abstract: Since the 1920's, the school musical has been an important event in American high schools and in the lives of students. This study begins with a condensed history of the American musical theatre, into focus on selected shows' value as potential high school repertoire. Review of literature included studies of high school musical theatre, production guides and related materials, and writings both against and in favor of musicals at the high school level. The school musical is usually undertaken as an extra-curricular activity led by performing arts faculty. This study focuses on the preparation, responsibilities, and attitudes of high school music educators toward musical theatre direction. Musical direction is defined as teaching the vocal music, and teaching and leading the instrumental music of the production where applicable. A researcher-designed survey was distributed to Arizona music educators in schools that included grade 12. The response rate was 71%. Questions included items designed to assess the pervasiveness of musical theatre productions, the roles and responsibilities of music educators, and their preparation for those roles. Additional Likert-type questions comprised an inventory measuring attitudes toward musical theatre productions. Results of the survey showed that musicals are produced in 80% of Arizona high schools, and music faculty are expected to lead at least the musical aspects of these productions. Although 62% report that they learned about teaching musical theatre on the job, and that they received no other preparation, 70% report a large amount of personal enjoyment and fulfillment from their work in musical theatre. The mean attitude score for positive feelings about work in musical theatre was found to be significantly higher for choral teachers than instrumental teachers. The primary implications of the study are the need for better preparation and in-service opportunities for music educators in musical theatre pedagogy. / Dissertation/Thesis / D.M.A. Music Education 2010

Elma Lewis, founder of the Elma Lewis School of Fine Arts, National Center of Afro-American Artists, and Museum of the National Center of Artists, was the subject of this historical case study. Focused attention was directed at Lewis’ philosophy, her School of Fine Arts, and her use of arts education as a tool for achieving racial pride and equity for mid-century Black Bostonians. Objectives of this study included recording Lewis’ philosophy and its relationship to Garveyism as well as cataloguing the means by which Lewis’ ideals advanced African Americans in their pursuit of racial pride and equity. Data for the study was assembled from primary and secondary sources. Primary source materials preserved in the archives of Elma Lewis, her School of Fine Arts (ELSFA), the National Center of Afro-American Artists (NCAAA), and the Museum of the National Center of Afro-American Artists (MNCAAA) were mined for relevant data as were third party interviews and the NCAAA website. Interviews of former ELSFA faculty, students, parents, and community members conducted by this researcher breathed renewed life into dormant archival materials while simultaneously triangulating all data. Findings identify Lewis’ philosophy of arts education as cultural emancipation (AECE) as an artistic relative of Garveyism and related yet distinct from music education philosophies centering aesthetic education and participatory action. Recommendations for future research identify topics within music/arts education’s burgeoning domain of African American arts education.

Favelas are Brazilian informal housing settlements that are areas of concentrated poverty. In Rio de Janeiro, favelas are perceived as areas of heightened criminal activity and violence, and residents experience discrimination, and little access to quality education and employment opportunities. In this context, hundreds of non-formal educational arts and leisure programs work to build the self-esteem and identity of youth in Rio’s favelas as a way of preventing the youth from negative local influences. The Morrinho organization, located in the Pereira da Silva favela in Rio, uses art as a way for the local male youth to communicate their lived reality. This study used a visual critical ethnographic methodology to describe the way in which the Morrinho participants interpret living in a favela. Seventeen semi-structured interviews with young men aged 15 to 29, the feature-length documentary film on the organization, 206 researcher produced documentary style photographs of the Morrinho artwork, and the researcher’s field notes were analyzed. Truth claims, ways of seeing as communicated through words and actions, were induced through a cyclical process of reconstructive horizon analysis that incorporated the societal context and critical theory. The participants communicated their concerns about life in a favela; however, they did not describe their societal positions in terms of complete marginalization. They named multiple benefits of living in Pereira da Silva, discussed positive and negative experiences in school, and described ways they circumvented discrimination. Morrinho as an organization was described as an enthralling game and a social project that benefited dozens of local youth. Character development was a valuable result of participation at Morrinho. The Morrinho artwork communicates a nuanced vision of both benevolent and violent social actors, and counters the overwhelmingly negative dominant characterization of Rio de Janeiro’s favelas. This study has implications for an inclusive critical pedagogy and the use of art as a means to facilitate a transformative education. Further research is recommended to explore terminology used to refer to favelas, and perceptions that favela residents have of their experiences in public education.

