ࡱ> ,bjbjEHz z   8׽>">"N"N"N"5#5#5#6888888$i d\55#5#5#5#5#\N"N"+3+3+35#< N"N"6+35#6+3+3N"@{~yq-P"0׽ou0oJoޣD5#5#+35#5#5#5#5#\\+35#5#5#׽5#5#5#5#o5#5#5#5#5#5#5#5#5#z  :An exploratory survey on the musical competence and the initial training of primary school teachers in Italy and Croatia Ivana Paula Gortan-Carlin (1), Antonio Marzano (2) (1) Sveu iliate Jurja Dobrile u Puli - Hrvatska (2) University of Salerno - Italy Abstract In some national contexts, the musical practice in the primary school is the simple and reductive opportunity to sing in a choir or to improvise rhythmic movements. In general, in the same national contexts the curricula of study assigned to the music an important role in the training process of the person-pupil by fully recognizing its educational value. Many times, in other contexts, there is a discrepancy between what was stated in the national study curriculum (in terms of learning outcomes) and what is actually done in daily teaching practice. The reason is often the lack of specific professional skills of teachers needed to bring effective and innovative the educational and musical activities. These difficulties, in our opinion, reside in the quality of university courses that teachers have done; in particular, the problem lies in the level of consistency between the required professional qualities to be teachers and the quality offered by the universities to become teachers. Starting from this basis and from a comparison among the various training courses for future primary school teachers in Italy and Croatia, a self-assessment questionnaire was developed and delivered to these teachers with the following objectives: detecting the knowledge and the skill level in music education; analyzing and comparing the results emerged; trying to detect critical and problematic nodes; identifying and proposing specific and minimum skills that university students who are preparing to teach in primary school should develop to be able to organize, plan and implement a curriculum of studies consistent with the objectives related to the demand for training. The questionnaire consists of 20 questions divided into two parts: 6 general questions and 14 specific disciplinary questions. The survey was conducted in 2016 by involving 175 Italian teachers and 122 Croatian teachers. Some problematics emerged: the relation between the awareness and the competences owned by every teacher and the consequent effect in daily teaching activities; the idea of every teacher about the importance of the education, the contents and the professional competences that are essential in order to organize and carry out formative paths. Although the number of questionnaires is limited, the results corroborate our hypothesis: the central question lies in the initial training of teachers that, if successfully organized, can be able to promote the development of specific educational and musical skills. Keywords: Primary School, Music, Teaching, Professional Competence, Musical Competence 1. Introduction The scientific studies on music skills evolved especially in these last years, creating connections with several fields such as cognitive sciences, neuroscience, linguistics, educational psychology and music education. Music education is very complex because it encompasses musical knowledge and skills that a teacher must possess in order to be able to convey them. Music affects childrens, i.e. students, development, therefore, scientists are engaged in various areas of research. For this reason, it is interesting to research the relationship between teachers and music, their fears, doubts and desires, the aim of which is improving the process of music education or bringing the topic of teaching quality music closer to the students who are overwhelmed by music through the mass media. Furthermore, globalization introduces new opportunities, such as singing songs and learning about traditions of other countries. These opportunities have already been used in music, but nowadays we are becoming increasingly aware of these possibilities because greater attention is being paid to the tradition of ones native region. Bryan Burton and Peter Dunbar-Hall (2002) state that musical diversity has become standard in music classrooms, along with the need to examine cultural contexts of music together with all the political and social consequences. Anita Gergori (2016) writes about the existence of the intercultural approach to music education in elementary school, stating that students  learn about various terms such as height, strength, durability, colour, shape, etc., social concepts based on ethical and national values and global concepts based on the development of cultural sensitivity in a wider global sense. (...) is permeated by the contents which are related to exploring ones own traditions and traditions of other nations (Gergori, 2016, pp. 33-34). Peter A. de Vries (2015) conducted a case study in an Australian school in which he investigated the approach of primary school teachers teaching music. The focus is the provision of music education where a music specialist is not employed to teach music. He states that primary school teachers mostly sung with their students. In Croatia, since the academic year 2006/2007, listening and introduction to music have been the only mandatory fields in music education. Other teaching areas are variable, i.e. the teacher selects the area according to the psychological and cultural-aesthetic principle. Although lower grade teachers have a positive opinion about listening to music, they usually opt for the area of singing as the central class activity (`uletni-Begi, 2016). Vries (2015) states that in the state of Queensland, for example, nearly 90% of public primary schools employ a music specialist, yet in other states elementary school teachers generally have responsibility for teaching music. In Croatia, primary school teachers teach music in the first three grades of primary school, they rarely teach music to the fourth-graders because in the fourth grade the subject is often taught by a music specialist (professor of music culture or Master of Music Pedagogy, who then teaches music culture until the end of primary education). Elinor Hardcastle, Stephanie Pitts and Jos Luis Arostegui (2016) studied the differences in music education in England and Spain. They explored the topics of music in the lives of children, music in classrooms, musical ambitions and the value of music, and analyzed how the music presented through school plans and programs served children in different environments. It is interesting that teachers in England estimate that 30 to 40 minutes of music per week is a satisfactory amount of time for music education, while Spanish teachers believe that one hour is not enough time for teaching music. The same opinion is prevalent in Croatia, where, for example, during the conferences it has been pointed out that one hour of music culture per week is not enough time for a quality music education. The possibility of extending hours of music education is explored by Gortan-Carlin and Radi (2016) within the Programme of Cross-Curricular and Interdisciplinary Content of Citizenship Education in lower grades of primary school, and this option is also available in higher grades. Besides the areas of singing and listening, the Croatian curriculum envisaged the area of playing. Playing is limited to the rhythmic accompaniment of rhymes and songs because of the lack of time allotted to music education. Commenting on the fourth and final field, the area of musical creativity, Sabina Vidulin (2015) emphasizes the importance of implementation of the activities of musical creativity in primary education. In lower grades of primary school, music education introduces creative work to students who possess minimal musical skills. Therefore, we cannot talk about pronounced originality and quality. But it is up to the teacher to create favourable learning conditions conducive to creative thinking and creative expression because it is necessary to create conditions, methods and contents that will endorse students creativity. The question is: does the teacher feel ready to implement and realize this activity? (Vidulin, 2015, p. 22). The introduction of musical education in primary school in Italy started in 1985 when the program lines (D.P.R. of 12/02/1985) defined a first formalization of it. As the years go, the music became an essential element of the study curriculum. The programme indicated three specific areas of activities: the exploration (perception and comprehension), the production (also with the introduction of the conventional music note code) and the listening. Despite it represents the introduction of anew subject, it did not require the presence of teachers with specific musical competences. The following governmental documents (D.L. of 19/02/2004, n. 59; D.M. of 31/07/2007; D.M. of 16/11/2012) confirmed the formative importance of doing music underling the quality of cognitive processes involved and activated in this activity, but teachers without specific competences may still teach the music. In addition, in Italian school, the considerations on the educational effectiveness of the formative music activities often improvised and based more on goodwill than on a clear teaching programme underline the differences between the ministerial program lines and the real curriculum. In fact, a recent Italian study (Marzano, Notti, 2007) has underlined the absence of correspondence between students real learning and what is expected to be realized according to the current programmes. The main problem to solve concerns the training of teachers in order to make them able to execute this task. Sansuini, date back forty years ago, talking about primary school, affirmed that the problem of music education, also in a primary school, can be solved only through a systematic and generalized employment of teachers specifically trained (Sansuini, 1978) but, in Italy, the introduction of the degree course in Primary Education Sciences for the training of primary school teachers has