Abstract:

The huge number of studies shows the positive effects of music on human development. The aim of this theoretical paper is to describe formal and nonformal musical education in the context of the promotion of social, emotional, and spiritual well-being. In many countries, preschool children already often attend musical classes. Many centers or interacting brain processes are involved in learning to play, sing, or make rhythms, thus promoting the positive development and well-being of the child. Due to formal music education, new quality music teachers, musicians, and choir conductors are being trained. Choir competitions and choir festivals are particularly popular in the world, in which various groups participate, choirs, ensembles, and folklore ensembles from different countries. These types of festivals and competitions are unequivocally related to formal and non-formal music education at different ages. The participants of festivals and competitions are usually in different age groups and are usually also divided into groups, professional and amateur. In any case, participating in this kind of international festival means a lot of systematic preparation and attending rehearsals. Non-formal music education is closely connected with the preservation of song or choir competition traditions. The festival establishes a constant need for quality education for young musicians and choir conductors. Many amateur groups – choirs, ensembles, folklore groups, dance groups, etc. - regularly participate in the preparation for this huge event. The members of the bands are of different professions, and not everyone has a musical education, but they are all united by the desire to make music together. This raises several questions. What internal and external factors motivate people to participate in nonformal musical education (choirs, vocal and instrumental ensembles, folklore groups, orchestras, etc.)? Why is nonformal music education important to people? What do people get to play or sing together? Not only young people, but also adults and seniors actively participate in Latvian music bands. As analysis of the literature and professional experience suggests, making music together clearly promotes the emotional, social, and spiritual well-being of people. Taking into account the large number of people involved in one or another kind of music making in Latvia, it can be concluded that there is a demand for non-formal music education among young people, adults, and seniors. Finally, we can conclude that both formal and non-formal music education is a way for people to promote their social, emotional, and spiritual well-being.

Keywords:

Music education, formal music education, non-formal music education, well-being.