Implicit Theories of Teachers About The Importance of Teaching Music

Drobac-Pavićević M., Bjelobrk Babić O., & Đurđanović M., (2024).
Implicit Theories of Teachers About the Importance of

Teaching Music, International Journal of Cognitive Research in Science, Engineering and Education (IJCRSEE), 12(1), xxx-
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Original scientific paper UDC:

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Received: March 21, 2024. xxx
Revised: April 05, 2024. 10.23947/2334-8496-2024-12-1-xx-xx
Accepted: April xx, 2024.
Implicit Theories of Teachers About the Importance of Teaching

Music
Milica Drobac-Pavićević1 , Ozrenka Bjelobrk Babić2 , Miomira Đurđanović3
1
Department of Psychology, Faculty of Philosophy, University of Banja Luka, Bosnia & Herzegovina
e-mail: [email protected]
2
Teacher Education Study Program, Faculty of Philosophy, University of Banja Luka, Bosnia & Herzegovina,
3
Department of Music Arts, Academy of Arts Novi Sad, University of Novi Sad, Serbia,
Abstract: Contemporary pedagogical literature emphasizes holistic upbringing and education, with the goal of
developing the overall personality of students. In this regard, the aim of this study is to explore and determine how teachers
perceive the importance of teaching music. This research was conducted in the second semester of the 2022/2023 school
year on with a sample of Republic of Srpska primary school teachers (N=10). Empirical data were collected through semi-
structured interviews conducted both online and in person; a protocol with open-ended questions was developed. The
data were analyzed using the method of qualitative thematic analysis. The research results show that teachers perceive
music education positively and emphasize its importance for the comprehensive development of students. Additionally,
teachers believe that certain changes are needed in the music curriculum, although they emphasize that they have
freedom in choosing content in all teaching areas. There is a prevailing opinion among teachers which indicates the
need for an increased focus of the educational system towards music education in the lower grades of primary school.
Keywords: constructivism, implicit theories, music education, curriculum, teachers
Introduction
Constructivism and Implicit Theories

Constructivism, as an epistemological perspective, emphasizes the active role of the human mind in
constructing knowledge and reality based on subjective experiences and interpretations. This perspective
posits that our perception of the world involves a complex process of construction and interpretation,
rather than merely passive reception of information. A fundamental premise of constructivism is that
knowledge is not an absolute truth but rather a construct that emerges through the interaction between an
individual and their environment. Consequently, each person develops their own subjective model of the
world shaped by their unique experiences, beliefs, and the socio-cultural context. Thus, constructivism
provides a valuable framework for understanding how individuals construct knowledge and interpret their
surroundings, while also highlighting the importance of active engagement in the learning process.
Implicit theories refer to the intuitive explanations’ individuals use to understand the causes and
motives of behavior, both their own and others’ (Sternberg, 1985). These theories are not necessarily
consciously articulated or defined but often represent unspoken assumptions that influence our judgments
and interpretations. Implicit theories are frequently employed by individuals to comprehend complex
social and emotional behaviors, adapting them to specific situations and contexts. Understanding implicit
theories bears significance in various domains, including education, group psychology, and interpersonal
*
Corresponding author: [email protected]
© 2024 by the authors. This article is an open access article distributed under the terms and conditions of the
Creative Commons Attribution (CC BY) license (https://creativecommons.org/licenses/by/4.0/).
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Drobac-Pavićević M., Bjelobrk Babić O., & Đurđanović M., (2024). Implicit Theories of Teachers About the Importance of
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relationships. Being aware of how implicit theories shape our behavior can enhance our consciousness
and accountability in our judgments and interactions with others. Implicit theories constitute implicit
assumptions that significantly influence our understanding of behavior and motivation, whether our own
or others’. Despite often operating at an unconscious level, these theories wield substantial influence over
our perceptions and actions. Thus, gaining insight into implicit theories can promote greater awareness of
our judgments and interactions with others.
The Significance of Music and Music Education

