Concept of pragmatic pedagogy is based on the education by experience, which is essential for an individual's development and for the directing of the individual's abilities. Art provides a form of specific experience based on which you can cultivate cognitive and emotional conditions of value judgments and thus contribute to the moral development of a child. The processes of experiencing, interpreting and evaluating the work of art are based on everyday experience and it relates to both the unique requirements of an individual and the conditions of a certain socio-cultural environment in which he lives.

The focus of aesthetic education is reflected in an arts curriculum designed for students to learn skills that make it possible for them to experience the world in a satisfying and meaningful manner. Incorporating aesthetics into school curriculum can be approached through the use of coordinated programs. In the state of Texas, over 1100 schools participate annually in the One-Act Play contest (OAP). The contest is governed by the University Interscholastic League (UIL), which has designed and recommended a structure in which students actively participate in the fine art of theatre. This curriculum is the roadmap for instruction that leads students to learn the value of the aesthetic. This study examines teacher and student perception in the Texas One-Act Play contest and its implications for teaching and learning the aesthetic. The qualitative data were collected through a series of interviews and observations during the spring 2006 with five schools in the north Texas area. Students and teachers at each school were interviewed. Data revealed how the goals of the UIL OAP system are being met based on teachers' practices, perceptions, and experience. Implications of the study are seen through the teachers' attitude toward winning as well as how the elements of teaching, rehearsal technique, and external support systems affect the teachers' contest preparation.

Der Beitrag untersucht, ob die Handreichung Kooperative Lernmethoden im Musikunterricht des niederländischen Musikpädagogen Frits Evelein als praktische Umsetzung des musikdidaktischen Modells 'Musikpraxen erfahren und vergleichen' (Mev) von Christopher Wallbaum verstanden werden kann. Zu diesem Zweck werden die Vorgaben des Modells rekonstruiert und in Vergleich mit Eveleins musikdidaktischen Vorstellungen gesetzt. Aus der Handreichung werden Unterrichtssituationen entworfen und auf ihre Kompatibilität mit Mev-Kriterien untersucht. Das Ergebnis zeigt zwar Gemeinsamkeiten, aber auch erhebliche Unterschiede – etwa hinsichtlich der Musik-, Kultur- und Praxisbegriffe – sodass die Ausgangshypothese, Evelein sei ‚Wallbaum für die Praxis‘, nicht bestätigt werden kann. Dennoch liefert die Arbeit einen Gewinn: Sie fasst die Kriterien des musikdidaktischen Modells »Musikpraxen erfahren und vergleichen« aus verschiedenen Schriften Wallbaums zusammen und zeigt Unterrichtspraktiken auf, die für Gestaltungen im Sinne des Modells vielversprechend erscheinen. Damit bietet der Beitrag sowohl Ergebnisse in Bezug auf die Forschungsfrage als auch Anregungen für weitere Konkretisierungen des musikdidaktischen Modells. / The paper compares the cooperative methods of the teaching book Kooperative Lernmethoden im Musikunterricht by the dutch music educator Frits Evelein to the music teaching concept “Musikpraxen erfahren und vergleichen” by Christopher Wallbaum. As a conclusion, the hypothesis that Evelein was ‘Wallbaum for praxis’ cannot be confirmed.

Im Mittelpunkt steht eine Schülergruppe in einer der drei Musikstunden auf DVD, die sich mit dem Erfinden einer Choreografie befasst. Ausgehend von dem bildungsgangdidaktischen Konstrukt der Entwicklungsaufgabe werden die unterschiedlichen Perspektiven rekonstruiert, aus denen heraus Schüler und Lehrer die in der Aufgabenstellung enthaltenen Anreize und Schwierigkeiten wahrnehmen. / The article focuses on a group of students/ pupils in one of the music lessons on DVD, that is concerned with the invention of a choreograhy. Taking developmental tasks into consideration, It deals with the different perspectives of pupils and teacher and the related obstacles and incentives inherent in the original tasks.

