Made available in DSpace on 2014-06-11T19:24:37Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-26Bitstream added on 2014-06-13T18:20:48Z : No. of bitstreams: 1 pequini_at_me_ia_prot.pdf: 1618505 bytes, checksum: 10e50376685e5858e3bbc163ba26d9e1 (MD5) / A pesquisa de caráter exploratório, de cunho teórico desenvolvida pelo mestrando, demonstrou em linhas gerais o sentido que H. Gardner conferiu à educação artística. Apesar da dissertação não ter cumprido o seu objetivo primeiro de avaliar a possível relevância da teoria das IM nos processos de ensino aprendizagem musical, a pesquisa demonstrou na fundamentação teórica, que o autor projetou para os pesquisadores em arte, a tarefa de promover um estudo pormenorizado da cognição artístistica e o desenvolvimento de uma psicologia das artes, a partir da comprensão dos símbolos artísticos e de como o indivíduo pensa a arte. Ele vê a arte como uma das possibilidades de comunicação do homem com o mundo, portanto deve ter no ensino, a mesma importância das demais áreas do conhecimento humano. Para ele as artes se formam a partir de imagens sensoriais, elas são apreendidade pelo intelecto, mas também provocam respostas afetivas e se preocupam com a qualidade do sentimento. Daí a importância no seu aprendizado. Elas fazem aflorar estágios psíquicos e cognitivos ideais para o aprimoramento humano. A partir de uma estrutura que envolve os organismos de fazer, perceber e sentir, Gardner demonstra como os indivíduos se envolvem nas artes e como eles se desenvolvem psiquicamente a partir desta estrutura. Trabalhando numa visão sistêmica, o autor projeta para a educação artística a perspectiva de modular de um modo eficaz os valores da cultura; os meios disponíveis para a educação nas artes e sua avaliação; e os perfis individuais e de desenvolvimento dos estudantes que serão ensinados. A dissertação de mestrado contou com uma Introdução que narra o projeto inicial, o capítulo I que retratou a teoria das IM de Gardner e a fundamentação teórica utilizada para consolidar sua teoria. O Capítulo II descreve a... / Not available.

abstract: This dissertation considers how adolescent identity is constructed and represented in commercial musical theatre for youth (e.g. Broadway and Disney Theatrical Group) by examining two commercial productions with adolescents in lead roles--Spring Awakening and Disney's High School Musical. My theoretical framework is intersectionality which creates a foundation for my research within the field of childhood studies, gender studies, and performance studies to illuminate current US American trends in youth oriented art and research. My framework extends into a case study methodology exploring the world of childhood and youth sexuality through a close read of the popular Broadway musical adaptation, Spring Awakening. In addition, a second investigation chronicles the world of Disney's High School Musical through my own intersectional tool, the Disney Industrial Complex. I claim that adolescence, as a constructed identity, exists as a multi-faceted intersectional category composed of multiple and conflicting intersections such as gender, race, sex, ethnicity, and so on. These intersections develop over the course of the period known as "adolescence" and "youth." The goal of this dissertation is to serve as a reference for other theatre educators and their work with young people creating art. / Dissertation/Thesis / Ph.D. Theatre 2012

abstract: The integration of yoga into the music curriculum has the potential of offering many immediate and life-long benefits to musicians. Yoga can help address issues such as performance anxiety and musculoskeletal problems, and enhance focus and awareness during musical practice and performance. Although the philosophy of yoga has many similarities to the process of learning a musical instrument, the benefits of yoga for musicians is a topic that has gained attention only recently. This document explores several ways in which the practice and philosophy of yoga can be fused with saxophone pedagogy as one way to prepare students for a healthy and successful musical career. A six-week study at Arizona State University was conducted to observe the effects of regular yoga practice on collegiate saxophone students. Nine participants attended a sixty-minute "yoga for musicians" class twice a week. Measures included pre- and post- study questionnaires as well as personal journals kept throughout the duration of the study. These self-reported results showed that yoga had positive effects on saxophone playing. It significantly increased physical comfort and positive thinking, and improved awareness of habitual patterns and breath control. Student participants responded positively to the idea of integrating such a course into the music curriculum. The integration of yoga and saxophone by qualified professionals could also be a natural part of studio class and individual instruction. Carrie Koffman, professor of saxophone at The Hartt School, University of Hartford, has established one strong model for the combination of these disciplines. Her methods and philosophy, together with the basics of Western-style hatha yoga, clinical reports on performance injuries, and qualitative data from the ASU study are explored. These inquiries form the foundation of a new model for integrating yoga practice regularly into the saxophone studio. / Dissertation/Thesis / D.M.A. Music 2012

