Orientador: Adriana do Nascimento Araújo Mendes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-28T00:21:26Z (GMT). No. of bitstreams: 1 Santos_AlexandreHenriquedos_M.pdf: 3100579 bytes, checksum: 2205f055ccdc2c8c7d8bbe8c99d31f68 (MD5) Previous issue date: 2015 / Resumo: O presente estudo abordou a relação do fenômeno tecnológico atual denominado Tecnologias da Informação e Comunicação ¿ TIC com a educação musical. Pretendeu-se aqui analisar como acontece a relação dos cursos de Licenciatura em Música com as TIC e como esse fenômeno influencia a educação musical. O objetivo deste trabalho foi entender como os alunos desses cursos interagem com as tecnologias digitais, bem como adquirem proficiência nesse assunto. Também foram parte dos objetivos levantar e discutir dados sobre implementação de metodologias envolvendo as tecnologias em sala de aula. A pesquisa também averiguou como os cursos pesquisados operam em relação às tecnologias digitais. São sujeitos desse estudo um grupo de alunos e professores desses cursos. Sendo as tecnologias digitais um fenômeno presente, rápido e crescente nos meios educacionais, entende-se como relevante a presente discussão. O desenho metodológico usado na pesquisa foi a Análise de Conteúdos de Lawrence Bardin (2011). Pretende-se com esse trabalho contribuir para uma compreensão mais aprofundada da relação das TIC com a educação musical e a formação de professores e assim poder sugerir novas propostas metodológicas integrando de maneira crítica e reflexiva as TIC no campo da educação musical / Abstract: This study adressed the relationship of the current technological phenomenon called Technologies of Information and Communication - TIC with music education. It was to analyse the relationship of the undergraduate music courses with the digital technologies and how this phenomenon affects music education. The objective of the study was to understand how the students of these courses interact with digital technologies and acquire proficiency in this subject. They were also part of the objectives of this work to discuss data on the implementation of methodologies involving technologies in the classroom. The survey also investigated how the researched courses operate in relation to digital technologies. A group of students and teachers of these courses are the subjects of this study. This came from discussion is understood to be relevant due to the present, fast and growing phenomenon of digital technologies in the educational media. The methodological approach used in the research was Lawrence Bardin¿s Analysis of Content (2011). This work aims to contribute to a deeper understanding of the relationship of TIC with music education and teacher training, and to suggest new methodological proposals integrating TIC with music education in a critical and reflective way / Mestrado / Música, Teoria, Criação e Prática / Mestre em Música

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Schools in New Jersey are beginning to transform their middle school music programs from a general music based curriculum to an elective, performance-based curriculum. These changes bring new challenges to music educators as they work to expand their performance-based curriculums to include what was taught in general music. Adding to the work that needs to be done to adapt performance-based classes, teachers are beginning to feel frustrated that their needs and the needs of their students are getting lost with the added addition of assessment guidelines and other administrative requirements,. The aim of this research project was to work within the framework of Paulo Freire’s Culture circle to support teachers during scheduled Professional Learning Community meetings. Through a series of eight bi-weekly meetings, a group of four music teachers and a dance instructor works to identify generative themes present in their teaching practice. Through problem posing dialogue they worked to understand their generative theme. The teachers in this Professional Learning Community worked together to create and implement individual action plans to address their generative theme. This group of teachers work together in support of each other while they were working within their separate contexts and classrooms. This collaborative action research study positioned the researcher as a facilitator, one who supported the needs of the group and questioned long standing beliefs that help propel the conversation forward. Teachers reflected that they saw a change in what they believed the purpose of these meetings was. They found in impactful to focus on their teaching practices rather than the more administrative tasks involved in teaching. Teachers also reported that by dialoguing about their teacher and the action plans they were working on, they felt more successful in its implementation. Through their action plans, this group of teachers began to see possibilities to have their students create and work in small groups that was not evident before. While the teachers in this study felt an impact of the culture circle, there is more to learn from this group of teachers, and the possibilities culture circles have to effect positive change in teachers and student learning.

