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Diplomsko delo obravnava trenutno relevanten problem učenja na daljavo. Ker mnogo šol in drugih učnih ustanov izvaja pouk preko spleta, si delo lajšajo z uporabo raznih aplikacij, ki omogočajo interaktivno podajanje snovi učencem. Vseeno imajo te aplikacije poleg večih prednosti tudi svoje slabosti: ali imajo preveč funkcij, zaradi katerih je uporaba aplikacije neintuitivna in zahteva veliko truda za razumevanje s strani učitelja ali učenca ali pa so preveč osnovne in je njihova uporabnost omejena. Moj cilj je bila izdelava aplikacije, namenjene predvsem za uporabo v srednjih šolah in gimnazijah ter na fakultetah, ki je hkrati dovolj preprosta, da jo lahko uporabljajo tudi v osnovnih šolah. Torej mora biti dovolj intuitivna, da je primerna tudi za računalniško nevešče in da hkrati še vedno nudi čimveč funkcij oz. združuje vse dobre uporabnosti podobnih aplikacij. The problem I am facing in this thesis is one regarding the current approach to online learning. Many educational institutions are exercising classes via internet, with the help of various teaching applications. These applications allow the teachers to interact with their pupils and receive feedback during the lectures. But of course they have some deficiencies: some provide too little and are very basic in design and some are too complex to allow the average teacher and pupil to use them effectively. My goal is to create an alternative, that is easy to use for everyone and will provide all the good qualities of other similar applications.

V magistrskem delu raziskujemo vsakodnevno okolju prijazno vedenje posameznikov v kontekstu potrošnje in izogibanja plastične embalaže za enkratno uporabo. Ena izmed rešitev problema kopičenja plastike v naravnem okolju je spodbujanje prostovoljne vedenjske spremembe na področju zmanjšanja uporabe plastične embalaže, kjerkoli je to mogoče. Kljub zavedanju negativnega vpliva plastične embalaže na okolje posamezniki nadaljujejo z njeno uporabo, saj ob visokih zaznanih ovirah ne vidijo ustrezne spodbude za vedenjsko spremembo. Da bi našli priložnosti za ustrezno podporo vedenj, povezanih z zmanjšanjem uporabe plastične embalaže za enkratno uporabo, smo raziskali specifične motivacijske in kontekstualne dejavnike, ki vplivajo na potrošnjo plastične embalaže za enkratno uporabo pri mladih potrošnikih. Z metodo fokusnih skupin smo identificirali stališča, vedenja ter zaznane ovire in spodbude za zmanjšanje uporabe tovrstne embalaže. Rezultati kažejo, da udeleženci zaznavajo močne zaviralne dejavnike do vedenj, povezanih z izogibanjem plastični embalaži za enkratno uporabo, predvsem v obliki negativnega vrednotenja alternativ plastični embalaži, nedostopnosti in nepriročnosti alternativ plastični embalaži ter razpršene odgovornosti za problem plastike. S pomočjo pridobljenih podatkov smo oblikovali predloge, kako bi lahko s pristopom socialnega marketinga posameznike spodbudili k zmanjšanju uporabe plastične embalaže za enkratno uporabo. This master's thesis explores the everyday environmentally friendly behaviour of individuals in the context of consumption and avoidance of single-use plastic packaging. One of the solutions for the problematic accumulation of plastics in the natural environment is voluntary behavioural change among consumers, focused on reducing their consumption of single-use plastic packaging where possible. Despite high awareness of negative impacts of plastic packaging on the environment, individuals continue with its use, since the barriers they perceive are so high, they do not see appropriate incentives for behavioural change. In order to find opportunities to support behaviours associated with reducing the consumption of single-use plastic packaging, we investigated specific motivational and contextual factors influencing the consumption of single-use plastic packaging among young consumers. Using the focus group method, we identified attitudes, behaviours and perceived barriers and incentives to reduce the consumption of single-use plastic packaging. The results show that the participants have strong reservations about the behaviours related to the avoidance of single-use plastic packaging, mainly because of the negative assessment of alternatives to plastic packaging, the unavailability and inconvenience of the alternatives and the diffusion of responsibility for the problem of plastic. Based on the data obtained, we formulated proposals on how to encourage individuals to reduce their consumption of single-use plastic packaging by using the social marketing approach.

Sindrom kratkega črevesa je kronična bolezen, ki prizadene delovanje prebavil. Za normalno rast in razvoj otrok s sindromom kratkega črevesa je potrebna kompletna parenteralna prehrana. Otroci s to boleznijo imajo vstavljen broviac kateter, po katerem vsakodnevno dobivajo parenteralno prehrano. Pomembno je, da so starši seznanjeni z zakonodajo in pravicami staršev in otrok, ki potrebujejo posebno nego in varstvo. S pomočjo primerne edukacije staršev s strani zdravstvenega osebja in urejenega zdravstvenega varstva kronično bolnih otrok na kompletni parenteralni prehrani s strani države je zagotovljena varna, kakovostna in kontinuirana domača oskrba. Namen magistrskega dela je bil raziskati in ugotoviti, kako se izvaja zagotavljanje pravnega varstva kronično bolnim otrokom na kompletni parenteralni prehrani. V prvem poglavju smo opredelili problem raziskave in nato predstavili kronično bolnega otroka na kompletni parenteralni prehrani s sindromom kratkega črevesa. V nadaljevanju drugega poglavja smo opisali sodelovanje zdravstvenih delavcev s starši kronično bolnih otrok na kompletni parenteralni prehrani, v tretjem podpoglavju pa pravne okvire pravnega varstva in pravice kronično bolnih otrok na kompletni parenteralni prehrani. V nadaljevanju smo najprej predstavili cilje in metodologijo izvedene kvalitativne raziskave in nato v četrtem poglavju rezultate raziskave. Predstavili smo stališča staršev glede zagotavljanja pravnega varstva kronično bolnih otrok na kompletni parenteralni prehrani. Primarne podatke, ki smo jih predstavili v empiričnem delu magistrskega dela, smo zbrali s pomočjo šestih delno strukturiranih intervjujev z izbranimi starši otrok, ki so uporabniki pravnega varstva kronično bolnih otrok na kompletni parenteralni prehrani v Sloveniji. Na osnovi rezultatov raziskave v magistrskem delu smo ugotovili, da so potrebne določene spremembe in izboljšave na področju pravnega varstva kronično bolnih otrok na kompletni parenteralni prehrani v Sloveniji. V rezultatih smo predstavili stališča in predloge staršev za uvajanje izboljšav z vidika pravnega in socialnega varstva otrok s kronično boleznijo na kompletni parenteralni prehrani. Predstavili smo tudi »poskusno utemeljeno teorijo« in jo dopolnili s shemo, v kateri je prikazan poskusni model dopolnjenega zagotavljanja pravnega varstva kronično bolnim otrokom na kompletni parenteralni prehrani. V zaključku smo odgovorili na raziskovalna vprašanja in predlagali izboljšave ter spremembe na področju zagotavljanja pravnega varstva kronično bolnih otrok na kompletni parenteralni prehrani, kar bi pripomoglo k njihovemu lažjemu in kakovostnejšemu življenju. Short bowel syndrome is a chronic illness, affecting the digestive system. For normal growth and development of children with the short bowel syndrome, complete parenteral nutrition is needed. Children with this illness have an inserted Broviac catheter, thru which they receive they daily nutrition. It is important that parents are familiar with the legislation and rights of parents and children, who need special care and protection. With the help of proper educating of parents by the the nursing staff and regulated health care for chronically ill children with complete parenteral nutrition, the State provides a safe and continuous home care, full of quality. The purpose of the master’s thesis was to research and determine the enforcement of legal protection for chronically ill children with complete parenteral nutrition. In the first chapter, we defines the subject of the research and then presented the chronically ill child with complete parenteral nutrition with short bowel syndrome. Following in the second chapter, we described the cooperation of health care practitioners with parents of chronically ill children on complete parenteral nutrition and in the third subchapter the legal framework of legal protection and rights of chronically ill children with complete parenteral nutrition. We then first presented the goals and methodology of the performed qualitative research and in the fourth chapter the results of the research. We presented the position of parents regarding the provision of legal protection of chronically ill children on complete parenteral nutrition. The primary data we have presented in the empirical part of the master’s thesis, were obtained with the help of six semi-structured interviews with selected parents of children, subjected to the legal protection of chronically ill children with complete parenteral nutrition in Slovenia. Based on the results of the research in the master’s thesis, we found, that certain changes and improvements are needed in the field of legal protection of chronically ill children with complete parenteral nutrition in Slovenia. In the results, we presented the position and suggestions of parents regarding the introduction of improvements in the field of legal and social protection of children with a chronic illness with complete parenteral nutrition. We also presented the “experimentally based theory” and completed it with a scheme, which presents an experimental model of completed provision of legal security to chronically ill children with complete parenteral nutrition. In the conclusion, we answered the research questions and suggested improvements and changes in the field of ensuring legal protection to chronically ill children with complete parenteral nutrition, which would contribute to the quality of their life and simplify it.