abstract: The teaching of singing remained remarkably stable until, at the end of the twentieth century, advances in the understanding of voice science stimulated dramatic changes in approach to vocal pedagogy. Previously, the technology needed to accurately measure physiologic change within the larynx and breath-support musculature during the process of singing simply did not exist. Any prior application of scientific study to the voice was based primarily upon auditory evaluation, rather than objective data accumulation and assessment. After a centuries-long history, within a span of twenty years, vocal pedagogy evolved from an approach solely derived from subjective, auditory evidence to an application grounded in scientific data. By means of analysis of significant publications by Richard Miller, Robert Sataloff, and Ingo Titze, as well as articles from The Journal of Singing and The Journal of Voice, I establish a baseline of scientific knowledge and pedagogic practice ca. 1980. Analysis and comparison of a timeline of advancement in scientific insight and the discussion of science in pedagogical texts, 1980-2000, reveal the extent to which voice teachers have dramatically changed their method of instruction. I posit that voice pedagogy has undergone a fundamental change, from telling the student only what to do, via auditory demonstration and visual imagery, to validating with scientific data how and why students should change their vocal approach. The consequence of this dramatic pedagogic evolution has produced singers who comprehend more fully the science of their art. / Dissertation/Thesis / D.M.A. Music 2013

abstract: Classical pianists have struggled to reconcile personal artistic growth with the economic and cultural realities of a career as a musician. This paper explores the existing structure of North American undergraduate piano education and its development alongside sociological and cultural changes in the twentieth century. Through document study and interviews, I look at three different models of undergraduate piano curricula. Chapters One and Two explore the issues and history surrounding the traditional piano curriculum. Chapters Three and Four draw on interviews to study two different North American undergraduate curricula: a piano curriculum within a liberal arts environment of an American Conservatory-College, and a piano curriculum within a Canadian University Faculty of Music. Chapter Five concludes with a summary of these findings and potential recommendations for implementation. In this study, I suggest that changes to piano curricula were made because of a differing approach, one in which music is seen as an entrepreneurial vocation. These changes point to a discrepancy between what is being provided in the curriculum, and the actual skills that are needed in order to thrive in today's economy. Awareness of the constant flux of the current professional climate is necessary in order for pianists to channel their skills into the world. I theorize that changes in curricula were made in order to provide a better bridge for students to meet realistic demands in their career and increase their ability to impact the community. / Dissertation/Thesis / D.M.A. Music 2013

abstract: This dissertation is a qualitative study based on the experiences of five high schoolers and five college-aged students who grew up in Erie, Pennsylvania, and participated in theatrical productions within their schools, churches, the Erie Playhouse Youtheatre, and other community theatres. The author begins with an introduction of the theatrical scene in Erie and explains the options available to these youth during the times they performed, so the reader will have a better understanding of the background of these young people. The author then explores the current literature dealing with youth participants in a youth theatre setting. In his research, he notes that there were few scholarly books or articles that directly dealt with youth who participate in youth theatre. Most of the books dealt with youth who are part of theatrical programs in school settings, and few researchers utilized the youth's voice as part of the process. The author interviewed ten participants about their theatrical experiences asking them about aspects such as: positive and negative experiences, why they performed, and what they learned from doing theatre. After transcribing the interviews, the author analyzed the participants' responses for values, attitudes, and beliefs about theatre. From this analysis, the author found six themes emerged focusing on: fun, friendship, family, personal growth, commitment to productions, and negative experiences in the theatrical process. Throughout the document, the author utilized the youths' voices and kept their words and thoughts as the basis for all findings constructed and discussed. / Dissertation/Thesis / Ph.D. Theatre 2014