The universality of the language of musical art makes it a dominant means of communication with
countless creative possibilities and expressions, thereby serving as a crucial pillar for the development
of individual personalities and society as a whole. As an art form, music can influence the creation of
self-perception and perceptions of others, as well as categorize individuals into specific groups based on
responses to questions such as “What music do you listen to?”; which was а frequently asked question
among children and young people in the latter half of the 20th century, but is regrettably rarely asked
nowadays. Music which is thoughtfully selected and of high quality typically evokes pleasant emotions,
develops taste and stimulates brain development. For instance, both hemispheres of the brain are active
during music performance (Parson; cited in Habermajer, 2001) which facilitates learning processes. Also,
Habermajer (2001) found that listening to music enhances the acquisition of subject matter, thereby
promoting overall psychophysical development in children. Key factors which influence the development
of musical abilities include: heritage, family, nurturing environments, individual activities and motivation
(Jeremić, 2015). The significance of early musical stimulation and education, ideally through play, along
with a wide range of teaching methods, contributes to the development of fine and gross motor skills,
speech, and overall cultural and musical upbringing. Classroom music education in the Republic of
Srpska, with its diverse range of program content in the first and second triads of the nine-year primary
schooling system, is realized through musical activities across three interrelated teaching areas: music
performance (singing, playing, movement, and introduction to the basics of music literacy), music
listening, and children’s music creativity (Curriculum for Primary Education, 2014 and 2021). A competent,
motivated, and creative teacher epitomizes the most important figure in not only the fostering of a love for
work and learning, but also the creation of an atmosphere in which music can be introduced to children in
order that they acquire knowledge and values, make decisions, collaborate in teams, nurture individuality,
and where music classes become a source of joy and satisfaction. In this way, conditions are created
for achieving the goal of music education in primary school – to develop the students’ love and interest
in music, or to develop musical taste (Curriculum for Primary Education, 2014 and 2021). “From the set
goal of music education, which relates to developing interest, creativity, and critical thinking, tasks emerge
that cannot be clearly differentiated regarding their dominant role in the teaching process as educational,
instructional or functional” (Vukićević and Stanojević, 2014, 128). These tasks collectively contribute in
the creation of a musical education environment which is rich and inspiring, and aims to develop students’
musical abilities as well as a broader set of skills and values that will benefit them in life.
Music education holds a particular importance in the preservation and nurturing of cultural identity,
national values, and folk traditions, as well as in the fostering of multicultural awareness (Đurđanović
et al., 2018). Through this domain, respect for national and world cultural-historical, folk, and artistic
heritage is cultivated. “Musical folklore adapts and transfers to areas of work in music education where
students learn about and adopt it” (Ćalić and Grkić, 2013, 292). Highlighting the importance of song, Stošić
emphasizes: “song carries within itself a multifunctional potential and, through its structure, generates
multiple functions, among which there are strong causal links that contribute to the versatile development
of students’ personalities” (Stošić, 2008, 72). Musical pedagogues and researchers have written about
the educational value of folk music tradition and its insufficient presence in music education (Gajić, 1996;
Spasojević-Stojanović and Trakilović, 2016), emphasizing the values of musical heritage. Furthermore,
the work of music teachers and their collaboration with classroom teachers can result in the creation
of various school and extracurricular activities that contribute to familiarizing students with folk music
traditions and other musical genres. Martinović Bogojević (2010) suggests that special attention should
be paid to the use of experiential listening to music in early schooling to foster an emotional connection
to it. Through empathy, humor, and successful execution of music culture tasks, as well as through the
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teacher’s attitude towards their students, a teacher can deliver quality education even in the absence of a
specialized classroom, especially if open to undertaking various forms of professional development. The
organization and structure of the class, the relationship between teacher and students, mutual respect,
as well as opportunities for intellectual, moral, aesthetic, physical, health, ecological, national, patriotic,
intercultural, and multicultural education, together with the application of the advantages of contemporary
technology or simply integrated pedagogy of the 21st century, altogether contribute to comprehensive
education. Music education in early schooling, in conjunction with a cluster of (skills-based) artistic
subjects, should be a corner stone, which facilitates the branching out into all other knowledge and skills
in various natural and social sciences. Through literature analysis in the region (Martinović Bogojević,
2010), it has been determined that the subject of music in the reformed educational system of Montenegro
has achieved a significant status, closely linked to other subjects. The presence of music content also
contributes to a more engaging acquisition of content from other subject areas. Therefore, the importance
of music education is also reflected in its integration: “A well-organized class does not know only one
activity in the classroom. The class should be dynamic, with various activities for students alternating
or intertwining, but whenever possible (with exceptions when it is difficult to implement), they should fall
under the same umbrella of the set task. Therefore, through an integrative approach, experientially going
through two and/or three music activities for students and corresponding music content within them, the
same or similar problem should be solved” (Stojanović, 2010, 6). It is evident that an integrative approach
in classroom teaching, as well as the intertwining of music activities, contributes to a more successful
achievement of learning outcomes and class goals.
Research Objective and Research Questions