V prispevku obravnavamo individualni pouk inštrumenta v glasbeni šoli. Kontekstualno predstavljamo nekatere novosti kurikularne prenove na področju pihal. Pri individualnem pouku inštrumenta so pomembni odnos med učiteljem in učencem, njune interakcije in transfer znanj. Učni proces sistematično opredeljujejo učne stopnje od predstavitve nove snovi do preverjanja usvojenih znanj. V empiričnem delu predstavljamo izsledke raziskave o načinih poučevanja učiteljev flavte (N = 78) na posameznih učnih stopnjah pri individualnem pouku v glasbeni šoli. Proučevali smo obravnavo novih učnih vsebin, ponavljanje in utrjevanje vsebin pri pouku, vključevanje in vlogo učiteljevih povratnih informacij, spremljanje domačega vadenja učencev ter formativno preverjanje in ocenjevanje v razredu med šolskim letom. This article focuses on one-to-one studio based instrumental instruction in music schools. Some novelties in the music school woodwind curricula are presented within various contexts. Teacher – student relationship, their interactions, and knowledge transfer are essential in individual instrumental instruction. The learning process is systematically structured within six teaching stages, ranging from new content presentation to learning reviews. We examined music school flute teachers’ beliefs (N=78) about teaching stages in individual studio based instruction. We researched their new content teaching strategies, guided practice and reinforcement, feedback, homework monitoring strategies, formative review and assessment within music studio academic year.

Zgodovina predmetov Nauk o glasbi in Solfeggio ima korenine v razvoju glasbenega šolstva na Slovenskem v 19. in prvi polovici 20. stoletja. Njune zasnove so se v toku časa porajale v okviru predmetov glasbena teorija in petje. Predmetno področje Nauka o glasbi, ki se je na Slovenskem začelo razvijati na prelomu iz 19. v 20. stoletje, je relativno mlado predmetno področje. V petdesetih letih 20. stoletja se je predmet preimenoval iz Glasbene teorije v Nauk o glasbi in dobil natančen učni načrt. Druga pomembna prelomnica v razvoju predmeta se zgodi v šestdesetih letih 20. stoletja, s pojavom področja solfeggia, ki ga je s svojim poučevanjem uveljavil Maks Jurca. Glasbeno-dejavnostna področja predmeta Nauk o glasbi –kot jih danes poznamo – izvirajo iz osemdesetih let 20. stoletja. Področja, med katerimi je poudarjen solfeggio, izhajajo iz značilne narave glasbene umetnosti, iz filozofije trojstva glasbene umetnosti, ki jo je v slovenskem okolju uveljavila Breda Oblak. Pričujoča študija je prva raziskava o predmetu Nauk o glasbi v glasbenem šolstvu na Slovenskem. V njej obravnavamo vidik zgodovinskega razvoja predmeta, sodobni vidik didaktične zasnove predmeta in dejavnike predmeta, ki vplivajo na glasbeni razvoj. Skladno z glasbenopedagoško doktrino in glasbeno umetnostjo obravnavamo problematiko glasbeno-pedagoške terminologije. Predmet Nauk o glasbi potrebuje jasno koherentno glasbeno-pedagoško terminologijo v fazi ozaveščanja glasbenih pojmov in zakonitosti, podprtih s predhodnimi izvedbami glasbenih dejavnosti in v fazi vrednotenja razvoja glasbenih sposobnosti, spretnosti in znanj. Izpostavlja se potreba po konceptualnih enoznačnih opredelitvah terminov na področju stopenjske diferenciacije razvitosti glasbenih sposobnosti, spretnosti in znanj, ki naj izhajajo iz glasbene umetnosti in glasbenopedagoške doktrine. Nauk o glasbi in Solfeggio kot samostojni predmetni področji v glasbenem šolstvu, s svojimi specifičnimi glasbeno dejavnostnimi področji vzpostavljata poglobljen in neposreden stik z glasbeno umetnostjo in kulturo. Temeljni cilj obeh predmetov je v razvijanju funkcionalne glasbene pismenosti. Funkcionalna glasbena pismenost se kaže v razvitih glasbenih predstavah in znanjih v glasbeno kategorialnem sistemu, ki predstavljajo vez med transformacijo notranjega slišanja zapisanih glasbenih vsebin v ozvočene in obratno. V teoretičnem delu pričujoče študije smo obravnavali razvoj glasbenega mišljenja in funkcionalne glasbene pismenosti v 1. in 2. razredu Nauka o glasbi na osrednjem področju predmeta – solfeggio. Sodobna glasbena pedagogika in praksa poudarjata pomen vključevanja otrok že v najzgodnejšem življenjskem obdobju, saj zgodnje glasbeno izobraževanje vpliva na kasnejši vsesplošni celostni in glasbeni razvoj (Ibuka, 1992 Pesek, 1993 Suzuki v Gardner, 1995 Gordon, 1997, 1998b Sicherl-Kafol, 1999 Denac, 2002 Campbell, 2004). Slovensko glasbeno šolstvo na predšolski stopnji predstavlja otroku prvi stik z načrtovanimi glasbenimi dejavnostmi in nudi sistematično glasbeno izobraževanje. Eden glavnih ciljev predšolskih glasbenih programov je v razvijanju elementarnih glasbenih posluhov, – ritmičnega in melodičnega – ki sta ustrezna opora in izhodišče razvoju glasbenih sposobnosti, spretnosti in znanj na inštrumentalnem področju in pri Nauku o glasbi. V prvi raziskavi na tem področju smo ugotavljali raven razvitosti glasbenega mišljenja in funkcionalne glasbene pismenosti v 2. razredu Nauka o glasbi, pri osemletnih učencih. Želeli smo ugotoviti vpliv predšolskega glasbenega izobraževanja na kasnejši glasbeni razvoj. Razvoj glasbenih sposobnosti, spretnosti in znanj smo proučevali na temeljnem glasbeno-dejavnostnem področju solfeggio. Ob tem smo obravnavali tudi vpliv ostalih enakovrednih glasbeno-dejavnostnih področij tega predmeta, – izvajanje in interpretacija primerov iz glasbene literature, ustvarjanje in poslušanje – ki se kažejo v rezultatih razvitih glasbenih sposobnostih, spretnostih in znanjih na področju glasbenoteoretična in oblikovna znanja. Raziskava je bila izvedena leta 2008, na vzorcu 39-ih učiteljev, ki so poučevali v 2. razredu Nauka o glasbi, in 165-ih učencev v javnih glasbenih šolah iz cele Slovenije. Razlike v stopnji razvitosti elementarnih glasbenih posluhov, glasbenega mišljenja in funkcionalne glasbene pismenosti smo ugotavljali med skupinami učencev, ki so obiskovali oba predšolska programa (Predšolska glasbena vzgoja in Glasbena pripravnica), ki so obiskovali program Glasbena pripravnica in ki so bili neposredno vključeni v program Glasba: 1. razred Nauka o glasbi in inštrumentalni pouk. Testiranje glasbenih sposobnosti smo izvedli s testi slušnega prepoznavanja enakih ali različnih ritmičnih in melodičnih motivov, z melodično in ritmično reprodukcijo po metodi imitacije in z a vista izvajanjem ritmičnih in melodičnih motivov. Testi, ki so bili samostojno pripravljeni za to raziskavo in ki so bili predhodno preizkušeni v praksi, so bili skladni s standardi znanj javnoveljavnega učnega načrta za 2. razred Nauka o glasbi. Pri statističnem sklepanju smo upoštevali stopnjo tveganja 0.05. Čeprav dobljeni rezultati statistično niso potrdili vpliva zgodnjega glasbenega izobraževanja na kasnejši glasbeni razvoj v 2. razredu Nauka o glasbi (p = ,099 na področju melodičnega posluha, p = ,069 na področju ritmičnega posluha), na vzorcu testiranih učencev, se je pokazala tendenca v razvoju obeh glasbenih posluhov pri učencih, ki so obiskovali predšolska glasbena programa. Rezultati vseh testiranih učencev so bili boljši na področju ritmičnega posluha kot na področju melodičnega posluha. Večja tendenca v razvoju melodičnega posluha se je pojavila pri testiranih učencih, ki so predhodno obiskovali oba predšolska glasbena programa kot pri učencih, ki so bili neposredno vključeni v 1. razred Nauka o glasbi. Ugotavljamo, da ima zgodnje glasbeno izobraževanje večji vpliv na razvoj melodičnega posluha kot ritmičnega posluha. Z dobljeni rezultati na področju a vista izvajanja ritmičnih in melodičnih vsebin, ugotavljamo, da učitelji pri pouku pretežno uporabljajo metodo dela z notnim zapisom, s katero spodbujajo priklice razvijajočih se glasbenih predstav. Rezultati kažejo na prevladujoči koncept glasbenega opismenjevanja od glasbenega zapisa (notni simbol) do pevske ali inštrumentalne izvedbe (fizična akcija) k zvočni izkušnji. Pouk Nauka o glasbi premalo podpira razvoj slušne pozornosti in občutljivosti, ki sta temelja razvoja slušnega zaznavanja in podpirata razvoj glasbenih predstav in znanj v glasbenokategorialnem sistemu. Razvijanje funkcionalne glasbene pismenosti pri pouku Nauka o glasbi še vedno vodi v pojemanje vzgoje slušnega zaznavanja in razvoja slušne pozornosti in občutljivosti. Stopnjo razvitosti glasbenega mišljenja