Orientadora: Dorotéa Machado Kerr / Banca: Magali Kleber / Banca: Alberto Ikeda / Resumo: 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... / Abstract: 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 ... / Mestre

Orientador: Marisa Trench de Oliveira Fonterrada / Banca: Ilza Zenker Leme Joly / Banca: Dorotéa Machado Kerr / Resumo: Esta pesquisa desenvolveu-se a partir da experiência pessoal da autora, que detectava alto índice de desistência entre alunos dos cursos de piano, e teve por objetivo investigar as possíveis causas dessa evasão, bem como compreender a atual situação do ensino desse instrumento. Para atender às questões propostas, realizou-se um estudo em conservatórios da cidade de São Paulo, por meio de entrevistas e questionários aplicados a professoras de piano e diretores, entre os anos de 2003 e 2004. Esse estudo englobou o material didático utilizado, a organização das aulas, a formação docente e a estrutura oferecida pelos conservatórios. Além disso, investigou-se a história do ensino do piano no Brasil, desde o século XIX, e os métodos e recursos utilizados pela pedagogia pianística a partir da década de 1930. A partir desse estudo, apresenta-se o resultado das reflexões da pesquisadora a respeito da pedagogia pianística, tal como praticada hoje em conservatórios paulistanos, acentuando-se as questões relacionadas ao peso da tradição presente nesse ensino e à necessidade de se responder aos desafios da época atual. Com isso, espera-se que esta pesquisa possa contribuir para a melhoria da qualidade do ensino do piano no Brasil. / Abstract: This research has been developed from the personal experiences of the author when noticing the high level of abandonment during the piano course by the students. Since then, it has been the objective of this project to investigate the possible causes of this evasion as well as to comprehend the actual situation of teaching piano in Brazil. It has been realized a study in conservatories at the city of São Paulo to attend to these questions, based on interviews and questionnaires applied to piano teachers and directors in the period of 2003-2004. This study has embraced the didactical materials used, the organization of the classes, the faculty and the structure offered by the conservatories. Besides that, it has been investigated the history of piano teaching in Brazil since century XIX and also the methods and resources used in piano pedagogy since 1930. From this perspective, this study has introduced the result of reflections in piano pedagogy by the author as it has been practiced today in the conservatories in São Paulo. This study has deepened in questions related to the traditional education of piano, in the need to answer challenges of this education nowadays and in the training of the faculty looking forward to contribute to the advance in the quality of the piano courses in Brazil. / Mestre

Orientador: Dorotéa Machado Kerr / Banca: Marisa Trench de Oliveira Fonterrada / Banca: Ilza Zenker Joly / Resumo: Presente pesquisa tem por objetivo analisar as orientações curriculares, os materiais de apoio e os cursos de formação contínua oferecidos aos professores de Educação Infantil e Ensino Fundamental da Rede Municipal de Ensino de São Paulo para a Educação Musical, no período que compreendeu os anos de 1956 a 2008, como parte das políticas públicas da Secretaria de Educação do município de São Paulo. A sua realização problematizou as mudanças ocorridas no ensino de música nas escolas municipais de São Paulo, considerando as diferentes administrações do município nesse período, as mudanças na legislação para o ensino de Artes, em nível nacional (Lei nº 5692 de 1971, LDB de 1996 e Lei nº 11.769 de 2008), e a publicação dos Referenciais Curriculares entre 1997 e 1998. Analisando os documentos elaborados pela Diretoria de Orientação Técnica da Secretaria Municipal de Educação de São Paulo para o ensino de música, procurou-se compreender o processo de construção de Políticas Públicas e discutir quais fatores contribuíram para as mudanças na concepção e no espaço que a Educação Musical ocupou nas escolas municipais paulistanas ao longo desse período. O primeiro capítulo trata da conceituação do termo Políticas Públicas, dos agentes envolvidos e das diferentes etapas inerentes à formulação das mesmas, além de formas de avaliação de políticas para subsidiar as análises deste trabalho. O segundo capítulo aborda as Políticas Públicas para o ensino de música nas escolas municipais de São Paulo de 1956 a 1983, período em que este foi obrigatório. No terceiro capítulo apresentamos as iniciativas para o ensino de música de 1993 a 1996, quando foram desenvolvidos cursos de formação contínua para professores de Educação Infantil. O quarto capítulo aborda os programas e projetos desenvolvidos na área entre 1996 e 2008... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The present research aimed to analyze the curricular orientations, materials and capacitation courses for Musical Education offered to professors of Basic Education from municipal schools of São Paulo between 1956 and 2008. The porpuse of the research was to discuss the changes in Public Politics for Musical Education in municipal schools of São Paulo, considering the different administrations of the city in this period, the changes in the legislation for the curricular of Arts in national level (Law nº5692 of 1971, LDB of 1996 and Law nº 11769 of 2008), and the publication of the National Curricular References between 1997 and 1998. Analyzing the official documents elaborated by the Technique Orientations Department for Musical Education, we tried to comprehend the process of construction of Public Politics and to discuss which factors contributed for the changes in the conception and the space that Musical Education occupied in municipal schools of São Paulo throughout this period. The first chapter deals with the concept of Public Politics. It brings the agents and the different stages involved in the elaboration of Public Politics, and types of politics evaluation, in order to increment the analyses. The first chapter approaches the Public Politics for Musical Education between 1956 and 1983, period in which it was obligatory. The third chapter presents the initiatives for Musical Education between 1993 and 1996, when it was developed music capacitation courses for kinder garden teachers. The fourth chapter approaches the developed programs and projects in the area, developed between 1996 and 2008, when optional music courses were creates. These are ofered to teachers until nowadays. / Mestre

