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Orientadora: Margarete Arroyo / Banca: Luiza Christov / Banca: Silvia Nassif / Resumo: O objeto de estudo dessa pesquisa é o processo de construção do trabalho pedagógico realizado por educadores musicais da Associação Amigos do Projeto Guri (AAPG) na Fundação Centro de Atendimento Socioeducativo ao Adolescente (Fundação CASA, antiga FEBEM), instituição paulista de internação e internação provisória de adolescentes infratores/ras em cumprimento de medidas socioeducativas. Foi realizado um estudo de casos múltiplos com nove educadores musicais atuantes nessa instituição, cujos trabalhos realizados são pouco conhecidos e discutidos no campo da educação musical, conforme a escassa bibliografia localizada permitiu concluir. A presente pesquisa tem por objetivos: desvelar as demandas do trabalho de educadores musicais dentro da Fundação CASA; conhecer as maneiras com as quais cada educador musical foi respondendo na prática pedagógico-musical a essas demandas e analisar, a partir dos relatos dos educadores musicais, as conexões entre as especificidades desse contexto, seus atores e a prática pedagógico-musical. Para atender a esses objetivos, os procedimentos metodológicos adotados foram do tipo qualitativo, com a realização de entrevistas semiestruturadas individuais. O referencial teórico para a interpretação dos dados resultantes das etapas da investigação é interdisciplinar, proveniente, por um lado, de áreas como a sociologia e a criminologia, com Erving Goffman e Alvino Augusto de Sá, e, por outro lado, de áreas como a filosofia da educação, abordando as ideia... (Resumo completo, clicar acesso eletrônico abaixo) / The object of study of this research is the work made by musical educators of the Associação Amigos do Projeto Guri (AAPG) in the Fundação Centro de Atendimento Socioeducativo ao Adolescente (Fundação CASA, old FEBEM), institution of internment and provisional internment for juvenile in fulfillment of socio-educational measure. A multi-case study was carried out with nine musical educators working in this institution whose works are little known and discussed in the field of musical education, according to the scarce bibliography on this subject. The present research aims to: unveil the demands of the work of musical educators within the Fundação CASA; to know the ways in which each musical educator has responded in pedagogical-musical practice to these demands; to analyze, from the reports of the musical educators, the connections between the specifics of this context, its actors and the pedagogical-musical practice. To meet these objectives, the methodological procedures were of the qualitative type with the execution of individual semi-structured interviews. The theoretical reference for the interpretation of the data resulting from the stages of the investigation is interdisciplinary, coming from areas such as sociology and criminology with Erving Goffman, Alvino Augusto de Sá and in the philosophy and pedagogy with the ideas of experience of John Dewey and Jorge Larrosa. The present research revealed specific demands of the work of musical educators in the Fundação CASA, which helped to understand how the pedagogical experiences of the interviewees are constructed, providing greater visibility about musical education in socio-educational units of incarceration located in São Paulo city. / Mestre

Orientador: Marisa Trench de Oliveira Fonterrada / Banca: Carlos Elias Kater / Banca: Leila Vertamatti / Resumo: Na presente pesquisa procura-se refletir a respeito da renovação de práticas pedagógicas no campo do ensino coletivo de contrabaixo acústico, comtemplando, porém, os outros membros da família das cordas friccionadas. Levantam-se as práticas coletivas de ensino de cordas no Brasil, apresenta-se o lócus em que a pesquisa foi desenvolvida, o Polo do Projeto Guri em Ribeirão Preto e mostra-se de que modo as práticas criativas foram introduzidas aos alunos do instrumento. O objetivo geral da pesquisa é incentivar a participação dos estudantes em posturas criativas e mostrar a relação entre esses procedimentos e o aprendizado do instrumento. Os objetivos específicos estão ligados à abertura, à escuta e prática de músicas populares e a sonoridades contemporâneas, na procura de ampliação de repertório dos estudantes. Em relação aos aspectos metodológicos, adota-se a abordagem qualitativa na modalidade "observação participante". A pesquisa se fundamenta, em Keith Swanwick e John Paynter, educadores musicais, e na ideia de experiência do filósofo da educação, Jorge Larrosa. Os resultados alcançados materializaram-se na vivência, pelos estudantes, de três processos inventivos que os próprios participantes consideraram de suma importância no seu processo de aprendizagem. / Mestre