been activated since 1999 (D.M of 26/05/1988). Under this legislation, this degree constituted a title enabling for teaching in kindergarten and primary school. The course was intended for a full basic training of teachers. The curriculum of the course (through the theoretical teaching, the laboratory and the training activities) aimed to form a competent teacher profile on the pedagogical-didactic program, related to childhood knowledge and its processes of growth and development, the teaching disciplines and the teaching methodologies related to them. The four years degree course was divided into lessons (3.5 credits for modules of 30 hours), laboratory works (24 credits in four years), internship activities (48 credits in four years). It was expected a "Music Education" module (30 lessons) that, in some universities, however, was optional. In 2011 (D.M. of 10/09/2010) a new degree course in Primary Education Sciences has been activated (the first graduated came out in June of 2016). It is five years long and it includes Musical education (8 credits). No laboratory works are considered. Since 1985 (with the introduction to musical education in primary school) an incongruent problem had emerged and it is still considered as such: the introduction of a professional figure owning specific competences has not been taken into account for musical education at primary school. In Croatia, secondary teaching schools were revoked according to the law from the 7th of July 1960 and teacher training colleges were established. From 1961 to 1963 14 teaching academies for the education of primary school teachers were established (Mo ini et al. 2016, p. 57, by: Strugar et al., 2002, p. 102). Music has been an integral part of a teacher's education from the very start. At the end of the 70s the two-year teacher training colleges gradually grew into education academies for more qualified teachers up to 1994. During the two-year study, the course music education methodology was held for two hours during three semesters. In accordance with other legal changes that independent Croatia had to make to match its educational system to the European system, the two-year professional study for primary school teaching had been transformed into a four-year university study in 1994. This system functioned until the academic year of 1998/99 when the education of teachers and educators became a matter of teaching universities, founded by government decree, in form of a four-year study until 2005. The meeting of The National Council for Higher Education held on the 2nd of March 2005 brought forward the Principles and recommendations for the organization of teaching studies in the Republic of Croatia which began the process of ''returning'' teaching studies to an academic level alongside the integration of undergraduate and graduate degrees. (Mo ini et al., 2016, p. 58) Nowadays music courses at Teacher's Colleges in Croatia vary according to the number of hours and the number of courses. The common courses are Music, Playing music or Music practicum and Music methodology while they differ in: Choir singing, Music auditorium, Music theory, Children's music creativity, Music workshops, Extracurricular music activities and Music writing and playing. The goal is that students can apply the acquired musical knowledge and skills in the field of singing, playing, listening and music-making at the end of their studies. The curriculum for primary schools (2006) indicates that music is a very important part of human culture and that it must have its place in general education. Music teaching is pervaded by two fundamental principles: the psychological and cultural-aesthetic. The psychological principle takes into account the fact that students generally love music and that they would want to actively engage in singing and playing, while the cultural-aesthetic principle assumes that teaching music should prepare pupils to be competent music culture consumers. Music in lower grades, from first to third grade, is taught by their grade teachers and from the fourth grade onwards music culture is taught by professors of music culture (subject teachers). In the lower elementary school grades music is an ideal area to strongly encourage positive emotions, a sense of belonging, unity and tolerance. The curriculum emphasizes: Children in class should sing, listen to selected music and play (rhythm to mimic the teachers, dance, move to the music, improvise, play etc.). Teaching music culture puts the student's musical activity in the centre of attention. The act of singing, playing (any good and appropriate song) and listening (any good and appropriate song), on the spot, experiencing and learning music, enriches the students' emotional world and sharpens their artistic sensibility. According to the Curriculum The program of music teaching, in the first three grades of primary school, is based on the musical areas of singing, playing, listening to music and musical creativity. Singing develops a sense of accurate intonation and rhythm, musical memory and self-confidence. Singing means continuously performing songs without the compulsory memorization of texts. Playing music develops a sense of rhythm, meter, precise coordination and cooperation. Listening to music develops the ability of auditory concentration, specification of hearing (the ability to recognize sounds and colors of different voices and instruments), analyzing works and establishes the basic aesthetic criteria for the evaluation of music. Musical creativity sharpens individual musical abilities (intonation, rhythm), develops sensibility for music, encourages imaginative musical expression and self-confidence in presenting new ideas. Monitoring and evaluation should be adjusted to the individual development of musical abilities in pupils, after the established initial state at the beginning of the school year and of the final state at the end of the school year. During the first three grades students should: notice and distinguish pitch/high and low pitch / and the duration of the pitch/ long and short pitches; distinguish and determine the dynamics of music/quiet, loud / and determine the pace of the song/ slow, moderate, fast; develop intonation and rhythmic skills; develop musical memory; recognize and auditory distinguish vocal, instrumental and vocal-instrumental music; recognize and distinguish interpretative band music / the sound of individual instruments at the level of recognition; develop musical expression; develop sound curiosity and musical creativity; enrich the emotional world and artistic sensibility; develop musical tastes while establishing the criteria for critical and aesthetic music assessment (MZOS, 2006, p. 6770). 2. Method Starting from this basis, a self-assessment questionnaire was developed to be delivered to these teachers with the following objectives: detecting the knowledge and skill level in music education; analyzing and comparing the results emerged; trying to detect critical and problematic nodes; identify and propose specific and minimum skills that university students who are preparing to teach in primary school should develop to be able to organize, plan and implement a curriculum of studies consistent with the objectives related to the demand for training. We utilized and in part changed a questionnaire used and validated in an Italian research of 2012 (Marzano, Giordano, Tammaro). The new questionnaire consists of 20 questions divided in two parts: Six general questions: One contingency question; Four closed-ended questions (four ordinal levels: Not at all - A little - Quite a lot - Very much); One open-ended question. Fourteen disciplinary questions: Specific questions with four ordinal levels (Not at all - A little - Quite a lot - Very much). The survey was conducted in 2016 by involving 175 Italian teachers and 122 Croatian teachers (accidental sample). The instructions were provided in a written form even if they were also read in an oral form; before the filling of the questionnaire (in about 20 minutes), we also communicated the goals of our research and, in some cases, we also provided further details on the task they had to execute. In order to avoid the so-called pseudo-options, the questionnaire contained the answer I dont know. We introduce the results deriving from the statistical analysis of the answers given by the teachers in the Section A (General Area) concerning: The possession of specific qualifications in the field of music (1); The importance of acquiring particular competences on teaching music in primary school (2); The observance of the objects and contents specified in the music programs of primary school (3); The observance of the points specified in the teaching programs concerning music activities (4); The use of specific marking tools to verify the learning abilities (5). Almost all the Italian teachers (168 teachers, 96%) do not have specific qualifications in the field of music (conservatory qualification, post-lauream specializations, etc.). The remaining teachers (7 teachers, 4%) have some music qualification. The situation of Croatian teachers is a little better. 