One of the key factors of a well-functioning music education system is a quali-fied and motivated teaching staff. The role of a teacher in the music education system is multidimensional and subject to research from music education and musicological perspectives. Throughout history, researchers have been interested in this role in terms of the professional profile and the person with several dimensions: expert, employee, and individual with a personality of their own (Rotar Pance 1997, 2008, 2011; Hrovat 2012; Zupančič 2013). In the course of the 200-year history of the Slovene public music education system, the role of the teacher changed according to requirements and conditions in social and educational contexts, the professional development of individual subject areas, and the methodical development connected to the pedagogical doctrine of each period. A historical overview of the professional profile shows a development from a polymathic teacher who had to master and teach a whole range of instruments and musical disciplines, to a modern, specialized teacher, who, in most cases, teaches a single musical instrument.
What is the qualification profile of a contemporary Slovene music teacher?
According to the national legislation, a teacher working at the primary (music schools) or secondary level (conservatories, music gimnazije) of the music education system must hold a university degree. A higher-education degree in an appropriate program (a degree in a four-year pre-Bologna program or a master’s degree in a suitable program according to the Bologna System)14 and the professional certification exam are mandatory. For teachers at tertiary level, recognition of artistic merits or a PhD and habilitation are required.
14 The five-year program is not uniform; there are two different models: 3-year BA + 2-year MA and 4-year BA + 1-year MA, amounting to 300 ECTS. According to Slovene legislation, the requirements for teaching in any educational area are as follows: Master’s degree + 60 ECTS acquired from a pedagogical subject within the framework of study programs. Students who graduate in the Musical Arts MA program can obtain pedagogical qualification within the special Life Long Learning program Music Teacher Training Programme in Pedagogy and Andragogy, also provided by the Academy of Music.
The professional profile of a music teacher comprises the dimensions of a teacher and a musician. Developing professional identity and dimensions of professional activity are crucial. During their university studies, students are focused on the development of top-level technical skills to play their instrument or sing, mastering their repertoire and developing performing skills. Furthermore, they are trained in pedagogics. Parallel to pedagogical competences, they also develop their personality and social competences.
However, the development of both identities does not occur simultaneously.
Even though the study programs prescribe the development of both, it is a fact that, during their studies, more emphasis is laid on developing the identity of a musician/performer than on the identity of a teacher. At the Ljubljana Academy of Music, this is the case not only for instruments and singing15 but also in other areas with a pedagogical orientation: composition, music theory, conducting, and church music.16 Only the music education program gives more weight to forming the identity of a teacher than of a musician.
Active teachers in the music education system play various roles in edu-cational, artistic, social and, ICT areas (Cencič 2010). A teacher switches between individual roles, depending on the current context of the learning process and the students within it. Students show different general and musical development, motivation and personal traits. A teacher must be able to identify these differences and choose the right working strategies for those students who will be a musical audience and amateur musicians, as well as for those who will embark on a professional musical path. This, however, requires great commitment, flexibility, differentiated work, and reflection at all stages of the learning process on the part of the teacher (Bogunovič 2010).
Conclusion
From pre-school programs to the postgraduate ones, the Slovene public music education system with its organization and content is firmly established within the national educational system. It is regulated by the school legislation and rules, adopted educational programs, curricula and syllabi for individual subjects, as well as staff regulations for all levels of
15 MA program Instrumental and vocal education.
16 MA program Music theory education.
THE VERTICAL OF THE SLOVENE MUSIC EDUCATION SYSTEM / BRANKA ROTAR PANCE
education. Since the music education system is a separate budget item, it is highly regulated also in economic terms. This can best be seen in the strictly determined numbers of posts for teachers and other personnel as well as students to be admitted to programs. Recently, the justification for including primary-level music education in the public education scheme has been disputed from an economic point of view on several occasions. In these debates, arguments in support of public music schools have prevailed. Once again, awareness has been raised about the importance of music education for individuals as well as for society as a whole. Participation in music education not only develops the key competence “cultural awareness and expression” but also stimulates the development of other competences of lifelong learning.
In Slovenia, a gradual curricular reform has been carried out at all levels of music education. The results have been assessed and translated into the modernization of curricula and syllabi. Studies have been carried out to examine and assess the existing learning and teaching models implemented in various subject areas and establish guidelines for further improvements. In a fast-changing world, the use of information and communication technology is opening up new issues in music education. Professional qualifications of persons working in music education have also been under scrutiny, such as the competences teachers acquire in various study programs in the field of music. It is important that the evaluation of what has been achieved also includes international comparisons. Active participation in various international associations which promote the development of music education and are actively involved in the creation of the European educational policy is of para-mount importance for the entire vertical of the Slovene music education system.
