str okovnega izpopolnjevanja, in sicer: možnost udeležbe str okovnega izpopolnjevanja v pr eteklih tr eh letih, naziv or ganizacije str okovnega izpopolnjevanja, koristnost str okovnega izpopolnjevanja, na kater e aktivnosti naj bo str okovno izpopol - 78 Didactica Slovenica – Pedagoška obzorja (3–4, 2022) njevanje usmerjeno, samoocena glasbenega izobraževanja med študijem in zadovolj - stvo s ponudbo str okovnega izpopolnjevanja. Vsako tr ditev spr emlja ocenjevalna lestvi - ca od 1 do 5 (1 = se sploh ne strinjam; 5 = se popolnoma strinjam). Raziskava je bila izvedena s pomočjo spletne ankete na vzor cu 214 udeležencev , osnovnošolskih učiteljev v vseh hrvaških r egijah. Od skupnega števila sodelujočih jih je 27 % obiskovalo glasbeno šolo ali kater o drugo obliko glasbenega izobraževanja, 26 % sodelujočih pa se z glasbo ukvarja v pr ostem času (poje v pevskem zboru ali klapi, igra inštrument ipd.). Le 3 % sodelujočih še nikoli niso obiskali gledališča/koncertov kla - sične glasbe, 80 % jih občasno obišče tovrstne prir editve, 17 % sodelujočih pa pogosto obišče gledališča/koncerte klasične glasbe. Rezultati potrjujejo, da so osnovnošolski učitelji zmerno zadovoljni z možnostjo udeležbe str okovnih izpopolnjevanj pri pr edmetu glasbena vzgoja in da tovrstna iz - popolnjevanja najpogosteje or ganizira hrvaški Zavod za šolstvo, nekoliko manj jih je izbralo založbe, najmanj pa Ministrstvo za izobraževanje, znanost in šport. Učitelji menijo, da jim str okovna izpopolnjevanja koristijo pri pouku, manj pa jih navaja, da se tovrstnih izpopolnjevanj udeležujejo zaradi pridobivanja dodatnih točk in poklicnega/ str okovnega napr edovanja. T akšni r ezultati so v skladu z r ezultati raziskave Bowlesa (2002), ki pravi, da je motivacija za udeležbo na str okovnih izpopolnjevanjih pr edvsem intrinzična (izpopolnjevanje veščin in znanja), v manjši meri pa ekstrinzična (pridobi - vanje dodatnih točk za poklicno/str okovno napr edovanje). Po mnenju učiteljev je pri str okovnem izobraževanju potr ebno največ pozornosti posvetiti podr očju glasbenega ustvarjanja, sledijo vr ednotenje in ocenjevanje, poslušanje glasbe, razlaga posebnosti Učnega načrta pr edmeta glasbene vzgoje v osnovnih šolah in glasbena umetnost v sr e - dnjih šolah na Hrvaškem (2019), na zadnjem mestu pa sta petje in igranje inštrumenta. Glasbena ustvarjalnost je v pedagoški praksi v hrvaških šolah pr ecej zapostavljeno podr očje, pr edvsem zato, ker primanjkuje konkr etnih metodičnih nasvetov in navodil za izvedbo glasbeno-ustvarjalnih dejavnosti. Številni avtorji pa opozarjajo na pomen razvijanja ustvarjalnega mišljenja pri pouku glasbe in pr eusmeritev izključnega fokusa z r epr oduktivnih na glasbeno-ustvarjalne dejavnosti (Niland, 2009; W ebster , 2002). Učitelji na splošno ocenjujejo, da glasbena izobrazba, ki so jo pridobili v času štu - dija, zadostuje za kakovostno izvajanje glasbenega pouka, kar 45 % pa jih ni zadovolj - nih s ponudbo str okovnih izpopolnjevanj pri pr edmetu glasbena vzgoja. Da bi ugotovili, ali se stališča osnovnošolskih učiteljev do str okovnih izpopolnjevanj pri pr edmetu glas - bena vzgoja razlikujejo glede na njihove delovne izkušnje, smo izvedli analizo variance in r ezultati potrjujejo, da ni razlik pri stališčih učiteljev do str okovnih izpopolnjevanj pri pr edmetu glasbena vzgoja glede na njihove delovne izkušnje. Da bi pr everili, ali se stališča osnovnošolskih učiteljev do str okovnih izpopolnjevanj pri pr edmetu glasbe - na vzgoja razlikujejo glede na stopnjo njihove str okovne izobrazbe, smo pr eračunali analizo variance. Rezultati ne kažejo na obstoj razlik v stališčih učiteljev do pr edmeta glasbena vzgoja glede na njihovo stopnjo str okovne izobrazbe. Rezultati te raziskave imajo številne glasbeno-pedagoške implikacije, tako na or - ganizacijo glasbenega izobraževanja osnovnošolskih učiteljev v času študija kot tudi na njihovo vseživljenjsko izobraževanje. Izjemno dragoceno pa je dejstvo, da učitelji izkazujejo intrinzično motivacijo pri str okovnem izpopolnjevanju na podr očju glasbe - ne vzgoje, tor ej želijo nadgraditi svoje znanje in sposobnosti za čim boljšo r ealizacijo 79 D obr ota, PhD , Matoković: Primary School T eachers’ Attitudes towar d Pr ofessional... glasbenega pouka, pri tem pa vsakemu otr oku omogočiti, da do maksimuma razvije svoj glasbeni potencial. Vse to je še posebej pomembno zaradi dejstva, da so glasbene sposobnosti delno podedovane, v veliki meri pa se oblikujejo pod vplivom formalnih in neformalnih dejavnikov . Poleg tega so r ezultati te raziskave potr dili, da osnovnošolski učitelji izkazujejo po - tr ebo po izboljšanju svojega znanja in sposobnosti na podr očju glasbenega ustvarjanja ter ocenjevanja in vr ednotenja. Glasbena ustvarjalnost je neupravičeno zapostavljeno podr očje pri glasbenem pouku, zato je učitelje potr ebno nenehno spodbujati, tako v času študija kot tudi kasneje, za njeno kakovostnejše izvajanje. Repr oduktivne dejav - nosti, ki so poudarjene pri glasbenih dejavnostih v vrtcu in pri glasbenem pouku, so nezadostne za celovit in kakovosten razvoj otr okovega glasbenega potenciala. Podr o - čje ocenjevanj in vr ednotenj umetniške dejavnosti nasploh, pri tem pa tudi glasbenih, je prav tako zelo kompleksno in mu je potr ebno posvetiti več pozornosti kot doslej. 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Snježana Dobr ota, PhD (1972), Full Pr ofessor of Didactics of Music at the T eacher Education Depart- ment, Faculty of Humanities and Social Sciences University of Split. Naslov / Addr ess: Poljička cesta 35, 21000 Split, Hrvaška / Cr oatia T elefon / T elephone: (+385) 098 770 888 E-mail: dobr ota@ffst.hr Marija Matoković (1997), Master of Primary Education. Naslov / Addr ess: Bože Gumpca 69, 52100 Pula, Hrvaška / Cr oatia T elefon / T elephone: (+385) 095 844 90 90 E-mail: marija.matokovi@gmail.com