**3. Conclusion**

The results of the research showed a complex presence of various factors of personal and social competences which determine the nature of creating (also) in contemporary musical language and indirectly influence the development of cultural awareness and expression as well as other life-long competences.

In creative musical expression, the participants


A creative process (including the one involving contemporary music language) is a value in itself, with an intrinsic worth. The process of creating, in which an individual develops their self-image, self-awareness, self-esteem and aesthetic sensitivity, is just as important as its results. In co-operative way of working individuals reflect upon their own creative practice and share ideas, feelings, experience and feedback with their "critical friends". This shows the importance of environmental factors for the creative process. The socio-cultural dimensions of creating require "that we acknowledge the complexity of these dimensions and the diversity of ways in which children participate in musical communities of practice within and without the school setting." (Barrett, 2005, p. 191).

We have also identified challenges which indicates the direction of future answers to the question HOW to encourage and achieve musical creativity. The challenges lie in lack of teaching experience in contemporary music, insufficient inclusion of contemporary music in school curricula and insufficient professional competence of music teachers in this area.

 "When you return to music school you are totally shocked, because you have to play in tempo again and so on, while there you could be different. I think that we should play such compositions in music school as well, at least a little bit. /…/ It would be very useful for all professional musicians (there were very few present there) to step out of the traditional way of playing." (music school students and student of Department of Musicology)

"I would suggest to the composer to organize a seminar for teachers where we could learn these elements, so that we could be the moderators of such work at music schools." (music school teacher)

We also identified the need for broader and better quality cooperation and partnerships between educational and cultural institutions and artists, which, according to the findings of other researches (Bamford, 2009), calls for implementation of the already existing national and international strategies of culture and art education. The interviewees pointed out a number of advantages brought about by cooperation among them, as well as by sharing and comparing expert opinions about education and art, applicability of knowledge, education of the audience, etc. They also emphasized the importance of suitable working conditions and financial support.

"All cultural institutions should be aware of the fact that they educate the audience, guiding them on their way of choosing concerts. They have the logistic means to carry out projects which schools can not. This should be part of their missions. Slovenian institutions are not jet aware of that. Also at the level of both competent ministries, there is a lack of connections and financial support for such projects." (representative of the cultural institution)

"It is very important that we are not isolated in our own environments. Our contacts and exchanges are of great value. It is particularly valuable when it comes to disregarded segments of music. " (music school principal)

To sum up, the research shows that different modes of musical expression and creating involve complex reaction of an individual at the levels of knowledge, viewpoints, identities (Barrett, 2007) as well as socio-cultural environment. Based on our findings, we suggest that creative expression (especially through contemporary musical language) should be given its proper place and a broader support by the environment in terms of educational and cultural programmes as well as the performing practice, since these are the systemic social factors influencing the role and meaning of contemporary musical creativeness. Lorin Maazel (2009) said that art which is not personal and does not carry a human intimate stamp is not art at all. This thought sums up beautifully the importance and sense of art for an individual.
