The paper presents the results of a study in which we analysed planning of musical objectives in the psychomotor domain prepared by 372 Slovenian general education teachers. The research results showed high share of objectives pertaining to the taxonomy category of speech behaviours, which was followed by the categories of gross bodily movements, finely coordinated movements and non-verbal communication. The above facts confirm that music objectives can be classified in the prevailing psychomotor domain and show the utilization of a chosen taxonomy model. The research results also indicate that Slovenian general education teachers are aware of the need for active approaches to music teaching although they pay less attention to music objectives planning in the category of non-verbal communication which exceeds the mere use of words and represents the basis for contemporary approach of music teaching through musical doing and making.

The purpose of the study was to find out the extent to which Slovenian general education teachers follow the principles of a balanced music objectives planning in the prevailing affective, psychomotor and cognitive domains. The research sample involves 372 Slovenian student and current general education teachers who, working in pairs, prepared 186 lesson plans for music education. The research results showed that the majority of the musical objectives planned in this study, pertained to the psychomotor domain, followed by the cognitive objectives and by the least represented objectives of the affective domain.

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In our study, which we carried out with a group of primary-school children aged between six and nine, we were interested in how musical language is shaped through group improvisations. Narrative dimensions of improvisation were studied through activities of Orff-Schulwerk, the specific music-movement education approach which, apart from music activities, puts great emphasis on development of social competences. The research was designed as a phenomenological case study. The findings show that, contrary to Orff-Schulwerk premises, children had yet to learn musical language and how to use it. It also turned out that teacher's expectations regarding the use of non-verbal communication are inversely proportional to the successful use of musical language. In line with Orff-Schulwerk's principles, rhythm proved to be the primary musical language parameter, as it was through rhythm that children first reached the sensations of others and reflectively depicted events from everyday life.

Through everyday exposure to language and music, individuals within a nation become sensitive to the melodic and rhythmical structure of their folk musical culture. It represents improvisational abilities of individuals and groups as well. Despite all changes, it indisputably maintains all characteristic of music parameters as inheritance of past ages. Due to its social role, it appears throughout everyones life and it also represents an important part of childrens life. In the study that was carried out with two groups of children between six and nine years of age, we were interested in determining how do children experience music making with elements of folk music and how it is possible to create the circumstances which can provide the spontaneity of folk music within the structured environment (like primary school). The research was designed as a phenomenological case study. This method allowed us to gather data which provided a deeper insight into the ways in which participants are able to play using elements of folk music and the way they feel while using such material. The results show that, contrary to the basic fact of spontaneity in folk music, 6 and 7 year old participants were not able to use music parameters to play with and had yet to learn how does the symbolic play on the basis of communication in musical language work out. The most natural way to bridge the gap between learning songs and experiencing individual musical expression in a manner of folk music in children seems to be a creative work with lyrics in Slovene language. We also found that children develop social competences of a great value, when they are involved in a symbolic play with folk music elements in the improvisational mode. Key words: folk music; improvisation; music language; music making