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part of the contemporary music education,
4. 90% of teachers include popular songs into education, too,
5. the representation of folk and popular songs in education is balanced,
6. 60% of pupils like singing most of the activities, which means that more than 
half accept the balanced rate of popular and folk repertoire,
7. over 60% of pupils answer that the teacher can sing well,
8. 11% of pupils sing actively either solo or in a choir / group.
Points 1.-4. present the opinion of teachers – if the previous thoughts are taken into 
account, the positive content is not surprising. What ensues from the other points 
is the fact that music education does not fi ght against quite a high rate of negative 
impacts of spontaneous attempts to make uncontrolled selection of popular songs 
that are IN right now in the vocal cultivation of children, but, on the contrary, it has 
accepted the implementation of popular songs into the music education repertoire. 
For the active vocal realization, there is seems to be a problem with the nomination of 
concrete songs. If more than a half of pupils enjoy singing activities in music lessons, 
this also means that they accept the representation of folk repertoire. If this sounds 
surprising, the following may explain it: pupils primarily know their favourite pop 
songs as the perfect versions with great sounding whose quality is far from being at-
tainable by pupils themselves. So, isn’t it better to resign and rather accept the reper-
toire which is less entertaining, but more attainable? Could we similarly explain the 
fact that 60% of pupils regard their teachers as good singers? The reality that pupils 
consider themselves as capable of giving qualifi ed answers could be explained by 

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saying that the evaluating listener role is a daily routine for them. (Rate of application 
of conscious criteria or dominance of spontaneity is a topic which goes beyond these 
thoughts.) If they mainly draw from their experience in other genres than in which 
their teachers are seen and heard in this evaluation, and if the teachers succeeded, it 
certainly is a positive foundation.
With the support of the outcomes of the research, we can claim that the folk song 
in 2010 remains the main type of the vocal repertoire of music education and that this 
concept is accepted by pupils as well (music textbooks also cover the artifi cial songs 
for children, which are not subject of our interest now). If this reality is interpreted 
as a result of pursuits of previous generations of teachers and as preserving of the 
traditional concept by the contemporary teachers, this is a very positive foundation 
that can make us more optimistic. The professional community has even more opti-
mistic information. According to the unoffi cial statistics NIPOS-ARTAMA, there is 
a singing choir with regular performances at least at every tenth schools in the Czech 
Republic, which is a fact corresponding to our foundation that 10 % of children claim 
that they sing actively in a choir or solo.
Selective children and youth singing choirs successfully represent our country 
in many international competitions. A lot of information from the sphere of singing 
choirs may be found e.g. in a magazine for choir art CANTUS, on the website České 
sbory (Czech choirs) or else. A similar situation is in the instrumental music. In the 
Morava regions, there is rich activity in the sphere of folklore, we could hear about 
the success of concert brass orchestras, jazz orchestras. In this context we must men-
tion the existence of the unique network of primary Music and Arts schools, which 
is admired by participants of international music educational sessions from all over 
Europe and the overseas; but this is not the object of our attention, neither as the fact 
that there is a system of grants supporting artistic activities of the young generation 
on various regional levels (towns, regions) in the CR, which is widely used mainly 
by school music communities, and let’s state that the general music education may 
function as a background for bringing up and searching of talented candidates for 
more specialized music education. The quality of selective and more professional 
singing activities is more than satisfactory. Let’s also state that the general represen-
tation of singing activities does not have a growing trend, but, on the other hand, it 
neither falls. There is a precious foundation that the school public – both teachers and 
pupils – know that they like singing, they sing folk songs besides other repertoire, are 
aware of this fact and even evaluate it positively.