This thesis presents the author's musical compositions through the elucidation of their source impulse. In order to facilitate the unveiling of the works presented in this thesis I have subdivided it into sections thus: Section 1 - Here I introduce the reader to the motivation behind my music composition work and discuss the elements which inform my cosmology through the elucidation of the concepts and methods used in the realisation of the compositions. Section 2 - An introduction, discussion and conclusion to the series heading of Raza. The compositions and chapters are as follows: Chapter 3, Lucero for charango and tape; Chapter 4, Gato's Raid for marimba and tape; Chapter 6, De Luna a Luna ... for two percussionists and tape. In this section I address that particular musical imagery which is directly related to my cultural roots. Section 3 - An introduction, discussion and conclusion to the series heading of Urbis. The compositions and chapters are as follows: Chapter 9, Urbis #2 'passing moments/riffs & raffs' for bass clarinet and tape; Chapter 10, Urbis #3 'Alter ego' for electric guitar, live electronics and tape; Chapter 11, Urbis #4 for tape. In this section I address the use of modern urban culture symbols in order to create a contemporary mythological canon. Section 4 - A conclusion to this thesis.

Previous research has explored children’s musical participation in relation to motivation, instrumental lessons, extracurricular activities and the historically low uptake of GCSE and A Level music. This ethnographic study set out to investigate pupils’ musical participation in different school settings, the musical culture within these schools and the place of music in children’s everyday lives, including the wider contexts of home and school. Observations, questionnaires, aural and photo elicitation and focus group interviews were conducted with pupils, parents and teachers and revealed more differences than similarities in four main areas. The results are explored through the themes of teaching and learning, attitudes towards music, continuation of music education and the ‘triad’ of home, school and child. Schools attracting pupils from more middle-class backgrounds had more established musical cultures compared to those with an intake from economically deprived areas. This was apparent through the resources available to the music departments, the range of instrumental lessons on offer, the number of pupils learning an instrument, the amount of extracurricular provision present and the attitudes of pupils, parents and teachers. The findings from this study also showed that the views children experienced at home, whether positive or negative, were strongly influential. The results of this study showed the imbalance in provision between school type and socio-economic background and the importance of positive school-parent relationships in pupil engagement and have wider implications for schools and their pupils.

Though the castrato has been absent from the operatic stage since the nineteenth century, this voice is often described as the mysterious link in understanding the vocal techniques attributed to bel canto. The mystery lies in the fact that the voice of the operatic castrato cannot be heard by modern ears; and yet its legacy can be seen in the vocal tuition of several successful opera singers at the turn of the nineteenth century. What is unusual about this period is that some of the most successful singers of the day, including Nancy Storace, John Braham and Elizabeth Billington were British and shared the same vocal teacher. The castrato Venanzio Rauzzini (1746-1810) began his career as a primo uomo on the continent and while he established himself in various areas of musical activity, his main contribution and legacy was as a vocal teacher. During his residency in Britain from 1774 until his death, he trained several leading British professional singers who were the stars of opera in London and on the continent. They each demonstrated a use of techniques associated with the castrato vocal aesthetic and popularised a new vocal style, which can be traced to Rauzzini. Through this thesis, I will draw attention to the importance of Rauzzini’s impact on vocal teaching practice in Britain and his wider influence on the development of vocal style. I will demonstrate that Rauzzini should be considered part of the vocal teaching canon to which Pier Francesco Tosi (c.1653-1732), Nicola Porpora (1686-1768) and Manual García II (1805-1906), three other foreign vocal teachers, who were resident in Britain, already belong. By examining exactly what the expected vocal aesthetics were for all singers, castrato, non-castrated male and female during the period in which Rauzzini was active, I will demystify the castrato technique and provide a more tangible understanding of what this encompassed, demonstrating that many of these techniques were learned, performed and popularised by other voice types such as the female soprano and the male tenor.

All history of the flute in Scotland begins with William Tytler’s 1792 assertion that the flute was unknown in Scotland prior to 1725. Other generally accepted beliefs about the flute in Scotland are that it was only played by wealthy male amateurs and had no role in traditional music. Upon examination, all of these beliefs are false. This thesis explores the role of the flute in eighteenth-century Scottish musical life, including players, repertoire, manuscripts, and instruments. Evidence for ladies having played flute is also examined, as are possible connections between flute playing and bagpipe playing. What emerges is a more complete picture of the flute’s role in eighteenth-century Scottish musical life.

No description available.

The purpose of this study is twofold: (1) to formulate the bases for a music curriculum to be offered at high school level; and (2) to evaluate the present music offerings in seventy-five representative Texas high schools.

Music education is an essential aspect of education. The South African school curriculum for the Creative Arts combines dance, drama, music and the visual arts. The curriculum uses a combination of the theories of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. Each of these music theorists and educationists have their own distinctive approach to teaching music. This study explores the theories of music education of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. These theories are applied in a critical analysis of both the South African curriculum and the curriculum of New South Wales. The researcher developed music activities to address the shortcomings of both the South African curriculum and the music texts.