in funkcionalne glasbene pismenosti smo osvetlili z raziskavo naslednjih dejavnikov: strukture razredov glede na glasbene sposobnosti in starost učencev pri pouku Nauk o glasbi, glasbenega interesa učencev, glasbeno-kulturne ravni družine. V glasbenem šolstvu so starostno heterogene skupine pogost pojav. Za učence, ki so obiskovali starostno heterogene skupine, je bil potrjen statistično slabši razvoj na področju ritmičnega posluha (p = ,008). V takšnih skupinah izstopajo razlike med učenci, ki se starostno nahajajo v drugih obdobjih, v telesno-psiholoških in glasbenorazvojnih značilnostih. Učitelj predmeta Nauk o glasbi je postavljen pred izziv in razmišljanje, kako ublažiti tovrstne razlike med učenci. Reševanje problematike pri poučevanju starostno heterogenih skupin še vedno ostaja na mikro nivoju, zato bi bilo potrebno v prihodnosti najti skupne rešitve. Prva izvedena raziskava je pomemben doprinos na predmetnem področju Nauka o glasbi. Prvič v zgodovini slovenskega glasbenega šolstva smo proučevali vplive predšolskih glasbenih programov in glasbeno-dejavnostnih področij predmeta Nauk o glasbi – na osrednjem področju solfeggio – na razvoj elementarnih glasbenih posluhov. Rezultati prve raziskave odpirajo številna vprašanja in dileme, ki bi jih morali podrobneje proučiti z novimi raziskavami. Pojavlja se potreba po novih oblikah raziskav o vplivu predšolskega glasbenega razvoja na kasnejši glasbeni razvoj. Iz prakse je razvidna potreba po posodobitvah učnih načrtov programa Glasbena pripravnica in predmeta Nauk o glasbi za 1. razred. Zahteve po posodobitvi obeh učnih načrtov izhajajo iz praktičnih potreb in iz potrebe po kontinuiteti učnega procesa. Odpira se vprašanje izvajanja sprejemnih preizkusov po slovenskih glasbenih šolah, ki se razlikujejo po vsebinski zahtevnosti, načinih preverjanja in po (ne)upoštevanju predhodne vključenosti učenca v predšolske glasbene programe. Pričujoča študija je izvirno delo za slovensko področje glasbenošolskega izobraževanja, saj z njo prvič predstavljamo slovenski model glasbenošolskega izobraževanja za predmetno področje Nauka o glasbi. Podobne modele glasbenošolskega izobraževanja za skupinski pouk srečujemo na področju bivših republik nekdanje Jugoslavije, na ostalih evropskih področjih takšnega modela ne srečamo. Slovenski sodobni koncept predmeta Nauk o glasbi predstavlja model dobre prakse skupinskega pouka, ki je lahko vzor evropskim državam, ki le-tega ne vključujejo ali pa je ta drugače organiziran in strukturiran. Predstavitev in seznanjanje Evrope s slovenskim didaktičnim konceptom pomeni pomemben doprinos k razvoju sodobne glasbene pedagogike v evropskem in svetovnem merilu. The history of subjects of Music theory and Solfeggio has its roots in the development of music education in Slovenia in the 19th and the 1st half of the 20th century. Subject Music theory, which began to develop at the turn of the 19th and 20th century in Slovenia, is a relatively young subject area. In the fifties of 20th century, the subject has changed its name and got a detailed curriculum. Another important milestone in the development of subject happened in the sixties of 20th century, when appeared musical activity solfeggio, which was established through teaching of Maks Jurca. Musical activities of subjec Music theory – as at present – derived from the eighties of 20th century. Musical activities, which is highlighted by solfeggio, arise from the typical nature of musical arts, which was established in Slovenia by Breda Oblak. This study is the first research on the subject of Music theory in Slovenia. It discusses the aspect of the historical development, contemporary didactic aspect and factors of subject that influence the musical development. In accordance with the doctrine of music-teaching practice and music art, we deal with music-pedagogical problems of terminology. The subject needs a clear coherent musical-pedagogical terminology in the stage of awareness of musical concepts and principles, supported by the previous performances of musical works, and in the evaluation phase of the development of musical abilities, skills and knowledge. There is a need for conceptual definitions of unique terms to the hierarchical differentiation of development of musical abilities, skills and knowledge. Music theory and Solfeggio as individual compulsory subject in music school education, with their specific musical activities, establish a full and direct contact with the musical arts and culture. The basic aim of both subjects is to develop a functional musical literacy. Functional musical literacy is reflected in the developed musical images and knowledge in the musical memory, which represent a link between transformation of inner hearing of music recordings to the heard music content and vice versa. The theoretical part of this study discusses the development of musical thinking and musical functional literacy in the 1st and 2nd classes of Music theory in the central musical activity – solfeggio. Contemporary music pedagogy and practice emphasize the importance of involving children in music education from the earliest period of life (Ibuka, 1992 Pesek, 1993 Suzuki v Gardner, 1995 Gordon, 1997, 1998b Sicherl-Kafol, 1999 Denac, 2002 Campbell, 2004). Early musical training affects the overall holistic and later musical development. Slovenian musical education at the preschool level is the child's first contact with planned musical activities and gives a systematic music education. One of the main goals of both programs is to develop elementary music pitches – rhythmic and melodic – which are the appropriate support and starting point in the development of musical abilities, skills and knowledge in the instrumental field and the Music theory. In the first study in this area we studied the level of development of musical thinking and musical functional literacy in the 2nd class of Music theory, by the eight-year pupils. We wanted to determine the impact of pre-school music education at a later musical development, in the second class of Music theory. We studied the development of musical abilities, skills and knowledge on the basic musical activity of Music theory called solfeggio. We also discussed the influence of other musical equivalent activities of this subject – performing and interpretation of examples from music literature, creating and listening – which are resulting in a developed musical abilities, skills and knowledge in the field of Music theory. The survey was conducted in 2008, on the sample of 39 teachers, who taught in the 2nd class of Music theory, and 165 pupils in public music schools from all over Slovenia. Differences in levels of development of elementary music pitches, musical thinking and functional musical literacy was found between groups of pupils, who attended both preschool programs (Pre-school music education and Music preparatory), who attended Music preparatory program and who were directly involved in the program of Music: 1th class of Music theory and instrumental lessons. Tests of musical abilites were performed with auditory recognition of same or different rhythmic and melodic motifs, the melodic and rhythmic reproduction by the method of imitation and a vista performancing of rhythmic and melodic motifs. The tests, which were independently prepared for this study and were previously tested in practice, were consistent with the standards of knowledge of approved curriculum for 2nd class of Music theory. The statistical conclusion is based on the risk level 0.05. Although the results did not statistically confirm the impact of early music education at a later musical development at the 2nd class Music theory (p = ,099 on area of melodic pitch, p = ,069 on area of rhythmic pitch), a sample of pupils tested, has indicated the tendency in developing in both musical pitches. The tendency was indicated in the development of rhythmic and melodic abilities in the tested pupils, who attended pre-school music programs. The results of all tested pupils were better in the field of rhythmic pitch than in the field of melodic pitch. We find that early music education has more impact on the development of melodic pitch rather than on rhythmic pitch. The results obtained in the area of a vista performing showed that teachers in the