In view of the lack of an appropriate instrument to measure primary school music teachers' concerns about teaching music to students with special educational needs in inclusive classrooms in Hong Kong, this research intends to fill the research gap by developing and validating the Music Teachers' Concerns of Inclusive Music Teaching Scale (CIMTS) for addressing these concerns. Specifically, this study aims at: (1) Developing and validating the CIMTS, (2) Assessing its psychometric properties, (3) Exploring primary school music teachers' levels of concern about inclusive music teaching, and (4) Predicting their CIMTS scores with a number of psychological, personality, and environmental variables which are hypothesized to correlate with the CIMTS. Different methods with two samples of primary school music teachers were involved in the development, validation, and prediction of the CIMTS. Regarding development, sequential mixed method involving qualitative analysis was employed to generate, pilot-test, and refine the initial pool of question items. Concerning validation (N = 309), quantitative analysis using item analysis was conducted to evaluate and refine the CIMTS, assessing its internal consistency and construct validity. Specifically, Exploratory Factor Analysis, Confirmatory Factor Analysis, SEM estimation, and Multi-trait and Multi-method analysis were performed to establish evidence of convergent and discriminant validity. Referring to prediction (N = 224), hierarchical multiple regression analysis was conducted to examine if the chosen psychological, personality, and environmental variables in the hypothesized model were significant predictors of the scores on the CIMTS. Results indicated that the 25-item CIMTS possessed adequate evidence of validity as well as satisfactory reliability regarding the overall scale and its five factors (Learning Support, Learning Obstacle, Resource, Training, as well as Curricular Design and Assessment). While the level of primary school music teachers' concerns for the Resource factor was found to be the highest among the five factors, Openness-to-Experience and School Climate were shown to be the strongest predictors of their scores on the CIMTS in the hypothesized model. With the development and validation of the CIMTS, this research not only filled the research gap in inclusive music education, but also aroused policy-makers' and music educators' awareness of teachers' needs for formal training in special education and for resource allocated to inclusive music teaching. For future research, with addition of new items, the CIMTS could be expanded in its domain coverage, refined, and revalidated with different samples. Further exploration of possible correlates of the CIMTS should be pursued.

This study investigates the significance of Aristotelian virtue in teaching and learning in music performance. In response to a number of critical issues in professional practice, it is argued that virtue, framed within eudaimonistic happiness, should form an integral part of teaching and learning. Through an examination of Aristotle’s analysis of virtue, and primarily through his Nicomachean Ethics, virtue is presented as having the hallmarks of dynamic and responsive action and therefore as being of potential interest to teachers of music. Having acknowledged that music performance can be a particularly challenging arena, this study also considers why Aristotle, via his analysis in Politics of the reasons for educating students in music, provides further underlying reasons for its inclusion. By considering the work of one of his students, Aristoxenus, the investigation also establishes that here in Aristotle is a philosopher-teacher who is, we can be reassured, very much an informed music ‘amateur’. Noting the twofold importance that Aristotle gives to music in education, that is, how music contributes to our development and the worthwhile nature of understanding music for itself, the discussion explores and clarifies the notion of music performance. A range of frameworks are analysed and, after Godlovitch, personalism is defended as a framework. This is significant because personalism recognises the individual as both musician and human being. Thus, the demands, on both character and intellect, emerge strongly here as they do in Nicomachean Ethics. Having established that music performance is demanding, of both character and intellect, the virtue of courage is argued as crucial. The Aristotelian notion of courage is tested and its reaches extended, partly through the analysis of case studies. Ultimately, it is posited that courageous action forms part of eudaimonistic happiness. This study also considers Egan’s theory that intellectual disturbance occurs during stages of learning, thus providing further demands. It is argued that, in responding to such disturbance, teachers’ practice should embody characteristics of Aristotelian practical wisdom. In this way, it is posited that teachers act as valuable role models, both to their students and to their colleagues, including those colleagues new to the profession. With these challenges now identified and analysed, music performance is conceptualised as gift making. Importantly, this contributes to foregrounding the significant aspect of pleasure that is integral to Aristotelian virtuous action. The discussion closes by providing a defence of the position that Aristotelian virtue is of significance to teachers and students as they navigate their daily existence within the world of music performance.