It was the author's privilege to begin teaching in a small secondary school. There, it is his firm belief, is the place for most beginning teachers to commence their life's work. It is here that one finds problems in curricula and procedures that he would probably never dream of during his theoretical training. There one would be asked to teach many subjects other than the one he has chosen in his major field. This should not prove to be a hardship but a blessing in that one would have develop initiative and in many other ways round out his personality. Here it was that the author became interested in the curricular problems of the small high school. Teacher load, pupil hours, and the lack of sufficient time for certain subjects were problems in which he first became acquainted. Music, which was his field in college, proved to be taking a secondary place in many instances; consequently he began to search for reasons and remedies for the situation. It is the author's earnest desire that this beginning will help other prospective teachers of music with some of the problems they will undoubtedly face.

The purpose of this thesis is the (1) study of the band class methods in use, (2) a discussion of their effectiveness, (3) an original attempt to show how many of the problems of band methods can be solved. It should be noted that a class of instrumental students may be a group of several or all different kinds of band instruments together. This study, however, will be concerned mainly with group instruction which combines all of the band instruments together. The term "method" as used herein designates a book of music material for class instruction in all band instruments. The term "instructor" is used to denote an instruction book written for only one instrument, for example, "trombone instructor".

It was the purpose of this study to (1) investigate the use and value of the simple instrument program in the elementary school and (2) provide or suggest musical experiences through the medium of this program that will help children to get at the inner essence of music through a process of musical growth. These experiences should be in agreement with the modern philosophy of music education. An attempt was made to present these experiences in such a manner that they can be readily utilized by any teacher in the primary grades.

The author has endeavored in this thesis to present the subject of creative music in its two wide aspects, theory and practice. Part I gives the educational background for presenting music through the creative medium. It is a brief review of selected literature in the creative field. Part II presents the practical side of developing a creative program in poetry, notation, rhythm and art.

During my brief career as an instructor in the Quartermaster School, Camp Lee, Va., in 1945-46, I became interested in the use of audio-visual aids by the Army in teaching soldiers various Army procedures. I was subjected to an Army course in the use of Audio-visual aids, and later I designed visual aids for use in the Quartermaster School. At that time I compared the use of these aids by the Army with the possible use of the aids in music education. When I returned to the College of the Pacific, I enrolled in a summer session course in audio-visual aids which was conducted by Thad Stevens of Oakland, California. This thesis is a result of my interest in this subject; an interest that I intend to retain in my work in music education. Of specific interest in the presentation of this thesis is the following quotation from the California Administrative Code: ”Institution to be considered for approval to offer the training and to make the recommendation for the kindergarten-primary, general elementary, junior high school, general secondary and junior college credential must, effective July 1, 1947, maintain a course, or the equivalent, of at least two semester-units in value in audio-visual-radio education and require that such course be successfully completed by each applicant for one or another of the credentials listed above.” As teacher training institutions present courses in the use of audio-visual aids, it is to be expected that the use of these aids will increase in California schools. Music teachers will now be informed in the values of audio-visual education, and many innovations in music education will undoubtedly be presented in the near future.

We have found that the more progressive music supervisors in the larger city school systems have already seen its value, as they testify, and we predict that, like all other developments in music education, it will spread to the smaller cities as they become able to take on this phase of the music program. We have seen evidences that the financial stress of the moment has somewhat curbed advance in this direction as it has in many other instances, but everyone seems to be looking forward to resuming the practice as soon as possible. In conclusion let us say that chamber music in the public school music program is definitely a thing of the future. Its true effectiveness can be judged only after it becomes a universal practice and after teachers are especially trained for that line of work.

This treatise will address the late twentieth-century and well-known Korean composer Chung Gil Kim's piano work Go Poong (Memories of Childhood; 1981) as a case study on how to make pedagogical use of works intended for performance. Go Poong is purely a programmatic composition intended to create a musical picture of four items in Korean cultural history including: a temple incense jar, a wooden shoe, a jade hairpin, and a paper window patch. The piece is also capable of functioning as an ideal pedagogical tool for intermediate and early-advanced players to experience technical exercises and compositional features that are a necessary part in the training of successful pianists. Repertoire useful either as preparation or as follow-up will be suggested. / A Treatise submitted to the College of Music in partial fulfillment of the Doctor of Music. / Spring Semester, 2015. / March 20, 2015. / Piano Pedagogy, Twentieth Century Piano Repertory / Includes bibliographical references. / Read Gainsford, Professor Directing Treatise; Evan Allan Jones, University Representative; Joel Hastings, Committee Member; Greg Sauer, Committee Member.