This paper presents a part of a wider study that is based on interdisciplinary research of sight-singing (psychology and music education). Our intention was to join the psychological knowledge of cognitive processes on the one hand, and the practical approach of music teachers, based on methods, techniques and procedures of mastering sight-reading-singing skills on the other. We aimed: 1. to determine the kinds and levels of strategies that music students use in the cognitive processes involved during sight-singing; 2. to explore strategies of problem solving when difficulties appear; 3. to investigate the self-evaluation perspectives of students; and 4. to relate students' learning experience to the strategies used. The sample consisted of 89 music students from higher music education in Belgrade and The Hague. They filled in the questionnaire based on self-reports, covering general data about their music education background, different issues of sight-singing, such as planning, problem solving, monitoring and evaluation of outcomes, and three melodic examples written in different musical styles. Results showed that strategies used during sight-singing can be roughly sorted into three groups that differ according to the "key accent" given: cognitive, intuitive and no-strategy. The music cognitive strategies involved cover three levels of musical organization and representation: a) relying on smaller chunks of the musical piece, referring to existing knowledge and learning experience; b) leaning on a slightly "bigger picture" of familiar patterns;

Rad predstavlja jedno u nizu istraživanja koji se bave procesom i ishodima trostepenog sistema specijalizovanog obrazovanja darovitih u muzici u Srbiji. U tom sistemu nastavnik instrumenta/ glavnog predmeta ima posebno mesto i odlučujući uticaj na početak školovanja, tok napredovanja, koji traje do najviših faza ekspertnosti, pa čak i u fazi profesionalne karijere muzičara. Cilj eksplorativnog istraživanja bio je da se ustanove procene očekivanih i opaženih kompetencija nastavnika glavnog predmeta (kognitivne, funkcionalne, lične i etičke) na nivou viskog muzičkog obrazovanja, bilo da se radi o individualnoj ili grupnoj nastavi glavnog predmeta. Uzorak je činio 81 student Fakulteta muzičke umetnosti u Beogradu. Studenti su popunjavali Upitnik za procenu kompetencija nastavnika, konstruisan prema taksonomiji kompetencija za nastavnike vokalno-instrumentalne nastave Hildena i saradnika. Rezultati MANOVA-e sa ponovljenim merenjima pokazuju značajnu diskrepanciju između očekivanih kompetencija nastavnika i onih koje studenti opažaju u okvirima nastave i u vannastavnim aktivnostima, što predstavlja važan nalaz o neispunjenosti očekivanja studenata i posredno, evaluaciju nastavnika na poslednjem stepenu obrazovanja. Potvrđena je tendencija visokih očekivanja od nastavnika, kojima se pripisuje visok stepen značaja i odgovornosti za napredovanje darovitog. Nalazi ukazuju na postojanje tradicionalnog obrazca poželjnih osobina nastavnika, tipičnog modela odnosa "majstoršegrt", gde prevladava jednosmerna komunikacija, kao i na stereotip o ulozi žene nastavnika u obrazovanju. Postoji saglasnost duž vertikale muzičkog obrazovanja o relevantnim kompetencijama nastavnika u školama za muzički darovite, koje se još uvek "opiru" perspektivi profesionalnog i ličnog razvoja, koja bi u budućnosti obezbedila "novog nastavnika" u muzičkom obrazovanju darovitih.Ključne reči: darovitost, muzički talenat, visoko muzičko obrazovanje, nastavnik instrumenta, kompetencije nastavnika vokalno-instrumentalne nastave 2 Članak predstavlja rezultat rada na projektu br. 179018, čiju realizaciju finansira Ministarstvo prosvete, nauke i tehnološkog razvoja Republike Srbije (2011Srbije ( -2014.