classroom mostly used the method of working with musical notation. The results show the dominant concept of musical literacy from the musical notation (musical symbol) to vocal or instrumental performance (physical action) to the auditory experience. The Music theory lacks the of support to the development of auditory attention and sensitivity that are the bases in the development of auditory perception and support in the development of musical images and knowledge. Developing a functional musical literacy in teaching music theory still leads to a decline of development of auditory perception and sensitivity. We also highlighted the rate of development of musical thinking and musical functional literacy with the factors: the structure of the classes of the musical abilities and age of pupils, musical interest of pupils, music and cultural level of families. In music schools the age-heterogeneous groups are often included. For pupils, who attended the age-heterogeneous groups, worse development in the field of rhythmic pitch was statistically confirmed (p = ,008). In these groups stand out differences between age, the physical, psychological and music-developmental characteristics. Teacher is faced with a challenge and thinking, how to alleviate such differences among pupils. Addressing the issue of age-heterogeneous groups still remains at the micro level and it would be necessary in future to find a common solution. This is the first survey and is an important contribution to the subject of Music theory. For the first time in the history of Slovenian music education, we studied the effects of pre-school music programs and music activities of Music theory – on the central music activity solfeggio – the development of elementary music pitches. Results from the first research raise many questions and dilemmas, which should be further examined by new a research. There is a need for new forms of research of the impact of pre-school musical development at a later musical development. The practice showed the need to update curricula Music preparatory program and the subject of Music theory in the 1st class. The question of an admission test to Slovenian music schools arises, which differ in content complexity, in forms of examination and accounting the prior involvement of pupils in pre-school music programs. This study is an original work for the Slovenian music school area education, because it presents the first Slovenian model of music school education for the subject of Music theory. Similar models of music school education we can find in the republics of former Yugoslavia, however, in other European areas such models do not exist. Slovenian contemporary concept of Music theory represents a good model of group practice lessons, which can be a good model for other European countries. Presenting the Slovenian didactic concept is an important contribution to the development of contemporary music education on the European and global scale.

Učitelji flavte morajo pri svojem delu poznati in uporabljati širok nabor strategij, da se uspešno prilagodijo individualnim potrebam vsakega učenca in ga tako vodijo k izpolnjevanju ciljev učnega načrta za flavto v glasbeni šoli (GŠ). V praksi ugotavljamo, da učitelji flavte ne poznajo in obvladajo dovoljšnjega nabora strategij, ki bi jih lahko uporabljali pri svojem delu. Kljub široko zastopanemu stališču, da je učenje inštrumenta pomembno za izgrajevanje posameznika, tudi na znanstvenem področju zasledimo vrzel pri raziskovanju dejavnikov individualnega inštrumentalnega pouka flavte (IIPF). V teoretičnem delu disertacije raziskujemo dihotomični diskurz o najbolj razširjenem načinu poučevanja pri individualnem inštrumentalnem pouku, ki ga Jørgensen (2000) poimenuje mojster – vajenec. Zanj je značilen tradicionalizem in prenos predvsem obrtnih znanj, problematični pa so samostojnost in samoiniciativnost učenca, asimetrična porazdelitev moči med učiteljem in učencem ter način poučevanja, v katerega premalo prehajajo spoznanja s področja splošne edukacije in glasbene pedagogike. Po drugi strani pa Kennell (2002) in Bloom (1985) izpostavljata veliko kompleksnost in vrednost individualnega poučevanja pri razvijanju posameznikovih talentov. V teoretičnem delu izpostavljamo »esencialistični« in »instrumentalistični« pogled na glasbeno izobraževanje (Scripp, 2002) in ugotavljamo širok razpon predmetnih in dejavnostnih področij, na katere igranje inštrumenta, poleg splošno priznane visoko estetsko umetniške vrednosti, pozitivno vpliva. Igranje inštrumenta obravnavamo kot kompleksno veščino, prvenstveno mentalno, kar je v nasprotju s tradicionalističnim pogledom genetskega determinizma. V omejenem obsegu, zadostnem za razumevanje konteksta inštrumentalnega pouka, obravnavamo področja komunikacije, motivacije, metakognicije in samoregulacije ter njihovo interakcijo. Predstavljamo različne artikulacijske učne stopnje pri individualnem inštrumentalnem pouku in v povezavi z učno stopnjo vadenja poudarjamo stališče, da je vrhunski dosežek vedno posledica namenskega vadenja (Ericsson in sod., 1993). Na podlagi trifaznega modela samoregulacijskega učenja obravnavamo Jørgensenovo (2004) klasifikacijo strategij vadenja in predstavljamo različne strategije glasbenega memoriranja. Kot izhodiščni model za izgrajevanje veščin, potrebnih za nastopanje, predstavljamo razvrstitev veščin Clarka in sod. (2014 a) na tri glavne kategorije: glasbene, neglasbene in psihološke. Pri obravnavi glasbene nadarjenosti izhajamo iz stališča, da imajo genetski faktorji bližjo povezavo s fizičnimi lastnostmi kot s psihološkimi faktorji (Ericsson in sod., 1993), da se glasbeni potencial spreminja in je nanj mogoče vplivati (McPherson in Hallam, 2016) ter predstavljamo različne modele glasbene nadarjenosti. Kot eno od poti za transformiranje in preseganje tradicionalistične prakse inštrumentalnega poučevanja izpostavljamo učiteljevo refleksijo, ki lahko vodi do implementacije novih pristopov v poučevanje. V empiričnem delu se s kvantitativnim raziskovalnim pristopom, temelječim na deskriptivni in kavzalno-neeksperimentalni metodi pedagoškega raziskovanja, usmerjamo na področje IIPF na slovenskih GŠ. Z vprašalnikom, ki smo ga oblikovali posebej za to raziskavo, ugotavljamo in analiziramo mnenja učiteljev flavte o temeljnih dejavnikih in procesih v IIPF, z namenom ugotavljanja učinkovitih strategij poučevanja. V raziskavi je sodelovalo 78 učiteljev flavte iz vseh slovenskih regij. Ugotavljamo, da učitelji kot najpomembnejša dejavnika z zelo močnim vplivom na napredek pri igranju flavte izpostavljajo vztrajnost in prizadevnost, glasbeni nadarjenosti pa pripisujejo malo manjši vpliv. Pri pogostosti in načinih vključevanja učnih korakov v pouk so se med učitelji izkazale statistično pomembne razlike glede na število njihovih učencev, ki so nadaljevali z učenjem flavte na srednji stopnji, glede na učiteljevo mnenje o koristnosti tekmovanj za razvoj nadarjenih učencev in glede na leta poučevanja. Pri uporabi priporočene literature iz učnega načrta v primerjavi z uporabo izbirne literature ugotovimo statistično pomembne razlike v pogostosti uporabe obeh vrst literature, tako med razredi kot tudi v pogostosti uporabe. Najpogostejše strategije vadenja, ki jih učitelji flavte posredujejo učencem, so: natančno upoštevanje notnega zapisa pri počasnem igranju, vadenje po delih, vadenje v različnih ritmih, vadenje z metronomom in stopnjevanje tempa izvajanja, pri čemer obstajajo statistično pomembne razlike med učitelji glede na to, ali poučujejo na matični ali podružnični šoli. Učitelji kot najbolj učinkoviti strategiji memoriranja ocenjujejo vadenje na pamet po delih skladbe in igranje od različnih mest v skladbi, pri čemer se mnenja učiteljev statistično pomembno razlikujejo glede na število njihovih učencev, ki so nadaljevali s šolanjem na srednji stopnji, glede na mnenje o koristnosti udeležbe na tekmovanjih za razvoj nadarjenih učencev in glede na dosežke učencev nad 90 točk na državnih in mednarodnih tekmovanjih. Med učitelji smo odkrili nepoenoteno uporabo strategij v pripravah na nastope. Učitelji pripisujejo veliko pomembnost vlogi staršev pri napredku učencev. Nekaj težav navajajo na strokovnem področju, na področju dela z učenci in starši ter v delovnem okolju pa ne navajajo večjih težav. Kot