Submitted by MARISTELA SANCHES RODRIGUES null (maristelasr@uol.com.br) on 2016-06-23T10:19:24Z No. of bitstreams: 1 Tese_Maristela_Versão_Final_Completa_Capes_ Junho_2016.pdf: 4457588 bytes, checksum: 23a7f3f0803f98fe840d48106eb950d0 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-06-27T15:02:35Z (GMT) No. of bitstreams: 1 rodrigues_ms_dr_ia.pdf: 4457588 bytes, checksum: 23a7f3f0803f98fe840d48106eb950d0 (MD5) / Made available in DSpace on 2016-06-27T15:02:35Z (GMT). No. of bitstreams: 1 rodrigues_ms_dr_ia.pdf: 4457588 bytes, checksum: 23a7f3f0803f98fe840d48106eb950d0 (MD5) Previous issue date: 2016-05-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta tese se origina de uma pesquisa de Doutorado em Arte/Educação realizada no Instituto de Artes da UNESP/São Paulo, entre os anos de 2012 e 2016, com o objetivo de compreender as relações de envolvimento das/os professoras/es de arte, da rede pública estadual paulista, com o Currículo oficial de arte, implantado entre 2008/2010. Trata-se de uma pesquisa com abordagem qualitativa que utiliza como instrumento de coleta de dados, entrevistas semi-estruturadas com quinze professoras/es de arte, alocadas/os em diferentes Diretorias de Ensino do Estado de São Paulo. Seus objetivos são exploratórios e explicativos, e seus referenciais teóricos de cunho estruturalista e pós-estruturalista. A pesquisa parte da hipótese de que o envolvimento das/os professoras/es de arte com o Currículo está gerando transformações acerca de suas concepções de arte, ensino de arte e currículo de arte. Além de corroborar tal hipótese a pesquisa revela que as/os professoras/es têm produzido formas de apropriação/negociação com o Currículo que ampliam as concepções pensadas inicialmente, para outros âmbitos, e que envolvem o acesso à arte e à cultura, a história da arte, a arte contemporânea, a polivalência e as/os próprios professoras/es de arte. Estruturada e escrita sob a metáfora de uma grande viagem, a tese traça percursos e viabiliza encontros entre as/os histórias de vida e formação das professoras/es de arte entrevistadas/os, o Currículo de arte de São Paulo e a própria história de vida e formação da pesquisadora. / Esta tesis doctoral originase de una investigación realizada en el Instituto de Artes da UNESP/São Paulo, entre los años de 2012 y 2016, con el objetivo de comprender las relaciones de envolvimiento de las profesoras de arte, que trabajan en la red pública de educación de la provincia de São Paulo, con el Currículo oficial de arte, vigente desde 2008/2010. Tratase de una investigación con un abordaje cualitativo que utiliza, como instrumento para colectar los datos, entrevistas semiestructuradas con quince profesores/as de arte, que trabajan en diferentes regiones y núcleos de la red pública de educación de la provincia de São Paulo. Sus objetivos son exploratorios y explicativos, y sus referenciales teóricos son de abordaje estructuralista y pos- estructuralista. La investigación parte desde la hipótesis de que el envolvimiento das/os profesoras/es de arte con el Currículo está generando cambios en sus concepciones de arte, educación artística y currículo de arte. Para alá de comprobar esta hipótesis, la investigación revela que as/os profesoras/es han producido posibilidades de apropiación y negociación con el Currículo que amplían las concepciones pensadas, inicialmente, para ámbitos, y que envuelven el acceso del arte y de la cultura, de la historia del arte, del arte contemporáneo, de la polivalencia y de los/as propios/as profesores/as de arte. Estructurada y con la escritura embazada en la metáfora de un grande viaje, la tesis hace caminos y viabiliza encuentros ente las historias de vida y de formación de los/as profesores/as de arte entrevistadas/os, con el Currículo de arte de São Paulo y la propia historia de vida y de formación de la investigadora.