In our study, we aim to explore teachers’ perceptions of music culture education and comprehend
their fundamental interpretations of the significance and impact of this subject on students. Therefore, the
aim of our research is to examine teachers’ implicit understanding of music culture education in the lower
grades of primary school. The research questions are: (1) How do teachers perceive the importance of
music culture for the comprehensive development of students? (2) How do teachers perceive the Music
Curriculum?
Materials and Methods
Procedure
The research was conducted in June 2023. Participants took part in the study on a voluntary basis.
Data were collected online via the Zoom application and in person on school premises where teachers
conduct classes. Interviews were recorded and transcribed; each interview averaging about 45 minutes.
Sample
In this study, the population consisted of school teachers (Grades 1 – 5) employed in primary
schools in Bosnia and Herzegovina/the Republic of Srpska. All participants were female. The sample
consisted of 10 teachers from the Republic of Srpska. The main criteria for participation in this research
were that the teachers have more than 10 years of teaching experience, a willingness to participate and
it was necessary that they had completed a bachelor’s degree in teaching. Interviews were conducted by
a psychologist and two music educators.
Instrument
Data were collected through semi-structured interviews. For the purposes of this research, a
protocol with open-ended questions was developed. The questions in the protocol followed the thematic
determinants of the research questions: How do teachers perceive the Music Curriculum?
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Data Analysis
The data analysis method used was a qualitative thematic analysis. We investigated how teachers
perceive music education. The first step was familiarization with the collected data, then we generated
initial codes which were used as a basis to determined categories, and in the final step, we defined
themes. In the selection of themes, we adhered to what is significant, that is “a set of criteria that help
determine what is and what is not worth being a theme” (Vilig, 2016, 141). Although the instrument was
wide-ranging, we analyzed responses to questions that were relevant to the research question.
Results and Discussion

The results are presented by means of seven thematic areas. The obtained responses are grouped
into two thematic areas within the research question: What is the perception of teachers about the
importance of music or students? The remaining five thematic areas explain the perception of teachers
about the quality of the Music Curriculum for the lower grades of primary school.
Research Question 1: How do teachers perceive the importance of music for the
comprehensive development of students?
Although the responses may seem generalized, they all relate specifically to the teaching contents
of music. Therefore, they should be observed in that context. Within the category of student development,
teachers identify aspects positively influenced by music education: 1) cognitive development, which is
observed based on codes such as intelligence, creativity (imagination), critical thinking, attention, memory
and knowledge (functional knowledge, general culture and awareness); 2) affective development defined
by codes such as pleasant feelings (joy, relaxation, satisfaction and playfulness), sense of beauty, sense
of musical taste and sadness (melancholy); 3) psychomotor development, where codes such as rhythm,
motor skills, body posture, dance and singing are emphasized; 4) personality development, with codes
such as self-confidence, patience and dedication; 5) speech development, evident through codes such
as nursery rhymes and speech abilities; 6) student socialization, indicated by codes such as freedom
of communication, community involvement, multiculturalism, collaboration and teamwork; and 7)
representation of education. Table 1 shows the respondents’ responses regarding the mentioned codes.
Table 1. Importance of Classroom Music Education According to Teachers’ Perception
Theme Categories Codes
Recognition (sound characteristics, types of music
and musical instruments)
Functional knowledge
Understanding
Comprehensive
Cognitive Development Musical memory in listening
Development
Musical memory in playing Intelligence
Attention
Creativity (imagination)
Critical thinking
Interest in singing
Pleasant feelings (joy, relaxation, satisfaction,
playfulness and enjoyment)
Affective Development
Sense of beauty
Sense of musical taste
Sadness (melancholy)
Performance accuracy
Performance skills in playing
Coordination of movements
Motor reactions in listening and reading sheet
music
Psychomotor Development
Rhythm
Body posture
Dance
Playing
Singing
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Theme Categories Codes