Submitted by William Paiva (williampaiva17@hotmail.com) on 2015-04-17T19:15:25Z No. of bitstreams: 1 José Francisco Baroni Silveira.pdf: 2256033 bytes, checksum: 9feae5fdada290e326c89214ff22f609 (MD5) / Approved for entry into archive by Vitor de Carvalho (vitor_carvalho_im@hotmail.com) on 2015-05-08T16:42:38Z (GMT) No. of bitstreams: 1 José Francisco Baroni Silveira.pdf: 2256033 bytes, checksum: 9feae5fdada290e326c89214ff22f609 (MD5) / Made available in DSpace on 2015-05-08T16:42:38Z (GMT). No. of bitstreams: 1 José Francisco Baroni Silveira.pdf: 2256033 bytes, checksum: 9feae5fdada290e326c89214ff22f609 (MD5) Previous issue date: 2013 / Esta pesquisa objetivou compreender como os saberes circenses podem se constituir, a partir da práxis docente, em conteúdos potencializadores de uma educação crítico-emancipatória, tendo como colaboradores os professores de Educação Física atuantes, no ano de 2012, nas escolas do município do Rio Grande-RS. Este estudo teve seu referencial teórico baseado na abordagem de Educação Física crítico-emancipatória que tem Elenor Kunz como seu principal autor, assim como na proposta de educação libertadora desenvolvida por Paulo Freire. Para esta investigação utilizou-se o questionário e a entrevista como principais instrumentos na busca das informações que foram analisadas por meio de tratamento estatístico e por intermédio do método de Análise Textual Discursiva – ATD proposto por Moraes e Galiazzi. Através dos questionários foi possível identificar que os saberes circenses não estão consolidados como conteúdo nas aulas de Educação Física das escolas municipais do Rio Grande investigadas, razão esta que se dá, entre outros motivos, pela falta de conhecimento dos professores, uma vez que a temática circense está silenciada na grande maioria dos currículos de formação inicial dos cursos de licenciatura em Educação Física. Os colaboradores desta investigação elegeram a alegria, a ludicidade, a expressividade, a criatividade, a cooperação e a falta de competição como elementos de aproximação entre os saberes circenses e as atividades de jogos e ginásticas desenvolvidas em sua prática pedagógica. As entrevistas foram realizadas a fim de focalizar a discussão, estabelecendo relações entre os elementos supracitados, os saberes circenses e a abordagem crítico- emancipatória. Os saberes circenses como conteúdo inovador e a interação professor-aluno foram analisados como categorias finais que emergiram do campo de estudo. Pode-se inferir que os saberes circenses se apresentam como conteúdo inovador e propiciam escapar de uma proposta de Educação Física tradicional. O presente estudo foi realizado considerando os saberes circenses como um conteúdo de viés artístico a ser desenvolvido a partir de uma prática pedagógica dialógica e problematizadora. Esta pesquisa possibilitou, pois construir argumentos que justificam a tese de que os saberes circenses enquanto conhecimento teórico e prático, pode se constituir num potencializador de uma educação crítico-emancipatória. / This qualitative research aimed at understanding how circusy knowledge can become a potential content in critical-emancipatory education in the praxis of Physical Education teachers who worked in city schools in Rio Grande, RS, Brazil, in 2012. It is based on theoretical references in critical-emancipatory Physical Education, mainly on Elenor Kunz‟s studies, besides Paulo Freire‟s proposal for a pedagogy of freedom. The tools of this investigation comprised questionnaires and interviews to collect data which were analyzed by Moraes and Galiazzi‟s Discursive Textual Analysis (DTA) and by statistical methods. The analysis of the questionnaires enabled me to say that circusy knowledge has not been consolidated as a content in Physical Education classes taught in city schools in Rio Grande, RS. It happens as a result of many aspects, such as teachers‟ lack of knowledge, since this theme has not been taught in College courses in Physical Education (teaching degree). Participants chose joy, fun, expression, creativity, cooperation and lack of competition as elements which made circusy knowledge and games and gymnastics intertwine in their pedagogical practice. Interviews were made so that the discussion could have a focus and relations could be established among all previously mentioned elements, circusy knowledge and the critical-emancipatory approach. Therefore, both the circusy knowledge as an innovative content and the teacher-student relationship were analyzed as final categories which emerged from this field of study. It may be inferred that circusy knowledge has become an innovative content and enables teachers to escape from traditional proposals in Physical Education. This research was carried out considering the circus knowledge as a content connected to Arts to be developed along with dialogical and problematizing pedagogical practices. It enabled me to construct arguments which provide bases for the thesis that the circus knowledge as a practical and theoretical content may potentialize a critical- emancipatory Education.

