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The foundations of modern Slovene music teaching were laid in the experimental music education which was carried out as a longitudinal study in all eight grades of primary school. First introduced in the school year 1963/64, it aimed at thoroughly reforming music education and developing new teaching methods. The entire project was carried out by Breda Oblak who, in her written lesson plans and in the practical execution of lessons, developed the concept of active music learning, basing it on performing, listening and creating activities. At seminars for teachers, which included also observations of experimental lessons, she disseminated the new music teaching methods to the broadest pedagogic practice. She used the results of the study to develop didactic packs for all grades of primary schools. These materials were issued in two cycles: first for the eight-year and latter for the nine-year primary school. Breda Oblak transformed the music education teaching methods, upgrading them into modern music-teaching theory and practice. [ABSTRACT FROM AUTHOR]

Samo Vremšak dedicated part of his opus to children's and youth choirs. The present paper presents the publications of the compositions for these two ensembles, the composer's choice of texts and the characteristics of his musical expression. The analysis of 12 compositions for children's choir and 19 for youth choir from the composer's collection (1997) shows the rhythmical, melodic, harmonic and compositional characteristics of Vremšak's compositions and proves his command and creative use of various compositional techniques in forming an artistic musical language of his own. [ABSTRACT FROM AUTHOR]

Bodily movement plays an important role in musical production, reproduction and perception. Musical performance is linked to expressive movement of the musician which co-influences the perception by the audience. The performer's movements and gestures, which the audience can see during the performance, function as a special communicational means and intensify the whole musical experience. Research shows that musical performances which attract auditory and visual attention and intensify the listeners' focus cause in them physical, cognitive and emotional-experiential activities. This paper dedicates particular attention to bodily movements and gestures in piano playing. In connection with holistic learning and musical activities, it highlights the paradigm of embodied music cognition and its place in Émile Jaques-Dalcroze's eurhythmics. In dealing with creative musical expression, it focuses on improvisation, while also pointing out the connection of musical movement with musicality. [ABSTRACT FROM AUTHOR]

Despite its cultural significance, the oldest Slovene public radio show Veseli tobogan (Happy Toboggan) has not yet been thoroughly researched or evaluated. The article covers the history of the show and some figures that helped in building its reputation. Among them, the article focuses on the work of the composer Bojan Adamič. He was engaged in the show from the start, at first as a pianist and a member of the jury in auditions, then as an arranger (producing around 800 works) and the leader of the Bojan Adamič Ensemble. The period from 1982 (1983) to 1995 could be named Adamič's Period of Veseli tobogan. In addition to the show's production and its concept, the article highlights the musical and cultural values of the period. [ABSTRACT FROM AUTHOR]