The subject of the paper is music education as a part of the so-called national education of the first Czechoslovak Republic (1918–1939). Drawing upon analysis of prescribed formal curriculum it reveals the position of music as a school subject in comparison to the rest of educational content of national schools. It focuses on the character and the changes of content, conception and the aims of the school subject in question as a part of Czechoslovakian (1918–1939) national curriculum.

In the hierarchy of professional music education in Slovakia the primary arts schools represent the elementary degree in professional education line (primary arts schools – conservatories – Academies of Arts). Their history dates back to the first two decades of the twentieth century. Municipal, private, associational and church music schools gradually transformed into state music schools, primary music schools, arts schools and present primary arts schools. Using the example of primary arts schools in the Žilina self-governing region we study the past and the present of these institutions. The presented topic is totally relevant, because it has not been reflected and reviewed on our chosen geographic area until now.

Opera, as a specific genre bridging music, theatre, literature and visual arts possesses a certain tradition in the Slovak musical culture. During its existence many valuable but also less valuable works have been produced under the domestic conditions. By the means of the critical reflection such operas can be selected that could appeal to young listeners not only by their musical and dramatic values, but also by a deep moral idea or a message. It is necessary to develop the topic of ethical aspect of Slovak operas within the context of the teaching process at music schools and conservatories, as they offer the best opportunities for similar application. The study presents one of the ways for such selection.

The meaning and purpose of education in the field of instrumental performance for future music teachers depends on the development of musicality in general and instrumental competence in particular, in acquiring technical skills and developing the cognitive skills, where the key role has the musical thinking, particularly its operative part. Through direct, live contact with music the student learns how to understand the logic of music, structure and principles of compositions, function of music and expressive means. They retroactively influence the quality of music performance, deepen and emend a teacher’s knowledge. As the action and activity of an individual becomes the centre of educational process, an immense development of such personal characteristics as ability of decision making, choice and evaluation takes place. At the same time, experience and knowledge gained from the instrumental performance develop the readiness of the future music teachers to work with the music score.

The purpose of music education at elementary arts school resides not only in the development of musical abilities of a pupil, culminating in the musical performance, but also in upbringing of a cultivated and virtuous human being. Such education proceeds in three dimensions: human philosophy – philosophy of music – philosophy of music education. Music being both the aim and means of education requires a humanistic approach to the pupil, based on humanistic psychology and pedagogy in the context of timeless universal humanism. Humanistic approach ascribes a significant importance to the imponderable forces between a teacher and a pupil, underlines the necessity of a transformation of the teacher–pupil relationship, emphasizes the respect for the dignity and inner motivation of the pupil, and postulates the need of specific music literature for children created in synthesis with other arts, addressing the emotional world of a child through their beauty.

The study focuses on the importance of engagement with musical activities in primary education as the source of joy and musical experiences that have a positive impact on social class climate, especially relationships, self-image and self-esteem of pupils. The first two chapters introduce music development of younger school-aged children, social class climate and its agents. The key chapter is the third one, in which authoresses deal with the development of musical and personal characteristics of younger school-aged children, musical abilities and their quantification depending on how challenging are the environments. In that sense the study outlines the goals of music education at primary school. The last chapter is enriched with the research results aimed at music as a tool affecting social class climate at primary school and in family. The study is concluded with three practical examples of musical activities integrated in educational process of primary school. The aim is to positively affect social class climate with the focus on co-operation, creativity, stimulation or relaxation.