Self-confidence
Personality Development Patience
Dedication (in listening to and playing music)
Nursery rhymes
Speech Development
Speech abilities
Freedom of communication
Community involvement (learning about tradition
Student Socialization and culture)
Multiculturalism
Collaboration and teamwork
Too many subjects
Representation of
Adequately Represented Student overload
Education
Adequately Represented with Integration Correlation with other subjects
with Other Subjects Integration with other subjects
Insufficient in the first triad
Depends on Grade Level
Adequate in the second triad
Increase the number of class hours
Insufficiently Represented Insufficient one class
Eliminate one subject to increase the number of
music culture class hours
The role of music as a positive stimulus is multifaceted, both in the prenatal period and in all stages
of children’s development. This topic has been investigated from the perspective of various scientific
disciplines and in a multidisciplinary manner (Bašić, 1987; Matić and Mirkovic-Radoš, 1986), indicating
that “favorable socio-economic conditions usually create a more musically stimulating environment”
(Nešić et al., 2006, 128). School, as an adaptation space, can use music and play as factors in creating
an educational environment crucial for the life and progress of students. Teachers in the Republic of
Srpska are aware of the importance of music education for the comprehensive development of younger
pupils’ personalities. They observe this in the cognitive, affective and psychomotor domains of learning
and development (Bjekić, Aleksić and Vučetić, 2012), which is beneficial, given that music education
occurs in all of these learning domains.
“Affective development is linked to perceptual and cognitive development. The nature of such a
complex human experience as music is both cognitive and affective at the same time. These two aspects
are hardly separable in reality: all cognition has a certain affective character and vice versa” (Nešić et
al., 2006, 128). Movement, as a natural human need, is most pronounced in preschool and early school
age. Music, whether rule-based or free, with its playful character, stimulates the harmonious development
of the child. Research shows how “aesthetic sensitivity can be developed through movement in children
aged six to seven years. It was found that children’s affective response to rhythm was most intense,
followed by the quality of sound, and less so for color, melodic line and shape” (Nešić et al., 2006, 1289).
In the realm of affective development, our respondents provided the most responses relevant to
music pedagogy (This is very important to me, meaning, their emotions, how they will experience it; I
mean more emotional than cognitive because, for that cognitive part, a lot of theory and knowledge are
required. For the emotional part, well, I think it’s necessary too, but somehow the teacher more easily
masters that emotional part). They talk about affective development as separate but also something that
can interplay with the cognitive. For instance, in the teaching area of music listening, teachers state that
the “emotional-cognitive approach is one of the strongest and highest quality” (And, it is very important
to connect the cognitive-emotional approach; When it comes to the intensity of the piece, then, whether
its dynamic is piano or forte. For children, if some... melodies are such that they get scared, to calm
them down, I don’t know. Emotions certainly influence some parts. That’s why it’s necessary to connect).
Viewing music listening in this way epitomizes good practice, which complies with leading research findings
(Vidulin et al., 2020). The significance of music education for cognitive development is also recognized,
especially the analytical approach to music listening that aligns with age (Listening to music must be
meaningful; ...first, of course, we globally listen to a composition, then selectively. Depending on the
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composition, we follow tempo, dynamics, instruments, then if there are any repetitions, whether the same
instrument repeats it, whether other instruments?), which we consider good, although the combination of
emotional and cognitive should dominate in the realm of music listening (Vidulin et al., 2020). Additionally,
music can be listened to with movement involving the psychomotor domain (Fryberger, 1916; Swanson,
1969; Matić and Mirković Radoš, 1986; Metz, 1989; Juntunen, 2004; Hallam, 2012; Đurđev and Lukač,
2013; Stolić, 2018), which teachers discuss less frequently. The importance of music education for the
development of students in the psychomotor domain is observed through the performance of children’s
music games and similar activities. When it comes to this development, teachers combine the content
and activities of music education and physical education. However, although learning through movement
is less commonly practiced in our schools, this is one approach to learning that is gradually gaining
more attention. “A lesson in which material is conveyed through movement is much more understandable
and interesting for students. Students become active members of the classroom because movement
stimulates their creativity, increases motivation for work and cooperation. Learning through movement
enables and encourages the development of children in all areas” (Obrenović, 2021, 2). The importance
of (creative) movement for the physical, social, emotional and overall holistic development of children
has been written about by many researchers (Dennison, 2007; Hannaford, 2007; Bergstein Dow, 2010;
Gazibara, 2016). It would be desirable for a subject like Dance to be taught in our schools, especially in
primary education. “Allow daily dancing, music, drama and learning visual arts where movement plays a
significant role, and you could achieve wonders” (Jensen, 2005, 107). According to the Curriculum for the
nine-year primary schooling system in the Republic of Srpska, art (music in the first grade) and sports are
combined within the subject area of rhythmics, sports and music* where appropriate implementation of the
content can contribute to cognitive, affective and psychomotor development along with a sense of cultural
identity. In this regard, traditional music, like – folk songs and dances are – unfortunately, insufficiently
present in the primary school music curriculum which, both research (Gajić, 1996; Milovanović, 2009) and
practice confirm. They should be a key educational aspect through the study of the content of the subject
music culture from the second to the ninth grade of primary school.
