Orientadora: Dorotea Machado Kerr / Banca: Lutero Rodrigues da Silva / Banca: Hélio Sales Rios / Resumo: Este trabalho tem como foco o Coro Santa Cecília, coro feminino pertencente à associação católica Pia União das Filhas de Maria na cidade de São João da Boa Vista, na primeira metade do século XX. O grupo vocal, "moderno" para sua época, chegou a obter considerável projeção regional e desempenhou importante papel na transmissão de conhecimento na cidade e contexto em questão. Visto que os estudos direcionadas à educação feminina e à participação de mulheres na educação musical ainda se encontra em processo de crescimento, se comparado aos demais estudos sobre história da música e educação musical em geral, este trabalho propõe um estudo da função socioeducacional do Coro Santa Cecília associado à Pia União das Filhas de Maria a partir de fontes documentais primárias presentes no Acervo do Museu de Arte Sacra da Diocese de São João da Boa Vista - partituras, atas de reunião, listas de chamada, cartas, artesanato, fotografias, entre outros - e entrevistas realizadas com ex-integrantes do coro e da associação que o abrigava. Assim, a partir da análise desses documentos buscou-se investigar uma possível contribuição dessas mulheres para a formação de uma elite intelectual na cidade de São João da Boa Vista, e que perdura até os dias atuais. / This work focuses on the Santa Cecilia Choir, a female choir belonging to the Catholic Association Pia União das Filhas de Maria in the city of São João da Boa Vista, in the first half of the twentieth century. The vocal group, "modern" for its time, came to obtain considerable regional projection and played an important role in the transmission of knowledge in the city and context referred. Since studies on female education and on the participation of women in music education are still in the process of growth, if compared to other studies on the history of music and music education in general, this work proposes a study of the social and educational function of the Santa Cecilia Choir associated with Pia União das Filhas de Maria, from primary documentary sources present in the collection of the Museu de Arte Sacra da Diocese de São João da Boa Vista - music sheets, meeting minutes, attendance lists, letters, craft items, among others - and interviews with former members of the choir and the association which sheltered it. Thus, the analysis of these documents sought to investigate a possible contribution of these women to the formation of an intellectual elite in the city of São João da Boa Vista, which continues to this present day. / Mestre

The purpose of this project was to develop and recommend a strategic planning model that can be used by music executives in their management of music programs in institutions of higher education. Specifically, the study sought to (1) determine the aspects which influence the planning process, that are unique to the administration of a music program in institutions of higher education, and (2) develop a model that incorporates the major concepts of strategic planning and that can be applied to the planning process in music programs in institutions of higher education.

From Introduction: An investigation into aspects of musical education in Grahamstown cannot be isolated from the prevailing economic and social influences and must be seen within that setting. By the 1830's Grahamstown had developed from the frontier military post of 1812, to a settlement with an increasing population, aware of the importance of general education in raising standards and whose attention was concentrated in commerce, allied with agriculture, being a wool centre and a halting-place for traders conveying merchandise northwards, by ox-wagon and later also the chief centre of the ostrich industry. This development had gone on despite a succession of Frontier Wars, the last in 1878. A military presence was felt throughout the years of the nineteenth century and into the early years of the next, although from the late 1850's the chief military posts were in King William's Town and not in Grahamstown. The 1860's witnessed the important discovery of diamonds in South Africa, the first of which was identified by the famous Grahamstonian, Dr William G. Atherstone. This discovery, together with the discovery of gold to the north in the 1880's and the new railway line in that direction side-tracking Grahamstown, plus a slump in the ostrich industry, resulted in the economic decline of the town, but it then directed its energy and enterprise in another direction, education. The many small schools, which had sprung up during earlier decades, were superseded by newly established larger ones, initially for boys, but the 1870's in South Africa saw a revolution in the education of girls (similar to that of the 1850's in England), an occurrence which had an important bearing upon the founding of high schools for girls and Grahamstown was no exception in this respect. In South Africa, tertiary education for women was introduced soon after 1900 (as had occurred in England in the 1870's) and Grahamstown again kept apace. The years of the twentieth century brought about numerous advances in communication (motor cars, roads, aeroplanes, the radio and telephone), the invention of the gramophone, the appearance of "talkies" to replace silent films, the development of electricity as a source of power, great changes from peace to war, worldwide and financial stringency. In addition droughts plagued the farming community. All these influenced life in Grahamstown and education in general. The age of many scholastic institutions in Grahamstown became such, that they were receiving the sons and daughters and also grandsons and granddaughters of former pupils. This continuity played an important part in establishing traditions. Aspects of musical education during more than a century will be examined, firstly, in connection with each individual school and tertiary institution and secondly, by means of a survey. The newspapers, "Graham's Town Journal" and "Grocott's Penny Mail" - later "Grocott's Daily Mail", will be referred to as "IJournal" and "Grocott's", respectively.