Der Beitrag beschreibt (Videoaufzeichnungen von) drei Musikstunden aus der Perspektive ästhetischer Bildung. Interaktion, Argumentation und Partizipation sind die zentralen Konzepte der Untersuchung. Das Fazit lautet: Musikalische Praxis ist dann relevant für Bildung, wenn ästhetische Erfahrungen ermöglicht und gefördert werden. / The article describes (video recordings of) three music lessons from an aesthetic education perspective. Interaction, argumentation, and participation are essential concepts of the examination. The conclusion: Musical praxis is relevant for Bildung if and when it facilitates aesthetic experience.

本研究旨在探討國民小學教師美育教學、創造人格特質、美感經驗、美感 活動、工作價值觀的實際情形，其次也探討教師背景變項、美感經驗、美 感活動、工作價值觀與美育教學的關係。本研究以台北市與台灣省國教研 習會之國小教師 612人為樣本，以美育教學量表、創造人格特質量表、美 感經驗量表、美感活動量表、工作價值觀量表為工具進行研究，以因素分 析、積差相關、信度分析、ｔ考驗、變異數分析及典型相關等統計方法， 進行分析，所得結果如下： (一)就美育教學的得分情形而言，在美育教 學的實施方面並不理想，介於「稍微做到」與「大致做到」間，就創造人 格特質而言，與國內外相關研究常模比較為低，就美感經驗而言，分數集 中在較高分部份，顯示教師美感經驗尚佳，就美感活動而言，平均數較低 ，分數又多集中在較低分部份，顯示教師的美感活動量少，就工作價值觀 而言，其平均數高，分數集中在較高分部份，顯示教師工作價值觀高。 (二)在背景變項中，不同性別、學校規模在美育教學上並無顯著的差異存 在，其餘皆有顯著的差異存在。其中最有意義的是任教後有無再學習藝術 的經驗，曾再學習者在美育教學上明顯地高於未曾再學習者。 (三)創造 性人格特質與美育教學呈顯著正相關；而「聰慧能幹」得分與「美育目標 」、「美育原則」、「美育活動」、「美育課程」美育評量」、「美育配 合措施」皆有典型相關。 (四)教師美感經驗與美育教學呈顯著正相關； 「音樂藝術」、「造型藝術」、「環境美感」、「規劃製作」的得分與「 美育目標」、「美育原則」、「美育活動」、「美育課程」、「美育評量 」、「美育配合措施」有典型相關存在。 (五)教師美感活動與美育教學 呈顯著正相關；「視覺藝術」、「文學藝術」得分與「美育目標」、「美 育原則」、「美育活動」、「美育課程」、「美育評量」、及「美育配合 措施」皆有典型相關。 (六)教師工作價值觀與美育教學呈顯著正相關； 其得分低中高組在美育教學上皆有顯著的差異。「美感創意」、「成就權 力」、「同事環境」、「利他主義」之得分與「美育目標」、「美育原則 」、「美育活動」、「美育課程」、「美育評量」、「美育配合措施」皆 有典型相關。 (七)就教師創造性人格特質、美感經驗、美感活動、工作 價值觀各因素與美育教學各因素的典型相關而言，「美感創意」、「成就 權力」、「同事環境」、「利他主義」得分與「美育目標」、「美育原則 」、「美育活動」、「美育課程」、「美育評量」、「美育配合措施」有 典型相關

The main topic of this diploma thesis is project called Pre-school aesthetic education "PAE", which is tought at Elementary Art School. In theoretical part are generally explained terms aesthetic, aesthetic education and their brief history, current possibilities of aesthetic education in selected Elementary Art Schools and characteristic of PAE project. Research part focus on acquisition of the project in education at Elementary Art Schools, effectiveness in the selection of artistic field in pre-school age and at least suitability of including this project into the School Education Program of other Elementary Art Schools. For the research were used empirical methods (observations, questionnaire, interviews). Overall results of research are based on comparison and evaluation of the answers from all respondent categories. These results show positive evaluation of PAE, which suitably fills the pre-school period of children with meaningful activities, which are connected with comprehensive development of personality. Extensive appendix brings closer view to the work of children in PAE classes. It contains scanned pictures, newspaper articles and patterns of questionnaires. This work is designed for all teachers, who are interested in unique projects, which are related to education of pre- school...