abstract: Guided by Clifford Geertz's notion of culture as symbolic stories people tell themselves about themselves, the purpose of this study is to examine how youth in an urban area of Phoenix, AZ experience collectively creating and performing original documentary theatre. I pay attention to the ways youth participants--also known as artist-researchers--construct, perform, and/or perceive their identities as they practice drama techniques including improvisation, physical theatre, and Theatre of the Oppressed for the purposes of making docutheatre for social justice. First the artist-researchers chose the topics for their play. Next, they learned and applied drama and research skills to gather and examine data sources used to construct a script that explores hiding and exposure. In the process of sharing and gathering true stories our unique docutheatre-making culture was created. This multimodal qualitative research case study draws upon the genres of arts-based research and visual ethnography as primary modes of data collection and interpretation. Narrative description and the ethnodramatic mode of representation are used in conjunction with still images and this study's companion website (www.meant2see.com) to report research findings. Primary data sources include participant observation fieldnotes, over twenty hours of recorded video footage, photographs, and the project's original script and performance of To Be What's Not Meant to See . Further data include journal entries, drawings, and social media. All data were coded using In Vivo and Process Coding methods and analyzed through a cultural studies lens. Codes were sorted into phenomenological categories representative of recurring ideas and themes. Assertions were then solidified once specific key linkages were constructed. This study's key assertions are: Key Assertion 1: Participation in devising documentary social justice theatre influences and affects the construction, perception, and/or performance of urban youth identities through profound connections made with interviewees during the interview process and through the collection of true stories that provide new information and rare opportunities for self-reflection and self-realization; Key Assertion 2: Portions of the roles urban youth play in their identity narratives are disguised or hidden--purposefully, reluctantly, and/or subconsciously--in order to appeal to friends, families, or the codes of dominant culture. / Dissertation/Thesis / Ph.D. Theatre 2014

Submitted by Jaqueline Silva (jtas29@gmail.com) on 2014-12-12T19:41:19Z No. of bitstreams: 2 Dissertação-Dilma Marques Silveira Klen-2013.pdf: 13578004 bytes, checksum: 6a3b09be3dec76e1eaf05a484e34d034 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-12-16T09:24:48Z (GMT) No. of bitstreams: 2 Dissertação-Dilma Marques Silveira Klen-2013.pdf: 13578004 bytes, checksum: 6a3b09be3dec76e1eaf05a484e34d034 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-12-16T09:24:54Z (GMT). No. of bitstreams: 2 Dissertação-Dilma Marques Silveira Klen-2013.pdf: 13578004 bytes, checksum: 6a3b09be3dec76e1eaf05a484e34d034 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-11-18 / The present work is guided by the question in respect of how the digital images have mediated esthetic and cognitive experiences. The context chose for the developing of the research is in the professors and students relationship in the Visual Arts graduation course in the EaD model. The research is made in the course of Graduation in Visual Arts – UAB/Unimontes. An investigative process that propose an analysis doing references to the technological images and your appropriation on the process of teaching-learning, investigating how these images was used by the professors of the specific disciplines in the course and how it was assimilated by the students. It‟s an object that requires study to reveal the relations between these images, possibilities and potentialities as a mediator in your multiples forms of expression. The group of people involved in this research is constituted by two professors of the respective disciplines, three tutors and four students from the course of Lagoa Santa, totalizing a universe of nine people involved directly. The conceptual categories, that are considered epistemological axes, are: visual culture, digital image, TICs, EaD, digital learning environment, esthetic and artistic experience. The approach of these concepts makes the delimitation of the camp where the digital images mediations in the process of the visual poetic happened, articulating theory and practice. The pinnacle of the research allowed some perceptions like: the digital technologies are not absolutes or totalitarians, on the contemporary culture, remaining territory transits between digital and physic space, a hybrid relation between plastic material and visual medias. / O presente trabalho é orientado pela indagação a respeito de como as imagens digitais têm mediado experiências estéticas e cognitivas. O contexto eleito para o desenvolvimento da pesquisa está nas relações entre professores e estudantes no curso de Licenciatura de Artes Visuais na modalidade em EaD. A pesquisa é configurada no curso de Licenciatura de Artes Visuais – UAB/Unimontes. Trata-se de um processo investigativo que propõe uma análise fazendo referências às imagens tecnológicas e sua apropriação no processo ensino e aprendizagem, investigando de que forma elas foram utilizadas pelos professores das disciplinas específicas do curso e como foram assimiladas pelos estudantes. Torna-se objeto de estudo desvelar as relações dessas imagens, possibilidades e potencialidades no seu uso como mediadoras em suas múltiplas formas de expressão O grupo de pessoas envolvidas nesta pesquisa é constituído por dois professores formadores das respectivas disciplinas, três tutoras a distância e quatro alunas do pólo de Lagoa Santa, totalizando um universo de nove envolvidos diretamente. As categorias conceituais, consideradas eixos epistemológicos, são: cultura visual, imagem digital, TICs, EaD, ambiente de aprendizagem digital, experiência estética e artística. A abordagem desses conceitos propiciou o delineamento do campo no qual ocorreram as mediações das imagens digitais no processo da poética visual, articulando teoria e prática. A culminância da pesquisa permitiu algumas percepções como: as tecnologias digitais não são absolutas, ou totalitárias, na cultura contemporânea, prevalecendo trânsitos de territórios entre espaço digital e físico, uma relação híbrida entre materiais plásticos e mídias visuais.