When discussing the positive impact of music on personality development, this research has
identified codes such as self-confidence, patience, and dedication. The presence of these components is
evident in children’s musical activities, which facilitate the expression of emotions. Public performances,
while carrying responsibilities and excitement, can also enhance self-confidence. Engaging with music,
whether in extracurricular activities or formally within primary music schools, demands dedication from
students and fosters the development of work habits. Growing up in a stimulating family environment,
children acquire the need for continuous effort towards achieving results in music education. Research
findings confirm that “the most successful children also receive the highest level of parental support”
(Davidson et al., 1996, cited in Bogunović, 2008, 169). Through daily deliberate practice of musical
examples, in addition to learning methods, students become more conscientious, develop patience, a
sense of responsibility and perseverance. Learning to play an instrument also cultivates general personal
skills such as discipline, concentration, self-confidence, responsibility and self-esteem (Hallam, cited in
Bogunović, 2008). Everything learned in music class can and should be applied by students in life and
work.
Musical education, whether formal or informal, significantly influences the development of social
skills: sociability, friendship, appropriate and patient behavior in groups, patriotism and a positive attitude
towards national cultural heritage and the cultures of other nations. The variety of musical games,
humor, and a positive emotional climate in music class encourage teamwork, communicativeness and
understanding of the environment in which children grow up.
Key results of research on the impact of musical culture on various aspects of the development of
younger students “indicate that respondents generally hold a positive opinion regarding various aspects
of music education in the context of the socio-emotional development of their children. Parents whose
* The curriculum for elementary education and the educational program for the subject area Rhythmics, Sports, Music were down-
loaded on March 7, 2024, from the website https://www.rpz-rs.org/sajt/doc/file/web_portal/05/5.2/Nastavni_plan_za_osnovno%20
obrazovanje/%D0% and https://www.rpz-rs.org/sajt/doc/file/Novi_nastavni_programi/Redovna_nastava/2022/_ritmika_
sport_muzika_nastavni_program_za_prvi_razred..pdf2021, respectively.
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children participate in extracurricular music activities have a more positive opinion regarding the influence
of music education content on the socio-emotional development of their children compared to parents
whose children do not participate in extracurricular activities” (Stipančević and Milošević, 2020, 281).
Regarding speech development, nursery rhymes play a multifaceted role. Music-making in the
first grade of primary school should naturally extend from children’s free play. Developing creativity and
freedom through movement, accompanied by nursery rhymes through clapping, tapping, and playing
children’s instruments, is important. In addition to developing rhythmic abilities, processing nursery
rhymes promotes speech creativity and facilitates learning foreign languages. Although nursery rhymes,
often filled with humor and originating from folklore, are unfortunately less prevalent among children
today, they play an important role “in describing, shaping, articulating, and correctly pronouncing sounds”
(Milijević, 2015, 50). Our respondents advocate the mentioned attitude about the importance of music
education for the versatile development of personality, but they differ in opinions regarding the presence
of music education in primary school classes. Some believe it is not sufficiently present, especially in the
early grades, while others think it is, considering other obligations of the pupils. Some assess it in relation
to the grade, and others believe it is sufficiently present but only if its content is integrated into many or all
subjects at a younger age.
The research findings are consistent with the stated attitudes of teachers. Some argue that the
number of music education hours in primary school is insufficient, especially in the early grades, which
has negative outcomes on the development of musical abilities (Lazarević, 2001). Other findings note that
reducing the number of music education hours, especially in the early grades, can be compensated by
integrating content into regular classes. We concur with Perić (2016) that although there are challenges
in schools, teachers should not neglect this subject and should enable students to continuously acquire
knowledge and skills in the field of music.
Research Question 2: How do teachers perceive the Music Curriculum?
In formulating the themes, we relied on three teaching areas (1. Music performance: singing,
playing instruments, movement and introduction to the basics of music literacy; 2. Music listening; 3.
Children’s music creativity) which intertwine in the primary school Music Curriculum in the Republic of
Srpska (Curriculum and Program for Primary Education and Upbringing, 2014, p. 168; New Curriculum/
Regular Education/2021/Music Culture**), as well as on the analysis of respondents’ answers.
Table 2 presents the results of the analysis providing answers within the research question related
to the perception of the quality of the Curriculum and Program for primary school music, namely: Do you
think certain changes to the program content of music teaching are necessary? And, if so, what would you
change? Do you integrate program content of music teaching into the implementation of primary school
teaching? Provide an example! Do you like the compositions you listen to in class (in accordance with
the Curriculum)? What do you consider the most challenging aspect of music classes? How often do you
“compose” with students in music class? What, in your opinion, is the most enjoyable aspect of music
classes?
Table 2. Teachers’ Perception of the Quality of the Primary School Music Education Curriculum in Primary School
Themes Categories Codes
Appropriate content
Satisfaction with the Cur-
Satisfaction Adequate number of hours
riculum
Sufficient freedom
Inappropriate content
Dissatisfaction Insufficient number of hours
Limited content choice
Frontal and group singing of children’s and tradi-
Music Performance Singing
tional songs
** Downloaded on March 7, 2024, from the website https://www.rpz-rs.org/sajt/doc/file/Novi_nastavni_programi/Redovna_nasta-