najpomembnejše dejavnike za svoj poklicni razvoj navajajo delovne izkušnje, stike in sodelovanje z drugimi učitelji flavte, spoznavanje novih učnih gradiv in glasbene literature ter seminarje. Kot najpomembnejše lastnosti, ki jih pripisujejo odličnemu učitelju flavte, so sposobnost motiviranja, poštenost in spoštljivost, potrpežljivost, stalno izpopolnjevanje, sposobnost vzpostavljanja konstruktivnih odnosov, ustvarjalnost ter doslednost. Statistično pomembne razlike med skupinami učiteljev in s tem povezana uporaba različnih strategij so se največkrat pojavile glede na njihovo mnenje o koristnosti udeležbe na tekmovanjih za razvoj njihovih nadarjenih učencev, glede na število let poučevanja in glede na število učencev, ki so nadaljevali s šolanjem flavte na srednji stopnji. Obravnavana tematika teoretičnega in empiričnega dela dopolnjuje glasbenopedagoško teorijo na področju IIPF in ima aplikativne možnosti za prenos spoznanj v prakso. Analiza uporabe priporočene in izbirne literature iz učnega načrta služi kot osnova za nadgradnjo učnega načrta za flavto v GŠ. Na podlagi predstavljene teoretske argumentacije bo mogoče izdelati smernice za izboljšave na področju procesov IIPF v glasbenem izobraževanju doma in v tujini. Najvišje ocenjene strategije vadenja, memoriranja in priprave na nastop predstavljajo izhodišče za nadaljnje akcijsko raziskovanje učinkovitosti teh strategij pri delu z učenci flavte v GŠ in s tem za prihodnje oblikovanje referenčne literature za učitelje flavte. Flute teachers need to be knowledgeable about a wide array of teaching strategies.Thus they are able to adapt their teaching to the individual needs of their students, consequently enabling them to fulfill the Slovenian State Music School Flute Curriculum objectives. In professional practice, there is a growing awareness that flute teachers’ knowledge and use of various teaching strategies is insufficient. Despite the widely acknowledged importance of playing a musical instrument, there is a gap in systematic research of the music studio flute instruction context. In the literature review, we research the dichotomic discourse about the most widespread instrumental teaching model, the master – apprentice (Jørgensen, 2000). This model is usually described as traditional, transferring mostly the knowledge of the craft, displaying a problematic asymmetrical distribution of power between teacher and student, and lacking student initiative and independence. Findings and practices from research in music education and general education are seldom implemented into this model. On the other hand, Kennell (2002) and Bloom (1985) describe it as particularly effective and complex, especially in the instructional context of talent development. In the theoretical part we highlight the »essentialist« and »instrumentalist« (Scripp, 2002) views of music education and establish a wide array of areas that benefit from playing a musical instrument, besides its significant aesthetic art value. Contrary to the view of genetic determinism, we present playing a musical instrument as a complex, mostly mental skill. We limit the research of communication, motivation, metacognition and self-regulation and their interaction to the context of instrumental studio instruction. Various teaching stages are presented, emphasizing deliberate practice (Ericsson et al., 1993) as the fundamental way to peak achievement. Based on the three-phased model of self-regulative learning, Jørgensen's (2004) practice classification and several memorization strategies are discussed. The many skills involved in refining concert performance are presented, as categorized by Clark et al. (2014 a): musical, non-musical, and psychological. Musical talent is presented as a malleable and ever-changing concept (McPherson and Hallam, 2016), with genetic endowments being connected closer to physical than psychological characteristics (Ericsson et al, 1993). Several models of talent development are presented. Teacher reflection is suggested as a possible path towards transforming and upgrading traditional individual instructional practices, leading to new teaching approaches. Research of individual instrumental flute instruction (IIFI) in Slovenian music schools is based on descriptive and causally non-experimental quantitative method. The questionnaire was designed to explore flute teachers' beliefs about main factors and processes in the IIFI in order to analyze and consequently identify effective teaching strategies. There were 78 flute teachers from all Slovenian regions involved. Findings show that the teachers identify perseverance and diligence as the most important factors in developing proficiency in flute playing. They recognize musical talent as slightly less influential. Statistically significant differences are shown in the frequency and manners of incorporating teaching stages in the instruction, as related to the number of teachers’ students who continued their flute studies at the high school level, teachers' opinion about the benefits of music competitions for the development of their talented students, and according to cumulative years of instruction. The use of recommended literature in the Slovenian State Flute Curriculum as opposed to literature chosen by the teacher, varied. Both types of literature varied according to the level of use in every grade and between grades. Most often flute teachers recommend to students the following practicing strategies: playing music notation accurately in slow tempo, practicing parts of a piece, practicing in various rhythms, with metronome, and accelerating the performance tempo. There were statistically significant differences among flute teachers according to the type of music school they were teaching at (central or satellite). Teachers identified playing chunks of pieces by heart and memorized playing from different parts in the piece as the most effective memorization strategies. There were statistically significant differences among flute teachers according to the number of students in the studio, the number of students who continued their flute studies at the high school level, teachers' opinions about the benefits of music competitions for the development of their talented students and according to their students' achievements at the state and international flute competitions. The use of performance preparation strategies was not unified and varied significantly among teachers. Teachers described parents as very important for the development of their students' flute proficiency. They reported some problems in the professional knowledge area, while they have not reported any significant problems in the field of collaborating with students and parents nor in the work environment. As the most significant contributing factors to their professional development they described: work experience, contacts and collaboration with other flute teachers, learning about new literature, flute music, and seminars. They identified seven features of an excellent flute teacher: ability to motivate, honesty and respect, patience, constant improvement, creativity, and consistency. Most often statistically significant differences occurred according to teachers' opinions about the significance of music competitions for the development of their talented students, cumulative years of teaching and according to the number of students who continued their flute studies at the high school level. The topics presented in the literature review and research supplement the music education theory in the field of individual instrumental flute instruction and display possibilities for implementation in professional practice. The analysis of the recommended and chosen literature as used by the flute teachers may serve as a foundation for future upgrades of the Slovenian State Flute Curriculum. Guidelines for improvements of the IIFI processes in Slovenia and internationally can be made based on presented theoretical reasoning. Practice, memorization, and performance preparation strategies that were ranked as most effective by the teachers need to be further investigated. Effectiveness of these strategies for teaching music school students should be examined in order to contribute to future reference literature for flute and instrumental teachers.

