The Multimedia Technologies Applications indd

Sampling fi le of teachers (612 in total) was made up of 86% women and 14% men. 
Regarding age, older generations prevail. While the fi rst half of the professional acti-
ve life (approx. till 40 years) is represented by 41% respondents, 59% of them appear 
in the latter half or are working retired teachers.
The majority of teachers (93%) gained their university degree at a faculty of edu-
cation. 3% of respondents stated that they graduated at a faculty of arts. The number 
of graduates from an academy is minimal (0,9%). The average length of music educa-
tion of respondents is 12 years, teaching experience 18 years, 16 of which is teaching 
music education. 84% of respondents are qualifi ed for teaching music at the second 
stage of primary schools (it means that every sixth respondent lacks qualifi cation), 
and 82% of respondents at secondary schools are qualifi ed for teaching music les-
sons there. Most respondents play the piano, which corresponds to the prerequisites 
of music departments of faculties of education. Playing the piano is connected with 
playing the keyboard (but only 34% stated this capability). Half of respondents can 
play the guitar (53%) and the fl ute (51%), only about 14% of respondents play the 
violin, there are some teachers that do not play any musical instrument at all (1,3%).
From the perspective of popularity among school subjects taught by them, music 
teachers think quite positively about music lessons; a quarter prefer teaching music 
to the other subjects, and for two thirds of them teaching music is on an average 
position. Compared to other subjects, the greatest plus of music lessons is the fact 
that a teacher can create more open and freer atmosphere (72%). On the contrary, the 
worst minus is undervaluing of the subject of music education by pupils (64%).
The respondents’ ideas about teaching music lessons prior to their experience 
broadly corresponded to the reality (56%), but, they often were more positive than 
what the reality turned out to be (40%). In general, the reality of teaching music les-
sons was more negative for respondents than their image of the same before gaining 
experience; still, two thirds would choose teaching music education for their profes-
sion even now.
The aim of music education is viewed by the respondents mainly as a support of 
general musicality, i.e. relation to music, singing and active playing, supplemented 
with the basic knowledge of music history and theory. They often mention orientati-
on in music genres, connected with the tolerance to their variations, and possibility 
of music education to cultivate the character, aesthetic and social aspects of pupils’ 
personalities.

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ME is specifi c also in the eye of pupils, half of respondents would prefer verbal 
assessment to assessment by marks, which would fi t better the character of the sub-
ject as an education. The ones that would assess ME by marks, would base marks 
mainly on activity and pursuit at the expense of the assessment of knowledge and 
abilities.
In teachers’ opinion, the position of ME among the other primary school subjects 
is rather subordinate. They feel it is underestimated by parents and pupils most, less 
by colleagues, and the least by school management, though they claim that ME is 
a bit underestimated even by the last group.
Nearly half of respondents have heard the opinion that ME at primary schools 
is useless and could be abolished. This is only a claim proving what was said above 
about the underestimation of ME, mainly by pupils, parents and the public. Half of 
the teachers think that this opinion is rooted in misunderstanding of the message of 
ME, more than a third of them believe that the opinion corresponds to the prevailing 
orientation of society to the utility value and high performance.
The majority of respondents see the undervaluation of the profession of a primary 
school teacher mainly in its social aspect (84%), the fi nancial undervaluation is men-
tioned by fewer respondents (58%). In the self-assessment, most respondents (85%) 
believe that the profession of a primary school teacher is essential in society, whose 
function could hardly be replaced with anything else.
The greatest plus of the profession for the respondents is the creative activity 
which is, to a certain extent, under their control (89%), and, another great plus is 
the work with children (72%). The worst minus of the profession includes too high 
demands on teachers’ patience (64%), inadequate fi nancial assessment (72%) and 
a lack of interest of pupils in education (54%).
Self-fulfi llment in teaching was very highly spoken of by teachers, the average 
mark was 1.9, as well as self-realization in the profession (average mark 1,8). It is 
perhaps just thanks to these positive feelings that 78% of respondents would decide 
to become teachers again despite all the negative aspects of the teaching profession.