va/2021/Muzicka_kultura_nastavni_program_za_cetvrti_razred.pdf; (https://www.rpz-rs.org/sajt/doc/file/Novi_nastavni_
programi/Redovna_nastava/2021/Muzicka_kultura_nastavni_program_za_peti_razred.pdf)
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Themes Categories Codes
Playing Instrument playing using Orff instruments
Musical movement
Movement Traditional games
Dance
Writing and reading notes (rhythmic reading and
Introduction to Musical Literacy
playing metallophones)
Music Listening Global Listening Cognitive-emotional listening to music
Selective Listening Analytical approach
Musical additions
Creativity Musical Creativity
Nursery rhymes
Musical creativity with language
Songs
Hide and seek
Intercorrelation and Correla-
Correlation with Play Social game wheel of fortune
tion of Content
Quiz
Correlation of content during music class
Intercorrelation of Content Areas
Correlation of content with other subjects
The obtained responses indicate the existence of various opinions regarding the perception of
the quality of the Curriculum for Classroom Music Education from the perspective of teachers. Although
we did not focus on the degree of expressed satisfaction or dissatisfaction with the existing Curriculum,
but rather on identifying qualitative categories of respondents’ answers, it can still be observed that they
are generally satisfied with it, although they recommend certain changes or additions. Responses from
the participants can be categorized into three groups: 1) those who do not want changes in the program
content of music education (I am satisfied with these topics and contents that I can really combine and
use as needed. So, I wouldn’t change anything for now), 2) those who want changes but recognize that
cooperation with music educators and university professors is needed for changes in the Curriculum
(It is necessary, therefore, to make some changes and of course we (teachers, university professors,
music educators), all need to sit down together, everyone, to agree, give our suggestions and comments,
and to make it easier, uh, music education), and 3) those who want changes in terms of content (e.g.
songs) that are repeated in different grades in such a way that they would prefer no repetitions or fewer
repetitions, as children like learning new songs (There is always room for innovation, to introduce some
new songs, to have a wide range of compositions, to have a larger selection). They believe that songs in
the upper grades of primary school should be longer in duration because children want to perform such
songs on field trips, excursions, and the like. For example, it is sometimes difficult for them to work on a
song in the third grade that they sang earlier. This is particularly evident among students of primary music
schools who hear such content several times during their schooling, and although they enjoy it, it can
facilitate boredom. Therefore, teachers suggest additions (changes) in the field of musical performance,
singing and playing, stating: Well, introducing as many of these traditional songs as possible. Well, maybe
there should be simpler compositions developed for children’s orchestras. When it comes to the field of
musical performance, playing, and introduction to the basics of musical literacy, most teachers stated
that they like compositions that children perform on metallophones, as well as Orff instruments that they
made themselves due to the lack of original ones. Unfortunately, a smaller number of respondents do not
use Orff instruments because schools are not equipped with them. They express that the examples are
adapted to children, that they would like to have easier compositions for performance in textbooks, and
that they need new compositions. Teachers emphasize that the Curriculum gives them a lot of freedom
and that they thus overcome the difficulties of choosing content for singing or playing (Well, I think, of all
the subjects, music culture is quite well organized, that everything is covered, now, I don’t know, maybe,
but I’m talking about the number of hours. Although we have a lot of freedom). Through the analysis
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of teachers’ responses, we determined that they are satisfied with the provided content for listening to
music, they like the compositions, but they also strive for additions or changes in this area (Listening to
compositions could perhaps be refreshed. Well, of course, I like them, but again, I say, there should be
a reform, uh, of the music culture curriculum expressed in these plans and programs of music culture
in which they would participate. Teachers should also participate in this reform because I simply feel
that we are excluded from these reforms. And yet, we know best what is most important to students up
to the fifth grade in music education). Teachers perceive the area of listening to music as relaxing, but