21 teachers (17,2%) have a music qualification while 101 teachers (82,8%) do not have any specific qualifications in the field of music. The following table (Tab. 1) presents the summary of the answers (from 2 to 5) related to the questions we proposed. Not at allA littleQuite a lotVery muchI dont knowItalian teachers23.4 (6)10.9 (19)51.4 (90)33.2 (58)1.1 (2)30.6 (1)1.7 (3)11.4 (20)70,9 (124)15.4 (27)41.1 (2)8.0 (14)46.9 (82)39.4 (69)4.6 (8)516.1 (28)33.1 (58)45.1 (79)4.0 (7)1.7 (3)Croatian teachers2-15.6 (19)63.9 (78)18.0 (22)2.5 (3)31.6 (2)4.9 (6)65.6 (80)27.9 (34)-4-4.1 (5)60.7 (74)35.2 (43)-51.6 (2)36.9 (45)55.7 (68)3.3 (4)2.5 (3) Tab. 1: General Area In the last answer, the number six of the Section A, the teachers expressed their opinion about what kind of musical knowledge and competences the pupils should have at the end of their primary school educational path. 121 Italian teachers (69.1%) gave indications while the remaining 54 (30.9%) failed to respond. The number of Croatian teachers who provided some guidance is 97 (79.5%) and only 25 (20.5%) failed to respond. The authors paid particular attention to the treatment of the answers to this question. This helped them to identify how to categorize the answers. The categories are related, in short, to three thematic areas. These areas are: the listening (e.g. pieces from the popular repertoire; soundtracks cartoons; descriptive music), the perception (e.g. discrimination of sounds, noises; environments and the soundscape; the main musical instruments), the understanding (e.g. the analysis of sound environments) and the production (e.g. musical notation; singing and knowledge on the vocal apparatus; choral singing; playing rhythmic sequences; rhythm and movement; the execution of sounds and music with the voice, the body, tools such as the triangle, the sound sticks, the tambourine; the recorder). However, there is some difference between the Italian and Croatian teachers answers. In particular, the Croatian teachers gave answers with more specific and detailed descriptions. In the following table (Tab. 2) we report the most meaningful answers given by the teachers. Italian teachersCroatian teachersListening of pieces from the popular repertoire; playing simple rhythmic sequences; musical notation; playing a musical instrument; multi-voice choruses; sound characteristics; recorder; rhythm; discrimination of sounds; recognition and execution of rhythmic sequences.Childhood and popular songs; recognition and execution of rhythmic sequences; performing alone and in groups simple vocal or instrumental tracks respecting the rhythmic-melodic contour; developing listening skills and attention; knowing the sound parameters (height, intensity, timbre); being aware of the acoustic reality and understand its different manifestations; listening to some famous songs by connecting them with the soundtracks of cartoons; recognition and discrimination of main musical instruments; execution of rhythms by the body and objects; recognition of musical notes (position and sound); listening and recognition of formal and structural features of songs; descriptive music; the recorder; knowledge and use of Orff instruments (the triangle, the sound sticks the tambourine: at least these). Tab. 2: Item 6 - meaningful answers The Section B (Disciplinary Area) concerns some specific contents of the subject and the teachers opinion on the importance of the following competences in the field of music that students should acquire after primary school: analogical and digital sound (1); the main characteristics of the sound (2); the specific elements of musical notation (3); tone, modality and tonality (4); the tonal system (5); the tempered system (6); the musical period (7); the main musical forms (8); the vocal system (9); the main rules of vocal hygiene (10); the notions of choral execution (11); the classification of musical instruments (12); the use of the recorder (13); the use of Orff instruments (14) (Cf. Marzano, Giordano, Tammaro, 2012). In the following table (Tab. 3) we report the summary of the answers given by the teachers. Not at allA littleQuite a lotVery muchI dont knowItalian teachers126.3 (46)17.1 (30)25.2 (44)10.3 (18)21.1 (37)25.1 (9)14.3 (25)47.5 (83)32.0 (56)1.1 (2)312.6 (22)36.6 (64)34.9 (61)7.3 (13)8.6 (15)443.5 (76)16.6 (29)5.1 (9)3.4 (6)31.4 (55)536.0 (63)16.0 (28)11.4 (20)2.9 (5)33.7 (59)638.3 (67)13.1 (23)9.7 (17)2.9 (5)36.0 (63)714.3 (25)38.3 (67)18.9 (33)3.4 (6)25.1(44)817.8 (31)37.7 (66)18.3 (32)7.3 (13)18.9 (33)912.6 (22)23.9 (42)34.9 (61)18.9 (33)9.7 (17)108.0 (14)17.1 (30)41.7 (73)26.9 (47)6.3 (11)1112.6 (22)16.4 (29)47.5 (83)18.9 (33)4.6 (8)1236.0 (63)24.6 (43)11.4 (20)2.9 (5)25.1 (44)135.1 (9)17.1 (30)47.5 (83)24.0 (42)6.3 (11)1436.0 (63)17.1 (30)7.5 (13)3.4 (6)36.0 (63)Croatian teachers10.8 (1)26.2 (32)52.5 (64)17.2 (21)3.3 (4)2-14.8 (18)54.9 (67)27.9 (34)2.5 (3)31.6 (2)34.4 (4240.2 (49)20.5 (25)3.3 (4)40.8 (1)15.6 (19)57.4 (70)24.6 (30)1.6 (2)50.8 (1)33.6 (41)51.6 (63)10.7 (13)3.3 (4)65.7 (7)51.6 (63)34.4 (42)4.9 (6)3.3 (4)72.5 (3)50.0 (61)37.7 (46)6.6 (8)3.3 (4)81.6 (2)29.5 (36)54.1 (66)12.3 (15)2.5 (3)93.3 (4)30.8 (37)43.3 (52)22.5 (27)-104.1 (5)38.5 (47)38.5 (47)17.2 (21)1.6 (2)1112.3 (15)55.7 (68)23.0 (28)7.4 (9)1.6 (2)120.8 (1)11.5 (14)62.3 (76)23.8 (29)1.6 (2)1321.3 (26)44.3 (54)21.3 (26)9.8 (12)3.3 (4)1414.8 (18)23.8 (29)32.0 (39)26.2 (32)3.3 (4) Tab. 3: Disciplinary Area 3. Discussion In order to facilitate the reading and analysis of the information, we have aggregated the extreme and contiguous answers (Not at all and A little; Quite a lot and Very much) of the dependant variables considered in General and Disciplinary areas (Cf. Tables 1 and 3). In the following table (Tab. 4) we report the results of General Area after their aggregation. Not at all/A littleQuite a lot/Very muchI dont knowItalian teachersCroatian teachersItalian teachersCroatian teachersItalian teachersCroatian teachers214.315.684.681.91.12.532.36.582.393.515.4-49.14.186.395.94.6-549.238.849.159.01.72.5 Tab. 4: Aggregation data - General Area By the administration of the questionnaire there were some common points on which our thoughts seem to converge. Italian and Croatian teachers underline the importance given to the specific competences useful for music teaching in primary school (2). About the observance of the objects and contents specified in the music programs of primary school (3), we detected a significant percentage (15.4%) of Italian teachers that do not provide any answer. The answers to question number 4 (the observance of the points specified in the teaching program Concerning music activities) showed a substantial agreement even if there is a gap of about 10 percentage points between Italian (86.3%) and Croatian (95.9%) teachers. The situation is worse in the case of the use of specific tools to evaluate students' learning (5%). About half of all teachers involved in the survey do not use specific marking tools to verify the learning ability. In the Following table (Tab. 5) we report the results of the aggregation date of Disciplinary Area. Not at all/A littleQuite a lot/Very muchI dont knowItalian teachersCroatian teachersItalian teachersCroatian teachersItalian teachersCroatian teachers143.427.035.569.721.13.3219.414.879.582.81.12.5349.236.142.260.78.63.3460.116.48.582.031.41.6552.034.414.362.333.73.3651.457.412.639.336.03.3752.652.522.344.325.13.3855.531.125.666.418.92.5936.534.253.865.89.7-1025.142.668.655.76.31.61129.068.066.430.34.61.61260.612.314.386.125.11.61322.265.671.531.16.33.31453.138.510.958.236.03.3 Tab. 5: Aggregation data - Disciplinary Area The answers of Section B show more marked differences. First, it increases the Italian teachers percentage that answered I dont know. In these cases, we detected many divergent opinions (items 1, 4, 5, 6, 7, 8, 12, 14). It raises some doubts: are not very important the subjects considered? In this case, are these subjects not very important or not very known? The educational activities of the Italian teachers are related to their musical competences. In fact, there is a high percentage of them thinking that it is very important to acquire specific competences for the music teaching in primary school (Section A). It is necessary to fill the gap in the individual professional training. These considerations are coherent with the results concerning the analysis of the answers given in the Section B. In fact, we can observe a substantial discrepancy between knowledge and musical competences considered as important by the teachers (the competences that students have to acquire after the primary school) and the specific content of the subjects that are formative prescriptive standards. Two other factors seem to confirm these considerations: the importance given to use of the recorder (71.5%) and, contrariwise, the low importance to use of Orff instruments (10.9%). The teachers prefers allowing their students playing the recorder because they remember when they were students and played it instead they have acquired new competences on it during the university studies. In the second case, the use of Orff instruments presupposes specific competence in music. Anyhow, these questions could be an incentive to start new researches. About the Croatian teachers opinions, instead, it is not important to propose activities and/or contents about the tempered system (57.4%), the notions of choral execution (68%) and the use of the recorder (65.6%). They underline the importance given to the following activities and/or contents: analogical and digital sound (1), tone, modality and tonality (4), the tonal system (5), the main musical forms (8), the classification of musical instruments (12), the use of Orff instruments (14). The didactic action should be organized, even in the field of music, by proposing actions focused on the development of single functional skills aiming at the acquisition of specific musical competences. These procedures require specific professional competences in order to focus the attention on the quality of the processes rather than on the analysis of the final product. Our research has allowed us to individuate specific areas of action for the organization of an efficient university studies curriculum for music teaching in primary school. Italian and Croatian teachers opinions converge on the importance of the following contents: the main characteristics of the sound (2); the specific elements of musical notation (3); the vocal system (9); the main rules of vocal hygiene (10). Our proposal considers and supplements these conclusions. We propose a possible formative itinerary concerning four areas of competences: natural, analogical and digital sound; music grammar; music morphology; human voice and music instruments. The knowledge on the natural and analogic sounds comes from the exploration activities aiming to find the sounds and study their features. It is impossible to talk about these subjects using only general information. Specific knowledge and competences are fundamental. A possible university