Four fi fths of respondents have worked on the School Education Programme 
(SEP) for music education, almost half of them have elaborated it individually. But, 
this work on the SEP meant something positive for just 23% of them, allowing them 
for the classifi cation of the main priorities of music education and for the coverage of 
these in the programme. 37% of respondents perceived the elaboration of SEP as use-
less extra work. The real change in the content of education with new possibilities is 
experienced only by 13% of respondents, more respondents (29%) consider the shift 
from the school curriculum to SEP only as a formal matter. In the general assessment 
of the assets of SEP compared to the curriculum, slightly positive opinions prevail, 
but only about a tenth of respondents value the SEP as a great improvement, and for 
the same percentage this is a change to the worse. So we can claim that the desired 
effect of SEP has not come yet.

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Only two thirds of respondents have a special music classroom in school, 70% of 
which can use it every time and 21% only have a limited access to it. 63% of respon-
dents consider the music classroom equipment as adequate, 23% as inadequate and 
14% as above standard. Almost all respondents have a CD player in the classroom, 
more than half have a cassette player, DVD player, television and a video recorder.
The audiovisual devices used most frequently are a CD player (96%) and DVD 
player (63%). Recording devices are used in lessons only by 13% of respondents, the 
ones put to use most frequently are tape recorder (41%), dictaphone (26%) and digital 
video camera (26%). They are mainly used for the purposes of pupils’ self-refl ection 
(61%) and projects (58%). The devices which respondents lack most are interactive 
boards, and at least 18% of respondents are fully satisfi ed with the equipment (see 
a commentary on question no. 30).
88% of respondents have an access to the textbooks for music lessons or son-
gbooks, and almost all of them use the books in lessons. The most frequently used 
book is the songbook called Já, písnička.
Almost all respondents (more than 85%) have the following musical instruments 
at disposal: claves, drums, triangles, tambourines, cymbals and piano. They mostly 
lack xylophone, but 23% of respondents do not lack anything. The most frequently 
used instrument by teachers in lessons is the piano (79% of respondents).
Pupils mainly play small rhythmical Orff instruments in music lessons, they play 
them to accompany singing, and for rhythmical or intonation exercises.
Among the three basic activities (music activity of pupils, listening, lecture), it 
is the music activity of pupils – singing, playing musical instruments, music move-
ment, that prevail in the content of lessons. This usually lasts about 20 or 30 minutes, 
and considerably less time is devoted to theoretical lecturing or listening (from 5 to 
10 minutes for each activity). So, the active character of music education at primary 
schools clearly prevails, and time devoted to folk, modern pop and classical music 
is well balanced, but jazz music is covered much less. Half the teachers state that the 
rate between folk and modern pop songs in lessons is balanced, quarter of them state 
that folk ones prevail and the last quarter say that pop ones prevail, which means that 
in total the representation of folk and modern pop music is comparable.
96% of respondents include modern popular music in lessons, mainly in the form 
of song singing, listening and pupils’ papers. 99% of them believe that folk songs are 
a suitable part of the contemporary music education. In general it seems that both 
folk and modern pop songs are seen by teachers as obvious and equal parts of music 
lessons.
Another question group focused on using multimedia technologies. In questions 
considering the usage of computers in lessons, 70% of teachers stated that they some-
times use computer in order search information and recordings. They use computer 
in lessons from time to time, especially as a means to the education more lively, or 
to raise the effi ciency.

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The awareness of music software and its utilization is very weak among music 
teachers. Though about 69% of respondents have heard of notation and composition 
software, only 29% of them have used it personally, and the software they are expe-
rienced with mainly includes Sibelius, Capella and Finale. 72% of respondents are 
aware of the educational music software, but only 10% of them have personal expe-
rience, mostly with Sibelius Auralia and Instruments. Only a minimal percentage of 
respondents use the educational music software in their lessons, and in case they do, 
they mainly use Sibelius Auralia and Instruments. The respondents that do not use the 
educational software claim that it is not available to them or that they are not aware 
of any such software. Only a little part of respondents has enough experience with 
music software, usually Sibelius and Capella.