Doktorska disertacija obravnava interakcijo med umetniškim in pedagoškim izobraževanjem bodočih učiteljev pihalnih instrumentov. Uvodna poglavja predstavljajo začetke poučevanja pihalnih instrumentov v Sloveniji v preteklosti in vertikalo glasbenega izobraževanja danes. Proučevali smo temeljne vidike individualnega pouka, umetniško interpretacijo v povezavi s študijskim procesom, povezovanje umetniškega študija s pedagoškim izobraževanjem in pomen vseživljenjskega učenja. V dvodelni raziskavi smo obravnavali študij pihal v visokošolskem izobraževanju in področje poučevanja pihal v nižjih in srednjih glasbenih šolah v Sloveniji. Zgodovina poučevanja pihalnih instrumentov na Slovenskem sega v čas začetkov delovanja ljubljanske Filharmonične družbe od zgodnjega 19. stoletja in je potekalo v različnih časovnih intervalih. Od ustanovitve i. im. Prvega Jugoslovanskega državnega koservatorija za glasbo (1919) in današnje Akademije za glasbo (1939) je glasbeno šolstvo v Sloveniji doživelo številne spremembe. Zadnja korenita prenova visokošolskega izobraževanja je povezana s sprejetjem Bolonjske deklaracije (1999), ki je vplivala tudi na reorganizacijo študijskih programov na UL Akademiji za glasbo. Današnji programi so vsebinsko primerljivi s sorodnimi evropskimi institucijami, ugotovitve pričujoče raziskave pa kažejo možnosti sprememb v predmetnikih, ki so ciljno naravnani na specifične profile diplomantov. Individualni pouk ostaja osrednja učna oblika poučevanja pihal, vendar ga sodobni trendi nadgrajujejo z drugimi oblikami učenja, interdisciplinarnim povezovanjem vsebin s teoretičnimi predmeti in poglabljanjem v glasbeno literaturo. V ospredju je interakcija med profesorjem in študentom. Študent v času visokošolskega izobraževanja prevzema večjo odgovornost za svoj napredek, poudarek je na razvoju metakognitivnih sposobnosti v povezavi s samostojnim delom in izvajalsko prakso. Na kakovost študijskega procesa pri individualnem pouku vpliva tudi profesor s strategijami poučevanja, z motivacijskimi elementi in s sposobnostjo kritičnega podajanja povratnih informacij. Oblikovanje umetniške interpretacije je kompleksen proces, kateremu študenti v času študija namenijo največjo pozornost. S tem povezana aktivnost študenta zahteva razvoj instrumentalnih spretnosti, namerno vadenje in sposobnost sprotnega reflektivnega analiziranja posameznih elementov pri nastajanju umetniške interpretacije in končne izvedbe. V nterakciji z umetniškim razvojem pri študentih poteka pridobivanje pedagoških kompetenc, ki so ključne za poklicno delovanje na pedagoškem področju. Proučili smo strategije poučevanja, pomen praktičnih izkušenj in izvedbenih možnosti pedagoške prakse. Znanje in kakovostne izkušnje v času izobraževanja oblikujejo bodočega učitelja pihal in postavljajo temelje za kreativnega in motiviranega profesorja, ki bo lahko skrbel tudi za umetniški in strokovni razvoj v širšem kulturnem in izobraževalnem prostoru. V raziskavi so sodelovali študenti pihal (N=59) Univerze v Ljubljani Akademije za glasbo (UL AG) in Muzičke akademije Sveučilišta u Zagrebu (MUZA) ter učitelji pihal v slovenskih nižjih in srednjih glasbenih šolah (N=64). Preučevali smo stališča študentov o interakciji med umetniškim razvojem in pedagoškimi kompetencami, o pomenu vadenja in možnostih reflektiranja izvajalske prakse in prenosu aktualne problematike umetniške interpretacije na pedagoško področje v povezavi s pedagoško prakso. Kakovost izobraževanja bodočih učiteljev pihal smo preverjali s stališči izkušenih delujočih učiteljev na tem področju. Ugotavljali smo, kakšna so njihova stališča o pridobljenih kompetencah v času študija, o individualnem delu v povezavi z demonstracijo pri pouku, o vsebini in načinu podajanja povratnih informacij in prilagajanju posameznemu učencu, o vplivu bivših profesorjev na način njihovega sedanjega poučevanja in o umetniškem in strokovnem razvoju v poklicnem delovanju. Rezultati raziskave so spodbudili razmislek o kakovosti in razsežnosti interakcije med umetniškim in pedagoškim izobraževanjem bodočih učiteljev pihal v smeri boljših medpredmetnih povezav, ne samo med glavnim predmetom/instrumentom in pedagoško prakso, ampak tudi z glasbeno- teoretičnimi predmeti. V tem kontekstu bi bila potrebna evalvacija dveh ključnih predmetov, Specialne didaktike za pihala in Pedagoške prakse, tako v vsebinskem kot tudi v izvedbenem smislu, prav tako bi bila potrebna evalvacija predmetnika, zlasti na smeri Instrumentalna in pevska pedagogika. Pri razvoju študentove samostojnosti bi bilo potrebno razmisliti o večji prisotnosti reflektivnega razmišljanja ter samoregulacije samostojnega dela in izvajalske prakse, kar naj ne bi bilo navezano izključno na povratne informacije profesorja. V tej povezavi se postavlja tudi vprašanje eventuelne spremembe razporeditve individualnega pouka skozi študijski proces. Rezultati kažejo, da bi bile potrebne nadaljnje poglobljene raziskave o udejanjanju predmetno specifičnih kompetenc na pedagoškem področju, saj delujoči učitelji pihal vse svoje kompetence, pridobljene med študijem, vrednotijo v povprečju le zadovoljivo ali slabo. Kljub izsledkom raziskave, da učitelji sicer nadgrajujejo umetniške kompetence na umetniškem področju, rezultati ne kažejo na njihovo aktivno umetniško solistično delovanje. The doctoral dissertation discusses the interaction between artistic and pedagogical training in the education system for future wind instruments teachers. The introductory chapters present the beginnings of the teaching of wind instruments in Slovenia and the vertical organisation of the musical education today. The thesis studies the basic aspects of individual lessons, the artistic interpretation in connection with the study process, the linking of artistic studies with the pedagogical education and the importance of lifelong learning. In a two-part study, the study of wind instruments in higher education is discussed, together with the teaching of wind instruments in lower and middle music schools in Slovenia. The history of teaching wind instruments in Slovenia dates back to the time when the Ljubljana Philharmonic Society began its work. Throughout the 19th century, it took place in different time periods. Since the establishment of the First Yugoslav State Music Conservatory (1919) and the today’s Academy of Music (1939), music education in Slovenia has undergone numerous changes. The renewal of higher education is linked with the acceptance of the Bologna Declaration (1999), which influenced the reorganization of study programmes at the University of Ljubljana, the Academy of Music. The contents of today's programmes are comparable with relevant European institutions, however, our findings show that there are possibility for changes in the curriculum, particularly in the areas that are targeted to specific profiles of graduates. Individual lessons remain a central teaching method for teaching wind instruments, but modern trends enable their upgrading with other teaching methods, with the interdisciplinary linking of the study contents with theoretical subjects and with an in-depth study of the musical literature. The interaction between a professor and a student is at the forefront. A student assumes greater responsibility for his progress during the higher education process: the emphasis is placed on the student’s development of metacognitive abilities in conjunction with his/her independent work and performance practice. The quality of the study process in individual lessons is influenced by a teacher, applying his/her teaching strategies, his/her motivational elements and his/her ability to provide feedback information to a student with a critical approach. Devloping interpretative abilities is a complex process which students pay the greatest attention to during their study. This activity requiers from a student the need to develop instrumental skills, to practice in an organised manner and to be become able to constantly reflect and analyse individual elements during their artistic interpretation and final performance. Combined with their artistic development, students acquire pedagogical competences which are crucial for their professional work in the field of pedagogy. The teaching strategies were thus studied, together with the importance of practical experience and the possibilities for implementing student’s pedagogical practice. The knowledge and experiences of good quality obtained during the education process shape a future teacher of wind instruments and lay the foundations for a creative and motivated professor who is be able to take care for the artistic and professional development in a wider cultural and educational arena. The research included 59 students of wind instruments from the University of Ljubljana, the Academy of Music, and from the University of Zagreb, the Academy of Music. In addition to the above-mentioned students, there were also 64 teachers from the Slovenian lower and middle music schools taking part in the research. The research focused on the students' views about the interaction between the artistic development and pedagogical competences, on the importance of practice and on the possibilities for reflecting their performance practice as regards the pedagogical practice, the transfer of current issues in artistic interpretation to pedagogy was researched. The quality of education for future teachers of wind instruments was examined by means of the standpoints provided by experienced teachers working in this field. The research examined the following: the teacher’s views on competences obtained during their study, their views on individual lessons in connection with the practical demonstration in the class, the content and the method of providing feedback information and their approaches to adjust their teaching to an individual student, the impact of their former professors on their current teaching methods, and their views about their artistic and professional development. The research findings have provided a stimulus to contemplate on the quality and the dimension of the interaction between artistic and pedagogical education of future teachers of wind instruments in order to find better cross-curricular connections, not only between the main subject /an instrument and the pedagogical practice, but also with theoretical musical subject. The evaluation of two key subjects would be necessary in this regard, specifically, Special Ddidactics for Wind Instruments and Pedagogical Practice, in terms of their content and in terms of performance. A similar evaluation of the curriculum would be necessary particularly in the Instrumental and Voice Pedagogy programme. As regards the development of a student’s autonomy, it would be necessary to consider the possibilities of ensuring greater presence of students’ reflective thinking in the programme and to enable better students’ self-regulation of their independent work and their performance practice this should not be connected solely to their professor’s feedback. In this regard, a question of a potential change in the distribution of individual lessons during the study process has also been raised. The results of the research show that further in-depth research papers on the implementation of subject-specific competences in the pedagogical field would be needed as the research results have shown that active teachers of wind instruments see their own competences, gained during their studies, as adequate or insufficient. In spite of the research findings, showing that teachers do improve their artistic competences in other fields of arts, results show no indication of their active solo artistic activity.