Orientador(a): Marisa Trench de Oliveira Fonterrada / Banca: Helena Maria Ferreira Rodrigues da Silva / Banca: Regina Marcia Simão Santos / Banca: Gabriela Barreto da Silva Scramingnon / Banca: Iveta Maria Borges Ávila Fernandes / Resumo: Diante dos desafios da obrigatoriedade do ensino de música na escola brasileira e da universalização da Educação Infantil, este trabalho visa refletir acerca das crianças e da Música como potência de transformação. A pesquisa é de abordagem qualitativa e configura-se como um estudo de caso, realizado no Centro de Referência em Educação Infantil do Colégio Pedro II, com meninos e meninas de 3 a 6 anos, durante o período de março de 2014 a março de 2017. A partir de uma escuta sensível às vozes infantis, por meio de experiências sonoro-musicais e entrevistas realizadas, denominadas ConversAções, buscou-se investigar como a criança pequena constrói e percebe a Educação Musical no Colégio Pedro II e como se pode construir um projeto artístico educativo COM e A PARTIR dela. As discussões apresentadas foram conduzidas em forma de narrativa e abrigam as ideias musicais infantis de forma viva. O arcabouço teórico foi baseado em fundamentos filosóficos, educacionais, sociológicos e pedagógico-musicais, quais sejam: (a) uma proposta rizomática que construa uma rede de sentidos, com base no pensamento de Deleuze e Guattari; (b) uma escuta sensível à infância, apoiada nos estudos da Sociologia da Infância e na Pedagogia da Escuta das escolas Reggio Emília; (c) uma educação democrática, crítica, libertadora e construída pela comunidade escolar, baseada no pensamento de Paulo Freire e na proposta das escolas Reggio Emília; (d) a compreensão da música como arte, jogo, criação e fator de... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Considering the challenges of mandatory music education in Brazil and the universalization of Early Childhood Education, this study aims to explore the idea of children and Music as transformation drivers. This research utilizes a qualitative approach, configured as a case study, carried out at Children Education Reference Center at Colégio Pedro II School, with boys and girls aged 3 to 6 years, from March 2014 to March 2017. Through sensitively listening to the thoughts, opinions, ideas, and voices of children, using sound-musical experiences and interviews, called ConversAções, it was sought to investigate how young children construct and perceive musical education in the Colégio Pedro II School and use these data to build an artistic educational project WITH and FROM The discussions were conducted in narrative form and brought the children's musical ideas in a lively way. The theoretical basis framework was based on philosophical, educational, sociological and pedagogic-musical, which are: (a) a rhizomatic proposal that builds a network of meanings, based on the Deleuze and Guattari thinking; (b) a sensitive listening to children, supported by the Sociology of Childhood and the Pedagogy of Listening of the Reggio Emilia schools; (c) a democratic, critical, liberating education built by the school community, based on the thinking of Paulo Freire and the practice of the Reggio Emília schools; (d) the understanding of music as art, game, creation and human development factor... (Complete abstract click electronic access below) / Doutor

Throughout the two hundred years of the Paris Conservatoire, the Professors of Flute have carefully documented their philosophies in numerous large-scale, comprehensive treatises. Building on the biographical and historical studies by earlier scholars, this dissertation will study three major treatises by Professors of Flute at the Paris Conservatoire to shed light on the performance practice of the flutists performing or trained in Paris: the Méthode pour servir a l'enseignement de la nouvelle flûte (1838) by Victor Coche, the Méthode pour flûte système Boehm (c. 1880) by Joseph Henri Altès, and L'Art de la flûte collected by Claude Paul Taffanel, completed in two parts by Philippe Gaubert (Méthode complète, 1923) and Louis Fleury ("La Flûte," 1927). Chapters 1 through 4 provide an historical context for the dissertation, including: a history of the Paris Conservatoire with particular emphasis on prevailing pedagogical trends at that institution, the evolution of the flute culminating in the innovations of Theobald Boehm, factors bearing on the professional flutist in Paris, and historical information on the flute treatises examined. In chapters 5 through 7, each of the three method treatises by Coche, Altès, and Taffanel with Gaubert and Fleury are evaluated for implications of performance practice based on the type of instruction and exercises devoted to the various component parts of each of six proposed elements of music--pitch, rhythm, timbre, dynamic, form and musical style--as well as areas of interest receiving special emphasis by each treatise composer. The concluding chapter collates the data of the earlier chapters and offers illumination on flute performance practice in France during the period 1838 to 1927. / Graduate

Made available in DSpace on 2018-07-27T18:25:57Z (GMT). No. of bitstreams: 0 Previous issue date: 2003. Added 1 bitstream(s) on 2018-07-27T18:29:58Z : No. of bitstreams: 1 000215693.pdf: 10226498 bytes, checksum: b437ec2f8b8ebda94b50d13b7ea0db6c (MD5) / Este trabalho consiste na análise de um caso especifico da disciplina Canto Coral inserida no curso livre de Formaçào Musical da Fundação das Artes de São Caetano do Sul, fundamentando-se em autores da área musical e de áreas afins: Edgar Morin, Jean Piaget, Howard Gardner, Keith Swanwick, Émile Dalcroze, Zoltán Kodály e Doreen Rao. A investigação buscou os elos entre as idéias destes autores que convergem para o ponto central de nossa discussão, a qual consiste na importância de relacionar, na construção do conhecimento, o agir e o compreender, o figurativo e o formal, a intuição e a análise. O conhecimento musical é compreendido como uma construção própria que cada indivíduo realiza a partir da experiência e em que as capacidades humanas de intuição e análise entrelaçam-se para integrar os diversos níveis de conhecimento. Diante da importância do Canto Coral na formação do músico, o estudo refletiu sobre: o fato de a disciplina funcionar, na prática, como complementar e algumas formas e práticas pedagógico-musicais para tomá-la mais significativa na formação do músico. / This dissertation consists of the analysis of a specific case of the course "Canto Coral" (choral singing) included in the music course of the Arts Foundation of São Caetano do Sul, with theoretical base on authors who have written about music, education and related areas: Edgar Morin, Jean Piaget, Howard Gardner, Émile Dalcroze, Zoltán Kodály e Doreen Rao Our investigation sought out the links between the ideas of these authors which converge in the central point of our discussion - the importance of relating, in the construction of knowledge, action to understanding, the figurative to the formal, intuition to analysis Musical understanding is understood as an individual construction which each one creates through his experience and in which the human capacities of intuition and analysis connect to integrate diverse levels of understanding In face of the importance of choral singing in musical education, this study reflects on the following: on the fact that the course functions, in practice, as complementary and on pedagogic and musical ways to make it more significant in the creation musicians.