Three quarters of respondents are interested in training in music software, which 
means, if such training is available, using of music software at schools may become 
more popular in the future.
65% of respondents have personal experience with the interactive boards, the 
remaining 35% of respondents usually (81%) have no such board at disposal. For 
teaching of music lessons, the interactive board is available to 41% of respondents, 
but only two thirds of them really use it, 50% of which several times a year and 30% 
on a regular basis. They mostly use the board for playing music examples (87%), for 
lectures in music theory (70%) and for practicing studied topics (57%). The remai-
ning third of respondents with the access to the board claim it is because they either 
cannot operate it (40%) or that they trust the classic techniques in music lessons 
more.
The respondents universally think highly of using the interactive boards in music 
lessons, they mainly value it as a good way to enliven the lessons (65%) and make 
them more effi cient (50%).
It is clear from the above mentioned results that teachers are positive about wor-
king with the interactive boards, and, what prevents them from more intensive work 
in most cases, is an insuffi cient number of them at schools.
University training for the profession is thought to be adequate or almost adequa-
te by four fi fths of respondents, and they state that the areas mostly underestimated 
at universities are methodology and didactics of music education, i.e. practical dis-
ciplines needed in every lesson. It is thought by the respondents that there is a great 
gap in the area of training in work with the modern technologies, over 90% lack such 
a preparation, and 72% would welcome a training in this area.
There is a great interest in further education in the music area among the respon-
dents (86%). But, 62% of respondents are not happy with the choice of courses in this 
fi eld and value it as insuffi cient; but still, nearly half of them regularly or sometimes 
attend courses of further education. Further education activities of 78% of respon-
dents are supported by the school management.

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Music teachers are very often more active than is the minimum required. Nearly 
half of them teach an optional subject or a leads an interest club, and more than two 
thirds of them represent schools with their pupils, often in cooperation with other 
institutes.
All results of the research presented so far allow us to create a profi le of a typical 
music teacher at primary school with a certain probability.
The typical teacher is a female between 40 and 50 years. She was educated at 
a secondary grammar school and then went on to study at a pedagogical faculty. She 
completed two cycles at a primary school of music and arts and she has been active in 
music education for 12 years. Her teaching experience has been 18 years, 16 of which 
was teaching music education at the fi rst, but more often at the second or both stages 
of primary schools. She is qualifi ed as a teacher of the fi rst stage of primary school, 
often as a teacher of the second stage of primary school, in this case in combination 
with Czech language. She chose to become a music teacher because she liked music 
and wanted to devote to it professionally. She plays the piano, but is not an active 
musician.
Within the context of the subjects taught by her, she would place music education 
among mid-favourites with the tendency to a more positive evaluation. She sees the 
greatest plus of music education in the possibility to create an open free atmosphere, 
but she also values the creative and variety aspects of the subject. The worst minus 
of the subject in her eye is the fact that pupils do not fully respect this subject, and in 
relation to this she can feel it is hard to keep the discipline. Her idea about teaching 
music prior to her career more or less refl ected the reality, but still, the expectations 
were more positive. In spite of that, now with her experience in teaching music les-
sons, she would still choose music education for her qualifi cation.
She sees the main aim of music education in enhancing the general musicality, 
i.e. relation to music, singing and music activities, completed with basic literacy in 
music history and theory. She often mentions orientation in music genres, connected 
with tolerance to their varieties, and the possibility of music education of cultivate 
a character, aesthetic and social aspects of pupils’ personalities.
Considering the assessment of pupils in music education, she would prefer verbal 
assessment to mark assessment, which would fi t best the character of the subject as 
education. Provided that the assessment is in the form of marks, she would only use 
nicer marks, based on pupils’ activity and pursuit.
She observes that the status of music education in the context of all the school 
subjects is regarded by school management as a less important subject, but with the 
tendency to give it at least some importance. In the eye of the other teachers, she 
thinks that the status of music education is a bit lower, with the tendency to consider 

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it as less important. She can feel that the status of music education is even worse in 
the thinking of pupils who tend to underestimate it as the least important subject. And 
she thinks that there is a general tendency of parents to range music education among 
the least important subjects, too.