An extensive study on the influences of music education on the forming of musical identities was undertaken. Information obtained from thorough literature review, questionnaires and interviews has been analysed, collated and set out in the dissertation. The review of literature has revealed that there remain few unanswered questions regarding the defining of both music education and musical identities. However, few studies have examined the influences music education has on the formation of identity, particularly concerning the making of music career-choices. The effects of a variety of musical and non-musical developments and/or adaptations may influence the formation of musical identities, since the individual has to develop and adapt alongside these changes. This study was conducted in a multi-cultural South African society, and investigated the influences music education has on the forming of musical identities. The primary purpose of the study was to develop an understanding and awareness amongst professional South African musicians, in practice at the time of the study, regarding the value that music education has on the forming of musical identities. The aim in attaining the said purpose was, firstly, to examine the differences between formal and informal music education, the latter being very prominent in non-Western countries, including South Africa. In this regard musical arts education was also attended to. Secondly, musical identities were delineated so as to view their forming due to music educational influences. Finally, the study examined how prior exposure to different music educational aspects influences professional South African musicians’ career-choices. There were two groups of respondents in the study: <ol> <li>A group of music experts from different music spheres participating in semi-structured interviews, each lasting approximately 45 minutes, that were recorded and then transcribed; and</li> <li>A matched group of music experts asked to complete a questionnaire based on interview questions.</li> </ol> Diverse participants included academics, choir conductors, educators, ethnologists, tertiary music students, performers, psychologists, therapists, and representatives from the private sector. The results indicated that music education, continuously developing and transforming, contributes to one’s musical identities and is crucial to the development of identities, with particular consideration of one’s choice of music career. / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted

Primary school teacher education in Botswana has undergone a tremendous change in recent years. The former two-year Primary Teaching Certificate has been phased out and replaced by a three-year diploma in primary education. In the three-year teacher training programme, students have the liberty to specialize in two subjects. Since teacher education plays a pivotal role in the efficiency and effectiveness of delivery of the curriculum, it is envisaged that the three-year programme will adequately equip students to ensure efficient and effective syllabi delivery. It is on this premise that this study examined the training of primary school teachers for musical arts education in Botswana’s colleges of primary education. It further identifies the problems in the teacher training programme and proposes ways in which the music training programme could be improved. The research was conducted following a survey method in which data collection techniques of questionnaires, interviews and observations were used. Primary school teachers responded to the questionnaire and some were observed. College lecturers were interviewed. In addition, some important insights were obtained from literature and have been incorporated in this study. Information obtained revealed that students are admitted at the colleges of education with little or no formal music education and this makes it difficult for them to choose music as an area of specialisation. The syllabi that are used for the two music categories do not differ much; there is inadequate allocation of time for music lessons. The syllabi do not cover much African music, concentrating more on Western educationists than on African ones. Colleges of education lack resources for effective training and the emphasis is more on the theoretical aspect than the practical component. The study indicates that teachers are of the opinion that the training they undergo does not adequately equip them to face the challenges of the CAPA (Creative and Performing Arts) syllabus - which deals with practical subjects of which music is one. Consequently, very few activities are employed when teaching the CAPA syllabus at primary schools. Primary schools also lack musical instruments. Teachers are unable to integrate music with other art forms because the training does not include the integration of arts education. These are some of the problems faced by the teacher training as revealed by this study. The research proposes ways in which the admission can be done and the syllabus for musical arts education which can then be used at colleges. There are also recommendations to be considered by the Ministry of Education, music educators and parents, in order to improve musical arts education in Botswana. / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted

Abstract My objective with this master's thesis is to contribute development both to the education for art-teachers and to art education primary and secondary school.     This master thesis discusses three students’ different art-based processes in a visual project about sustainable site-specific design. The project is based on ethnographic documentation of a “non-place” chosen by students themselves. The students are working with visual ethnographic documentation, making pictures in different materials, process-documentations, process-dairy, reception-calls, portfolio-analysis and digital presentation. The project aims reflections over how students can transform their experiences and knowledge, and later, in their role as art teachers, using the visual methods learnt, and using the unexpected and uncertain as a potential, to organize education with primary school pupils. ‘     The purpose of the thesis is to study students learning in, about, and through visual processes in an art-project, where the design of the teaching includes risk-taking elements. To delineate the purpose, I will work on the following issues:  1. What is made visible in students' digital presentations regarding different learning processes, sub-results and final results at the denotative and connotative level?  2. What does the design of the teaching mean for the students’ learning, in relation to the following four problem areas: - Image production with materials, techniques and tools - Image, reception talk and image theory - Documentation, evaluation and assessment - The location, the drawing room and other conditions for picture teaching.  3. Will the unexpected and uncertain as a potential for learning, be made visible in the students' processes, partial and final results? If so, how?     This is a qualitative study of three teacher - students' digital presentations. The material in the study includes three teacher students' digital presentations from an exam in an art project; research notes from observations in four course elements; informal interviews with two of the students. All of the three students’ digital presentations start with ethnographic inspired documentations from their chosen “non-places”. These pictures is first analysed, through visual-semiotic analyse. With this result in mind the individual visual processes through different tasks combined with materials analyses with a semiotic gaze and results in three cases followed up with a process-analysis of the three cases.      The theoretical context of the study is based on constructionistic theoretical perspective and semiotics as a theory of analysis, problematising the four aspects of the learning-field of art-education, identified in the thesis’ systematic research overview. The aim is to discuss design of education and three students’ experiences of their process-oriented investigative artwork. A work based on divergent thinking, where processes and results are not predetermined and where neither students nor teachers can anticipate them and thus have to dare to let go, which is why the study wants to highlight the unexpected and uncertain potential in image education. The result shows three students’ different visual processes, both in what drove and inspired them, and how they worked in visual materials. It shows that the concept in the design of the task challenged the students to explore the unsecure and the unexpected.  Through their artwork and the studies four aspects design of education in teacher education and compulsory school were problematised and several new questions about education in art were raised.

abstract: This research investigates teachers' understanding of and feelings about transdisciplinary education and the International Baccalaureate's Primary Years Programme (PYP) as utilized by two remote schools in the province of Papua, Indonesia on the island of New Guinea. A goal of transdisciplinary education is to make learning through inquiry authentic, broad, student-centered, and relevant to the real world. In this study I examine educators’ perspectives of how transdisciplinary education is manifested in the two different and yet related elementary schools. Both schools are supported by a multinational mining company. One school is for expatriate students and the language of instruction is English. The second school, which is for Indonesian students, follows the Indonesian National Curriculum of 2013, with instruction delivered in the Indonesian language by Indonesian teachers. A single expatriate superintendent oversees both schools. Teacher experience, teacher PYP experience, implications of the PYP framework, cultural implications of the location, and demographics of the school stakeholders were considerations of this research. To acquire data, homeroom teachers, specialist teachers (music, art, physical education, and language), administrators, and PYP coordinators completed a survey and were interviewed. Additional data were collected through document examination and observation. A broad range of experience with transdisciplinary education existed in both schools, contributing to some confusion about how to implement the PYP framework and varying conceptions of what constitutes transdisciplinary education. Principles of the PYP were evident in curriculum documents and planning and discussed by the teachers in both schools. Educators at the expatriate school identified with the international-mindedness and approaches to learning in the PYP. Educators at the national school valued to character education elements of the PYP, which they viewed as consistent with Indonesian principles of pancasila. The mission and vision statements of the schools in this study aligned with the PYP in different ways. Challenges faced by educators in these schools are acquisition of professional development, experienced teachers and teaching materials due to the remote location of the schools. While transdisciplinary education was described, it was not necessarily implemented. The findings of this study suggest that transdisciplinary education is a mindset that takes time, experience, and commitment to implement. / Dissertation/Thesis / Doctoral Dissertation Music Education 2019