Made available in DSpace on 2016-12-09T13:52:14Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-10-19. Added 1 bitstream(s) on 2016-12-09T13:55:18Z : No. of bitstreams: 1 000871113.pdf: 3265343 bytes, checksum: 5fb9ae56ce4a86756dcae8a73a548ee6 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho tem como foco a interface entre Educação Musical e Políticas Culturais. O estudo, construído a partir de uma pesquisa documental, objetivou o mapeamento dos Pontos de Cultura (PCs) integrantes da Rede Estadual Paulista e identificação das concepções acerca da educação musical conduzida nesses espaços. A pesquisa também procurou aprofundar o debate sobre o Programa Cultura Viva, criado em 2003, e sua ação prática - Pontos de Cultura - apoiando-se no discurso oficial do governo evidente nos documentos, leis e pronunciamentos; nos estudos sobre políticas culturais; nas ideias de cidadania e diversidade cultural abordadas principalmente por CHAUÍ (1985, 1992, 1995, 1997, 2006, 2008, 2009) e pela UNESCO (1997, 1998, 2002, 2007, 2009) e sobre as práticas musicais no âmbito da educação não-formal (GOHN 1999, 2007, 2010; KLEBER 2011, 2014; HIKIJI 2006) . Esta pesquisa aponta iniciativas que emergem da sociedade como espaços de aprendizagem musical, reconhecidos e beneficiados por uma política pública de cultura. Almeja-se com isso, fomentar o debate sobre as politicas culturais no campo da Educação Musical, apontando respostas possíveis a algumas perguntas acerca da educação musical empreendida nos projetos desenvolvidos pelos Pontos de Cultura, como quem são os atores das práticas musicais, o que se tem ensinado e trabalhado nesses locais e quais as visões e ideias de educação musical. Pretende-se também, evidenciar os Pontos de Cultura como um espaço emergente de educação musical (considerando a meta do Ministério da Cultura de ter 15 mil Pontos de Cultura implantados no Brasil até o ano de 2020) e contribuir para aqueles educadores musicais que cogitam transitar nesse meio. Resultados revelam a importância dos Pontos de Cultura enquanto espaço de aprendizado musical, sendo, em muitos casos, as únicas instituições destinadas ao ensino gratuito... / This work focuses on the interface between music education and cultural policies. The study, constructed from documentary research, aimed at mapping the Pontos de Cultura (PCs) São Paulo State Network members and identification of conceptions about music education provided in these spaces. The survey also sought to deepen the debate on the law Cultura Viva and its practical action- Pontos de Cultura - on official government speech evident in documents, laws and pronouncements; in studies on cultural policies; the ideas of citizenship and cultural diversity addressed primarily by CHAUÍ (1985, 1992, 1995, 1997, 2006, 2008, 2009) and UNESCO (1997, 1998, 2002, 2007, 2009) and about the musical practices in the context of non-formal education (1999, 2007 GOHN, 2010; KLEBER 2011, 2014; HIKIJI 2006). This research points to initiatives that emerge from the society as musical learning spaces, recognized and processed by a public policy of culture. Aims with it, to encourage debate on cultural policies in the field of music education, putting possible answers to some questions about musical education undertaken in projects developed by Pontos de Cultura such as who are the actors of the musical practices, what has taught and worked in these locations and what the visions and ideas of music education. Also, aims to highlight the Pontos de Cultura as an emerging space of musical education (considering the goal of the Ministry of Culture had 15 thousand Pontos de Cultura implanted in Brazil by the year 2020) and contribute to those music educators who set their minds on transit. Results show the importance of Pontos de Cultura while learning musical space, being, in many cases, the only institutions for the free education of music in their municipalities. The documentary research also served to elucidate some ideas that apply in these spaces, being the ones that stood out were: the music as a tool for social ...