In this interview, Marek Sedláček, associate professor and Head of the Department of Music at the Faculty of Education, Masaryk University in Brno, explains the Czech saying “Every Czech is a musician” and the dual system of music in mainstream schools and the Elementary Art Schools (ZÚŠ). He talks about the influence of Dvořák, Janáček and Martinů alongside popular music, and takes Dvořák’s “New World” Symphony, Gershwin’s Summertime, Eric Clapton and The Beatles to his desert island. For Marek, the genuine joy of his students when they engage with music is what motivates him most.
Can you introduce yourself and describe one defining characteristic of music education in your country today?
I am an associate professor and Head of the Department of Music at the Faculty of Education, Masaryk University in Brno, where I focus on musical aesthetics, semiotics, interart relations, and popular music, as well as on integrating digital technologies into music education. Alongside my academic work, I have been teaching music theory at the Elementary Art School in Rosice for more than 30 years, which allows me to stay closely connected with everyday teaching practice.
Music has a deeply rooted tradition in the Czech Republic, often illustrated by the well-known saying “Every Czech is a musician,” which dates back to the period of the National Revival at the turn of the 18th and 19th centuries. This idea is historically grounded in the role of rural schoolteachers, who not only taught but also led church music, composed, and performed on multiple instruments, passing their musical knowledge on to future generations. This historical background still influences the position of music within Czech education and cultural life, although its role is gradually evolving.
One defining characteristic of music education in the Czech Republic is the coexistence of general music education in mainstream schools and a strong network of Elementary Art Schools (ZUŠ). These schools provide systematic, high-quality arts education beyond the regular curriculum and play a crucial role in nurturing musical skills and creativity. This dual system creates a unique environment in which broad access to music education is combined with opportunities for deeper artistic development.
Which artist, composer, or musical tradition has most shaped your musical thinking, and why?
It is difficult to point to a single artist or composer, as my musical thinking has been shaped by several different traditions. On the one hand, I have been deeply influenced by the Czech musical heritage, particularly composers such as Antonín Dvořák, Leoš Janáček or Bohuslav Martinů, whose approaches to musical structure, expression, and the relationship between music and language have been especially inspiring to me.
At the same time, my work in musical aesthetics and semiotics has led me beyond a purely classical framework. I have been strongly influenced by 20th- and 21st-century music, as well as by popular music, which I see as an important field for understanding how music communicates meaning in contemporary culture. This broader perspective has encouraged me to approach music not only as a system of sounds, but also as a complex cultural and communicative phenomenon.
“These moments remind me why music education is meaningful – they show that music can inspire, connect, and open new ways of understanding the world.”
If you could bring five musical works to a desert island, what would they be, and what does this choice reveal about you as a music educator?
If I could bring five musical works to a desert island, I would choose pieces that are meaningful to me in different ways.
First, I would choose Antonín Dvořák’s Symphony No. 9 “From the New World.” For me, it is a work that combines modernity with deep emotional expression and a sense of nostalgia, while speaking directly to the listener across different cultural contexts.
Secondly, I would take Summertime from George Gershwin’s Porgy and Bess, ideally in the interpretation by Ella Fitzgerald and Louis Armstrong. This piece represents for me a natural connection between classical tradition and jazz, while demonstrating how simplicity can carry strong expressive meaning.
As a third piece, I would bring the Czech national anthem, Kde domov můj? (“Where is My Home?”), a title that would resonate strongly in the solitude of a desert island.
Finally, I would include music by Eric Clapton, particularly some of his blues pieces, as well as The Beatles – artists who have significantly influenced me and whose music continues to bring me joy.
What aspect of teaching music continues to motivate you most, even after challenging days?
| What continues to motivate me most is the enthusiasm and genuine joy of my students and pupils when they engage with music. These moments remind me why music education is meaningful – they show that music can inspire, connect, and open new ways of understanding the world. |