The aim of this research was to check potential differences in music preferences between musicians and non-musicians. Music preferences were evinced by a short test on the topic (STOMP-R: Rentfrow & Gosling 2003), of the four types of music: Reflexive and Complex, Intense and Rebellious, Upbeat and Conventional, Energetic and Rhythmic. A sample of 209 students from the University of Niš (M=75; F=134), 112 non-musicians and 97 of musicians, were asked to give their opinion. The results of the t-test showed that there are differences between musicians and non-musicians as far as the preferences for one type of music or another is concerned. Statistically significant differences were found for the Reflexive and Complex music (p=.000), as well as for the Upbeat and Conventional music (p=.001). All statistically significant differences were in favor of the musicians. These results show that musicians prefer Reflexive and Complex as well as Upbeat and Conventional music, while differences don’t exist for the remaining two types of music. On the other hand, when it comes to differences in the preference for Upbeat and Conventional music, they can be attributed only to female subsample, so only female musicians differ from female non-musicians when it comes to preference for this type of music (p=.001), while male musicians don’t differ from male non-musicians, on the preference for thins genre (p=.213).

The paper focuses on the aspects of aesthetic education and aesthetic experience of music under the conditions of online teaching of music due to the COVID-19 pandemic. The new mode of teaching affected the teaching process, particularly in the field of performance arts which involves direct experiencing of music, stage performances and direct cooperation of musicians. Aside from certain advantages, mostly regarding the organization of teaching and more time for practice, the results show that students were for the most part deprived of a comprehensive experience of music during the teaching process, and particularly of a specific aesthetic experience. A general conclusion is drawn that direct contact between the student and the professor in face-to-face teaching practice is an irreplaceable segment of music education.

This paper discusses the research of psychologists and pedagogues which are committed to issues of professional music education. The statement of Ksenija Radoš (2010) that the psychologist-researchers and music pedagogues pass each other on the same way, and that they go on parallel paths toward the same goals, encountering the same obstacles, and yet never really meet, is the starting point for the review of the relationship between these disciplines. as the first step of our research, the definition of a 'common way' is imposed, and then testing the connection of current issues of music education and music psychology. according to our understanding, there are several important reasons for the mentioned situation in music education: focusing music pedagogy on general music education and 'late' awakening of pedagogy of professional music education as a special scientific discipline; obsolescence of the curriculum of professional music education and insufficient cooperation between music pedagogues and psychologists-researchers. Interplay of these disciplines, implemented through the planned conducted research that focuses on the problems of professional music education, could be an important support for the development and improvement of specific areas of music pedagogy.

The paper focuses on the function of recapitulation in the sonata form relying on the example of the first movements of Beethoven's string quartets Op. 18 No. 1–6. With regard to the fact that recapitulation is commonly described as a restatement of the exposition with tonal alterations of the second theme and the closing section, analytical deliberations most often do not go beyond recording such alterations. However, some analysis point to the new role of the recapitulation exactly on account of the essence of the undertaken alterations, i.e. on account of the idea that the composer wants to accomplish at the level of sonata form through recapitulation. The research is conceived as a continuation of the previous studies (Zdravić Mihailović 2006, 2007a, 2007b, 2015a, 2015b). These studies focused on the genre of string quartet of Franz Joseph Haydn and Wolfgang Amadeus Mozart, where recapitulation was proven to be a remarkable phenomenon as its role was not merely to restate the exposition’s content with the usual tonal alterations. On the contrary, it can be a place of a new treatment of the sections of the exposition, and gives it some completely specific features.

The paper deals with the teacher’s role in music education of pupils in music high schools. Taking into account the nature of the subjects, their objectives and outcomes, as well as the modes of instruction, the paper examines the teacher – pupil relationship, and in line with the observations, examines the role of a teacher. What dominates in teaching an instrument or solo singing, which is individual and based on performing music, is partnership between teachers and pupils, but teachers’ motivational role and his role of an evaluator are also important. On the other hand, the role of a teacher in group teaching moves towards cognitive-diagnostic, and the role that becomes prominent is the role of a regulator of social relationships. It involves fostering of good interpersonal and collegial relations within the subjects based on collective performance, such as Choir, Orchestra or Chamber Music, because they are an important prerequisite for the quality of instruction. Aside from the specific teachers’ roles in the field of music education, the paper also points to some other important teachers’ roles in terms of their wider influence on pupils and social environment.