A typical music teacher has never come across an opinion that music educati-
on at primary schools is useless and shall be abolished, but it is very probable that 
she might hear it, especially from pupils. She believes that this opinion is rooted in 
misunderstanding of the message of ME, and that it corresponds to the prevailing 
orientation of society to the utility value and high performance.
She thinks that the profession of a primary school teacher is undervalued both 
fi nancially and socially, though she believes the profession is essential in society, 
whose function could hardly be replaced with anything else. She sees the greatest 
plus of the profession in the creativity which is, to a certain extent, under her control, 
and, another great plus is the work with children. The worst minuses of the profession 
include too high demands on her patience, inadequate fi nancial assessment and a lack 
of pupils’ interest.
Despite all these negatives, teaching fulfi ls her and gives her the feeling of self-
realization. If she was to decide again, she would still like to become a teacher. 
She has elaborated the School Education Programme together with her colleagu-
es, though it is quite probable that she could have also elaborated it individually
1
. But, 
she perceives the elaboration of SEP as useless extra work, even if she was aware 
of its necessity and opportunity of positive changes. She can see that the content of 
music lessons has changed just in minor matters, and in relation to that she generally 
considers the school education programme as a positive, but just a little change, she 
thinks that nothing has really changed in the real world.
There is a well equipped music classroom at her school, and she uses the room for 
her lessons. She can use a CD player, tape player, DVD player, television and video 
recorder. Regarding audio-visual devices, she uses a CD player and DVD player in 
her lessons, she does not use any recording devices. What technical equipment she 
lacks is the interactive board. In the room, she has an access to SPN (state pedago-
gical publishing) textbooks for 1
st 
- 9
th
grades and songbooks for pupils called Já, 
písnička, and she uses them in lessons. She has the following musical instruments 
at disposal: claves, little drums, triangles, tambourines, cymbals and piano, woo-
den block and other percussions, guitar, keyboard, fi pple fl ute, bells, xylophone and 
drums. In her classes, she uses piano, claves, little drum, triangle, keyboard, tambou-
rine and guitar.
In her lessons, pupils use claves, a triangle, little drum, cymbals, tambourine, 
wooden block and other percussions, maraca and fi pple fl ute. They usually play these 
1
In cooperation with colleagues – 44% of respondents, individually – 37%.

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instruments in group work to accompany singing, and for rhythmical or intonation 
exercises, they also play them individually to accompany singing and in musical 
movement. Her pupils spend from 20 to 30 minutes of a lesson by music activiti-
es (singing, playing musical instruments, musical movement) on average, she gives 
a theoretical lecture from 5 to 10 minutes (rather longer) and they listen to music 
from 5 to 10 minutes (rather shorter).
In her education, the most represented music genre is folk music, but modern 
popular and classical music are not omitted either. So she teaches modern popular 
music, she gives it more or less the same attention as the classical (or folk, jazz) 
music. For teaching modern pop music she chooses the methods of singing pop 
songs, but also listening and pupils’ papers. She believes that folk songs are a sui-
table part of the contemporary music education and gives them about the same time 
as to pop songs.
She regularly uses computer for the purpose of teaching music lessons, main-
ly to search information and recordings on the internet and for the preparation of 
worksheets for her pupils. Pupils do not use computers in her music lessons, as there 
is a lack of them. However, it is likeable that they could use computer, and, if the case 
may be, they would use it several times a year, especially for searching information 
and music examples on the internet.
She is aware of the composition and notation software, but she has not worked 
with it personally. She has also heard of the educational music software, but, she has 
not used it either. So, she does not use it in her teaching, no such software is available 
to her. She does not know which software is most suitable, but she would like to learn 
more about these programmes in training. In her opinion, computer in music lessons 
mainly serves to enliven them.