study curriculum for music teaching could include the analysis of physical features of sounds, the peculiarity of analogic signals and their conversion into digital sounds in order to provide an exhaustive picture of the subjects concerning acoustic perception and production. We can consider, for instance, how it is useful to organize an activity aiming at the exploration of the environment in terms of sounds. The exploration of music mechanisms, its language, can be useful to understand the message that it contains. For Krolyi (1965) music is art and science together. The formative process concerning the world of sounds should develop progressively the ability to interpret in a graphic way the production of sounds until to reach an operative knowledge of music notation. Anyway, the music is not only a conventional graphic notation. Especially in the first years of primary school, it is important to introduce graphic signs related to students experience and creativity. However, in the following years, the study of the modality and the tonality means to enter into the mechanisms of music and to realize a direct form of music experience concerning song as well as instrumental execution. The basic elements of the music grammar represent a preliminary and indispensable step to introduce the analysis of syntactic and morphological forms: the first ones are at bottom of the process of recognition of the rules that connect the different parts of music language; the second ones concern the identification of the different categories of music structure. Furthermore, both the forms are the basis for the comprehension of the hermeneutic conventions and, so, the basis of the attribution of meaning to the realization of expressive structures. Without any form of organization, the music would be an amorphous mass, unintelligible such as a text written without punctuation or a disconnected conversation (Schnberg, 1967). For Hodeir (1969, pp. 11-14), it is not possible to follow a work well in its execution if we ignore its structure. These competences concern music communication, cognitive aspects and the relation between composition, production and listening. The presence of points of reference and elements useful to individuate the internal coherence and the constructive logic of a piece are propaedeutic operations to its comprehension. The voice and the body are the most natural and immediate instruments that the students own to produce music or indistinct sounds and rhythmic sequences. Some interesting examples of didactic activities useful from the point of view of learning are the analysis of the sound production, the physiology of speech organ, the execution of songs related to gesture, rhythm and movement of the body, the exploration of the different kinds of use of tone colour. These activities require specific competences. The music language is also characterised by sounds produced by music instruments. The Orff instruments aims at introducing students in the operative area of doing music together. It happens around three areas: exploration, production and listening (Colwell, Richiardson, 2002). The exploration of the sounds in the environment has to provide the instruments of analysis and decoding of the message transmitted by music. This exploration facilitates a conscious fruition of listening activity which is useful to play music and so to produce communicative and expressive messages. 4. Conclusions The main purpose of our research is the individuation of basic and specific competences that students of the degree course in Primary Education Sciences should acquire (or develop) in order to organize a correct and adequate studies curriculum. Starting from a comparison among the various training courses for future primary school teachers in Italy and Croatia, a self-assessment questionnaire was developed and delivered to these teachers. The data analysis highlighted some discrepancies between the ministerial program lines and the real curriculum and the absence of a correspondence between what the students learn and what they expect according to the Educational Programs (especially in Italian primary schools). Although the number of questionnaires is limited, the results corroborate our hypothesis: the central question lies in the initial training of teachers that, if successfully organized, can be able to promote the development of specific educational and musical skills. The research confirms that the importance of specific contents implies the need of introducing changes to university study programmes. In their answers to the open-ended question in the questionnaire, some teachers clearly expressed their positions. For example, they stated that they do not feel independent because they did not receive quality training and that they feel that the students should develop a higher level of musical creativity. The data reveal which are the opportunities that teachers use and consider important for teaching contents and skills. However, the data also show which elements the teachers consider irrelevant. The question is whether, for example, playing Orff instruments really is irrelevant or whether the teachers avoid using them in class due to their own lack of competence. In Croatian primary schools, the recorder is commonly introduced in the fourth grade. However, in Slovenia it is already used for methodical purposes in preschool institutions. All faculties of Croatian teacher education have in their plans and programmes a course dedicated to playing an instrument. This course usually includes learning to play the piano or synthesizer. Furthermore, there are not courses dedicated to playing an instrument in Italy. Is it necessary to revise the study programmes? This remains a question for future researches. The quality of future teachers learning depends on the quality of the university formative offer. The university studies curriculum should provide tools and basic knowledge to future teachers in order to develop and strengthen their specific competences linked to the planning and the execution of formative initiatives concerning the organized sound and aiming at developing specific abilities in their future students. The conducted research suggests that it is necessary to revise the plan by including the aforementioned four guidelines of competences that students, future teachers, need to acquire in order to be able to act in the fields of singing, playing, listening to music and musical creativity within their classes. References Burton, B., Dunbar-Hall, P. (2016). Teaching About and Through Native American Musics: An Excursion into the Cultural Politics of Music Education. Research Studies in Music Education. Vol 19, Issue 1, pp. 56-64. First published date: June-29-2016. DOI: https://doi.org/10.1177/1321103X020190010701. Colwell, R., Richiardson, C. (2002). The new handbook of research on music teaching and learning. Oxford: Oxford University Press. Gergori, A. (2016) Interkulturalni pristup nastavi Glazbene culture u osnovnoj akoli. Jezik, umjetnosti i tradicija u graanskom odgoju i obrazovanju. Gortan-Carlin, Ivana Paula; Ban i upi, Ivana (eds.). Pula: Sveu iliate Jurja Dobrile u Puli: Fakultet za odgojne i obrazovne znanosti, 2016, pp. 21-37. Gortan-Carlin, I.P., Radi, B. (2016). Music Education in the Programme of Cross-Curricular and Interdisciplinary Content of Citizenship Education in Lower Grades of Primary School. Jezik, umjetnosti i tradicija u Graanskom odgoju i obrazovanju. Gortan-Carlin, I.P., Ban i upi, I. (ur.). Pula: Sveu iliate Jurja Dobrile u Puli: Fakultet za odgojne i obrazovne znanosti, 2016, pp. 39-51. Hardcastle, E., Pitts, S., Arstegui, J.L. (2016). A cross-cultural comparison of music education experiences and ambitions in two Spanish and English primary schools. International Journal of Music Education. First published date: September-22-2016. DOI: https://doi.org/10.1177/0255761416667471. Hodeir, A. (1969). Les formes de la musique. Paris: Presses Universitaires de France. Krolyi, O. (1965). Preface at Introducing Music. Harmondsworth: Penguin Books. Marzano, A., Notti A., M. (2007). Valutare le abilit musicali nella scuola primaria. Catanzaro (IT): Rubbettino Editore. Marzano A., Giordano G., Tammaro R. (2012). The initial training of teachers for music teaching in primary school. In AA.VV. ICERI2012 Proceedings, Valencia, IATED, pp.140-148. Ministarstvo znanosti, obrazovanja i sporta (2006.) Nastavni plan i program za osnovnu akolu. Narodne novine, 102/2006. Mo ini, S., Gortan-Carlin, I.P., Lazari, L. (2016). Obrazovanje u itelja u Hrvatskoj: snaga buduih generacija. International Journal Knowledge: The Power of Knowledge / Dimitrovski, R. (ur.). Skopje: IKM - Skopje, pp. 55-63. Sansuini, S. (1978). Pedagogia della musica. Milano: Feltrinelli, p. 184. Schnberg, A. (1967). Fundamentals of musical composition. London: Faber & Faber. Strugar, V. et al. (ur.) (2002). Koncepcija promjena odgojno-obrazovnog sustava u Republici Hrvatskoj: projekt. Zagreb: Ministarstvo prosvjete i porta. Dostupno na: http://www.see-educoop.net/education_in/pdf/concept_chan-cro-hrv-t02.pdf (30.07.2012). `ulenti-Begi, J. (2016). Sluaanje glazbe kao podru je otvorenoga modela/kurikuluma nastave glazbe u prvim trima razredima osnovne akole. Zbornik znanstvenih radova s Meunarodne znanstvene konferencije Globalne i lokalne perspektive pedagogije. Juki, R.$ & * , N P V X Z b ѾѾwhYwE:h/Uh6#OJQJ'h/Uh6#KH$OJPJQJ\nHtHh\h6#OJQJmHsHh\h\OJQJmHsHh\h6#OJQJmHsH/h\h6#KH$OJPJQJ\mHnHsHtHhehShe6'h6#h6#KH$OJPJQJ\nHtH$h6#6KH$OJPJQJ\nHtH*hShe6KH$OJPJQJ\nHtHh6h5mH sH h6he5mH sH X Z 123D!:J"^%*$a$gd.}?$a$gd\Lgd$a$gd$c$a$gdGm$a$gd$a$gd,H$a$gd\$a$gd($a$gdS$a$gde   `bvȽ}h]hhC1mH sH (h<heCJOJQJ^JaJmH sH hh6mH sH hhmH sH hhmH sH hh6#mH sH hhemH sH h/UmH sH h6h/UmH sH h6h tmH sH h6h t5mH sH h/Uh6#mH sH h/Uh6#OJQJh\h\OJQJ0123Dkr!mnŲ{p{e{RBR2Rh fHmH q sH hwEfHmH q sH %hu`h.}?fHmH q sH h@5h.}?mH sH hSh.}?mH sH h.}?mH sH hh5mH sH $h6h A7CJOJQJaJmH sH hGmCJOJQJaJmH sH $hY`hGmCJOJQJaJmH sH $hY`heCJOJQJaJmH sH $hY`heCJOJQJaJmH sH 'hY`he5CJOJQJaJmH sH ;<noYUV&(68:rt  T U [ }ҝhY/rfHmH q sH h.}?fHmH q sH )hu`h.