_
REFERENCES
Bauer, R. and Troha, G., eds., (2011). Akademija za glasbo Univerze v Ljubljani: 2000–2011. Ljubljana, Akademija za glasbo.
Bogunović, B., (2010). Muzički talenat i uspešnost. Beograd: Fakultet muzičke umetnosti. Institut za pedagoška istraživanja.
Budkovič, C., (1992). Razvoj glasbenega šolstva na Slovenskem I: od začetka do 19. stoletja do nastanka konservatorija. Ljubljana: Znanstveni inštitut Filozofske fakultete.
Budkovič, C., (1995). Razvoj glasbenega šolstva na Slovenskem II: od nastanka konservatorija do Akademije za glasbo: 1919–1946. Ljubljana:
Znanstveni inštitut Filozofske fakultete.
Cencič, M., (2015). Izbrani pristopi k spodbujanju refleksije učiteljev. Koper:
Univerza na Primorskem, Znanstveno-raziskovalno središče, Univerzitetna založba Annales, 2015.
Cigoj Krstulović, N., (2016). Načela in podobe slovenskega javnega
glasbenega izbraževanja: primer šole in konservatorija ljubljanske Glasbene matice (1882–1926). In: B. Rotar Pance, ed. Javno glasbeno šolstvo na Slovenskem: pogledi ob 200-letnici. Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana. 25, 41–55.
Flisar, M., (2006). Sledi glasbe in plesa. Šestdeset let srednje glasbene in baletne šole Maribor. Maribor: Srednja glasbena in baletna šola.
Glasbeno izobraževanje (2017). Ministrstvo za izobraževanje, znanost in šport Republike Slovenije, 2017 (Music Education [2017] Ministry of Education, Science and Sport of the Republic of Slovenia). [online]. [Viewed 7 September 2017]. Available from: http://www.mizs.gov.si/si/delovna_
podrocja/direktorat_za_predsolsko_vzgojo_in_osnovno_solstvo/glasbeno_
izobrazevanje/.
Horvat, M., (2012). Oblikovanje profila učitelja glasbe v osnovnem šolstvu na Hrvaškem in v Sloveniji skozi zgodovinski razvoj do sodobnosti. Doctoral dissertation. Ljubljana: Univerza v Ljubljani, Akademija za glasbo.
In 2016/17, too, more elementary school pupils and fewer upper secondary school pupils than in previous years. Statistical Office of the Republic of Slovenia. [online]. [Viewed 12 September 2017]. Available from:
http://www.stat.si/StatWeb/en/News/Index/6893
Koter, D., (2012). Slovenska glasba: 1918–1991. Ljubljana: Študentska založba.
Okoliš, S., (2016). Dostopno in plemenito. Ljubljana: Zveza glasbenih šol Slovenije, Šolski muzej.
Rotar Pance, B., (1997). Struktura lika učitelja glasbe. Glasbeno-pedagoški zbornik Akademije za glasbo v Ljubljani. 2, 143–150.
THE VERTICAL OF THE SLOVENE MUSIC EDUCATION SYSTEM / BRANKA ROTAR PANCE
Rotar Pance, B., (2006). Glasbeno šolstvo v Sloveniji. In: S. A. Avguštin, ed.
Zbornik. Ljubljana: Svetovni slovenski kongres/Slovenian Congress.
pp. 121–124.
Rotar Pance, B., (2008). Izobraževanje učiteljev glasbe v evropskih državah v projektu meNET. Glasbeno-pedagoški zbornik Akademije za glasbo v Ljubljani. 10, 25–39.
Rotar Pance, B., (2011). Training and professional profile of music teachers.
In: O. Denac, ed. New perspectives in music education in Slovenia (fine arts, music and literature: education in a competitive and globalizing world).
New York: Nova Science. pp. 41–55.
Valant, M., (2016). Pouk v glasbeni šoli po šolski prenovi. In: B. Rotar Pance, ed. Javno glasbeno šolstvo na Slovenskem: pogledi ob 200-letnici.
Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana. 25, 217–236.