Osrednji cilj doktorske disertacije je raziskati, utemeljiti in ovrednotiti vlogo in pomen improvizacije kot temeljne glasbenoustvarjalne dejavnosti pri pouku klavirja v slovenskih javnih glasbenih šolah. Ob kompoziciji je improvizacija najbolj celovita dejavnost glasbenega ustvarjanja. Ker pa je pri učencih, dokler ne spoznajo kompozicijskih tehnik in postopkov, vsaka kompozicija rezultat njihove predhodne improvizacije, se osredotočamo na slednjo. Teoretični del disertacije tako obravnava pojme ustvarjalnosti, glasbene ustvarjalnosti in improvizacije. Pri opredelitvi pojma ustvarjalnosti se opiramo predvsem na različne psihološke usmeritve in njihove teorije (Arieti, 1976 Deliège in Wiggins, 2006 Frager in Fadiman, 1998 Guilford, 1950 Maslow, 1999 May, 1975 Pečjak, 1987 Pečjak, Štrukelj, 2013 Sternberg, 2006 Ward, 2007), nato pa obravnavamo ustvarjalnost z različnih vidikov: z vidika okolja, ustvarjalnega procesa, osebnosti, produkta in tudi družbenega priznanja ter premikov (Amabile, 1996 Csikszentmihalyi, 1996, 1999 Makarovič, 2003 Runco, 2004 Sawyer, 2000 Simonton, 2000 Sternberg, Lubart, 1995, 1999 Torrance, 1962 Trstenjak, 1981). Pomembno pa je tudi razumevanje teorije ustvarjalnosti z vidika nevroznanosti (Brattico in Tervaniemi, 2010, v Hargreaves idr., 2012 Dietrich, 2004 Haier in Jung, 2008 Jaušovec in Jaušovec, 2011 Trevarthen, 2012), saj potrjuje spoznanja, da gre za mehanizme, katerih potencial posedujemo bolj ali manj vsi in jih je torej potrebno vključevati v izobraževalni proces, spodbujati in ustrezno vrednotiti. Izraz glasbena ustvarjalnost razen opisa dejavnosti kompozicije in improvizacije v izobraževalnem sistemu poudarja pomen ustvarjalnosti za želeni način razmišljanja, ki predvideva osebnostne, učne in miselne spretnosti ter ustvarjalno mišljenje (Kratus, 1989 Oblak, 1987, 1995, 2000 Odena, 2012 Sicherl-Kafol, 2001) . Učni načrti za pouk klavirja v glasbeni šoli med vzgojnoizobraževalna področja vključuje tudi razvoj glasbene ustvarjalnosti, vendar je uresničevanje le-te odvisno od odgovornosti, znanj, stališč, presoje, ustvarjalnosti in naravnanosti v ustvarjalnost posameznega učitelja ter posledično njegove izbire didaktičnih gradiv oziroma učbenikov. Z namenom dobiti vpogled v prisotnost glasbenoustvarjalnih predlogov v nekaterih pogosto uporabljanih učbenikih v glasbeni šoli analiziramo prisotnost, pogostost in raznovrstnost vaj za spodbujanje glasbene ustvarjalnosti. Improvizacijo obravnavamo kot temeljno obliko učenčeve glasbene ustvarjalnosti pri pouku klavirja. Skozi različne poglede in definicije improvizacije (Bačlija Sušić, 2012 Bailey, 2010 Berkowitz, 2010 Deutsch, 1999 Koutsoupidou in Hargreaves, 2009 Pressing, 1987 Prevost, 1995 Sawyer, 2007 Stevens, 2007) ter njenih stilskih in izvajalskih omejitev se skušamo približati globljemu razumevanju tega kompleksnega fenomena. Z istim namenom jo primerjamo s kompozicijo in jo vzporejamo z učenjem jezika ter ugotavljamo pomen igranja po posluhu in transpozicije, kar poudarjajo tudi mednarodno uveljavljeni glasbenodidaktični koncepti pomembnih glasbenih pedagogov, kot so: Gordon, Willems, Suzuki, Dalcroze idr. Pregled zgodovinskih in etnomuzikoloških razsežnosti improvizacije omogoča vpogled v njeno široko navzočnost v zgodovinskih, kulturnih in raznolikih glasbenih kontekstih. Pregled improvizacijskih sposobnosti pri odraslih in razvoj le-teh pri otrocih odraža kompleksnost sposobnosti, ki jih zahteva dejavnost improvizacije, hkrati pa kaže na otrokom naravno danost učenja in izražanja skozi improvizacijo. Le-to izhaja iz raziskovalno-ustvarjalnega impulza ali iskanja novega, ki ga ne ovirajo pojmovanja o ''pravilni'' ali ''nepravilni'' glasbeni praksi ali konvencionalne sodbe o estetski lepoti (Hargreaves idr., 2012). Improvizacijo pa obravnavamo tudi v povezavi s telesnim gibom z več vidikov: z vidika izvajanja tona na klasičnih inštrumentih, ki je neločljivo povezan z gibom telesa z vidika utelešene glasbene kognicije, ki predpostavlja neločljivost čutnih, kognitivnih in motoričnih procesov in z vidika ustvarjalnega izraza, ki izhaja iz doživete telesne izkušnje (Bowman, 2004 Bresler, 2004 Clarke, 2012 Davidson, 2012 Levant, 2006 Pelinski, 2005). Kljub slabo raziskani temi utelešene glasbene kognicije Dalcrozova Evritmija ponuja praktičen primer učenja glasbe na temeljih doživete telesne izkušnje, kar smo v procesu akcijske raziskave tudi uporabili. Tako glasbena improvizacija kot telesni gib pa sta vključena tudi v mnoge oblike terapevtskih pristopov in dokazana je vrsta pozitivnih učinkov (Bunt, 2012 Kroflič, 1999 Mastnak, 1995 Wigram, 2012), ki so v določeni meri prenosljivi v pedagoško prakso. Zadnje poglavje teoretičnega dela predstavi nov pristop rednega in sistematičnega vključevanja improvizacije v pouk klavirja kot sestavni del zbirke učbenikov za učenje klavirja I. in J. Puciharja Moj prijatelj klavir, ki omogoča učiteljem tudi brez znanja in prakse improvizacije spodbujanje te dejavnosti pri pouku klavirja. Dvodelna empirična raziskava v prvem, kvantitativnem delu, ugotavlja stališča in naravnanost učiteljev klavirja slovenskih javnih glasbenih šol, od katerih je odvisno, koliko in na kakšen način pri pouku klavirja v glasbeni šoli improvizacijo spodbujajo in jo udejanjajo. Anketiranje 95 učiteljev klavirja je bilo enkratno in je potekalo na slovenskih javnih glasbenih šolah od marca do maja 2014. Večina učiteljev v slovenskih javnih glasbenih šolah se sicer odloča za klasično poučevanje klavirja s poudarkom na učenju in interpretaciji zapisanih glasbenih del, kljub temu pa so improvizaciji naklonjeni, pripisujejo ji pomembno vlogo in imajo pozitivne izkušnje z njenim vključevanjem v pouk klavirja. Rezultati so pokazali tudi, da so predlogi za improvizacije eden izmed pomembnih razlogov, da se večina anketiranih učiteljev odloča za uporabo zbirke Moj prijatelj klavir. Drugi – kvalitativni del pa predstavlja multipla študija primera štirinajstih učencev klavirja, ki so bili v šolskem letu 2013/2014 poučevani z redno in sistematično vključeno improvizacijo pretežno po predlogih iz zbirke učbenikov Moj prijatelj klavir. V treh ciklih kvalitativnega dela raziskave ugotavljamo in vrednotimo povezave predlogov za improvizacije z učenčevim glasbenoustvarjalnim mišljenjem, spontanostjo, svobodo izražanja, pozornostjo, motivacijo s tehničnimi in interpretativnimi sposobnostmi, konceptualnim razumevanjem glasbe ter veseljem do nje in nazadnje z variiranjem nekaterih veščin improvizacije glede na starost, doživljanjem posameznih predlogov za improvizacijo in interesom učencev za lastno glasbeno izražanje. Improvizacija ne podpira le učenčevega ustvarjalnega potenciala, temveč tudi glasbeno-teoretična in izvajalsko-tehnična znanja in veščine, hkrati pa se je izkazala kot pomemben motivacijski dejavnik za učenje klavirja. Kot taka naj bi bila redno in sistematično integrirana v tradicionalni izobraževalni sistem učenja klavirja. The central goal of the doctoral dissertation is to research, elucidate and evaluate the role and significance of improvisation as a fundamental musical-creative activity in piano instruction in Slovenian public music schools. Along with composition, improvisation is the most complete activity of musical creativity. Until music pupils are familiar with the techniques and procedures of composition, each of their compositions is the result of their prior improvisation, which is why we focus on the latter. The theoretical part of