}?0J&fHmH q sH h fHmH q sH hwEfHmH q sH hlfHmH q sH %hu`h.}?fHmH q sH hu`h.}?mH sH 1 !!j!k!!!!!!!!""t#v#$$q$$$$$$$$$$$%B%C%d%e%%%%/&0&G&H&Z&[&m&q&&&v'w'8(n((((윬hY/rfHmH q sH )hu`h.}?0J&fHmH q sH hwEfHmH q sH hu`h.}?mH sH h.}?fHmH q sH %hu`h.}?fHmH q sH ;(((((L)N)`))`*******)+*+-+++++,,,,i-j-----.@.A.O.ŵřʼnyʼnʼnʼnʼnʼnʼnʼnʼng\hu`h.}?mH sH #hY/r0J&fHmH q sH hV(fHmH q sH hY/rfHmH q sH hu`h.}?\mH sH h.}?fHmH q sH hwEfHmH q sH %hu`h.}?fHmH q sH )hu`h.}?0J&fHmH q sH #h.}?0J&fHmH q sH $O.T.W.X.Y.m..0000 131?111 2u2~2233F3_35464̷~sh\hQh\hFh'`h#v2mH sH h'`h;zmH sH h'`h;z6mH sH h'`h;zmH sH h Kh KmH sH h Kh;z0J5mH sH h Kh;z\mH sH h KmH sH h Kh;z6mH sH h Kh;zmH sH )hu`h.}?0J&fHmH q sH hV(fHmH q sH %hu`h.}?fHmH q sH hY/rfHmH q sH *Y.0645:1;>BHEmGmIJURVRWRbRTXUYUpU $ & Fa$gdPP$a$gdPPgd $ a$gdp$a$gdp$a$gdS$a$gd#v2$a$gd;z$a$gd.}?64(525855556666'6*6666677777778W8Z8889 999999c9l9q9s9w999999:::ɾh#v2mH sH h]7h >mH sH h >mH sH h`=ih >mH sH hSmH sH hV(mH sH h >mH sH hh >mH sH hh#v2mH sH hhmH sH h'`hmH sH h'`h'`mH sH h'`hmH sH 0:6:H:/;0;1;2;;;>;Z<\<b<d<|<<<<@@@[ABB B"B,B4BHHjIlIIIJJJJOOPP>RDRIRNRUR÷÷ïïããÛïïÓÓÓËËËËÃxxh40hpmH sH h(umH sH h40mH sH hSmH sH hjmH sH hphp6mH sH hM*mH sH hphpmH o(sH hphpmH sH hpmH sH hh#v2mH sH h >mH sH hvYh >6mH sH hvYh >mH sH -URVRWR`RaRbRTTTTTTPUWUYU]UnUoUpUqUtUUUUUUȺȯȜȜ{kYkJAhPP\mH sH h-URhPPCJaJmH sH #h-URhPP0J5CJaJmH sH h-URhPP5CJaJmH sH "h-URhPP5CJ\aJmH sH hPP5CJ\aJmH sH hPPmH sH h]hPPmH sH h_nhPPmH sH jhPP0JUmH sH hPPmH sH h6hPPmH sH h5mH sH h!kh5mH sH h_nmH sH hmH sH pUUUVV)VVVXYY\YYZ{ZZZ|\\$a$gd\Sh $ & Fa$gdPP & FgdPP$ & F ^a$gdPP $ & Fa$gdPP$a$gdPP & F^gdPP & F[$\$^gdPPUUUUUUUUVVVVV*V;VAVTVVVVVVV>XLXXXYY[Y\Y]Yـuj^j^juSuh_nhPPmH sH h_nhPP6mH sH h_nhPPmH sH h_nhPPmH sH h]hPPmH sH hPPmH sH hPPmH sH h`=ihPPmH sH h`=ihPP0JmH sH h`=ihPP5\mH sH h`=ihPP\mH sH hPPB*mH phsH h-URhPPB*mH phsH h-URhPPmH sH h-URhPP\mH sH ]YxYYYYYYZZXZYZ{Z|ZZZZZZZ[j[k[[[[[[[[[[\\\ \3\5\6\9\C\K\z\{\|\\\\\\\¸¸¸­h7h~mH sH h7h=mH sH h7hs5mH sH h7hP&1mH sH h3xhPPmH sH hPP0JmH sH h3xhPP0JmH sH h3xhPPmH sH hPPmH sH h]hPPmH sH hPPmH sH h]hPPmH sH 1\\\\\]]]]]]*]+],]=]>]@]C]E]F]G]H]¯¯¯œ‰vgv[O[O@hSh*CJaJmH sH hCJaJmH sH h ACJaJmH sH hShSCJaJmH sH %hSh*B*CJaJmH phsH %h_3"hSB*CJaJmH phsH %h_3"hG.B*CJaJmH phsH %h_3"hcB*CJaJmH phsH %h_3"h*B*CJaJmH phsH (h`9h*5B*CJaJmH phsH h7hpRmH sH h7hpmH sH \\\\]]]+] $$Ifa$gdF $7$8$H$a$gd*+],]=]7+ $$Ifa$gdFkd$$IfTF7ֈ[ &T t644 Fap<ytST=]>]@]H]R]\]f]n]sg $$Ifa$gd $$Ifa$gd' $$Ifa$gd1 $$Ifa$gdTvd $$Ifa$gd A $$Ifa$gdFPkd$$IfTF1w t644 Fap yt8 TH]L]N]O]P]R]V]X]Z][]\]^]_]`]b]d]e]f]i]k]l]m]n]o]q]t]x]y]z]ܼܜܜ||m^R^hZ CJaJmH sH hSh*CJaJmH sH hShSCJaJmH sH hB*CJaJmH phsH hCNB*CJaJmH phsH h' B*CJaJmH phsH hmB*CJaJmH phsH h1 B*CJaJmH phsH htr4B*CJaJmH phsH %hSh*B*CJaJmH phsH hTvdB*CJaJmH phsH n]o]q]y]7++ $$Ifa$gdFkd4$$IfTFֈ[ &&&T&& t644 Fap<ytSTz]{]|]]]]]]]]]]]]]]]]]]]]]]ܼܬܜ܍܁ufVFhRB*CJaJmH phsH h5:LB*CJaJmH phsH hSh*CJaJmH sH h%CJaJmH sH hZ CJaJmH sH hShSCJaJmH sH hB*CJaJmH phsH hKB*CJaJmH phsH hB*CJaJmH phsH hM|B*CJaJmH phsH %hSh*B*CJaJmH phsH hVB*CJaJmH phsH y]]]]] $$Ifa$gdF $$Ifa$gdK $$Ifa$gd $$Ifa$gdV]]]]7+ $$Ifa$gd% $$Ifa$gdFkd$$IfTFֈ[ &&&T&& t644 Fap<ytST]]]]] $$Ifa$gdF $$Ifa$gdR $$Ifa$gd5:L $$Ifa$gdV]]]]]]]]]]]]]]]]]]^^^^^^^^"^#^,^-^6^7^>^?^@^B^ܾܖ܆܆vvܾjZZZZh%B*CJaJmH phsH h]GCJaJmH sH hmB*CJaJmH phsH h*B*CJaJmH phsH hfB*CJaJmH phsH h-PCJaJmH sH hkCJaJmH sH hSh*CJaJmH sH hShSCJaJmH sH %hSh*B*CJaJmH phsH hSB*CJaJmH phsH #]]]]7+ $$Ifa$gdk $$Ifa$gdFkd~$$IfTFֈ[ &&&T&& t644 Fap<ytST]]]]^ $$Ifa$gd* $$Ifa$gdF^^^7+ $$Ifa$gdFkd$$IfTFֈ[ &&&T&& t644 Fap<ytST^^^^#^-^7^?^ $$Ifa$gdFPkd$$IfTF1w t644 Fap yt8 T?^@^B^J^R^7+++ $$Ifa$gdFkd; $$IfTF1ֈ[ &&&T&& t644 Fap<ytSTB^E^I^J^M^Q^R^V^[^\^`^e^f^g^h^i^k^l^m^t^u^~^^^^^^^^^^^^^^^^^ɹɹɹɦ{{{ɦo____h!B*CJaJmH phsH h!CJaJmH sH hIKB*CJaJmH phsH hIKCJaJmH sH hShSCJaJmH sH %hSh*B*CJaJmH phsH hSOB*CJaJmH phsH h*B*CJaJmH phsH hSh*CJaJmH sH hSOCJaJmH sH h*CJaJmH sH %R^\^f^h^i^+kd $$IfTFֈ[ &&&T&& t644 Fap<ytST $$Ifa$gdFi^k^m^u^^^^ $$Ifa$gdF^^^^^7+++ $$Ifa$gdFkd $$IfTFֈ[ &&&T&& t644 Fap<ytST^^^^ $$Ifa$gd! $$Ifa$gdF^^^^^^^^^^^^___$_-____________``N`P`U`V`[`d`i`;xl]l]l]l]l]l]l]l]l]hEKDh A7B*mH phsH h A7B*mH phsH h]h A76mH sH h A7mH sH h]h A7mH sH hpRmH sH hSh*6CJaJmH sH h8 h*CJaJmH sH hSh*CJaJmH sH hShSCJaJmH sH %hSh*B*CJaJmH phsH h*B*CJaJmH phsH $^^^^7+#$a$gd* $7$8$H$a$gd*kd$$IfTFֈ[ &&&T&& t644 Fap<ytST^^`cdddddNkd$$IfTF50 t0644 lapyth\T $$Ifa$gd0#$a$gdy$a$gd A7$a$gd\Shi`k`~```````aaaaPafagaparasauavawa~aaaaaaaaaaaaaaa䬝vvj^j^hXB*mH phsH hKB*mH phsH htLwB*mH phsH hK B*mH phsH hXhXB*mH phsH hXh(OB*mH phsH hXhK B*mH phsH  h`=ih A76B*mH phsH h%EB*mH phsH h=B*mH phsH hEKDh A7B*mH phsH h A7B*mH phsH $aaabb%haHh] aB*CJaJmH phsH h/hfmH sH h{XhfmH sH h.mH sH hi&mH sH h-mH sH hWEmH sH hch/mH sH h{XmH sH h6h60JmH sH h<mH sH h60JmH sH h<h9p0JmH sH h<hi&0JmH sH h/B*mH phsH h#wDh6mH sH h#wDh mH sH h#wDhfmH sH dddeee$e%e6e7e8eBeTeUeVejekeleeee˸˸teVteEt6h +Th~CJaJmH sH  h +Th)0JCJaJmH sH h +Th +TCJaJmH sH h +Th4CJaJmH sH h +Th CJaJmH sH h +Thh@CJaJmH sH %hEhh@B*CJaJmH phsH %hEh4B*CJaJmH phsH %hEh B*CJaJmH phsH %hEh>LfB*CJaJmH phsH %hEh*B*CJaJmH phsH haHh] aCJaJmH sH eeeeeeeeee-f.f5f8fffffggVgYggggggh hhı|p|a|a|a|a|a|aP|P|P| hbMh#wD0JCJaJmH sH hYh#wDCJaJmH sH h8CJaJmH sH hbMh#wDCJaJmH sH %hEhyB*CJaJmH phsH %hEhtB*CJaJmH phsH %hEh"jGB*CJaJmH phsH h +ThdCJaJmH sH h +Th6r CJaJmH sH h +Th4CJaJmH sH h +Th CJaJmH sH deiii6i7iolbVNFF$a$gd A7$a$gd{X $7$8$H$a$gd{Xkde$$IfTF0 t0644 lapyth\T $Ifgdc $Ifgdh\hhhhhhhhh iiiiiiiii4i6i7i;i̺ݫ~o~_O_G<hch A7mH sH h]mH sH hM*h] a6CJaJmH sH h#wDh{X6CJaJmH sH h#wDh] aCJaJmH sH h#wDh{XCJaJmH sH h#wDh{XCJaJmH sH h#wDh] aCJaJmH sH h#wDh#wDCJaJmH sH #hbMh#wD0J6CJaJmH sH  hbMh#wD0JCJaJmH sH hbMh#wDCJaJmH sH %hbMh#wDB*CJaJmH phsH ;iEiFiWikkkllll0l1lnlolplyllllllͺݦxeVGh[Y9h`CJaJmH sH h[Y9h< CJaJmH sH %h[Y9h`B*CJaJmH phsH h[Y9hnCJaJmH sH %h[Y9hnB*CJaJmH phsH hM*CJaJmH sH hnCJaJmH sH hYmH sH h[xmH sH h'>h A7mH sH h A7mH sH h A7mH sH hch A7mH sH hch A7mH sH hch A76mH sH olplqlrlsltlulvlwlxlylzllllll $$Ifa$gd_3" $7$8$H$a$gdnlll7+ $$Ifa$gd_3"kd$$IfTF7ֈ[ &T t644 Fap<yt_3"Tllllllll $$Ifa$gd $$Ifa$gd $$Ifa$gdT $$Ifa$gd_3"Pkd$$IfTF1w t644 Fap yt_3"Tlllllllllllllllmm m mmmmmmmmmmmmmm m!mⱢufuuuuh[Y9hKCJaJmH sH h[Y9hLbCJaJmH sH h[Y9h}CJaJmH sH h[Y9h!iCJaJmH sH h[Y9h0mCJaJmH sH %h[Y9h`B*CJaJmH phsH h[Y9hCJaJmH sH h[Y9h CJaJmH sH h[Y9h`CJaJmH sH h[Y9hg1CJaJmH sH !lllm7+ $$Ifa$gdT $$Ifa$gd_3"kd9$$IfTF6ֈ[ &&&T&& t644 Fap<yta,Tm mm!m)m $$Ifa$gdLb $$Ifa$gdK $$Ifa$gdT!m(m*m-m5m6m:mm?m@mDmFmHmImJmLmMmRmSmVm[m\m]m_m`mʷʤʤ~k~~XIh[Y9hMHCJaJmH sH %h[Y9hAB*CJaJmH phsH %h[Y9hv/B*CJaJmH phsH %h[Y9h\8B*CJaJmH phsH %h[Y9hB*CJaJmH phsH %h[Y9hB*CJaJmH phsH %h[Y9hQB*CJaJmH phsH %h[Y9h`B*CJaJmH phsH h[Y9h`CJaJmH sH %h[Y9hEB*CJaJmH phsH )m*m,m6m7+ $$Ifa$gdQ $$Ifa$gd_3"kd$$IfTFֈ[ &&&T&& t644 Fap<yt_3"T6m@mJmSm\m $$Ifa$gd\8 $$Ifa$gdv/ $$Ifa$gd\m]m_mim7+ $$Ifa$gdn{ $$Ifa$gd_3"kd$$IfTFֈ[ &&&T&& t644 Fap<yt_3"T`mambmcmfmgmhmjmkmmmsmtmumzm{m~mmmmmmmmmmmmmmmĵĵĦĦĄq^K%h[Y9hvB*CJaJmH phsH %h[Y9hj"VB*CJaJmH phsH %h[Y9h)B*CJaJmH phsH %h[Y9h`B*CJaJmH phsH h[Y9haCJaJmH sH h[Y9hsCJaJmH sH h[Y9h`RXCJaJmH sH h[Y9h`CJaJmH sH h[Y9h^'CJaJmH sH h[Y9hMHCJaJmH sH h[Y9hn{CJaJmH sH imsm{mmm $$Ifa$gds $$Ifa$gdn{ $$Ifa$gd`RXmmmm7+ $$Ifa$gdT $$Ifa$gd_3"kd($$IfTFֈ[ &&&T&& t644 Fap<yt_3"TmmmmmmmmmmmmmmmmmmmmmmmmƳƠ~kXEXk%h[Y9hiLB*CJaJmH phsH %h[Y9hz]7B*CJaJmH phsH %h[Y9hxB*CJaJmH phsH h[Y9h`CJaJmH sH %h[Y9h B*CJaJmH phsH %h[Y9h)B*CJaJmH phsH %h[Y9hB*CJaJmH phsH %h[Y9h`B*CJaJmH phsH %h[Y9hvB*CJaJmH phsH %h[Y9hj"VB*CJaJmH phsH mmmmm $$Ifa$gd) $$Ifa$gdT $$Ifa$gdj"Vmmmm7+ $$Ifa$gdT $$Ifa$gd_3"kd$$IfTFֈ[ &&&T&& t644 Fap<yt_3"Tmmmmm $$Ifa$gdiL $$Ifa$gdTmmmmmmmn n n nnnnnnn#n$n%n'n*nٷ٤ّ~o`Q`>%h[Y9hKB*CJaJmH phsH h[Y9hE CJaJmH sH h[Y9h:CJaJmH sH h[Y9hCJaJmH sH %h[Y9hE B*CJaJmH phsH %h[Y9hB*CJaJmH phsH %h[Y9h B*CJaJmH phsH %h[Y9h:B*CJaJmH phsH h[Y9h`CJaJmH sH %h[Y9h`B*CJaJmH phsH %h[Y9h/B*CJaJmH phsH mmmm7+ $$Ifa$gd: $$Ifa$gd_3"kdr$$IfTFֈ[ &&&T&& t644 Fap<yt_3"Tm nnn$n $$Ifa$gdE  $$Ifa$gdT$n%n'n1n7+ $$Ifa$gd $$Ifa$gd_3"kd$$IfTFֈ[ &&&T&& t644 Fap<yt_3"T*n+n0n1n:n>n?nDnEnMnNnQnRnWnXnYn[ndnenfnƳƠƳƍzkXE%h[Y9hn^B*CJaJmH phsH %h[Y9h|CZB*CJaJmH phsH h[Y9h`CJaJmH sH %h[Y9hE B*CJaJmH phsH %h[Y9hB*CJaJmH phsH %h[Y9hB*CJaJmH phsH %h[Y9h,_B*CJaJmH phsH %h[Y9h`B*CJaJmH phsH %h[Y9hKB*CJaJmH phsH %h[Y9hB*CJaJmH phsH 1n;nEnNnXn $$Ifa$gdE  $$Ifa$gd $$Ifa$gdTXnYn[nen7+ $$Ifa$gdT $$Ifa$gd_3"kd$$IfTFֈ[ &&&T&& t644 Fap<yt_3"Tfngnhninknlnnnonxnynnnnnnnnnnnnnnnnnnٳٳٳ~k~X~E~X~E~X%h[Y9hB*CJaJmH phsH %h[Y9hfj B*CJaJmH phsH %h[Y9h=eB*CJaJmH phsH %h[Y9hTB*CJaJmH phsH h[Y9h`CJaJmH sH %h[Y9h$SB*CJaJmH phsH %h[Y9h`B*CJaJmH phsH %h[Y9hn^B*CJaJmH phsH %h[Y9hJyB*CJaJmH phsH %h[Y9hbB*CJaJmH phsH enonynnn $$Ifa$gdT $$Ifa$gdbnnnn7+ $$Ifa$gdfj $$Ifa$gd_3"kda $$IfTFֈ[ &&&T&& t644 Fap<yt_3"Tnnnnn $$Ifa$gde $$Ifa$gdfj nnnnnnnnnnnnnnnnnnnnnnnnnooƳ~k~\I%h[Y9hrKB*CJaJmH phsH h[Y9h=eCJaJmH sH %h[Y9h+B*CJaJmH phsH %h[Y9hXn<B*CJaJmH phsH %h[Y9hLB*CJaJmH phsH h[Y9hTCJaJmH sH %h[Y9heB*CJaJmH phsH %h[Y9hfj B*CJaJmH phsH %h[Y9hB*CJaJmH phsH %h[Y9hTB*CJaJmH phsH nnnn7+ $$Ifa$gdT $$Ifa$gd_3"kd"$$IfTFֈ[ &&&T&& t644 Fap<yt_3"Tnnnnn $$Ifa$gdT $$Ifa$gd+nnno7+ $$Ifa$gdT $$Ifa$gd_3"kd#$$IfTFֈ[ &&&T&& t644 Fap<yt_3"Too o o ooooo"o$o'o(o)o,o3o4o=o>oGoHoQoRoZo[o\o_ohoioƳƳƤƆwwwdQƆ%h[Y9hB*CJaJmH phsH %h[Y9hT<B*CJaJmH phsH h[Y9hCJaJmH sH h[Y9hTCJaJmH sH h[Y9hoiCJaJmH sH h[Y9hrKCJaJmH sH %h[Y9hrKB*CJaJmH phsH %h[Y9hTB*CJaJmH phsH %h[Y9h3`ZB*CJaJmH phsH %h[Y9hoiB*CJaJmH phsH o ooo(o $$Ifa$gdoi $$Ifa$gdT(o)o,o4o7+ $$Ifa$gdT $$Ifa$gd_3"kdP%$$IfTFֈ[ &&&T&& t644 Fap<yt_3"T4o>oHoRo[o $$Ifa$gdT[o\o_oio7+ $$Ifa$gdT $$Ifa$gd_3"kd&$$IfTFֈ[ &&&T&& t644 Fap<yt_3"Tiorosoxozo{o|oooooooooooooooopp-p.p0p8p^p_papipppppppppppppqq(q)qIqJqMqUq{q|qqqqqqٷ٤ٕٕٕٕٕٕٕٕٕٕٕٕٕٕٕٕٕٕٕٕٕٕٕٕh[Y9hTCJaJmH sH %h[Y9h3`ZB*CJaJmH phsH h[Y9h.wCJaJmH sH %h[Y9h5dB*CJaJmH phsH %h[Y9hTB*CJaJmH phsH %h[Y9h.wB*CJaJmH phsH :ioso|ooo $$Ifa$gdTooo7+ $$Ifa$gd_3"kd($$IfTFֈ[ &&&T&& t644 Fap<yt_3"Toooooooo $$Ifa$gdT $$Ifa$gd_3"Pkd#*$$IfTF1w t644 Fap yt_3"Tooooo7+++ $$Ifa$gd_3"kd*$$IfTFֈ[ &&&T&& t644 Fap<yt_3"Tooooo+kdW,$$IfTFֈ[ &&&T&& t644 Fap<yt_3"T $$Ifa$gd_3"opppp%p-p $$Ifa$gd_3"-p.p0p8pBp7+++ $$Ifa$gd_3"kd-$$IfTFֈ[ &&&T&& t644 Fap<yt_3"TBpLpVp^p_p+kd/$$IfTFֈ[ &&&T&& t644 Fap<yt_3"T $$Ifa$gd_3"_papipsp}ppp $$Ifa$gd_3"ppppp7+++ $$Ifa$gd_3"kdF1$$IfTFֈ[ &&&T&& t644 