Zupančič, M., (2013). Razvoj violinske pedagogike in šolstva na Slovenskem od začetka 19. stoletja do začetka druge svetovne vojne. Ljubljana:
Znanstvena založba Filozofske fakultete.
_
ONLINE SOURCES
Buh, T., Florjanc, I., Gorjanc, A., Grafenauer, A., Magdovski, A., Prešiček, D., Selan, M., Šepetavc, A. and Rutar Leban, T., (2011). Evalvacijska študija srednješolskega glasbenega in baletnega izobraževanja (Evaluation study on upper secondary music and dance education). Ljubljana: Pedagoški inštitut.
[online]. [Viewed 25 September 2017]. Available from: http://www.pei.si/
UserFilesUpload/file/zalozba/Evalvacijske/Evalvacijska_studija_glasba_balet.
Education in Slovene music schools at the end of the school year 2012/13 and at the beginning of the school year 2013/14 – final data. Statistical Office of the Republic of Slovenia. [online]. [Viewed 5 November 2017].
Available from: http://www.stat.si/StatWeb/glavnanavigacija/podatki/
prikazistaronovico?IdNovice=6062
EMU Statistic 2010. European Music School Union. [online]. [Viewed 10 August 2011]. Available from: http://www.musicschoolunion.eu/emu-statistics/
Module A (2016). Maribor Conservatory of Music and Ballet. [online]. [Viewed 25 September 2017]. Available from: http://www.konservatorij-maribor.si/
wp-content/uploads/2016/02/music_module_a_composition.pdf.
Module B (2016). Maribor Conservatory of Music and Ballet. [online]. [Viewed 25 September 2017]. Available from: http://www.konservatorij-maribor.si/
wp-content/uploads/2016/02/module_b_voice_training_instrument.pdf.
Music Schools Act / Zakon o glasbnih šolah (2000, 2006). [online].
[Viewed 7 September 2017]. Available from: http://pisrs.si/Pis.web/
pregledPredpisa?id=ZAKO2063 .
Music Schools in Europe / Musikschulen in Europa / Les écoles de musique en Europe (2010). European Music Schools Union. [online]. [Viewed 7 September 2017]. Available from: file:///C:/diskd_Branka%20%202016%20 -2017/DELA/SIMPOZIJ/Dunaj%20%20oktober%202017/EMU_publicatie_
EMU_2010_digitaal.pdf.
Music schools in Slovenia at the end of the school year 2013/14 and at the beginning of 2014/15. Statistical Office of the Republic of Slovenia. [online].
[Viewed 12 September 2017]. Available from: http://www.stat.si/StatWeb/en/
News/Index/5023.
Music schools in Slovenia at the end of the school year 2014/15 and at the beginning of 2015/16. Statistical Office of the Republic of Slovenia. [online].
[Viewed 12 September 2017]. Available from: http://www.stat.si/StatWeb/en/
News/Index/5764).
Rules on delivering instructions in music schools / Pravilnik o izvajanju pouka v glasbenih šolah (2003). [online]. [Viewed 11 September 2017]. Available from: http://pisrs.si/Pis.web/pregledPredpisa?id=PRAV5181.
THE VERTICAL OF THE SLOVENE MUSIC EDUCATION SYSTEM / BRANKA ROTAR PANCE
Introduction
Music is an integral part of human life, ever present in various forms, from listening to music to playing instruments, singing or music-making.
An individual chooses when and how to be surrounded by music. Besides professional musicians’ understanding of music, it is considered to serve recovery, relaxation, and entertainment, but also learning.
Today we have, as Harnoncourt (2008) stated, more music than ever before in a quantitative sense; we constantly listen to music, often without attaching great importance to it. Furthermore, music produced in the time of musical hyper-production is questionable from esthetic and cultural-artistic points of view. This is why schools should make efforts in this direction and make a difference with the arts subjects.
Music schools in Croatia are facing big challenges. One of these is apparent in the modernization of education with the goal of becoming closer to each child who should experience music and express him- or herself through music. This includes questioning methods, forms, strategies and the introduction of interdisciplinary and project activities.
This paper explains how arts education and music school are conceived in Croatia. Furthermore, the peculiarities of some music schools in Istria County are presented. Two aspects are evident: first, the orientation toward promoting the classical ideal of art music, supporting competition as one of the forms of expression and encouragement of excellence; the second aspect leads to the openness to traditional music and other musical genres.