In music education, aesthetic education and praxial music education serve as two major, guiding philosophical frameworks, yet supporters of each often conflict with one another. Furthermore, both are slightly problematic with respect to the specific context of the public school. Each framework is primarily music-based, however, music education has existed in the wider context of general education since the 1830s. Given the recent core-status designation for music education, as part of all fine arts, in the reauthorization of the Elementary and Secondary Education Act, a framework from general education that supported music education could offer benefits for the domain. However, the wider context of general education is messy as well. Two groups occupy most of the space there, and remain locked in a fundamental disagreement over the purpose of a formal education. The progressive educators, historically framed by Dewey and Thorndike, contend that education functions as societal improvement. In contrast, the essentialists contend that education functions as cultural transmission. Therefore, a more specific need for music education involves selecting a framework from general education that resolves this conflict. The writings of William Chandler Bagley indicate that he balanced both considerations of a formal education while also advancing his notion of essentialism. Bagley differed from the progressive educators predominately associated with Dewey over definitions and ideas surrounding a democratic education. Emergent points of contrast with Thorndike include distinctions between social efficiency and Bagley's alternative idea of social progress. Bagley also diverged from other essentialists over definitions concerning liberal and cultural education. To make these viewpoints of Bagley explicit, I describe characteristics of a progressive education, and an essentialist education separately, before introducing Bagley. Finally, I apply Bagley's ideas into the domain of music education. Ultimately, I contend that through common outcomes of creativity, competition, and literacy, the domain of music education can remain securely grounded in the values within the public schools.

Der Artikel stellt eine musikdidaktische Perspektive dar, die ihren Ausgang bei der Frage nimmt, ob und wie Musik im Musikunterricht erscheint, sofern das Phänomen Musik nur in erfüllter Praxis erscheint. Erfüllte Praxis wird verstanden als eine gelingende Konstellation verschiedener Situationsmerkmale wie Wahrnehmungsinteressen, Themen, Vollzugs-, Interaktions- und Kommunikationsweisen der beteiligten Personen. Nach einer erfahrungsbezogenen Einleitung wird im ersten Abschnitt der Praxisbegriff als Dreh- und Angelpunkt der musikdidaktischen Theorie und auch Videographie dargestellt. Im zweiten und dritten Abschnitt werden ästhetische Praxis und kulturelle Bedeutung als allgemeine Form und inhaltliche Konkretisierung erfüllter Praxis dargestellt. Zweimal vier Kriterien für die Analyse und Gestaltung von erfüllter Praxis im Musikunterricht (=SchulMusik) werden ausgewiesen und mit den gemeinsamen Videos des Symposions und des Buchs veranschaulicht. Über den deskriptiven Kern des Artikels hinaus, der auf normative Setzungen verzichtet, wird in einem Exkurs ein musikdidaktisches Modell „Musikpraxen erfahren und vergleichen“ entworfen. / The article constitutes an approach on music education, which takes its starting point from a question: Does music appear in music lessons and how, assuming the phenomenon music appears in fulfilling praxis only. Fulfilling praxis is defined as a meaningful constellation of different characteristics, such as the attitude of perception, the topic, the ways of action, interaction and communication of the participating people. The introduction leads from observations in school settings to the keypoints of music didactics, focusing on three different scientific parts of the related issues. Part one portrays “praxis” as the key issue connecting different theories ranging from epistemology to videography. Part two and three depict aesthetical praxis as general form and culture-related meaning as specification of fulfilling musical praxis. Two times four criteria identify aesthetical and cultural aspects of fulfilling musical praxis in the classroom (=SchoolMusic) and are illustrated by the joint music lessons on DVD, which are appended to the book. While the main emphasis of the article is descriptive and does not aim for normative purposes, an excursus drafts a model of music education called “Experiencing and comparing different kinds of musical praxis”.

The Chapter consists in two sections complementing Analytical Short Films. The first is about a supposedly universal atmosphere called RED in the Bavaria-Lesson, the second about different cultures in voice and posture coming together in the Beijing-Lesson. Both are related to theory as well as German philosophies of music education.