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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.

Glasbeno izobraževanje učencev s posebnimi potrebami je področje, ki mu v slovenskem prostoru do sedaj ni bilo posvečene prav veliko pozornosti. Cilj doktorske disertacije je z raziskovalnimi ugotovitvami podkrepljena argumentacija potrebnosti omogočanja glasbenega izobraževanja v glasbenih šolah (v nadaljevanju GŠ) tudi učencem s posebnimi potrebami (v nadaljevanju UPP) in oblikovanje predloga potrebnih sprememb na področju zakonodaje, izobraževanja bodočih in že zaposlenih učiteljev1 v GŠ, možnosti sistemskih sprememb na področju napredovanja učiteljev, konkretnih prilagoditev procesa izobraževanja različnim skupinam UPP in s tem večje možnosti vključenosti in participacije UPP v GŠ po Sloveniji. Umetnost, ki ima v življenju posameznika in družbe velik pomen, je na področju izobraževanja velikokrat spregledana, zato je v uvodnem poglavju teoretičnega dela namenjene kar nekaj pozornosti argumentom za vključevanje umetnosti v izobraževanje. Ker je temeljno vprašanje doktorske disertacije glasbeno izobraževanje UPP, je posebna pozornost namenjena zlasti glasbeni umetnosti. Glasba je imela pri ljudeh že od nekdaj pomembno vlogo, zato je predstavljen tudi kratek pregled pomena glasbene umetnosti v različnih zgodovinskih obdobjih, v nadaljevanju pa tudi nekateri glasbenopedagoški koncepti (Dalcroze, Willems, Suzuki, Orff, Kodaly, Bašić, Gordon) in pouk glasbene umetnosti v slovenskih osnovnih šolah ter GŠ. Analiza mednarodno zavezujočih in domačih formalnih dokumentov je omogočila identifikacijo pravnih argumentov za glasbeno izobraževanje UPP, nemalo pozornosti pa je namenjene pedagoškim argumentom, ki so izpeljani zlasti iz kompleksnega pojmovanja inkluzivnosti. Kljub nekaterim prepričljivim argumentom, ki naj bi dajali tudi UPP možnost glasbenega izobraževanja, pa raziskave opozarjajo na ključno vlogo stališč, predsodkov in stereotipov, ki jih morda gojijo ravnatelji in učitelji pri vključevanju UPP v GŠ. Četudi se UPP v GŠ v primerjavi z osnovnošolskim izobraževanjem precej redkeje omenja, je za kakovostno pedagoško delo v GŠ pomembno poznavanje osnovnih značilnosti posameznih skupin UPP, zlasti značilnosti učenja oziroma poučevanja. Zato so predstavljene tudi različne strategije glasbenega poučevanja (instrumentov, notizacije), ki bi bile učiteljem v GŠ lahko v pomoč. V empiričnem delu raziskave, kjer sta bili uporabljeni kvalitativna in kvantitativna metoda raziskovanja, podatki pa zbrani z vprašalnikoma na reprezentativnem vzorcu ravnateljev in učiteljev iz slovenskih GŠ ter s polstrukturiranimi intervjuji s tremi UPP, z njihovimi starši in učitelji, so predstavljene ugotovitve na raziskovalna vprašanja in hipoteze. Rezultati raziskave so pokazali, da večina ravnateljev kot najpomembnejši cilj glasbenega izobraževanja prepoznava »sooblikovanje osebnosti in načrtno izboljševanje glasbene izobraženosti prebivalstva« in ne cilja »odkrivanje in razvijanje glasbene in plesne nadarjenosti«. Glede glasbene nadarjenosti večina ravnateljev in učiteljev ocenjuje, da je glasbena nadarjenost pogojena z motnjo oziroma učenčevim primanjkljajem, zato ocena ravnateljev in učiteljev, da bi v GŠ najlažje vključili učence z govorno-jezikovnimi motnjami, najtežje pa gluhe in naglušne učence, ne preseneča. Velika večina ravnateljev in učiteljev je izrazila dvom v kriterije na sprejemnih preizkusih z vidika preverjanja glasbene nadarjenosti kot tudi dvom v to, da je rezultat na sprejemnih preizkusih zadosten kriterij za vpis v GŠ. Pridobljeni podatki o številu vseh učencev in posebej UPP v GŠ kažejo, da kar četrtina ravnateljev ocenjuje, da v njihovi GŠ ni UPP, zato je tudi izračunani delež UPP v slovenskih GŠ zelo majhen, le 0,25 % vseh vključenih učencev v GŠ. Z vidika izkušenj s poučevanjem UPP so podatki skladni z ugotovljenim nizkim deležem UPP v GŠ, saj ima le dobri dve petini učiteljev in slaba polovica ravnateljev tovrstne izkušnje. Med pomembnejšimi ugotovitvami učiteljev z izkušnjo poučevanja UPP velja izpostaviti, da je po poročanju dobre tretjine učiteljev ta izkušnja prispevala k osebni obogatitvi, dobra tretjina pa je poudarila, da je izkušnja poučevanja UPP prispevala k profesionalni rasti, saj so učitelji spoznali nove pristope poučevanja in postali bolj fleksibilni. Tri četrtine učiteljev z izkušnjo poučevanja je poročalo, da je imelo pri glasbenem poučevanju UPP težave, in sicer najpogostejše z branjem notnega zapisa, nezbranostjo in slabšo koncentracijo, slabšo motoriko, slabšim razumevanjem glasbenih vsebin in slabšim razumevanjem učiteljevih navodil. Pa vendar glede na oceno uspešnosti UPP lahko sklepamo, da so učitelji te težave dokaj dobro reševali, saj je le dobra desetina učiteljev poročala, da UPP sploh niso