She is experienced in using the interactive board (even from other subjects that 
she teaches), but the board is not available to her for teaching music lessons. It is 
probable that she could have an access to it 
2
, and, if the case may be, she would put 
it in use several times a year for playing music extracts, for lectures in music theory, 
perhaps for exercises. In her view, the interactive board in teaching music education 
is fi rstly a good source of enlivenment, its function as a means of rising effi ciency is 
secondary.
University education prepared her for teaching music education relatively well, 
but she had to complete some gaps later, mainly in the area of didactics and methodo-
logy of music education. She would also welcome a course in working with modern 
technologies in education, because university did not prepare her in this aspect. She is 
interested in further education of teachers, and, in spite of the fact that she thinks that 
the choice of courses for music teachers is quite limited, she often attends courses of 
further education and the school managements supports her in this activity.
2
Interactive board is available to 41% of respondents.

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Though she does not teach any optional course or manage a music club, there is 
a great probability that she might
3
, and, in such a case, that would be a singing choir. 
But she represents school with her pupils, mainly in music performances for her 
school, partly also in performances for other institutes.
The following sections of the paper capture similar problem groups in the per-
spective of primary school pupils. The sampling fi le consisted of 1839 pupils, 944 of 
which were boys and 895 girls.
In the view of pupils, music education is less important than some other subjects; 
they also presume that their parents are of the same opinion. They, as well as their 
parents, consider mainly Czech, Maths and English as more important subjects. If 
they were to assess themselves, they would get mark 3 (good – average). More than 
a half believes that the information that they receive is suffi cient and that music edu-
cation is worth teaching at primary schools. More than half of the respondents admit 
that music education is useful and gave them new knowledge. In spite of that, they 
would not say that music education has infl uenced their relation to music.
Singing is the most popular activity in music lessons, they spend about 
15-20 minutes or even 20-30 minutes in a lesson on this activity. The highest per-
centage of respondents listen to classical or popular music from 0 to 5 minutes in an 
average lesson. Singing prevails in music lessons. Lectures usually last from 10 to 
15 minutes. A greater part of respondents devote to pop music in lessons, but more 
than a third of them claimed the opposite. The greatest part of pupils reckon that both 
classical and popular music shall be covered in music lessons. They mostly value in 
music teacher the ability to sing and play a musical instrument, they would prefer 
a more intense use of computer in education.
The majority of primary schools have a music classroom, which is really used 
for the purposes of music education. More than a half of respondents consider the 
music classroom equipment as average. The equipment and furnishing mostly inclu-
de a CD player, pictures of composers and musical instruments, which are, together 
with a DVD player, used most often. 64% of respondents would welcome an interac-
tive board and 52% a computer. Recording devices are used really scarcely, and, if 
they are used, that is usually a video camera in an ordinary lesson. It is worth pointing 
out that more than a half of respondents do not use textbooks in music lessons. Their 
teachers are usually piano players, and they often play keyboards and the guitar, too. 
65,74% think that the equipment and media are used in music lessons adequately. 
However, over two thirds of pupils objected to the fact that they cannot operate them 
by themselves. Moreover, over two thirds think that they help them learn new things 
in music education. Various devices and media are used in some other subjects more 
intensely, as 45% of pupils claim. The other subjects mainly put in use computer, 
interactive boards and television, and it is just the interactive boards and computer 
3
45% of respondents teach an optional subject.

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that students usually lack in music lessons. Over three quarters of pupils think that 
technologies and the media help them to learn new things. Music computer program-
mes are used rarely. Most frequently used software is Instruments, but, regarding the 
total number of respondents, its usage is quoted only by 3% of them. In music lessons 
pupils can most often see: piano, claves, little drum, triangle and guitar. On the other 
hand, they miss percussion, guitar and violin. Their teacher mainly plays the piano, 
the other instruments are used much less. Pupils mainly use a little drum and claves. 
The internet is used in lessons only by about a quarter of respondents, but 69,35% of 
respondents would welcome more intensive work with the internet.
