Musicologica Olomucensia

The author´s contribution takes a look at these metamorphoses based on a background of more than seventy years of the development of Czechoslovakian musical pedagogy and tries to find a connection with the evolution of European musical pedagogy as well as other processes of innovation. Analysis arising from Kuhn´s category of the paradigm defining the tendency of these transformations in the Czechoslovak environment and emphasising the specifics of domestic development going on in the deformed and nonstandard social and political climate of the postwar period, characterized, among others, by isolation from events in foreign musical pedagogy and the undying effort to establish dignifies conditions for musical education in schools (the so-called battle for music education). Especial attention is paid to the stimulus of music education in other countries and reactions thereto in Czech-slovak musical pedagogical thinking and stimuli, which were enriched on the Czechoslovak side by several European musical pedagogical concepts. In this connection, we should recall the Czech version of Orff´s Schulwerk or Kodaly´s vocal concept. It is certainly not without interest for the reader from abroad to discover that the Czechoslovak version of activities based on a theory of musical education and polyaesthetic training, which, in the nineteen sixties, reacted to the problematics of the sudden growth of mass culture brought to us, was not only theoretically, but also practically, at a level comparable with foreign answers to these questions.