The purpose of this study was to compare specific aspects of music in general education between selected residential and non-residential public two-year colleges in the United States. The comparison was made by conducting a nationwide mail survey to see how well each college fulfills ten guidelines for specific aspects of music education for the non-major. These guidelines were determined by the National Association of Schools of Music (NASM) for music departments in higher education. A stratified random sample consisted of 140 colleges.One-hundred fifteen music educators completed surveys. In order to determine if a significant difference existed between residential and non-residential colleges, a two-way factorial analysis of variance was performed on the groups with region and group as factors. The analysis was carried out for each question of the survey. Respondents were given the option of making comments after each question. These qualitative data were compiled and compared for similarities and differences.Many similarities were discovered between the two groups. A significant difference (p<.05) was found between the groups regarding the involvement of the music department in institutional admissions and counseling processes used to convey opportunities for student participation in music studies and activities. / School of Music

There is no abstract available for this dissertation.

The purpose of this study was to identify pieces by Twentieth-Century Latin-American composers suitable for performance by Youth Orchestras in the United States. Scores available at the Indiana University Latin-American Music Center were primarily used. This allowed a more comprehensive search while limiting the scope of the study.Orchestral pieces were selected and examined for the study in order to provide insight into particulars of their individual styles and offer them together with pertinent information on the various composers.FindingsThe study identified five Latin-American composers who have written pieces suitable for performance by youth orchestras. The advantages of including Latin-American music in the repertoire of youth orchestras was demonstrated. Social, cultural and political as well as musical reasons for this inclusion were stated.Characteristics of the music of those countries that make it very attractive to young players were taken into consideration in the study, as well as the influence that hispanic traditions have exerted upon the culture of the United States for more than two centuries.It was demonstrated that this cultural interaction, stronger in certain regions of the country, offers added justification for the inclusion of Latin-American repertoire.The analysis of the works selected demonstrated the availability of works of quality that are suitable for performance by youth orchestras, even though they may not have been originally conceived with that in mind.Ancillary identification of information The nature and the author's knowledge of States.Theto the findings listed above was the of substantial omissions in primary sources and reference works consulted for the study. location of these omissions helped to confirm contention that there is very little general art music of Latin-America in the United study also revealed the need for updating current sources of information in order to include more references. The necessary might be to Latin-American composers and their music. project revealed that adjustments in some institutions, both in the United States and the neighboring countries, in order to promote better the music of Latin-American composers in this country. Also, in some cases, the standards of publication and/or copying of materials in the country of origin needs to be upgraded. / School of Music

The purpose of this study was to provide a series of teaching units to assist the high school band director in integrating music theory into the daily rehearsal schedule. These units provide a workable alternative to the teaching of music theory within the large performing ensemble.Teaching Units1. All musical examples in these units were written to reinforce the explanations of the given lesson material, and all musical exercises were written to be sung and to be played on the student's own instrument.2. The organization of the teaching units was designed to be flexible enough to meet the individual needs of teachers and students in the band rehearsal.3. Representative material for this study included intervals, modes, major and minor scales, pitch-class and interval-class, triads, seventh chords, and transposition.4. These lessons provided short, sequential units of instruction which were designed to provide opportunities for creative musical development and understanding of our musical languageConclusions1. The systematic utilization of theoretical material and creative exercises will promote an understanding of the relationships between the visual and aural elements of music; it will provide an aid in the performance of the students' musical duties; it will increase the overall musicianship of the ensemble.2. There is a tremendous need for an integrated music curriculum from grades K-12.

The study explored the influence of environmental catalysts, upon the provision of field specific opportunities for learning, training, and practice, for a sample population of musically involved young Australians. The findings enhance understandings of the conditions in which children's musical aptitudes are developed. Research bases in the fields of gifted education and music education were employed to support the investigation. Components of Gagn??'s Differentiated Model of Giftedness and Talent (1995a) provided the theoretical framework for this investigation. Two survey questionnaires, completed by Australian parents (N = 194 and N = 182 respectively), sought information pertaining to the subject child's musical involvements and undertakings. Some details of the musical interests and involvements of the child's parents and siblings were also obtained. Quantitative and qualitative data contribute to an extensive profile of the types of music programs and provisions which support the normative and expert development of Australian children's musical behaviours. Parents' musical interests and involvements appear to have strongly influenced the choice of home-based recreational pursuits for their children. The convincingly articulated, positive, field specific views espoused by Australian parents appear to have been translated into the provision of multiple, simultaneous opportunities for their children to engage with musical undertakings. Notable amongst the data are the structured involvements of young musicians with music composition engagements. The data also indicate that many of the sample of Australian children received high levels of support and encouragement for musical undertakings from parents who were themselves musically interested and knowledgeable. Parental involvements with their children's music lesson and practice related engagements, were found to be characterised by features of deliberate practice. The home-based environments of young Australian musicians were found to be characterised by opportunities for exposure to rigorous and challenging musical engagements, undertaken at an optimally early age, thereby enhancing normative musical development. Such engagements provided the necessary foundation for expert levels of musical skill acquisition. An ascending progression of musical skill development was demonstrated to correspond to increasing age further reinforcing the developmental perspective on the acquisition of musical expertise. Some parents indicate that musical engagement has been pursued as a means of appropriately challenging children exhibiting the cognitive and affective characteristics of giftedness.

This study investigates the educational theories and beliefs of the Russian composer and educator Dmitri Borisovich Kabalevsky as they relate to his piano music for children. / A biographical sketch of the composer’s public life was developed incorporating the significant events in his life as they relate to the compositions, and in particular, his work with children. The primary sources for this study are the composer’s own writings - some of which were specially translated from Russian into English for the purpose of this study. / Kabalevsky offered an alternative philosophy to that of many Western educators and musicians. His educational and musical views are discussed in the context of the overriding political philosophy to which he adhered throughout his life. The clearest expression of his educational views is seen in his book A Story of Three Whales and Many Other Things and the recorded talks with children entitled What Music Says, both of which were translated from the Russian for this study. / An overview of Kabalevsky’s music was developed, with particular reference to his music for children. Kabalevsky’s piano music for children is discussed in the larger context of his output for the instrument. Particular emphasis is placed on the use he made of the song, the dance and the march - the three major genres that are the basis of the small character pieces which constitute the majority of his works for children. / Five sets of music, from the twelve-volume collection entitled Piano Music for Children and Young People, have been selected for investigation in this study. The sets are In the Pioneer Camp Op. 3/86 (127/1968), From Pioneer Life Op. 14 (1931/1968), Thirty Children’s Pieces Op. 27 (1937-38), Twenty-Four Easy Pieces Op. 39 (1943) and Thirty-Five Easy Pieces Op. 89 (1972). / A descriptive analysis of each of the 100 pieces (under set criteria) was carried out, highlighting the major focus of the piece as well as the important pedagogical elements. An important aspect of this study was the identification and classification of the piano pieces in terms of the genre or style of the song, the dance or the march; only some were identified as such by the composer. The classification of pieces provided an important link between Kabalesky’s educational philosophy and his piano music for children.

No description available.

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

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