Regarding the question about the infl uence of their attitude to music, music tas-
te and music preferences, pupils could vote among the internet, TV, radio, family, 
school, friends and music education, and range them on the basis of the intensity of 
their infl uence. They ticked all the possibilities in more than 50%, both in the case of 
infl uence on music taste and relation to music. Considering the intensity of the infl u-
ence on music taste, pupils say that friends and radio, television and the internet infl u-
ence most; considering relation to music, the internet, TV and radio score highest. 
48,46% of respondents reckon that music education has not infl uenced their relation 
to music, and more than 80% of pupils cannot imagine life without music.
As for music activities, pupils pay most attention to listening to music. Only 
a third of them sing daily, and slightly more of them sing only sometimes. Most 
pupils are not active in any music body, there are some that are members of a singing 
chorus or a dancing group. Music and arts school is attended by 28,50% of respon-
dents, and there is no signifi cant difference between the ones that think that music 
lessons at primary school are useless because they can learn everything at a music 
and arts school, and the ones that claim that things taught in primary school music 
lessons are not covered at music and arts school. But almost half of them were not 
able to defi ne the relation between the information learnt at primary school and music 
and arts school. Less than a quarter stated that they compose or write, it is usually 
lyrics and texts. Mere 2% do not listen to music, all the others say that they listen to 
music every day and that they spend 16 hours a week on average listening to music. 
The majority of pupils listen to music on purpose as a background, and they mainly 
gain music by downloading from the internet.
The most popular genres include hip hop and rock. There is usually no favourite 
performer or composer in the area of classical music. If they give a name, they are 
usually the most famous personalities in the realm of classical music (Bach, Mozart). 
Regarding performers, they often mix names of performers of classical music with 
pop music, and with composers, which proves that they are not literate in this area. 
On the contrary, in case of pop music, they show good literacy and are able to name 
a great number of performers. The most popular ones include Lady Gaga, Rihanna 
and Miley Cyrus. Names of pop music composers blend with names of performers, 
which is typical for this kind of music; this music is presented by names of per-

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formers and songs in most cases. The interest in concrete performers and genres is 
related to visiting concerts and their choice. A larger part of pupils do not visit con-
certs, only 43,06% of respondents do. Concerts of pop music are visited most. Pupils 
state that they visit concerts of any genre only rarely (only classical, only popular, 
both classical and popular). A larger half say that the choice of concert is up to them, 
their decision depends on their music taste, and much fewer pupils say that they are 
advised where to go.
Similarly as in the fi le of teachers, even here we can create a picture of a statis-
tically average, or typical, pupil of a primary school. Such a pupil considers music 
education as a less important subject than the others, and assesses the signifi cance of 
music lessons with the mark 3 (good, average) in the scale from 1-5 (1 is the best – 
5 is the worst). Using the same scale, the pupil marks his/her music knowledge with 
the mark 2. He/she is sure that music lessons are meaningful and useful. The pupil 
thinks that her/his parents regard music education as less important than the other 
subjects as well. In his/her opinion the information from music lessons is adequate, 
but, at the same time, the pupil claims that music lessons have not given him/her any 
new information.
The pupil would not probably change anything about music lessons, since the 
present form suits her/him, and, if such a pupil was to change something, that would 
surely be benefi cial for music activities (mainly singing, but also dancing, listening 
etc.) at the expense of theory.
In music lessons the pupil likes singing most, which is a prevailing activity in 
the lessons. The most frequently used musical instruments include claves and litt-
le drums. The longest part of a lesson is devoted to music activities, that is about 
15-20 or even 20-30 minutes. The second most frequent activity is a theoretical lectu-
re on new topics, which lasts about 10-15 minutes. Listening of classical music takes 
0-5 minutes, which is true for listening of pop music as well, and the pupil believes 
that the time shall be equally divided between classical and popular music.
In the eye of the pupil, a music teacher can sing and play well, he/she mainly 
plays the piano, but often the violin and guitar too; however, these are much less 
represented than the piano.
There is usually a music classroom at school, and it is where music lessons take 
place. The equipping of the room is considered by the pupil as average. Pupils use 
textbooks during lessons. Among the options at the questionnaire, she/he usually 
chooses that there is a CD player, pictures of composers and musical instruments. 