The character of this article is theoretical and practice oriented, therefore offering educational implications for music educators and music psychologists. Its main objective is to give an overview of the most important musical and developmental changes of musically talented children and youth, at different stages of the three-level specialized music education. The theoretical background of the article refers to stage theories of development of gifted with the intention to point out correspondence between stages of development and the specificity of music education stages. Theoretical conceptions are used as a framework to synthesize and to interpret empirical data and practice-related professional experiences of psychologists in music schools in Poland and Serbia. Both countries, though culturally distinct in nature and in the character of traditional music, are characterized by a very similar system of specialized/professional music education. Further on, the article presents a review of the wide range of benefits/outcomes experienced by music school students, as a result of the highly simulative, systematic and supportive environment of music learning. The article begins with an introduction to the context of the specialized music education system in Poland and Serbia and then presents how a particular system of education for the gifted contributes to the development in the field of acquiring musical knowledge and skills, as well as to benefits/outcomes of the education system for the personal, social and professional development of the musically gifted, indicating a wide range of positive experiences.

In this paper we presented an overview of theoretical and empirical research in a domain of cognitive psychology of music, psychology of creativity and interdisciplinary studies concerning the creative cognitive processes in composing music, with an intention to bring them into connection and to raise questions about further research. We brought into focus the cognitive processes in composing music since the key role of cognitive mechanisms and processes, next to the emotional experience and imagery, was shown in our previous research. The wide scope of knowledge, within a time span of some 35 years, was introduced covering the following themes - generative models of creative cognition, metacognitive strategies in composing, the relation between creativity, knowledge and novelty, creativity in the social-economical context. We paid attention to the several crucial theoretical models, some of them developed on the basis of exploration of compositional practices, one of the first being John Sloboda's psychological Model of typical compositional resources and processes (1985), that gave a global overview of the relevant components of the composing behavior. Psychology of creativity gave several process models that can be applied in a field of composing music. One of them, developed by Wallas (1926) and adapted for music making by Lehmann, Sloboda and Woody (2002), is the well-known theory of the creative process stages. We considered as the most prominent the Creative cognition approach formulated by Smith, Ward and Finke (1997) and their Geneplore model (1992). The authors listed a wide range of processes that are crucial for creativity, nevertheless they are engaged in the generative or exploratory phase. In our paper, we discussed metacognitive strategies engaged in a process of composing while considering music creation as a self-regulated activity. Further on, the relation between immersion, knowledge, the production of heuristic ideas and the cognitive strategies of problem solving were brought into focus. It was pointed out that quality of the creative outcomes will be influenced by the extent of the person's long-term knowledge structures, drawn intentionally or intuitively during the process, and by the manner in which the elements of that knowledge are accessed and combined. The social and cultural factors were considered in a frame of several confluent models, first of all Csikszentmihalyi's systems theory of creativity (2004), focused less on the creative person but on involving multiple factors. Simonton took into account massive and impersonal influences from the Zetgeist or Ortgeist and grouped them into four categories: cultural factors, societal factors, economic and political factors (2004). Further on, models and concepts, new research methodologies and new technology, that were developed specifically in a domain of music creation, as well as their results, were presented.

The impact of the family environment, the mode and the quality of parental stimulation may have a decisive role in the student?s capacity development and realization of given capabilities, and affects particularly the level and the quality of his/her academic attainment. A student?s academic attainment is conditioned by educational aspirations formed in a dynamic interaction with stimulating aspects of the family context. The aims of our study were: to examine the students? attitudes towards schooling, and to obtain answers to the question: which stimulating aspects of family context are the most predictable for the development of educational aspirations, i.e. attitudes towards school and gaining knowledge, educational interests and plans for further education. The sample comprised 1.464 eighth-grade students, aged 15, from 34 primary schools in Serbia. The data were collected by the use of questionnaires filled in by the students and school principals. The results indicate a trend of interrelatedness of cognitively and educationally favorable conditions within the family and positive attitudes towards school, attainment, high aspirations and cognitive and intellectual interests for out-of-school activities. It can be concluded that family stimulation is the resultant of the influence of cultural and educational profile of the family and active parental attitudes regarding education and attainment of their children. The findings could have practical implications in the domain of parents/school cooperation, not only in order to increase the awareness of the importance of active participation of both parties, but also to provide useful guidelines for developing optimal contents and procedures. .