also very demanding for quality processing of the teaching unit, mostly thinking about an analytical and
cognitive-emotional approach to listening to music, which also indicates insufficient competence within
the didactics of music education or the number of hours of this subject in undergraduate studies. The
necessary refreshments should be more aligned to 21st-century students, and in the field of singing and
listening to music, we confirm the opinions of teachers with this argument: It should be refreshed a bit, the
program content of listening to music and singing songs, to be ... a bit more adapted to children.
If we talk about the perception of program content by grading them by the difficulty of processing
for teachers, the area of musical literacy (music theory and rhythm setting) is foremost in its difficulty.
Respondents state that the content area of introduction to the basics of musical literacy is the most
challenging for them, followed by the content area of music listening (analytical and cognitive-emotional
approach). Also, they consider the content area of musical creativity as one of the most challenging
in music education, followed by pupil-influenced factors such as a lack of motivation to learn, as well
as instances when pupils are embarrassed by or receive insufficient parental attention. These issues
certainly require further investigation in future research studies.
There is a feeling amongst the respondents that they feel insufficiently trained to implement the
prescribed number of classes as required by the Curriculum in terms of musical creativity (So, as much
as it is prescribed by the Curriculum, it’s not that much, but there are, you know. I don’t know, whenever
something comes to mind during class..., we’ve come to something, someone wanted something, a rhythm
was heard, so let’s create, someone wrote a song, let’s do it. And how often is that? Maybe 20 percent). It
is evident that teachers combine linguistic and musical creativity by adding visual illustrations, which are
most often used in listening to music activities. However, there can be observed a difference in teachers’
perception of the number of class hours. The first group of respondents believe that music education is not
prevalent enough among students in the lower grades of primary school. This deficiency is compensated
for by the integration of subjects in classroom teaching (According to the current Curriculum, the number
of class hours for music education is not sufficient, in... lower grades, so there should simply be much,
uh, greater number of class hours to allow students to develop themselves as much as possible, uh,
and their potentials. Well, I said that, with almost all classes, even with math, I integrate it. I don’t know,
I don’t know if something is important, for example, we always, always listen to the composition to the
end). The second group of respondents falls into the category that the prescribed number of class hours
is sufficient and that students in the primary grades are sufficiently burdened with the program content of
other subjects, so any additional class would represent an effort for them (Well, maybe it would be good
if there could be a little more, but, looking at this, well, the number of class hours, somewhere it might
be a little difficult to fit in without overburdening the children with additional classes, but certainly, music
education can be, well, correlated with other subjects so it should be used whenever possible in other
classes, not just in music classes. So I think that’s about enough, but, well, if there is a need somewhere,
it can always be added because there’s never enough music).
In exploring the sphere of experiencing music education, we could not overlook the answers to
the question: What, in your opinion, is the most beautiful thing about music education? In all responses,
the creation of a positive emotional climate in music education classes dominates as a result of the shift
of musical activities in the class, where musical performance, singing, playing and vocal-instrumental
group playing (according to teachers’ and students’ preferences) dominate, followed by musical
games, movement and dance. As the most beautiful aspect of music education, some teachers also
mention listening to and recognizing musical examples and developing musical taste. Namely, music
performance, the creativity of both teachers and students, a positive emotional and stimulating climate
and the development of musical taste are elements that characterize music education and are perceived
by teachers as dominant, which is in line with the goals and tasks of teaching this subject at a younger
school age. It is important that teachers are mostly ready for the challenges and new knowledge brought
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by the 21st century.