Fap<yt_3"Tppppp+kd2$$IfTFֈ[ &&&T&& t644 Fap<yt_3"T $$Ifa$gd_3"ppppppp $$Ifa$gd_3"ppppq7+++ $$Ifa$gd_3"kd4$$IfTFֈ[ &&&T&& t644 Fap<yt_3"Tq qqqq+kd56$$IfTFֈ[ &&&T&& t644 Fap<yt_3"T $$Ifa$gd_3"q!q)q3q=qGqIq $$Ifa$gd_3"IqJqMqUq_q7+++ $$Ifa$gd_3"kd7$$IfTFֈ[ &&&T&& t644 Fap<yt_3"T_qiqsq{q|q+kd9$$IfTFֈ[ &&&T&& t644 Fap<yt_3"T $$Ifa$gd_3"|qqqqqqq $$Ifa$gd_3"qqqqq7+++ $$Ifa$gd_3"kd$;$$IfTFֈ[ &&&T&& t644 Fap<yt_3"Tqqqqqqrrr rFrGrHrMrNrOrPr\rcrdrsrrrrrrrvnvcRCh+h"IB*mH phsH  h+h"I6B*mH phsH h+h"ImH sH h0mH sH h+hmH sH hoh5mH sH  hgVhFhLhL6CJaJmH sH hShn6CJaJmH sH hYCJaJmH sH h8 hnCJaJmH sH hShnCJaJmH sH %h[Y9hTB*CJaJmH phsH h[Y9hTCJaJmH sH qqqqq+kd<$$IfTFֈ[ &&&T&& t644 Fap<yt_3"T $$Ifa$gd_3"qqqqr rr $$Ifa$gd_3"rrr r*r7+++ $$Ifa$gd_3"kdn>$$IfTFֈ[ &&&T&& t644 Fap<ytLT*r4r>rFrGr+kd@$$IfTFֈ[ &&&T&& t644 Fap<ytLT $$Ifa$gd_3"GrHrcrdrsrssss tt $$Ifa$gdn$a$gdF0gd$a$gdn $7$8$H$a$gdn rssss s!s"sGsHsJsKsSsWscsdseshsists{sƻ~m^O^@4h^B*mH phsH h+h%B*mH phsH h^h%B*mH phsH h^h^B*mH phsH  h+h%6B*mH phsH  h+h%6B*mH phsH  h+hH\~6B*mH phsH h+hH\~B*mH phsH h0B*mH phsH h+homH sH h+hmH sH h+h1B*mH phsH h+h"IB*mH phsH  h+h"I6B*mH phsH {s|s}sssssssssssssttttθٍo\M>h+hCJaJmH sH h+hDfCJaJmH sH %h+hB*CJaJmH phsH %h+hpCqB*CJaJmH phsH h+hmH sH h+hlmH sH h+hpCqB*mH phsH  h+hpCq6B*mH phsH h+h%mH sH h+hYmH sH h+hmH sH h+homH sH heB*mH phsH h+h%B*mH phsH ttt,t>tOtatrttg[[[[[[[ $$Ifa$gdnkdA$$IfTF7\[ B&j } t644 Fap(ytnTttt $$Ifa$gdnkdB$$IfTF7֞[ B&T@= t644 FapFytnTttttttt $$Ifa$gdnttttttttttttttttttttttttttttttttttⱏ|iV%h+hQB*CJaJmH phsH %h+h8XB*CJaJmH phsH %h+h; 2B*CJaJmH phsH %h+hXB*CJaJmH phsH h+hQCJaJmH sH %h+hB*CJaJmH phsH h+h; 2CJaJmH sH h+hXCJaJmH sH h+hCJaJmH sH h+h8XCJaJmH sH !ttt $$Ifa$gdnkdD$$IfTF6֞[ B&&&T&&@= t644 FapFytnTttttttt $$Ifa$gdnttt $$Ifa$gdnkdoF$$IfTF֞[ B&&&T&&@= t644 FapFytnTttttttt $$Ifa$gdnttt $$Ifa$gdnkd4H$$IfTF֞[ B&&&T&&@= t644 FapFyt` aTttttttt $$Ifa$gdntttttttttuuu uuuu#u$uu񱢓o_OD9h+h/mH sH h+hpCqmH sH h!h p6CJaJmH sH h!h p6CJaJmH sH #h!he0J6CJaJmH sH #h!h p0J6CJaJmH sH h!hYCJaJmH sH h!h pCJaJmH sH h+h pCJaJmH sH %h+hB*CJaJmH phsH h+hQCJaJmH sH h+h8XCJaJmH sH h+hCJaJmH sH tttgd pkdI$$IfTF֞[ B&&&T&&@= t644 FapFyt` aTt#u$ux.y/y0yDyZygy $$Ifa$gdn$a$gd!gdpCq$a$gd p uuuvvv%vvvvvvvvvvwwRxSxy,y-y.y/yhyyyɾvcP%h+hE B*CJaJmH phsH %h+h$B*CJaJmH phsH %h+h}=B*CJaJmH phsH h!hF0mH sH hbMh!6mH sH h%.h!mH sH h!mH sH h+hsX}mH sH h+hBY{mH sH h+hlmH sH h+h>RmH sH h+h dmH sH h+h>RmH sH h+h&mH sH gyhyiyzyyyyyyg[[[[[[[ $$Ifa$gdnkdK$$IfTF7\[ B&j } t644 Fap(ytTyyy $$Ifa$gdnkdL$$IfTF7֞[ B&T@= t644 FapFytP[Tyyyyyyy $$Ifa$gdnyyyyyyyyyyyyyyyyzzz z z zzzzzzzz"zĵĄĢq^K%h>h>B*CJaJmH phsH %h+h42B*CJaJmH phsH %h+h B*CJaJmH phsH h>hx`VCJaJmH sH h+h CJaJmH sH %h+hE B*CJaJmH phsH h>h42CJaJmH sH h>hE CJaJmH sH h>h/CJaJmH sH h+h42CJaJmH sH h+hE CJaJmH sH yyy $$Ifa$gdnkdN$$IfTF6֞[ B&&&T&&@= t644 FapFytP[Tyyyz z zz $$Ifa$gdnzzz $$Ifa$gdnkdgP$$IfTF֞[ B&&&T&&@= t644 FapFytP[Tzzz#z(z,z0z $$Ifa$gdn"z#z'z(z0z1z3z7z8zhx`VCJaJmH sH h>hE CJaJmH sH h>h>CJaJmH sH h+h42CJaJmH sH h+h CJaJmH sH h+hE CJaJmH sH %h+hE B*CJaJmH phsH %h>hx`VB*CJaJmH phsH %h>hE B*CJaJmH phsH 0z1z3z $$Ifa$gdnkd,R$$IfTF֞[ B&&&T&&@= t644 FapFytP[T3z8z=zAzFzKzOz $$Ifa$gdnOzPzRz $$Ifa$gdnkdS$$IfTF֞[ B&&&T&&@= t644 FapFytP[TRzWz\zazfzkzoz $$Ifa$gdn\z`zazezfzozpzrzvzwz{z|zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzٳ~ٳ~k٤~kٳ%h>h%B*CJaJmH phsH %h+h42B*CJaJmH phsH %h+h'"6B*CJaJmH phsH h+hE CJaJmH sH %h+hE B*CJaJmH phsH %h>hx`VB*CJaJmH phsH %h>hE B*CJaJmH phsH %h>h>B*CJaJmH phsH *ozpzrz $$Ifa$gdnkdU$$IfTF֞[ B&&&T&&@= t644 FapFytP[Trzwz|zzzzz $$Ifa$gdnzzz $$Ifa$gdnkd{W$$IfTF֞[ B&&&T&&@= t644 FapFytP[Tzzzzzzz $$Ifa$gdnzzz $$Ifa$gdnkd@Y$$IfTF֞[ B&&&T&&@= t644 FapFytP[Tzzzzzzz $$Ifa$gdnzzz $$Ifa$gdnkd[$$IfTF֞[ B&&&T&&@= t644 FapFytP[Tzzzzzzz $$Ifa$gdnzzzzzzzzzzzzzzzzz{{ { {{{{{{{{#{${,{-{0{4{5{9{:{Ƴ~kƳ~k\~kh>h%CJaJmH sH %h+hx`VB*CJaJmH phsH %h+h9B*CJaJmH phsH h+hE CJaJmH sH %h>hx`VB*CJaJmH phsH %h>hE B*CJaJmH phsH %h>h%B*CJaJmH phsH %h+h42B*CJaJmH phsH %h+hE B*CJaJmH phsH $zzz $$Ifa$gdnkd\$$IfTF֞[ B&&&T&&@= t644 FapFytP[Tzzzz{{ { $$Ifa$gdn $$Ifa$gd9 { {{ $$Ifa$gdnkd^$$IfTF֞[ B&&&T&&@= t644 FapFytP[T{{{{${({,{ $$Ifa$gdn,{-{0{ $$Ifa$gdnkdT`$$IfTF֞[ B&&&T&&@= t644 FapFyt:,T0{5{:{?{D{I{M{ $$Ifa$gdn:{>{?{C{D{H{M{N{Q{U{V{Z{[{]{_{`{d{e{m{n{q{t{u{v{z{{{{{{{{{ٷsd٤Q٤%h+hi9B*CJaJmH phsH h>hE CJaJmH sH h>h%CJaJmH sH %h+hx`VB*CJaJmH phsH h+h9CJaJmH sH %h+hE B*CJaJmH phsH h+hE CJaJmH sH %h>hYkB*CJaJmH phsH %h>hE B*CJaJmH phsH %h>h%B*CJaJmH phsH M{N{Q{ $$Ifa$gdnkdb$$IfTF֞[ B&&&T&&@= t644 FapFyt:,TQ{V{[{`{e{i{m{ $$Ifa$gd% $$Ifa$gdnm{n{q{ $$Ifa$gdnkdc$$IfTF֞[ B&&&T&&@= t644 FapFyt]Tq{v{{{{{{{ $$Ifa$gdn{{{gdkde$$IfTF֞[ B&&&T&&@= t644 FapFyt]T{{{{{{{{{{{{{{{{{{{IJuj_jTI0JmH sH h#-h))0JmH sH h#-ha>mH sH h#-h,QmH sH h#-hoHmH sH h#-h/mH sH h#-hu0JmH sH h#-h#t0JmH sH h#-hz'0JmH sH h#-h#tmH sH h#-hymH sH h#-hl0JmH sH h#-ha>0JmH sH |+},}-}~~ !CXYZnpuvzԽ{{peZepMhi\h*v0JmH sH hi\hdmH sH hi\h5 QmH sH hi\hmH sH hi\hN|mH sH hi\hnmH sH hi\hnmH sH hi\h'^mH sH hi\hN|mH sH hi\hmH sH hp=IhVmH sH hbE}hbE}6mH sH hbE}hbE}mH sH h#-hVmH sH h#-hE4mH sH h#-hmH sH ʁˁԁށ߁ ,źů|qf^SKAhE40JmH sH hE4mH sH hn{yhi\mH sH hSmH sH hch42mH sH h42h42mH sH hS0JmH sH h420JmH sH hRC0JmH sH h,D0JmH sH h}h}mH sH h,Dh}mH sH hi\hFmH sH hFmH sH hi\hnmH sH hPn0J6mH sH hi\h5 Q0J6mH sH hi\h*v0J6mH sH ,.0:CLUfj /=WYy{̃΃ ׄƾwl`l`lhh6mH sH hhmH sH h-,h25mH sH hch25mH sH h25mH sH hK6"h25mH sH huoh.mH sH hbRmH sH h+h AmH sH hgmH sH h mH sH huohgmH sH huohs1mH sH hs1mH sH hV0JmH sH hhx0JmH sH %Fclmnz89:;HbuÇɾ|obUJ?hjhjmH sH hjh tmH sH hjh t0JmH sH hjh t0JmH sH hjhO>0JmH sH hhmH sH hh#mH sH hh,mH sH hhCmH sH hhn6mH sH hhmH sH hh4PmH sH hh4PmH sH hh3omH sH hhsu mH sH hh+mH sH hhK6"mH sH 1>?xyxy~`dlmqrslp67]anrz{ %3=]aX\אؐ⸰ϝϝh/mH sH h/h/mH sH h/mH sH hhmH sH hmH sH h/zhFmH sH h/zhF6mH sH h/zhFmH sH h,mH sH hFmH sH hjhjmH sH hjhjmH sH 5QR^_ovߔ*@KіӖؘؗܘ!#庯噑~sk~~~hwEmH sH hX%qhwEmH sH hwEmH sH hX%qhwEmH sH hT9h5h/zhmH sH h/zhFmH sH h!%h!%mH sH h!%mH sH h/zhF6mH sH hFmH sH h/zhFB*mH phsH h/zhFmH sH h/mH sH h1mH sH *#:R[`fgÚstDFxyz̝gs(h(uB*fHmH ph"""q sH %h>hwEfHmH q sH h>hwEB*mH ph"""sH (hwEB*fHmH ph"""q sH .h>hwEB*fHmH ph"""q sH hulhwEmH sH h(hwEmH sH hwEmH sH hX%qhwEmH sH (grtƟǟʟ04bcӻӡӻӻӻyqf^Thlb!h5PJhmH sH h (h mH sH h mH sH (h(uB*fHmH ph"""q sH hwEmH sH hX%qhwEmH sH 2h>hwE0J&B*fHmH ph"""q sH .h>hwEB*fHmH ph"""q sH (hwEB*fHmH ph"""q sH .huhwEB*fHmH ph"""q sH TZΪ7Ʈ \Y!$%%%%$a$gd$c$x[$\$a$gd!% $xa$gd!% $x*$a$gd!% $xa$gd!%gd Σϣ(PRTZpᢚn^O@h!h.}?CJaJmH sH h!h!%CJaJmH sH h!%h!%CJ]aJmH sH "h!%h!%6CJ]aJmH sH h!%h!%CJaJmH sH h!%hCJaJhjCJaJh!%h.}?CJaJhJ$bCJaJmH sH h!%h.}?6CJaJmH sH h`CJaJmH sH h!CJaJmH sH h!%h.}?CJaJmH sH  hlb!hhlb!h5pr(,Ω֩ ɶɮɮɞssg[[OOh!CJaJmH sH hACJaJmH sH hJ$bCJaJmH sH h`CJaJmH sH h!%h.}?6CJaJmH sH h!%h.}?CJaJmH sH h!%h.}?CJ\aJmH sH h!CJaJhJ$bh.}?CJaJhJ$bCJaJh!%h.}?CJaJh!%h.}?6CJ\aJh!h.}?CJaJmH sH h!h!CJaJmH sH  "47{ìĬŬ۬߬幪囉xgxxgxUxUxUFh!%hCJaJmH sH #h!%h10J6CJaJmH sH  h!%h10JCJaJmH sH  h!%h10J"CJaJmH sH #h!%h10J"6CJaJmH sH h!%h1CJaJmH sH h!%hCJaJmH sH hjCJaJmH sH h!%h.}?6CJaJmH sH h!%h.}?CJ\aJmH sH h!%h.}?CJaJmH sH h!CJaJmH sH 7XYޭF^®ĮƮ0lVlDl9.h!%hVCJaJh!%hVmH sH "h+OJPJQJmH nHsH tH+h!%h mOJPJQJ\mH nHsH tH(h!%h mOJPJQJmH nHsH tH.h!%h m6OJPJQJ\mH nHsH tH h!%h mOJPJQJnHtHh!%h mCJaJh!%h m6CJaJh!%h m6CJaJmH sH h!%h mCJaJmH sH h!%hCJaJmH sH h!%h6CJaJmH sH 0̯Я $ ,.>jrֱξβΠvjv[MEhJ$bOJQJh!%h m6OJQJ]h`h mOJQJmH sH hJ$bCJaJmH sH h`h mCJaJmH sH h`CJaJmH sH h!%h mCJaJmH sH "h!%h m6CJ]aJmH sH h!%h mCJ\aJhACJaJhmNCJaJh!%h mCJaJh!%hVCJaJmH sH h!%hVCJaJh!%hV6CJaJ  CEKM[\}ʲ̲WX"ؽxi^SH9h!%h.}?CJaJmH sH h!%hVCJaJh!%h CJaJh!%h mCJaJh!%h mCJaJnHtH'h!%h m6CJaJmH nHsH tH$h!%h mCJaJmH nHsH tHh!%h/CJaJmH sH h!%hrCJaJmH sH h!%hPU6CJaJmH sH h!%hPUCJaJh!%hrCJaJ h!%h mh!%hOJQJh!%h mOJQJ"&24    4 8 R V h l ~       l!v!!!!J"h#l#|#####ĵĵĵĵĵĵĵħĘ~v~h~h!%h.}?6CJ]aJhACJaJh!%h.}?CJaJhJ$bhJ$bCJaJmH sH hJ$bh.}?CJaJmH sH hZCJaJmH sH UhZhZCJaJmH sH hZh.}?CJaJmH sH "h!%h.}?6CJ]aJmH sH h!%h.}?CJaJmH sH hACJaJmH sH &, Bogati, K., Gazibara, S., Pejakovi, S., Simel, S., Varga, A.N., Campbell-Bar, V. (eds.). Osijek: Filozofski fakultet Osijek, Sveu iliate Josipa Jurja Strossmayera u Osijeku, 2016, pp. 268-279. Vidulin, S. (2015). Glazbeno stvaralaatvo u primarnom obrazovanju: retrospektiva i perspektiva. Glazbena pedagogija u svjetlu sadaanjih i buduih promjena 4: Sinteza tradicionalnog i suvremenog u glazbenom odgoju i obrazovanju 21. stoljea. Bali, V., Radica, D. (eds.). Split: Umjetni ka akademija, 2016, pp. 15-32. Vries de Peter, A. (2014) Music without a music specialist: A primary school story. International Journal of Music Education. Vol 33, Issue 2, pp. 210-221. First published date: January-06-2014. DOI: https://doi.org/10.1177/0255761413515818 (22.1.2017.) SELF-ASSESSMENT QUESTIONNAIRE KNOWLEDGE AND COMPETENCES IN MUSIC EDUCATION The questionnaire includes two parts: the first one treats general issues, the second one treats disciplinary issues. Please, specify your answers by checking the appropriate box below. The collected data will be elaborated by the University of Salerno (IT) and the University of Pula (HR) during a research initiative aiming to improve the music education in the university courses. General Area Are you in possession of specific qualifications in the field of music, and what? ( Yes( No  Do you think it is important to acquire particular competences on teaching music in primary school? ( Not at all( A little( Quite a lot( Very much( I dont know During the programming of your music teaching activities, do you observe the objectives and the contents specified in the music programs of primary school? ( Not at all( A little( Quite a lot( Very much( I dont know During the music activities, do you observe the points specified in the music teaching programs? ( Not at all( A little( Quite a lot( Very much( I dont know Utilizza, nella pratica valutativa, specifici strumenti per la verifica degli apprendimenti? During the evaluation, do you adopt specific marking tools to verify the learning abilities? ( Not at all( A little( Quite a lot( Very much( I dont know Could you express your opinion about what kind of musical knowledge and competences the pupils should have at the end of their primary school educational path?  