bili uspešni. Pri samooceni usposobljenosti učiteljev za poučevanje UPP le slaba polovica učiteljev ocenjuje, da ni usposobljena za poučevanja UPP, medtem ko dobri dve petini poročata, da so usposobljeni za poučevanje nekaterih skupin UPP. Po oceni učiteljev je v procesu glasbenega izobraževanja UPP najbolj pomembna učiteljeva pripravljenost za poučevanje UPP, šele nato pa znanje s področja specialne metodike in kakovostna pedagoško-andragoška usposobljenost učitelja. Posebej je treba omeniti, da je več kot dve tretjini učiteljev prepričanih, da bi dodatna strokovna usposabljanja vplivala na pripravljenost poučevanja UPP. Slaba polovica učiteljev se je strinjala s trditvijo, da so UPP lahko vključeni tudi v javne GŠ oziroma šole s koncesijo, čeprav je bilo nekajkrat izraženo, da pri vključevanju UPP težavo lahko predstavljajo učni načrti. Še posebej pomembne so ugotovitve kvalitativnega dela raziskave, ki na podlagi intervjujev z učenci kažejo, da se v GŠ večinoma dobro počutijo, očitno pa k temu nemalo prispeva dober odnos z učiteljem in sposobnost slednjega, da prilagaja pedagoško delo. Učitelji poročajo, da se metode poučevanja pri preučevanih UPP bistveno ne razlikujejo od tistih, ki jih učitelj uporablja pri poučevanju učencev, ki posebnih potreb nimajo, prav tako pa se tudi težave proučevanih treh UPP niso bistveno razlikovale od tistih, ki jih učitelji prepoznavajo pri poučevanju učencev, ki posebnih potreb nimajo. Na področju glasbenega izobraževanja starši od učiteljev pričakujejo predvsem, da imajo do njihovih otrok jasna pričakovanja in jih znajo motivirati, cilje glasbenega izobraževanja pa prepoznavajo predvsem v splošni razgledanosti, gradnji osebnosti in razvoju delovnih navad. Še posebej pomembna pa je ugotovitev, da so izkušnje učiteljev pokazale, da so za glasbeni napredek ključnega pomena predvsem učenčeva motivacija in njegove delovne navade. Music education for students with special needs is an area that has not been given much attention in Slovenia thus far. The aim of the doctoral dissertation is to present the argumentation, supported by research findings, of the necessity of enabling basic music education in music schools (hereinafter referred to as MS) for students with special needs (hereinafter referred to as SEN students), the drafting of a proposal for the necessary changes in the field of legislation, education of future and already employed teachers in MS, the possibility of systemic changes in the field of teacher professional promotion, specific adjustments of the educational process according to the needs of various groups of SEN students, and greater opportunities for inclusion and participation of SEN students in MS across Slovenia. Although art has a great significance both in the life of an individual and the society as a whole, it is often overlooked in the field of education therefore, a lot of attention is paid to the arguments for the inclusion of art in education in the introductory chapter of the theoretical part. Since the underlying question of this doctoral dissertation is the music education of SEN students, special attention is paid to musical art. Music has always played an important role in people's lives, hence a brief overview of the importance of musical art in different historical periods is presented, followed by the discussion of certain musical-pedagogical concepts (Dalcroze, Willems, Suzuki, Orff, Kodaly, Bašić, Gordon), and music lessons in Slovenian elementary schools and MS. The analysis of internationally binding and national formal documents facilitated the identification of legal arguments for the music education of SEN students, and a lot of attention is devoted to pedagogical arguments derived mainly from the complex concept of inclusiveness. Despite some convincing arguments that SEN students should also be given the possibility of music education, the research points to the key role of attitudes, prejudices, and stereotypes that may be raised by principals and teachers in the process of involving SEN students into MS. Although SEN students are much less often mentioned in MS compared to elementary schools, it is important to be well acquainted with the basic characteristics of individual groups of SEN students in order to carry out quality teaching work in MS, especially the characteristics of learning and teaching. Therefore, various strategies of music teaching (instruments, notation), which could be helpful for teachers in MS, are presented. In the empirical part of the research, questions and hypotheses are presented. Qualitative and quantitative research methods have been used, and the data were collected with questionnaires administered to a representative sample of principals and teachers from Slovenian MS, and by means of semi-structured interviews