the dissertation therefore discusses the concepts of creativity, musical creativity and improvisation. In defining the concept of creativity, we refer primarily to various psychological outlooks and their theories (Arieti, 1976 Deliège and Wiggins, 2006 Frager and Fadiman, 1998 Guilford, 1950 Maslow, 1999 May, 1975 Pečjak, 1987 Pečjak, Štrukelj, 2013 Sternberg, 2006 Ward, 2007). Creativity is then discussed from various perspectives: from the perspective of the environment, the creative process, the personality and the product, as well as from the perspective of social recognition and shifts (Amabile, 1996 Csikszentmihalyi, 1996, 1999 Makarovič, 2003 Runco, 2004 Sawyer, 2000 Simonton, 2000 Sternberg, Lubart, 1995, 1999 Torrance, 1962 Trstenjak, 1981). An understanding of the theory of creativity from the perspective of neuroscience is also important (Brattico and Tervaniemi, 2010, in Hargreaves idr., 2012 Dietrich, 2004 Haier and Jung, 2008 Jaušovec and Jaušovec, 2011 Trevarthen, 2012), as neuroscience confirms the findings that creativity involves mechanisms whose potential is possessed by more or less everyone, and that it is therefore important to include these mechanisms in the education process, encouraging and appropriately evaluating them. In the education system, the term musical creativity, apart from describing the activities of composition and improvisation, emphasises the significance of creativity in fostering a desired way of thinking that anticipates personal, learning and thinking skills, as well as creative thinking (Kratus, 1989 Oblak, 1987, 1995, 2000 Odena, 2012 Sicherl-Kafol, 2001). The development of musical creativity is amongst the educational areas included in the curriculum for piano instruction in Slovenian music schools. However, the realisation of musical creativity depends on the responsibility, knowledge, viewpoints, judgement, creativity and creative disposition of the individual teacher, and consequently on their selection of didactic material or method books. In order to gain an insight into the presence of musical-creative suggestions in certain method books frequently used in Slovenian music schools, we analyse the presence, frequency and diversity of exercises for encouraging musical creativity. We discuss improvisation as a fundamental form of the pupil’s musical creativity in piano instruction. Through various perspectives on and definitions of improvisation (Bačlija Sušić, 2012 Bailey, 2010 Berkowitz, 2010 Deutsch, 1999 Koutsoupidou and Hargreaves, 2009 Pressing, 1987 Prevost, 1995 Sawyer, 2007 Stevens, 2007) and its stylistic and performance limitations, we attempt to approach a deeper understanding of this complex phenomenon. For the same purpose, we compare improvisation with composition and draw parallels with language learning. We also determine the importance of playing by ear and transposition, as emphasised by internationally recognised musical-didactic concepts by important music pedagogues, such as Gordon, Willems, Suzuki, Dalcroze, etc. A survey of the historical and ethnomusicological dimensions of improvisation enables an insight into its pervasive presence in diverse historical and cultural music contexts. An examination of the improvisational capabilities of adults and their development in children highlights the complexity of the abilities demanded by the activity of improvisation, while at the same time indicating children’s natural aptitude for learning and expressing themselves through improvisation. This is derived from children’s explorative-creative impulse or their seeking of the new, uninhibited by conceptualisation of “correct’’ or “incorrect” musical practice or conventional judgements about aesthetic beauty (Hargreaves idr., 2012). We also discuss improvisation in connection with bodily movement from various perspectives: from the perspective of performing a note on a classical inštrument, which is inseparably connected with movement of the body from the perspective of embodied music cognition, which presupposes the inseparability of emotional, cognitive and motor processes and from the perspective of creative expression, which is derived from bodily experience (Bowman, 2004 Bresler, 2004 Clarke, 2012 Davidson, 2012 Levant, 2006 Pelinski, 2005). Despite embodied music cognition being a poorly researched topic, Dalcroze Eurhythmics offers a practical example of learning music on the basis of bodily experience, a model that we have also applied in the process of action research. Both musical improvisation and bodily movement are also included in many forms of therapeutic approaches, and a range of positive benefits have been determined (Bunt, 2012 Kroflič, 1999 Mastnak, 1995 Wigram, 2012), which are to a certain extent transferable to pedagogical practice. The last section of the theoretical part presents a new model for the regular and systematic inclusion of improvisation in piano instruction as an integral part of the collection of piano method books by I. and J. Pucihar, entitled My Friend the Piano, which enables even teachers without knowledge and practical experience of improvisation to encourage this activity in piano instruction. The first, quantitative part of the two-part empirical research ascertains the viewpoints and disposition of piano teachers in Slovenian public music schools, who determine to what extent and how improvisation is encouraged and implemented in piano instruction in music schools. The research was conducted in Slovenian public music schools on a sample of 95 piano teachers, who were surveyed once in the period from March to May 2014. Although the majority of teachers in Slovenian public music schools opt for classical piano instruction with an emphasis on learning and interpreting notated musical works, most teachers are nonetheless positively inclined towards improvisation, attributing it an important role and reporting positive experiences with its inclusion in piano instruction. The results also show that the inclusion of suggestions for improvisation is one of the important reasons for the majority of the surveyed teachers electing to use the collection My Friend the Piano. The second, qualitative part of the empirical research presents a multiple case study of 14 piano pupils whose piano instruction in the 2013/14 school year regularly and systematically included improvisation, mainly based on suggestions from the collection of method books My Friend the Piano. In the three cycles of the qualitative part of the research, we determine and evaluate links between suggestions for improvisation and the pupils’ musical-creative thinking, spontaneity, freedom of expression, attentiveness and motivation we examine the impact of improvisation on the pupils’ technical and interpretive abilities, their conceptual understanding of music and the pleasure they derive from music and finally we investigate variations in certain improvisation skills with regard to age, the experience of specific suggestions for improvisation, and the pupils’ level of interest in their own musical expression. Improvisation supports not only the creative potential of pupils, but also their musical-theoretical and performance-technical knowledge and skills, while at the same time proving to be an important motivational factor in learning the piano. As such, it should be integrated regularly and systematically into the traditional education system for learning the piano.