Disciplinary Area In the following there are some specific contents of Music Education. Please, indicate your opinion about the importance and the educational value of each argument. 1. Analogical and digital sound: ( Not at all( A little( Quite a lot( Very much( I dont know 2. The main characteristics of the sound: ( Not at all( A little( Quite a lot( Very much( I dont know 3. The specific elements of musical notation: ( Not at all( A little( Quite a lot( Very much( I dont know 4. Tone, modality and tonality: ( Not at all( A little( Quite a lot( Very much( I dont know 5. The tonal system: ( Not at all( A little( Quite a lot( Very much( I dont know 6. The tempered system: ( Not at all( A little( Quite a lot( Very much( I dont know 7. The musical period: ( Not at all( A little( Quite a lot( Very much( I dont know 8. The main musical forms: ( Not at all( A little( Quite a lot( Very much( I dont know 9. The vocal system: ( Not at all( A little( Quite a lot( Very much( I dont know 10. The main rules of vocal hygiene: ( Not at all( A little( Quite a lot( Very much( I dont know 11. The notions of choral execution: ( Not at all( A little( Quite a lot( Very much( I dont know 12. The classification of musical instruments: ( Not at all( A little( Quite a lot( Very much( I dont know 13. The use of the recorder ( Not at all( A little( Quite a lot( Very much( I dont know 14. The use of Orff instruments: ( Not at all( A little( Quite a lot( Very much( I dont know Thanks for collaboration  The evaluation of the internal consistency was checked by Cronbachs alpha (for the whole questionnaire its value was##$$U$V$$$$$%%%%%%%%%&%R%T%P&ǵ垏xtptieZN<#h bhH0J6CJaJmH sH  *hhNmH sH hhHmH sH hH hZAhHhh@- hNh: h.}?CJOJQJaJmH sH h!%h.}?OJQJmH sH h!%h.}?CJaJhJ$bCJaJmH sH "h!%h.}?6CJ]aJmH sH "h!%h.}?5CJ\aJmH sH hACJaJmH sH h!%h.}?CJaJmH sH h+CJaJmH sH %%%%%&%S%T%&&&&5'6'<'A' $$Ifa$gd $$Ifa$gdw $ & Fa$gdN$a$gdN $^a$gdN$a$gdN$a$gdHP&U&Z&k&p&q&v&&&&&&&&)'4'5'6'𽫛p`P@1hUJohNCJaJmH sH hUJohN5CJaJmH sH hUJohb5CJaJmH sH hUJoho5CJaJmH sH hUJoho5CJaJmH sH hUJohNCJaJhUJohN5hUJoh&5hUJohUJo6CJaJmH sH #h bhN0J6CJaJmH sH #h bhH0J6CJaJmH sH #h bh b0J6CJaJmH sH h b0J6CJaJmH sH h@-0J6CJaJmH sH 6'7'8';'<'='>'@'G'V'X''''''''''''''''''''''忯nρnρnρn_ShUJohW5CJaJ jhUJohW5CJaJ%hUJohWB*CJaJmH phsH  jhUJoh5CJaJhUJohNCJaJmH sH hUJohN5CJaJmH sH hUJohH5CJaJmH sH hUJohZp75CJaJmH sH hUJohCJaJhUJohwCJaJhUJohNCJaJ jhUJohN5CJaJA'B'C'D'E' $$Ifa$gd@$a$gdNZkdZg$$IfTF02OO t644 layt@TE'F'G''''''''}xlllll $$Ifa$gd@gdN $ & Fa$gdN$a$gdNnkdg$$IfTF_ t0644 layt@T '''''+(1((((((((((((((((((((((((((óãzkzzkzzkzzkz_z_zhUJohu%85CJaJhUJohu%8B*CJaJphhUJohu%8CJaJ jhUJohu%85CJaJhUJohu%8CJaJmH sH hUJohN5CJaJmH sH hUJoh3$5CJaJmH sH hUJoh3$5CJaJmH sH hUJohNCJaJhUJohCJaJhUJoh5CJaJhUJohWCJaJ''''((((kf^SJ>> $$Ifa$gd[n^gdu%8 $ & Fa$gdN$a$gdNgdNkdAh$$IfTFr9 (! t644 laytu%8T(((((((2)_VNC $ & Fa$gdN$a$gdN^gdu%8kdh$$IfTFr9 (! t644 layt[nT $$Ifa$gd[n((1)2)3)4)5)?)@)A)B)J)K)L)M)X)Y)Z)[)d)e)f)g)s)t)v)w)))0*1*2*3*4*>*?*@*A*I*J*K*L*W*X*Y*|phUJoh{:U5CJaJhUJohNCJaJhUJohu%85CJaJ%hUJohu%8B*CJaJmH phsH hUJohu%8CJaJ jhUJohu%85CJaJhUJohu%8CJaJmH sH hUJohN5CJaJmH sH hUJoh{:U5CJaJmH sH hUJoh{:U5CJaJmH sH ,2)3)@)K)Y)e)t)u)v)VkdOi$$IfTFr9 (! t644 layt[nT $$Ifa$gd[n^gdu%8v)w)1*2*?*J*X*d*s* $$Ifa$gd[n^gdu%8 $ & Fa$gdN$a$gdNY*Z*c*d*e*f*r*s*u*v*****+++++++#+&+rcXMBXh{:Uh%mH sH h{:Uh@-mH sH h{:UhNmH sH hUJohgCJaJmH sH hUJoh@-5CJaJmH sH h@-5CJaJmH sH hg5CJaJmH sH hUJohg5CJaJmH sH hUJoh3z5CJaJmH sH hUJohNCJaJhUJohu%85CJaJ jhUJohu%85CJaJ%hUJohu%8B*CJaJmH phsH hUJohu%8CJaJs*t*u*v*++++kbZOGGZ$a$gd@- $ & Fa$gd[n$a$gdN^gdu%8kdi$$IfTFr9 (! t644 layt[nT++++nkd]j$$IfTF_ t0644 layt%T $$Ifa$gd@+++ $$Ifa$gd@nkdj$$IfTF_ t0644 layt%T++ + $$Ifa$gd@nkdik$$IfTF_ t0644 layt%T +!+"+ $$Ifa$gd@nkdk$$IfTF_ t0644 layt%T"+#+$+ $$Ifa$gd@nkdul$$IfTF_ t0644 layt%T$+%+&+'+(+)+*+++=+>++++s 6]6^gdUJo$a$gdN$a$gdNnkdl$$IfTF_ t0644 layt%T &+'+*+++<+=+>+++++++++ , , ,­yi`SC7.hN5CJaJhRDhN5CJaJhzhd>I5CJaJmH sH hd>I5CJaJmH sH hd>I5CJaJh]hd>I5CJaJmH sH h]CJaJ(hH h=6B*CJaJmH phsH ,hH h{:U0J6B*CJaJmH phsH (hH h{:U6B*CJaJmH phsH h=hNmH sH h@-hN5mH sH h@-h&5mH sH h{:Uhu%8mH sH h@-mH sH hu%8mH sH + ,,%,3,?,N,O,P,,WO$a$gdNkdm$$IfTFr9 (! t644 layt[nT $$Ifa$gd[n$a$gdd>I ,,,,,,,$,%,&,',2,3,4,5,>,?,@,A,M,N,O,P,W,Z,[,,,,,,,ɾ姞qaQhd>Ih 45CJaJmH sH hd>IhN5CJaJmH sH hzhd>I5CJaJmH sH hd>I5CJaJmH sH hd>Ihd>I5CJaJmH sH hd>I5CJaJhRDhNCJaJhRDh 45CJaJhWh 4CJaJh 45CJaJ%hWh 4B*CJaJmH phsH hRDh 4CJaJ jhRDh 45CJaJ,,,,,,,,,-_WO$a$gdA$a$gdNkdn$$IfTFr9 (! t644 layt[nT $$Ifa$gd[n ,,,,,,,,,,,,,,,,,,,,,,,,,,,,-----ʿrbRhd>Ih 45CJaJmH sH hd>IhN5CJaJmH sH hzhd>I5CJaJmH sH hd>I5CJaJmH sH hd>IhA5CJaJmH sH hA5CJaJhRDhNCJaJhRDh 45CJaJhWh 4CJaJh 45CJaJ%hWh 4B*CJaJmH phsH  jhRDh 45CJaJhRDh 4CJaJ ---+-:-;-<-\-i-_WI $hVD^ha$gdN$a$gd 4kdn$$IfTFr9 (! t644 layt[nT $$Ifa$gd[n------ -!-*-+-,---9-:-;-<-?-@-Z-\-]-^-h-i-j-k-s-t-u-v--------ʿ{p]p{p]p{p]p{p]p{%hWhYB*CJaJmH phsH hRDhYCJaJ jhRDhY5CJaJhzhA5CJaJmH sH hA5CJaJmH sH hRDhN5CJaJhRDh 45CJaJhWh 4CJaJh 45CJaJ%hWh 4B*CJaJmH phsH  jhRDh 45CJaJhRDh 4CJaJ$i-t--------_ZL $hVD^ha$gdNgdNkdo$$IfTFr9 (! t644 layt[nT $$Ifa$gd[n-------------------------------ķĘvvvvffVh[_hhN5CJaJmH sH hAhY5CJaJmH sH %hWhYB*CJaJmH phsH hAhYCJaJmH sH  jhRDhY5CJaJhzhA5CJaJmH sH hA5CJaJmH sH hAhN5CJaJmH sH hRDhYCJaJhRDhY5CJaJhWhYCJaJhY5CJaJ-------.._ZL $hVD^ha$gdNgdYkdo$$IfTFr9 (! t644 layt[nT $$Ifa$gd[n-- ........&.'.(.).4.5.6.7.@.A.B.C.O.P.R.U.V.g.i.j.k.u.v.w.x.................ôôôôÑôôôôÑhzhN5CJaJmH sH h[_hhY5CJaJmH sH %hWhYB*CJaJmH phsH h[_hhYCJaJmH sH  jhRDhY5CJaJh[_hhN5CJaJmH sH hzh[_h5CJaJmH sH h[_h5CJaJmH sH 2.'.5.A.P.Q.R.i.v._ZL $hVD^ha$gdNgdYkd$p$$IfTFr9 (! t644 layt[nT $$Ifa$gd[nv........._ZL $hVD^ha$gdNgdYkdp$$IfTFr9 (! t644 layt[nT $$Ifa$gd[n......................// / //// /!/+/,/-/./6/7/8/9/D/E/F/G/P/Q/R/S/_/`/b/f/g///////ôôôôÑôôôôÑôhzhY5CJaJmH sH %hWhYB*CJaJmH phsH hzhYCJaJmH sH  jhRDhY5CJaJhzhN5CJaJmH sH hzhz5CJaJmH sH hz5CJaJmH sH 9..../ / //,/_ZL $hVD^ha$gdNgdNkd2q$$IfTFr9 (! t644 layt[nT $$Ifa$gd[n,/7/E/Q/`/a/b///_WI $hVD^ha$gdN$a$gdNkdq$$IfTFr9 (! t644 layt[nT $$Ifa$gd[n////////////////////////////000 00000 0!0"0#0/00020𺯣Ós𺯣hzhz5CJaJmH sH hzhz5CJaJmH sH hzhN5CJaJmH sH hRDhY5CJaJhWhYCJaJhY5CJaJhRDhYCJaJ%hWhYB*CJaJmH phsH hzhYCJaJmH sH  jhRDhY5CJaJ*/////////_ZL $hVD^ha$gdNgdNkd@r$$IfTFr9 (! t644 layt[nT $$Ifa$gd[n/00!0001020a0n0_WI $hVD^ha$gdN$a$gdNkdr$$IfTFr9 (! t644 layt[nT $$Ifa$gd[n2060`0a0b0c0m0n0o0p0x0y0z0{00000000000000000000000000000000ŲŲŲŲЩ߂rŲŲŲŲhchN5CJaJmH sH h$=hc5CJaJmH sH hRDhY5CJaJhWhYCJaJhY5CJaJ%hWhYB*CJaJmH phsH hRDhYCJaJ jhRDhY5CJaJh$=h$=5CJaJmH sH h$=hN5CJaJmH sH ,n0y00000000_ZL $hVD^ha$gdNgdNkdNs$$IfTFr9 (! t644 layt[nT $$Ifa$gd[n0000111$111_ZL $hVD^ha$gdNgdYkds$$IfTFr9 (! t644 layt[nT $$Ifa$gd[n00001111 11#1$1%1&101112131;1<1=1>1I1J1K1L1U1V1W1qfSfqfSfqfSfqfSfq%hWhmX)B*CJaJmH phsH hRDhmX)CJaJ jhRDhmX)5CJaJ&h$=hc0J56CJaJmH sH #h$=hc0J5CJaJmH sH h$=hc5CJaJmH sH h$=hN5CJaJmH sH hRDhY5CJaJhWhYCJaJhY5CJaJ jhRDhY5CJaJhRDhYCJaJ11<1J1V1e1f1g1h1i1_ZRR$a$gdNgdmX)kd\t$$IfTFr9 (! t644 layt[nT $$Ifa$gd[nW1X1d1e1g1h1i1111111111̾{k{_]{YQYQYQYQYjh[Uh[UhPPOJQJmH sH h&r~hPP6OJQJmH sH h&r~hPPOJQJmH sH h&r~hPPOJQJmH sH !jh&r~hPP0JOJQJUh/hN6CJaJhmX)hmX)6hmX)hmX)0J6mH sH h#hNhRDhmX)CJaJhRDhmX)5CJaJhWhmX)CJaJhmX)5CJaJi111()*+,h]hgd:* &`#$gdKgdPP $ &a$gdN$a$gdmX) equal to 0.871).     PAGE   &'(*+,h/hN6CJaJh[h--W h--W0Jjh--W0JUC0P&P 1h:p . A!n"n#n$n%n Dp$$If!vh5555T55#v#v#v#vT#v#v:V F7 t6,5555T559/ / / /  /  / / / / / 4 Fp<ytST$$If!vh5w#vw:V F t6,5w/ / 4 Fp yt8 T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/  / / / / /  / / / /  4 Fp<ytST$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<ytST$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / /  / / / /  / 4 Fp<ytST$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / /  / 4 Fp<ytST$$If!vh5w#vw:V F t6,5w/ / 4 Fp yt8 T$$If!vh5555T55#v#v#v#vT#v#v:V F1 t6,5555T559/ / / / / / / / /  4 Fp<ytST$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / /  / / / 4 Fp<ytST$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / /  / / 4 Fp<ytST$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ /  / / / /  / / 4 Fp<ytST$$If!vh55#v:V F5 t065/ / pyth\T$$If!vh55#v:V F t065pyth\T$$If!vh5555T55#v#v#v#vT#v#v:V F7 t6,5555T559/ / / /  /  / / / / / 4 Fp<yt_3"T$$If!vh5w#vw:V F t6,5w/ / 4 Fp yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F6 t6,5555T559/  / / / / /  / / / /  4 Fp<yta,T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / /  / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / /  / 4 Fp<yt_3"T$$If!vh5w#vw:V F t6,5w/ / 4 Fp yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/  / / / / /  / / / /  4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / / /  / 4 Fp<yt_3"T$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / /  / / / /  / 4 Fp<ytLT$$If!vh5555T55#v#v#v#vT#v#v:V F t6,5555T559/ / / / / / / /  / / 4 Fp<ytLT9$$If!vh555j 5}#v#v#vj #v}:V F7 t6,555j 5}9/ /  / / / / / 4 Fp(ytnT$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F7 t6,5555T55@5=9/ / / /  /  / / / / / 4 FpFytnT$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F6 t6,5555T55@5=9/  / / / / /  / / / /  4 FpFytnT$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ / / / / / / / /  / 4 FpFytnT$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ / / /  / / / /  / 4 FpFyt` aT$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ /  / / / / /  / / 4 FpFyt` aT9$$If!vh555j 5}#v#v#vj #v}:V F7 t6,555j 5}9/ /  / / / / / 4 Fp(ytT$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F7 t6,5555T55@5=9/ / / /  /  / / / / / 4 FpFytP[T$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F6 t6,5555T55@5=9/  / / / / /  / / / /  4 FpFytP[T$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ / / / / / / / /  / 4 FpFytP[T$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ / / / / / / / /  / 4 FpFytP[T$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ / / / / / / / /  / 4 FpFytP[T$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ / / / / / / / /  / 4 FpFytP[T$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ / / / / / / / /  / 4 FpFytP[T$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ / / / / / / / /  / 4 FpFytP[T$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ / / / / / / / /  / 4 FpFytP[T$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ / / / / / / / /  / 4 FpFytP[T$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ / / / / / / / /  / 4 FpFytP[T$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ / / / / / / / /  / 4 FpFyt:,T$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ / / / / / / / /  / 4 FpFyt:,T$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ / / /  / / / /  / 4 FpFyt]T$$If!vh5555T55@5=#v#v#v#vT#v#v@#v=:V F t6,5555T55@5=9/ /  / / / / / /  / / 4 FpFyt]T_$$If!vh5O5O#vO:V F t6,5Oyt@T$$If!vh5#v:V F t065yt@T$$If!vh55555#v#v:V F t6,55ytu%8T$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh5#v:V F t065yt%T$$If!vh5#v:V F t065yt%T$$If!vh5#v:V F t065yt%T$$If!vh5#v:V F t065yt%T$$If!vh5#v:V F t065yt%T$$If!vh5#v:V F t065yt%T$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT$$If!vh55555#v#v:V F t6,55yt[nT^( hH0686666666686666666686668886686668886666688862 0@P`p2( 0@P`p 0@P`p 0@P`x_HmHnHsHtH@`@ _+NormalCJ_HaJmHsHtHBB TNaslov 2$@&CJOJQJaJX`2X  k1KNaslov 3dd@&[$\$5CJ\aJmHsHtH>A`> Zadani font odlomkaVi@V Obi na tablica4 l4a .k . Bez popisa 8 @8 :*Podno~je  %2)@2 :* Broj stranice:: % Zaglavlje  %<B"< r Tijelo teksta$a$DZ2D r Obi ni tekstCJOJQJaJF@BF r Tekst fusnoteCJOJQJaJ>&`Q> rReferenca fusnoteH*6U a6 o Hiperveza >*B*phDPrD TTijelo teksta 2 dxtt KlReaetka tablice7:V0v`v $cObojano popis - Isticanje 2$CJOJPJQJ_HaJmHsHtH 0X`0 d@ Istaknuto6],o, short_text~`~ 6#!Srednje sjen anje 1 - Isticanje 2 OJPJQJ_HmH nHsH tH0W`0 #v2` Naglaaeno5\F^@F #v20Standard (Web)dd[$\$,o, ;/ alt-edited@/@ k1K Naslov 3 Char5CJ\aJl l Svijetli popis - Isticanje 3!CJ_HaJmHsHtHo! *stA2 *IATED-References=#$ & F" hWxx7$8$@& H$^`Wa$.5CJKHOJPJQJ\^JaJmH sH tH `> ` %*Naslov$$<@&a$&5CJ KHOJQJ\aJ mHsHtHP/QP $* Naslov Char"5CJ KHOJPJQJ\^JaJ BoaB .}?apple-converted-spaceF' qF Referenca komentaraCJaJPK![Content_Types].xmlj0Eжr(΢Iw},-j4 wP-t#bΙ{UTU^hd}㨫)*1P' ^W0)T9<l#$yi};~@(Hu* Dנz/0ǰ $ X3aZ,D0j~3߶b~i>3\`?/[G\!-Rk.sԻ..a濭?PK!֧6 _rels/.relsj0 }Q%v/C/}(h"O = C?hv=Ʌ%[xp{۵_Pѣ<1H0ORBdJE4b$q_6LR7`0̞O,En7Lib/SeеPK!kytheme/theme/themeManager.xml M @}w7c(EbˮCAǠҟ7՛K Y, e.|,H,lxɴIsQ}#Ր ֵ+!,^$j=GW)E+& 8PK!r]@Otheme/theme/theme1.xmlYMoE#F{oc'vGuرHF[xw;jf7q7J\ʯ AxgfwIFPA}H1^3tHA HwDI31МC`A]#Tv@=!<İT[ڸ3"Жe)Q!ol y\?Z]<z'Yٯ󼻵fKWtnu:f+25 1_66Y|slvހ,~u߿ZmxM:~ƽ9ۮ|g(Ȇ"1OԢ\=.@Md}H.Gb-\zc|9e! a f^=??|xGȡIXzg>2>ϫP>3u^|gO^|=o <*Ç4&$Gh`9Q #LI(q =9S̲8zt;G䞣 E+$DuŽUrpŤJv'N|{f݈8j1((B*K] .Xu0tɐlm2fpVe9tPU(?$quⵒfqy$JyϢD9\,AGm\nziÙ)D]|%lڟZ̦gl冹EPk 9> ljWY DK/7ebe _膖W`VcJD1#4b!:UJ0A?=y6ʷWg1K#[]y%[BTRlw~SL_)4)X t|zm{\CJ# w@],d_C֜a|jHP؏T$كdfl,YdTI]ZG䐰zoPnI dYB=!kk|l1Qn6MBŊ]|-_ƬF^ Mιڎ5gr3W8o1,Q =H zC}~h m /iG08ELum6:iO֚%tv1ZHggv|m"{DaidL`/Z_z 'LIL0zL@[t/PK! ѐ'theme/theme/_rels/themeManager.xml.relsM 0wooӺ&݈Э5 6?$Q ,.aic21h:qm@RN;d`o7gK(M&$R(.1r'JЊT8V"AȻHu}|$b{P8g/]QAsم(#L[PK-![Content_Types].xmlPK-!֧6 +_rels/.relsPK-!kytheme/theme/themeManager.xmlPK-!r]@Otheme/theme/theme1.xmlPK-! ѐ' theme/theme/_rels/themeManager.xml.relsPK] @D    (O.64:URU]Y\H]z]]B^^i`acdeh;il!m`mmm*nfnnoioqr{sttuy"z\zz:{{{|,#gp 0"#P&6''(Y*&+ ,,---./200W1,[]^_`abdefhijnptz     "%-/1357:=@CEI*pU\+]=]n]y]]]]]^^?^R^i^^^^^dollllm)m6m\mimmmmmmm$n1nXnennnnnno(o4o[oioooooo-pBp_pppppqqIq_q|qqqqr*rGrtttttttttttgyyyyyzz0z3zOzRzozrzzzzzzzzz {{,{0{M{Q{m{q{{{%A'E''(2)v)s*+++ +"+$++,-i--.v..,///n0011i1,\cgklmoqrsuvwxy{|}~ !#$&'()*+,.024689;<>?ABDF !Df@0(  B S  ?AGSXIP%%&&----n2u2uD|DJJo[v[^qbqzzDMZ`BM_i!-<=DELMU`hinpuw͔ӔԔٔ $'019LYaf ",-3456ACIX^_djlvӖݖӗ!(9GSZ ϙۙܙ &',.56<HOUbjq~,4vțϛܛޛ#$-/68>@LMVY_aijlŜӜ!"(+0167@AHINPWXcdjmxyǝΝԝܝ*45=FQRXY^_knu˞͞ڞݞ$(/0>AKNWX^alqy{ǟ̟TW[^cilqtwz~4837]abfŬ%)Hҭԭխ׭حڭۭݭޭ !!33j=t=HGJGmKoKJSRSk"o%&[_Bjlz{Η)ĘHJΙdhۚޚ,@ܛޛŜߜOPX`DXZ.3-2 |W\\a$Hҭԭխ׭حڭۭݭޭ333333333333333333333333333333333 m22DDZEE`LLL?NT=T[aaaxcfdhhhjz{_k#?cLsΗϙ.GH~ ,YvۛŜ{ǟEcƠȠɠ͠ q:9Fcdy Nd&hiȬ,.GHҭԭխ׭حڭۭݭޭ%D .b4!<4 n} h#eVUX DX "tQ@$Xu|$lc$@^%<}"! &|a*₴;S+КBb+P.:Z0$P#I9\>XAZ$\-C^n El@FwnJb׆{2Nb׆6xT\Xw ]VPo_,;_:7m|g+gl(l@Cn0o@t^nIiCxP`7{ZW h^`OJQJo(hH-h^`OJQJ^Jo(hHohp^p`OJQJo(hHh@ ^@ `OJQJo(hHh^`OJQJ^Jo(hHoh^`OJQJo(hHh^`OJQJo(hHh^`OJQJ^Jo(hHohP^P`OJQJo(hHh^`OJQJo(hHh^`OJQJ^Jo(hHohp^p`OJQJo(hHh@ ^@ `OJQJo(hHh^`OJQJ^Jo(hHoh^`OJQJo(hHh^`OJQJo(hHh^`OJQJ^Jo(hHohP^P`OJQJo(hH^`OJPJQJ^Jo(- ^`OJQJo(o pp^p`OJQJo( @ @ ^@ `OJQJo( ^`OJQJo(o ^`OJQJo( ^`OJQJo( ^`OJQJo(o PP^P`OJQJo(^`o(. ^`hH. pL^p`LhH. @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PL^P`LhH.h^`OJPJQJ^Jo(-h^`OJQJ^Jo(hHohp^p`OJQJo(hHh@ ^@ `OJQJo(hHh^`OJQJ^Jo(hHoh^`OJQJo(hHh^`OJQJo(hHh^`OJQJ^Jo(hHohP^P`OJQJo(hHh ^`OJQJo(" h^`OJQJ^Jo(hHohp^p`OJQJo(hHh@ ^@ `OJQJo(hHh^`OJQJ^Jo(hHoh^`OJQJo(hHh^`OJQJo(hHh^`OJQJ^Jo(hHohP^P`OJQJo(hH psp^p`so(hH-^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hHh^`CJOJQJaJo(hHh^`OJQJ^Jo(hHohpp^p`OJQJo(hHh@ @ ^@ `OJQJo(hHh^`OJQJ^Jo(hHoh^`OJQJo(hHh^`OJQJo(hHh^`OJQJ^Jo(hHohPP^P`OJQJo(hH ^`OJQJo("  ^`OJQJo("  pp^p`OJQJo("  @ @ ^@ `OJQJo("  ^`OJQJo("  ^`OJQJo("  ^`OJQJo("  ^`OJQJo("  PP^P`OJQJo("  psp^p`so(hH-^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hHh^`OJQJo(hH-h^`OJQJ^Jo(hHohp^p`OJQJo(hHh@ ^@ `OJQJo(hHh^`OJQJ^Jo(hHoh^`OJQJo(hHh^`OJQJo(hHh^`OJQJ^Jo(hHohP^P`OJQJo(hH psp^p`so(hH-^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hH7^7`@OJQJo(hH^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hHh^`.hSS^S`.h# L# ^# `L.h  ^ `.h^`.hL^`L.hcc^c`.h33^3`.hL^`L.h ^`hH)h ^`hH.h pL^p`LhH.h @ ^@ `hH.h ^`hH.h L^`LhH.h ^`hH.h ^`hH.h PL^P`LhH.h^`OJQJo(hH-h^`OJQJ^Jo(hHohp^p`OJQJo(hHh@ ^@ `OJQJo(hHh^`OJQJ^Jo(hHoh^`OJQJo(hHh^`OJQJo(hHh^`OJQJ^Jo(hHohP^P`OJQJo(hH ^`OJQJo("  ^`OJQJo("  pp^p`OJQJo("  @ @ ^@ `OJQJo("  ^`OJQJo("  ^`OJQJo("  ^`OJQJo("  ^`OJQJo("  PP^P`OJQJo("  hh^h`56o([]^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.h ^`hH.h ^`hH.h pL^p`LhH.h @ ^@ `hH.h ^`hH.h L^`LhH.h ^`hH.h ^`hH.h PL^P`LhH.h ^`hH.h ^`hH.h pLp^p`LhH.h @ @ ^@ `hH.h ^`hH.h L^`LhH.h ^`hH.h ^`hH.h PLP^P`LhH.7^7`@OJQJo(hH^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hH psp^p`so(hH-^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hH s^`so(hH-^`OJQJ^Jo(hHo  ^ `OJQJo(hH| | ^| `OJQJo(hHLL^L`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH7^7`@OJQJo(hH^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hH7^7`@OJQJo(hH^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hH^`o(. ^`hH. pL^p`LhH. @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PL^P`LhH.7^7`@OJQJo(hH^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hH ^`OJQJo("  ^`OJQJo("  pp^p`OJQJo("  @ @ ^@ `OJQJo("  ^`OJQJo("  ^`OJQJo("  ^`OJQJo("  ^`OJQJo("  PP^P`OJQJo(" 7^7`@OJQJo(hH^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hHh ^`OJQJo(" h^`OJQJ^Jo(hHohp^p`OJQJo(hHh@ ^@ `OJQJo(hHh^`OJQJ^Jo(hHoh^`OJQJo(hHh^`OJQJo(hHh^`OJQJ^Jo(hHohP^P`OJQJo(hH ^`OJQJo("  ^`OJQJo("  pp^p`OJQJo("  @ @ ^@ `OJQJo("  ^`OJQJo("  ^`OJQJo("  ^`OJQJo("  ^`OJQJo("  PP^P`OJQJo("  psp^p`so(hH-^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hH psp^p`so(hH-^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hHps^p`s@OJQJo(hH^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hH7^7`@OJQJo(hH^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hH7K^7`@OJQJo(hH^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hH7^7`@OJQJo(hH^`OJQJ^Jo(hHopp^p`OJQJo(hH@ @ ^@ `OJQJo(hH^`OJQJ^Jo(hHo^`OJQJo(hH^`OJQJo(hH^`OJQJ^Jo(hHoPP^P`OJQJo(hH%  &w ]X "@FA(lQ@$+gc$IiCxVU7{0 E^%|gb+@t\-C{2N0wnJo_0\XCn04 D} u|$,;_.^R#|a*:Z0I96xT;S+%%|;&b&b>  pL> y(cـ'>X|]$gZ||;Oh vN!^]v5u\ڶœ~ȩH*tb`        |z#> Vƚ:L@\G0> t*F&Ȣy]4G:|B<||xiOm6ki) 5KT\}r) * 8 wG P a x  I :" 6 ; A !H K fj su y U = a f 6r %} p ' # & a9 H Z q s  < @ A H K R jl s "78[<Df3oqq|&:0eC`Ot  *zL.MWy/ HiXc>a%js|r.(KxSte|Cg_+@IB  L045T.(O>C?g?go$.}=gmBLb mQyy}E wz'.`JKORT h$=k Ykh>mG>Rh\ "+qV[ ^$iasXu|E /(a,t-/42kkzw~ * 2 !!!8!lb! "1","_3"K6"N^"a#6#}G#R#_#g#j#x#p$8$M$`~$%!%'%Y3%UT%@x%&S&e&&).&V9&yn&'" ''+-'I5'@'A'^'t'u'( ((d())mX)Y)d) **:*M* w*+z'+jR+`+/ ,, ,N{,-@-6J-{W-.'.4.4.i9.9.z.//#/w,/5/;/A/wh/v/8)040e>0 Y0h0s011P&1M1PW1^1g1s12? 2; 2b2'2'2oI2,]2#v2z2~2e3FE3Q3{3b4en4tr4425 5d5V?5M5s5x5J6'"6L46K[6B]6q6r6 737@7 A7z]7$o7Zp7r7 8u%8P8ik8k8T9#9L<9:E9ON9[Y9Z9j9w9{}9~9X(:22:RC:[:;i;?;j=<=<T<zd<Xn<o<~<$=21= 6=bB=[=}=a> > >>e>R3>vy>.}?@wX@^@h@l@Aq@ AAA A$A*A6A6HAPAZABkAzA:B*BRC"CR(CQCSCD}:DRD}hDZmD#wDE"XE"jEaoE F6FbEFsIF,bFG#G1G]G"jGOpG~GH!H%HMHoH=+IK1Ip=Id>IkSI|iI)lIJJJh)JMKJ:aJHrJvJ KKk1KIKLTKc[KrK"L5:LFLaLiLwLMYM M MhMx#MdM fMNN$NCNCNj\N `NO(OQrQRpRR#R>R-UR}RWES*T +T;TZT}Th,U/U{:UPU bUV"Vj"V:V@VwJVRKVx`V W--Wo.WXX&X1X`RXRXmX{X{XY YOYLfhTfUfgi$g.g|Cgeg h(h\Sh[_h i}iDiMi^ioij"jb+jv1jf4jB`j sj+~jk1kSk]kcqk l!l,%l5lmCm~hmgnn!.n'Dn4KnPn_nd3oUJomouowo p9p8IpKpWpdpfypX%q%q/qpCqDqUq=jqtqxqrY/rdrhr lrsVswst t#tuPtytue%u(uB.uCuvIucunuS"v#vmVvlvpv w.wtLw|w}ww3xWUxnx##y3yJyryn{yz6z3zn{&{z2{5{BY{{{5|/|#n||D},}/}bE}sX}_} ~~]'~Z~H\~g~&r~`9Vact!0OAEWt}` 6>> Vh t"+&UWw=Ad&Y1w1?Oll\pWu &4gV*W,i34DKbWSe#s@s%ABCEfU$xI7;b tL~%QfjM|(fI+w,0QVo!*H_wF;wEJ`dfr7zaJK"Y^k+@}YhUE O8UZ]E4L|M`uk&v5dY#*E^bdyf+f 4*W h!iz V(AaH;"56T+] d$S]UBd"o$WEtbbxko&.4eV2Lz%AkDv:+/SW D*+D Z]neW>eLYW_ces,|5a>Is~F0RU,eK'\8:1 P7FJ\UZu#x=5c3Vs&V'01>HKMOYSo&'$<FLce ym"<9j+2=58D\q9Y6<T z=*JPP5ddl2 ?@ET8X\S`}<hK HVy#9&+Q4I^3or< NL*6@ Ml%8rwBy /+-#0C6?D7IN|_'DOU7ZO_YaL{k))MGiRq-[pK]]h^x- : h!tI^Gm/z}#yQ="II,_biw3zABV0,>HUvZ/0<VNfg&)+KlT,0>?8Bv2#%G.v4<Yjsxb'U+,42?@Hd2f5 %%+H,QSoqT&< U]='`nVx} #$.GdEzVo !%a//28Dq (-Vc} .x:%EEu:=*G28S 1H,HqW\hmCwZ_,/4R6TtZh$%&Kc8se0CRtSc$i t[x%06v83FXD`p{:0N38=\LL^Z`e))KxOu&s ^n(#=CQ[|m )>0##3$@CSTD`gwB %% /GQfo#-261I^nt~n^n;aKrpqIv'>?lDbRcUY.0A(]79dh2mK:,-DF]phz+glnpy}&&;TXC1)QYH^(-0AFl/ '3/ JU\(chylnx"6$-4n6y5Vw[pbro|@DSbfg /3 4XGLnVA[#}$..6?EHL.hlocy p RlU^_%mNjt;z}HJ@X0ZZ-.l2l3llllllŜŝŞşXX@XX8@XX@@X"XH@X(XT@X<X|@XBX@XXXXX@XXd@XX X"XH@X @Unknown G.[x Times New Roman5Symbol3. .Cx ArialG5  hMS Mincho-3 fgY New YorkTimes New Roman?= .Cx Courier New7.*{$ CalibriC.,*{$ Calibri Light;WingdingsA$BCambria Math"q/Q4Ql X:l X:nn24 3qHX ?2! xxV003discedIvana Gortan Carlin%                           ! " # $ Oh+'0<x   $,4V003discedNormalIvana Gortan Carlin3Microsoft Office Word@@3}y@Pv~y l՜.+,0 hp  unisa:X V003V003 NaslovTitolo  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~Root Entry F`{~y@Data Kt1TableWordDocument ESummaryInformation(DocumentSummaryInformation8MsoDataStore{~y@{~yEYRGATEPUM5PYJ==2{~y@{~yItem  PropertiesUCompObj    F0Dokument programa Microsoft Office Word 97-2003 MSWordDocWord.Document.89q