Made available in DSpace on 2014-08-20T13:47:56Z (GMT). No. of bitstreams: 1 Daniela da Cruz Schneider_Dissertacao.pdf: 1440263 bytes, checksum: 8bb0f5fe2b9f11c38022ebc06e46c49e (MD5) Previous issue date: 2013-03-28 / This dissertation approaches three different fields of knowledge: education, philosophy, and art. Under the problem Which the powers of the concept of minor pedagogy to Visual Arts Education?, aims to deploy and present the concept of minor pedagogy, using it to interrogate the field of Visual Arts Education. In contrast, the model of higher education of the Visual Arts Education, expressed by the Parâmetros Curriculares Nacionais of the area, with the possibility of a minor pedagogy. The minor pedagogy is understood as practices that divert, undermine and undo the claims of a higher education. A higher education is that engendered by that legitimizes by a macropolitics educational policies, parameters and guidelines, etc. The concept of minor pedagogy minor was drafted by Sílvio Gallo, from the book Kafka for a minor literature of Gilles Deleuze and Félix Guattari, in which these create the concept of minor literature. Both concepts have three coefficients: desterritorialization, political branch and collective value. This dissertation preserves such coefficients, but throws four propositions about the concept of minor pedagogy: I) The minor pedagogy works as a war machine in the educational territory; II) the minor pedagogy is rhizomatic; III) the minor pedagogy works through a micropolitics; IV) A knowledge of experience is a minor know. The study developed as bibliographical research. The central theoretical tools and dizzying write-downs signal in the thought of Gilles Deleuze and Félix Guattari, Michel Foucault, Jorge Larrosa and Sílvio Gallo. / Esta dissertação aproxima três diferentes campos do saber: educação, filosofia e arte. Sob o problema Quais as potências do conceito de pedagogia menor para o Ensino de Artes Visuais?, objetiva desdobrar e apresentar o conceito de pedagogia menor, utilizando-o para interrogar o campo do Ensino de Artes Visuais. Contrasta, assim, o modelo da educação maior do Ensino de Artes Visuais, expresso pelos Parâmetros Curriculares Nacionais da área, com as possibilidades de uma pedagogia menor. A pedagogia menor é entendida como práticas que desviam, subvertem e desrealizam as pretensões de uma educação maior. Uma educação maior é aquela engendrada pela macropolítica, que se legitima via políticas educacionais, parâmetros e diretrizes, etc. O conceito de pedagogia menor foi elaborado por Sílvio Gallo, a partir da obra Kafka por uma literatura menor de Gilles Deleuze e Félix Guattari, na qual criam o conceito de literatura menor. Ambos os conceitos apresentam três coeficientes: desterritorialização, ramificação política e valor coletivo. A presente dissertação preserva tais coeficientes, mas lança ainda quatro proposições acerca do conceito de pedagogia menor: I) A pedagogia menor opera como Máquina de Guerra no território educacional; II) A pedagogia menor é rizomática; III) A pedagogia menor esboça-se sobre e através de uma micropolítica; IV) Um saber de experiência é um saber menor. O estudo desenvolveu-se como pesquisa bibliográfica. As ferramentas teóricas centrais arquitetaram-se no pensamento de Gilles Deleuze e Félix Guattari, Michel Foucault, Jorge Larrosa e Sílvio Gallo.

The purpose of this study is to investigate the present need of industrial arts for girls in the secondary schools of Texas, and to determine the need, if any, for a change in this program.

Esse trabalho busca estabelecer relações entre a neurociência e o ensino e aprendizagem da arte, mantendo o foco nas artes plásticas. Desse modo o ato de desenhar, observar, perceber e imaginar, exercidos na ação artística, são considerados a partir do funcionamento do sistema nervoso. O conhecimento de como o encéfalo funciona pode dar subsídios importantes para futuras formulações metodológicas da área. / This work seeks to establish relations between neuroscience and the teaching and learning of art, having plastic arts as main focus. This way the act of drawing, observing, interpreting and imagining are considered from the functioning of the nervous system. The knowledge of how the nervous system, mainly the brain, works may provide important subsidies for future methodological formulations in the area.