with three SEN students, their parents, and teachers. The results of the research showed that the majority of principals somewhat unexpectedly recognize the "co-shaping of the personality and planned improvement of the music education of the population" as the most important goal rather than the aim to "discover and develop musical and dance talent". The majority of school principals and teachers estimate that the musical talent is conditioned by a student's disorder or deficit therefore, the assessment made by principals and teachers that students with speech-language disorders would be the easiest to include in MS, while deaf and hard of hearing students would be the most difficult to include, is not surprising. The vast majority of principals and teachers expressed doubts regarding the entrance examination criteria in terms of recognizing the musical talent, as well as the doubt that the result of an entrance examination is a sufficient criterion for enrolment in MS. The obtained data on the number of all students in MS and, in particular, the number of SEN students in MS, indicate that a quarter of the principals report that there are no SEN students in their MS, therefore, the calculated share of SEN students in Slovenian MS is very low, amounting to only 0,25 % of all students included in the MS. From the perspective of experience with teaching SEN students, the data are consistent with the established low share of SEN students in MS, as only just over two fifths of the teachers and just under a half of the principals have this type of experience. One of the most important findings of teachers that have experience with teaching SEN students is that, according to a good third of these teachers, the experience contributed to personal growth, and more than a third emphasized that the experience of teaching SEN students contributed to professional development, as they learned new approaches to teaching and became more flexible. Three-quarters of the teachers with this kind of teaching experience reported that they had problems with SEN students in musical teaching they observed the most common problems with reading the notation, unwillingness and poor concentration, weaker motor skills, poorer understanding of music content, and poorer understanding of the teacher's instructions. However, according to the assessment of the performance of SEN students, we can conclude that teachers were quite good at solving these problems, as only just over a tenth of the teachers reported that the SEN students were not successful at all. The self-assessment of the teachers' SEN students teaching skills is surprising as well, as only half of them think that they are not qualified to teach SEN students, and two-fifths of them report that they are qualified to teach some groups of SEN students. It is especially striking to note that, according to the teachers' assessment, the teacher's willingness to teach SEN students is the most important in the process of music education of SEN students, followed by the knowledge in the field of special didactics and the teacher’s qualitative pedagogical and andragogical qualifications. In particular, it should be emphasized that more than two thirds of teachers are convinced that additional professional training would influence the willingness to teach SEN students. It is surprising, however, that almost half of the teachers agreed with the assertion that SEN students can also be included in public music schools or schools with concession, although it has often been perceived that curriculum design can pose a problem when integrating SEN students. Of particular importance are the findings of the qualitative part of the research which, based on interviews with students, reveal that most of them feel good at MS, however, a good student-teacher relationship and the teacher’s ability to adapt his pedagogical work obviously contribute significantly to the wellbeing at MS. Teachers report that the methods used when teaching SEN students are not significantly different from those used in teaching students who do not have special needs, and the difficulties of the three SEN students included in the study did not differ significantly from those identified by teachers in teaching students who do not have special needs. With regards to music education, parents expect teachers to have clearly defined expectations from their children and to be able to motivate them, while the goals of music education, according to them, primarily include the development of general knowledge, personal development, and the formation of work ethic. Another crucial finding is the fact that, according to the teachers' experience, the development of musical skills is primarily dependent upon the students’ work ethic and motivation.