The correlation in music education in the lower grades of elementary school involves linking various
educational content to create a comprehensive and rich educational environment. Many researchers
have dealt with the correlation and integration of educational content (Barry, 2008; Šulentić-Begić, 2013;
Čudina Obradović and Brajković, 2009; Ratković, 2018). Skupnjak (2009) purports that correlation is
easier to achieve in classroom teaching because it is entrusted to one teacher who teaches multiple
subjects. For example, learning basic musical concepts can be expanded through activities such as singing
songs or playing instruments, allowing students to practically apply acquired knowledge. Also, by getting
acquainted with traditional music from different cultures, students can explore geographical, historical,
and cultural contexts, contributing to a broader understanding of the world around them. Correlation
in music education in the lower grades of primary school encourages active student participation and
enables them to develop various skills and abilities through music education.
Conclusions
Teachers perceive music education positively, focusing on its positive aspects. They consider
student activities in all areas of music crucial for their comprehensive development, believing that music
fosters personality development on many levels. Although they find music lessons relaxing for both
students and themselves, they express the need for refreshing the Curriculum and Program. Specifically,
they highlight the need for adding new songs, more examples of traditional folk music and film music,
as well as creating arrangements adapted to children’s instruments; although they are willing to devise
them in collaboration with students. Their experiences and attitudes indicate an urgent need for additional
professional development in the field of music pedagogy, especially in the context of primary school music
education and evaluation in that context. This research confirms our previous findings regarding the need
to improve music reproduction skills – playing on harmonic instruments, as well as in the field of creative
musical expression. It should be noted that the sample of respondents did not include the male gender,
which means that the results cannot be generalized to the entire population of teachers. In the future,
we plan to share with the scientific community the findings of related research analyzed in schools in this
region. This research serves as an introduction to a series of topics on the attitudes, experiences and
motivation of teachers in regard to teaching music.
Acknowledgements
The authors would like to thank the respondents who participated in the research and the reviewers
who made a valuable contribution to the quality of the work by giving constructive suggestions.
Conflict of interests
The authors declare no conflict of interest.
Author Contributions
Conceptualization, M.D.P., O.B.B. and M.Đ; methodology, M.D.P. and O.B.B; software, M.D.P.
and O.B.B; formal analysis, M.D.P., O.B.B. and M.Đ; writing-original draft preparation, M.D.P., O.B.B.
and M.Đ; writing-review and editing, M.D.P., O.B.B. and M.Đ. All authors have read and agreed to the
published version of the manuscript.
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Implicit Theories of Teachers About The Importance of Teaching Music

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Drobac-Pavićević M., Bjelobrk Babić O., & Đurđanović M., (2024).

Implicit Theories of Teachers About the Importance of

Original scientific paper UDC:

Implicit Theories of Teachers About the Importance of Teaching

Constructivism and Implicit Theories

The Significance of Music and Music Education

Research Objective and Research Questions

Materials and Methods

Results and Discussion

Theme Categories Codes

** Downloaded on March 7, 2024, from the website https://www.rpz-rs.org/sajt/doc/file/Novi_nastavni_programi/Redovna_nasta-

Themes Categories Codes

Playing Instrument playing using Orff instruments

Music Listening Global Listening Cognitive-emotional listening to music

Selective Listening Analytical approach

by the 21st century.

Varaždinski učitelj-digitalni stručni časopis za odgoj i obrazovanje, 4(5), 394–400.

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