A CD player is used most. A typical pupil would like to have a computer and an 
interactive board in the music classroom.
Recording devices are not used in music lessons, and, if they are, it is most often 
a video camera in an ordinary lesson.
Pupils use some media and equipment in music lessons, most often a CD player, 
but they usually are not allowed to operate them by themselves. A typical pupil belie-

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ves that the devices and media are used enough and that they help him/her learn new 
things about music. These technologies and media are used in other subjects, too, 
ordinarily more than in music education, especially in geography and history. Com-
puter is the most frequently used device, and the mentioned devices and media help 
pupils to learn new things.
A typical pupil does not use the internet in lesson, and, if he/she does, he/she 
thinks that it is benefi cial, mainly in search for information. The opinion that the 
internet is used in music lessons enough (44,55%) appears almost as often as the 
opposite opinion (40,27% of questioned ones reckon that the internet in music educa-
tion is not used as much as it should be), a pupil would welcome more intense using 
of the internet in lessons.
The pupil does not know or use music computer software, and if someone does, 
most available software is Instruments, but this is very rare.
A typical pupil likes music, the relation to music has been shaped by the family, 
but also by the radio, internet, friends and school. The pupil also states that TV and 
music education play a certain role. The infl uence of music education is declared by 
64,44%. But, at the same time, a typical pupil claims that music education has not 
shaped his/her attitude to music, 48,46% of respondents are sure of that. The pupil’s 
taste has been mainly infl uenced by friends, radio, family, television, internet and 
school, too. Their infl uence is over 50%, the infl uence by friends even 62,32% of 
respondents. A pupil cannot imagine life without music.
Listening to music is the activity that the pupil does most, she/he spends 16 hours 
a week listening. The pupil listens to music purposefully, but also as a music bac-
kground. He/she mostly gains music by downloading from the internet. The pupil 
sings sometimes, but often even daily, he/she is not active in any music group, does 
not attend a music and arts school or visit a private music teacher, and, if he/she does, 
he/she usually is not able to say what asset music lessons have in relation to what 
he/she learns at a music and arts school.
Our pupil does not visit concerts, and if she/he decides to go to a concert, it is 
only a concert of pop music and visits them only exceptionally. The pupil decides on 
his/her own, according to his/her taste.
The pupil clearly prefers popular music, his/her favourite genre is hip hop. The 
pupil has no favourite performer in classical music, but, he/she has a favourite per-
former in the sphere of popular music. Our pupil most often listens to Lady Gaga, 
Rihanna, Miley Cyrus, Beyonce and Michael Jackson, but also to many others. There 
is no favourite composer either in classical or popular music.
Interesting results were brought by the part of the research in which answers of 
pupils and teachers were compared. Both questionnaires, i.e. for teachers and pupils, 
included the same questions, but the formulations were different in order to corre-
spond to the age and social status of the respondents. This group of questions served 
as control questions, which functioned, to a certain extent, to verify answers of both 

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22
B
EDŘICH
C
RHA
sampling fi les. Results of this comparison covered the whole range of variations, 
from an absolute concord (e.g. using of music classrooms for teaching of music edu-
cation – both fi les showed same result 98%), to great contrasts (e.g. in question about 
equipping of music classrooms teachers mentioned a gramophone and a cassette 
player 2-3x more often than pupils, from the perspective of using this equipment, 
teachers declared its use 4-6 times more). A positively surprising foundation was that 
50% of teachers supposed that their pupils considered music education as the least 
important subject, but in reality this was only 9%. There was an interesting situation 
with the question whether teachers cover also popular music in their lessons. 96% 
of teachers claim they do, but 40% of pupils claim that pop music is not included 
in music lessons. It is possible to deduce from a number of related questions that 
there is a paradoxical situation: the fact that nearly all teachers cover pop music 
in education will surely please all supporters of its implementation to schools, on 
the other hand, there is a certain memento – what teachers consider to be popular