Namen magistrske naloge je bil raziskati in ugotoviti, v kolikšni meri in na kakšen način se učitelji, ki poučujejo tuji jezik v osnovni šoli, poslužujejo konstruktivističnih pristopov poučevanja pri svojih urah. Prav tako je namen ugotoviti, kako dobro učitelji, ki poučujejo tuji jezik v osnovni šoli, poznajo konstruktivistične pristope in kolikokrat se jih poslužujejo. V raziskavi so sodelovali učitelji, ki poučujejo tuji jezik na različnih osnovnih šolah po Sloveniji. Skupaj je sodelovalo 102 učiteljev vseh treh vzgojno-izobraževalnih obdobij. Uporabili smo deskriptivno in kavzalno neeksperimentalno metodo empiričnega pedagoškega raziskovanja. Podatke smo pridobili s pomočjo anonimne spletne ankete in jih obdelali s statističnim programom SPSS, rezultate pa prikazali tabelarično. Uporabili smo naslednje metode: frekvenčno distribucijo (f, f %), osnovno deskriptivno statistiko (aritmetična sredina), Hi-kvadrat preizkus hipoteze neodvisnosti, Kruskal-Wallis preizkus in kategorizacijo vprašanj odprtega tipa. Ugotovili smo, da je konstruktivistični pristop poučevanja pri pouku tujega jezika v osnovni šoli dokaj dobro sprejet med učitelji. Zavedajo se, da omenjeni pristop ponuja veliko različnih dejavnosti, ki učencem omogočijo boljše znanje, razvoj znanja, kreativnost in samostojnost pri učenju. Pa vendar so rezultati pokazali, da učitelji ne vključujejo konstruktivističnega pristopa v pouk redno, ampak samo občasno. Kot razloge so navedli prenatrpan urnik in učni načrt, pri katerem je težko vsakodnevno uporabljati raznolik pristop. Ugotovili smo, da ni bistvenih statistično značilnih razlik v uporabi in poznavanju konstruktivističnega pristopa glede na vzgojno-izobraževalno obdobje ter na delovno dobo učiteljev. The purpose of this master's thesis was to research and determine to what extent and in what way teachers, who teach a foreign language in a primary school, use constructivist teaching approaches in their classes. The purpose was also to find out how well teachers who teach a foreign language in a primary school are familiar with constructivist approaches and how often they use them. The study involved teachers who teach a foreign language in various primary schools in Slovenia. Altogether 102 teachers from all three educational periods participated. We used descriptive and causal non-experimental methods of empirical pedagogical research. We obtained the data using an anonymous online questionnaire. We processed them with the SPSS statistical program, and the results were presented in tables. We used the following methods: frequency distribution of variables (f, f %), basic descriptive statistics (arithmetic mean), Hi-square test of independence hypothesis, a Kruskal-Wallis test and categorization of open-ended questions. We established that the constructivist approach in foreign language teaching in primary schools is well received by teachers. Teachers know that the approach offers many different activities that enable students to gain better knowledge, develop creativity and autonomy of learning. However, the results show that teachers do not regularly use the constructivist approach in the class, only occasionally. As a reason, they mentioned an overfilled schedule and a curriculum that made it difficult to apply a diversified approach on a daily basis. We found no statistically significant differences in the use and knowledge of the constructivist approach based on work experience of the teachers and the educational period.

Magistrsko nalogo Raziskovalne škatle: študija primera v tretjem razredu pri pouku Spoznavanja okolja (gozdne živali) sestavljajo tri med seboj povezane celote – teoretični, empirični in praktični del. V teoretičnem delu je podrobneje opredeljen trajnostni razvoj (s poudarkom na sonaravnem bivanju), opredeljene so psihofizične lastnosti tretješolcev (nanje je vezan raziskovalni problem) in učni predmet spoznavanje okolja (izpostavljeno je raziskovalno delo pri naravoslovnih vsebinah). V empiričnem delu so predstavljeni izsledki pedagoškega eksperimenta (vzorec predstavlja 23 učencev tretjega razreda), pri katerem je bilo ugotovljeno, da uporaba raziskovalnih škatel pozitivno vpliva na različne vidike znanja učencev, predvsem na uzaveščenost znanja. V praktičnem delu magistrske naloge so pridane natančne učne priprave, opisan je potek dela in zapisana je evalvacija narejenega. The master thesis named The discovery boxes: case study in the third grade subject Environment Study (forest animals) consists of three interconnected entireties – theoretical, empirical and practical part. In the theoretical part there is a detailed definition of sustainable development (with emphasis on sustainable living), psychophysical characteristics of third-graders (the research problem is attached to them), and Science subject (research work with science content is exposed). In the empirical part there is a presentation of the results of a pedagogical experiment (the sample is presented by 23 third-grade pupils), which found that research boxes have a positive influence on different aspects of pupils` knowledge, especially their awareness of knowledge. The practical part of the master thesis contains detailed lesson plans, a description of the workflow and the evaluation.

