First of all, the analysis of the questionnaire data demonstrates that the cur-rent average age of music teachers is critically high. Almost half of the
spondents (41%) were between 40 and 49 years of age. One third of the re-spondents were older than 50 years of age. Almost one fourth of the respond-ents (19%) were between 30 and 39 years of age, and only 6% of the re-spondents belong to the younger generation of teachers (20–29 years of age).
This means that quite soon due to the retirement of a significant part of the music teachers, there will be a critical need for new teachers. Preliminary data shows that Estonia will not be able to provide new music teachers for all of the soon-to-be vacant positions.
Figure 1. Conformity of teachers’ education to their current position
The research demonstrated that most of the kindergarten music teachers have a university education (62%), one third has secondary vocational education (34%) and only a small proportion of teachers (4%) have secondary-level education. However, despite the relatively high general education level only about one third of respondents (38%) had a kindergarten music teacher di-ploma. About the same number of the respondents had a music education (37%), but with specialisations in other areas. One fourth (25%) of the re-spondents working as nursery music teachers have specialised in another field that is not related to music teaching at all. These somewhat modest results regarding professional training are apparently compensated by their impressive education experience. Fifty-four percent of the respondents have more than 20 years of professional experience. Almost one fourth (22%) have been working as music teachers for 11–20 years. Such significant experience is an important factor in successful implementation of the new curriculum.
Figure 2. Respondent distribution by qualification level
Almost 2/3 of the respondents (71%) have a ‘Teacher’ qualification category;
about 1/5 of them have a ‘Senior Teacher’ qualification. Three smaller groups of teachers are: ‘Educationalists’ (2%), teachers with no particular qualification category (3%), and ‘Junior Teachers’ (5%). The fact that some teachers work without any qualification at all demonstrates that in private preschool institutions: 1) no qualification categories are upheld; 2) the ab-sence of a qualification category has no impact on the level of salary. An obvious question in this regard is how to support and stimulate interest in raising music teachers’ professional qualification level? Analysis results allow us to conclude that obtaining qualifications of a ‘Senior Teacher’ and especially of an ‘Educationalist’ along with everyday work is a very prob-lematic undertaking that involves significant physical, emotional and time sacrifices.
Further analysis of the results regarding a complex approach to music study and employing various types and elements of musical activity allow us to expect that the goals of the new curriculum will be implemented in the most efficient way.
Figure 3. Musical activity priorities (n=183, %)
The most frequent types of musical activities described in this study (Figure 3) were singing and engaging in musical and rhythmical activities (approx.
100). The respondents believe that singing serves as a basis for performing music and for forming the most important mechanisms of understanding the values of music culture, where both the musical material and the textual con-tent of the song repertoire are the bearers of such mechanisms. The next types of musical activities of similar importance for forming child’s value system (approx. 90%) are listening to music and playing musical instruments. Each piece of music (an instrumental piece or a song) offered to children acts as a bearer of values of musical culture. Sadly other activities are less represented:
creativity provoking activities (22%) and using elements of drama (10%).
Obvious assistance to music teachers is provided by musical instruments used to support children’s musical activities. Almost all use the piano (95%);
about one third of the teachers use the harp and the recorder (33% and 31%, respectively), 10% use the guitar and modern musical instruments (MIDI synthesizer, electrical piano, etc.). Teachers eagerly use folk instruments (violin, reed pipe, harp, flute and harmonica.) that serve both as visual aids and allow the implementation of the content of the curriculum.
Teachers transmit content through the choice of music and instruments, but they also transmit values in their teaching. The methodology for
deter-mining value types that have the most influence on a person’s behaviour developed by R. Inglegart serves as a basis for the study on music teachers’
readiness. Traditional values (national pride, family, respect for parents), modern values (sense of purpose, money, hard work, technology, science) and post-modern values (leisure time, freedom of thought and action, toler-ance, etc.) were arranged by clusters (Инглегарт 1990).
The average value orientation of the teachers was discovered by applying the T-test. Data analysis demonstrated that all variations between value orien-tation categories are rather significant—the statistical difference was p<0.05 with the single exception of responsibility (p=0.351). High value orientation figures allow the hope that teachers will indeed be able to communicate such a value system to their students. Cluster analysis determined two groups with similar value systems. This allows the creation of a picture of a typical kin-dergarten music teacher.
The first cluster—one third (1/3) of the interviewed teachers—includes
‘diligent teachers’ (59 respondents). Above all they value a sense of purpose and responsibility. Deficit values such as money, hard work, technology and science are represented relatively moderately. Members of the second clus-ter—two thirds (2/3) of the respondents—are ‘tradition bearers’. Representa-tives of this group highly evaluate all offered values, especially responsibil-ity, freedom of thought and action, family, respect for parents and national pride. ‘Tradition bearers’ integrate many values that help them to devote themselves fully to music education and contribute to instilling music heri-tage in children.
Figure 4. Priorities for the study of folklore as a source of value system in education (in %)
Regardless of the value orientation of the teacher, generally four types of folklore activities can be presented to the students. The following conclusions can be made (Figure 4). In music education all four types of folklore serve as a basis for forming the value system. The results of comparative analysis allow monitoring of the frequency of using a particular type of folklore de-pending on teachers’ specialisation and professional level. Below the authors will summarise values using similar ratings (not at all / rarely and often / almost all the time). The first conclusion may be reached regarding the fact that the most popular types of activity in the study of folklore are circle dances (irrespective of professional specialisation 95% and 90%). Movement activities have obtained a somewhat lower assessment but still are close to dances (75% and 70%). Counting rhymes, carols and other types of oral folklore are close to those above-mentioned: 70% and 60%. Somewhat para-doxical variations are observed regarding the frequency of folk songs use. As unusual as it may appear the most attention (60%) is given to this type of folklore by teachers with no musical training at all and by kindergarten music teachers (53%). Instrumentalist musicians (piano and violin players, conduc-tors, etc.) are among those using folk songs relatively rarely (42%).
Figure 5. Use of improvisation in various types of musical activity
In addition to traditional folklore, improvisation activities may also be used.
Cluster analysis (Figure 5) demonstrates that the representatives of the 1st and the 2nd clusters have quite similar opinions on the use of improvisation.
Variations are observed only regarding all types of echo games. Movement activities (95%) and improvisation on musical instruments, including folk instruments (almost 70%) are highly valued as creativity development tools.
This presupposes a chance for children to directly have contact with cultural values. The next two popular answers also include the main types of music
education activities—singing and listening to music (slightly above 50%).
Sadly, one of the weakest areas in terms of use of improvisation is artistic activity (approx. 20%).