<?xml version="1.0" encoding="UTF-8"?><xml><records><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Marit  Mõistlik</style></author><author><style face="normal" font="default" size="100%">Lilian   Liiväär</style></author><author><style face="normal" font="default" size="100%">Eha   Rüütel</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">SCHOOL CREATIVE LESSONS FROM 13-14 YEAR OLD PUPILS’ PERSPECTIVE AND ITS RELEVANCE TO TEACHERS</style></title><secondary-title><style face="normal" font="default" size="100%">Problems of Education in the 21st Century</style></secondary-title></titles><keywords><keyword><style  face="normal" font="default" size="100%">adolescents</style></keyword><keyword><style  face="normal" font="default" size="100%">associations</style></keyword><keyword><style  face="normal" font="default" size="100%">creative lessons</style></keyword></keywords><dates><year><style  face="normal" font="default" size="100%">2012</style></year><pub-dates><date><style  face="normal" font="default" size="100%">April/2012</style></date></pub-dates></dates><urls><web-urls><url><style face="normal" font="default" size="100%">http://oaji.net/articles/2014/457-1409839954.pdf</style></url></web-urls></urls><volume><style face="normal" font="default" size="100%">41</style></volume><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">The focus of this article is to analyse what associations are related with school's creative lessons (music, art, craft, physical education) and how should teachers interpret those associations. In addition there is a comparison across all creative lessons about the feeling which is felt by pupils before entering the lesson (response alternatives: “I’m looking forward to this lesson, I’m happy to go there”; “It’s like any other lesson, nothing special”; “I’m anxious, I feel frustrated about going there”). The sample (N = 227) consisted of seventh form pupils of seven upper secondary schools of Tallinn (the largest city of Estonia with 420,000 inhabitants) aged 13–14 (47% of them were boys, N = 107, and 53% girls, N = 120). Pupils’ associations formed six thematic categories describing the most prevalent themes: (1) Teacher, (2) Activities, (3) Emotions, (4) Objects, (5) Classroom environment, and (6) Schoolwork load. Results show that music lesson stands out from other creative lessons both with negative associations and more negative entering feeling. That outcome is discussed from the music teacher's point of view – how it could be interpreted and what it reflects from current educational situation.</style></abstract><work-type><style face="normal" font="default" size="100%">Original article</style></work-type><section><style face="normal" font="default" size="100%">42-51</style></section></record><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Marit  Mõistlik</style></author><author><style face="normal" font="default" size="100%">Tiina  Selke</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">ASSESSMENT OF PARTICIPATION OR MUSICALITY: PILOT STUDY AMONG ESTONIAN MUSIC TEACHERS</style></title><secondary-title><style face="normal" font="default" size="100%">Problems of Education in the 21st Century</style></secondary-title></titles><keywords><keyword><style  face="normal" font="default" size="100%">classroom activities</style></keyword><keyword><style  face="normal" font="default" size="100%">music lesson</style></keyword><keyword><style  face="normal" font="default" size="100%">music teacher</style></keyword></keywords><dates><year><style  face="normal" font="default" size="100%">2011</style></year><pub-dates><date><style  face="normal" font="default" size="100%">May/2011</style></date></pub-dates></dates><urls><web-urls><url><style face="normal" font="default" size="100%">https://oaji.net/articles/2014/457-1405179962.pdf</style></url></web-urls></urls><volume><style face="normal" font="default" size="100%">30</style></volume><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">The purpose of this study was to analyse what Estonian music teachers assess in music lesson and to what extent is it connected with their notion of musicality. A questionnaire was used to collect the data, which was compiled by the authors of the current study, the results of which were quantitatively analysed. Altogether 61 music teachers from all over Estonia participated in the study. It was found that music teachers primarily consider characteristics of musicality: sense of rhythm, ability to sing, and other traditional musical skills and their development. In addition, creativity is highly appreciated, but treated more like a slogan and in fact teachers do not know what they are assessing under the banner of creativity. It is also important to notice that music teachers assess visible musical activities as output giving evidence of musicality (“I assess what I see”). That means that receptive musical activities (i.e. listening to music) and general responsiveness to music are left aside when assessing pupils’ musicality. The current study proved the necessity to understand musicality more widely in socio-cultural context than solely musical skills and highlighted the need for harmonising the assessment criteria and notions among teachers.</style></abstract><work-type><style face="normal" font="default" size="100%">Original article</style></work-type><section><style face="normal" font="default" size="100%">61-73</style></section></record></records></xml>