Kaj sploh je odnos do predmeta, kakšne tipe odnosa poznamo, kaj vse vpliva na odnos in kako učenčev odnos do predmeta vpliva na njegovo/njeno odločitev o nadaljnjem študiju? Vse to so bila raziskovalna vprašanja, na katera smo iskali odgovore. Na odnos do predmeta lahko vplivajo številni dejavniki, kot so npr.: kontekst in težavnost učne vsebine, kakovost poučevanja (učne strategije ipd.), pred-adolescentne izkušnje, vpliv staršev, motivacija in tesnoba. Na osnovi 270 izpolnjenih vprašalnikov, pridobljenih od učencev iz devetih osnovnih šol v Sloveniji, lahko izpeljemo posamezne ugotovitve. Ugotavljamo, da biologija ni med najbolj priljubljenimi šolskimi predmeti in je redko predmet izbire za nadaljnji študij. Iz te raziskave ne moremo izpeljati trdnih zaključkov, kateri dejavniki so ključni za razvoj odnosa učencev do predmeta biologija. Ugotavljamo pa, da se vpliv staršev in sovrstnikov v naši raziskavi ni izkazal za temeljni vzrok za razvoj pozitivnega ali negativnega odnosa do biologije. Med najpomembnejšimi dejavniki je dojemanje težavnosti predmeta. Učenci predmet biologija dojemajo kot zanimiv in ne težak predmet. Predmet se praviloma izvaja v obliki predavanj. Zelo pogosto se počutijo med samimi urami sproščeno in nimajo posebnih želja glede sprememb. What does the attitude towards a school subject signify, what are the main types of attitudes, what are the main factors that influence the attitude towards a school subject and how does a pupils attitude influence their decision for further studies? All these were research questions that we tried to answer. There are many factors that influence the attitude towards a subject, such as context and the difficulty of the content being learnt, learning quality (learning strategies etc.), pre-adolescent experiences, the influence of parents, motivation and anxiety. Based on 270 questionnaires gathered from pupils from nine different primary schools in Slovenia, we derived some conclusions. Biology is not often chosen as the favourite subject and is rarely chosen for further study. Based on our research we cannot firmly conclude which factors are the key to the development of a pupils’ attitude towards Biology. We can only say for sure, that the influence of parents and peers did not show as significant for the development of a positive or negative attitude towards Biology in our research. The basic factor is pupils’ perception of the difficulty of the subject. Most pupils perceive Biology as interesting and not too hard. Biology is mostly thought through lectures. Very often pupils feel relaxed during school hours of Biology and do not show any special wishes for changes during their classes of Biology.

V diplomskem delu so teoretično opredeljene didaktične strategije, povzete po različnih avtorjih. Poudarek je na opredelitvi didaktičnih strategij pri pouku zgodnjega družboslovnega pouka. Poleg že dobro znanih strategij (kot na primer predavanje, diskusija, demonstracija) so povzete tudi takšne, ki poudarjajo učenje različnih vsebin, ki razvijajo ne le intelektualne, pač pa tudi telesne, čustvene in duhovne razsežnosti posameznika (na primer čustvena inteligenca, kritično mišljenje, reševanje problemov itd.). Namen diplomskega dela je bil ugotoviti ali so didaktične strategije pri pouku zgodnjega družboslovnega pouka drugačne od splošnih didaktičnih strategij. Rezultat je, da je nemogoče sestaviti popoln seznam pomembnih strategij, saj jih je potrebno prilagajati namenu, starosti učencev in glede na predmet poučevanja. Večina avtorjev po katerih so bile povzete strategije, pišejo o enakih strategijah, nekateri med njimi jih samo drugače poimenujejo. The diploma starts with theory and definition of teaching strategies. They are summarized according to different authors. The stress is more on teaching strategies in elementary social studies. Beside well known strategies (like for example, lecture, discussion, demonstration), there are also those that stress learning of contents that develop not only intellectual but also physical, emotional and spiritual extensions of each individual (for example, emotional intelligence, critical thinking, problem solving, etc.). The purpose of the diploma was to figure out if teaching strategies in elementary social studies are different from the general teaching strategies. The result is that, it is impossible to put together a perfect list of important strategies because the strategies should be adjust to the purpose, age of students, and subject of teaching. Majority of authors, according to which the teaching strategies were summed up, write about the same teaching strategies, some of them just name them differently.