Brojni čimbenici koji utječu na oblikovanje glazbenih preferencija srednjoškolaca upućuju na zahtjevnu ulogu glazbenih pedagoga. Njihov je zadatak da kompetentnim i kreativnim glazbenim poučavanjem navedu učenike da s emocionalno konotacijskog pristupa započnu primjenjivati sintaktičku strategiju slušanja, s razvijenim analitičkim muzikološkim procesima, te postupno razviju glazbeni ukus s kvalitetnim estetskim sustavom vrijednosti. Istražujući odnos sociodemografskih varijabli i glazbenih preferencija učenika prvih i četvrtih razreda gimnazije i strukovne srednje škole potvrđene su razlike u poznavanju i preferencijama utvrđenih glazbenih stilova s obzirom na (...) spol, vrstu škole, dob i školski uspjeh. Kroz dobivene rezultate istraživanja aktualizirana je potreba za uvrštavanjem glazbene poduke u strukovnim školama, obrazovnim institucijama u kojima takvi sadržaji nisu zastupljeni, ali i potreba za programskim proširenjima kako bi mladi u svojoj formativnoj fazi uz izgradnju pozitivnog odnosa prema umjetničkoj glazbi razvijali i otvorenost te toleranciju prema različitim kulturama i supkulturnim fenomenima. The numerous factors affecting secondary school students’ musical preferences show how difficult the role of music educators is. Their task is to use competent, creative music teaching to lead students away from an emotional, connotative approach towards a syntactic strategy of listening, to develop analytical musicological processes, and to gradually develop their musical tastes with a highquality aesthetic value system. Research into the relationship between socio-demographic variables and musical preferences among students in year 1 and year 4 of gymnasiums and vocational schools has affirmed differences in knowledge of and preferences in attested musical styles according to sex, type of school, age, and academic performance. The results of this research indicate the need to include music instruction in vocational schools, educational institutions that lack music programmes, as well as the need to increase the breadth of existing music programmes so that young people in their formative years, in addition to building a positive relationship towards artistic music, develop openness and tolerance towards various cultures and subcultural phenomena. (shrink)

The numerous factors affecting secondary school students’ musical preferences show how difficult the role of music educators is. Their task is to use competent, creative music teaching to lead students away from an emotional, connotative approach towards a syntactic strategy of listening, to develop analytical musicological processes, and to gradually develop their musical tastes with a highquality aesthetic value system. Research into the relationship between socio-demographic variables and musical preferences among students in year 1 and year 4 of gymnasiums and (...) vocational schools has affirmed differences in knowledge of and preferences in attested musical styles according to sex, type of school, age, and academic performance. The results of this research indicate the need to include music instruction in vocational schools, educational institutions that lack music programmes, as well as the need to increase the breadth of existing music programmes so that young people in their formative years, in addition to building a positive relationship towards artistic music, develop openness and tolerance towards various cultures and subcultural phenomena. (shrink)

The paper presents the research that analysed the use of the teaching strategies – methods and procedures, teaching methods, and evaluation of students’ achievements – at one public art university in Croatia. The results show that the higher education in arts is based on contemporary didactic principles with a dominant paradigm of student-centered learning. Accordingly, students are encouraged to take an active role in the learning process, procedures of teaching arts are individualized, and monitoring the work and evaluating student progress (...) is done systematically. However, there is a certain terminological inconsistency in the use of some didactic terms in teaching of art, since teaching art in higher education has appropriated the traditional didactic nomenclature, more suitable for teaching science. Through obtained results, the need for a conceptual redefinition was discovered, in which the specifics arising from the nature of artistic process, related to the specifics of individual artistic fields, would be emphasized and explained. The results show both positive and negative aspects of the current art teaching in higher education. The results of this research can contribute to better understanding of the art teaching as well as to the future systematization of teaching work at art faculties, especially in the part related to organization and evaluation of the teaching process. (shrink)