xvi, 132 p. A print copy of this title is available through the UO Libraries. Search the library catalog for the location and call number. / The revised Bloom's cognitive taxonomy classifies thinking into ways and kinds of knowing. The ways of knowing are remember, understand, apply, analyze, evaluate, and create. The kinds of knowing are factual, conceptual, procedural, and metacognitive. Higher order thinking requires analysis, evaluation, or creation. It has been suggested that ensemble directors spend little time teaching higher order thinking and concepts. Rehearsals of six expert high school choral directors were audio-recorded at the beginning, middle and end stages of performance preparation. The directors' language was classified by type of activity. Language containing cognitive content was further categorized using the revised Bloom's taxonomy. The data were coded using audio annotation software developed by the author. The software enabled the user to hear the recorded audio, mark event locations, and add annotations. Annotations included transcribed text, coding, and comments. The software tracked event time and frequency and calculated event duration and word counts of transcribed text. Results found that student performance was 44% of rehearsal and teacher talk 47%. Teacher vocal modeling was 12% of rehearsal. Teacher talk percentages of rehearsals overall were 26% task presentation, 2.4% questioning, and 2.5% specific feedback. Cognitive content was split almost evenly between lower levels of thinking--recall, understand, apply--and higher levels--analyze, evaluate, create. Conceptual thinking occurred in 4.3% of rehearsal. Rehearsals were fast paced with average overall event durations of 6.3s. Several ways to define higher order thinking in the two-dimensional revised taxonomy are presented as are suggestions for challenging students to higher order thinking. The concept of a cognitive topography or cognitive signature is proposed as a key component for describing a director's teaching style and may have implications for teacher training and assessment. / Adviser: Harry E. Price

The aural development process is governed by the attitude of the teacher, student, the time factor, methodology employed and materials available. This process and the aforementioned contributing factors are explored within the context of the current requirements of the aural and practical musicianship examination syllabi of The Royal Schools of Music, Trinity College and UNISA. Suitable methods are explored which should develop skills enabling the student to deal with sounds and their corresponding symbols, first in isolation then within a musical context with attention to the curriculum, musical skills and personal development of the student within a positive learning situation. Four main areas of development are isolated i.e. rhythm, pitch, harmony and critical ear skills. A suitable development programme is presented in each area focusing on systematic skill development. / Musicology / M.Mus. (Musicology)

Orientador: Sonia Regina Albano de Lima / Banca: Adriana do Nascimento Araújo Mendes / Banca: Wladimir Farto Contessini de Mattos / Resumo: Em toda e qualquer filosofia e teoria educacional, o planejamento escolar é visto como necessário para que se efetive uma prática pedagógica consciente e eficiente. Entendemos então que ele também deve integrar o ensino musical, pois viabiliza direcionamentos visíveis, práticas fundamentadas e metodologias contextualizadas; mais que isto, ele resgata o sentido da educação musical na escola. Parte do pressuposto de que o ensino de música só será de fato inserido na escola básica, quando direcionado e fundamentado por uma matriz curricular pensada coletivamente e por planejamentos pedagógicos a ela relacionados. Esta dissertação tem como objetivo analisar o conceito de planejamento escolar, investigando sua validade na educação musical, verificando como o planejamento pedagógico e curricular é feito pelos educadores musicais, professores e coordenação pedagógica em escolas particulares de ensino fundamental. O assunto planejamento escolar é amplamente investigado pelas Ciências da Educação, sendo um assunto de interesse do Currículo e da Didática. No campo da música, porém, pouco é abordado. Essa pesquisa é de caráter misto. Contemplou parte de uma bibliografia voltada para as Ciências da Educação, definindo o que é planejamento, quais seus tipos e componentes, bem como as diferentes formas de conceber planejamento nas três principais teorias do currículo: Teoria Tradicional, Teoria Prática e Teoria Crítica. A fundamentação teórica embasou-se em autores que investigam o planeja... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: In every single educational philosophy and theory, the educational scheduling is taken as an important tool in order to implement a conscious and efficient pedagogical practice. Therefore, we understand that this scheduling must integrate the musical education because promote straight directions, reasoned practices e contextualized methodologies. More than this, the educational scheduling rescues the meaning of the musical education in the school. It is assumed that the musical education will be only included in a basic school program when this will be directed and settled up by a curricular model collectively prepared and by pedagogical scheduling related to it. This dissertation reviews the educational scheduling concept, investigating its credibility and expiration into the musical education and checking out how the pedagogical and curricular scheduling is planned and made by the musical educators, teachers and pedagogical coordinators into the private elementary schools. The educational scheduling issue is hugely investigated by the Educational Sciences, being a matter of relevant meaning for Curriculum and Didactic. However, for Music this issue is a lot less approached. This research talks about both of them. It is contemplating part of a bibliography with focus on Educational Sciences, explaining what the scheduling is about, what are all the kinds and components, such as the different ways of making scheduling in the three main curriculum's theories: Traditional Theor... (Complete abstract click electronic access below) / Mestre

Made available in DSpace on 2014-11-10T11:09:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2014Bitstream added on 2014-11-10T11:57:36Z : No. of bitstreams: 1 000795833.pdf: 1501359 bytes, checksum: 3884749ac712f967a563903dd826e742 (MD5) / O presente trabalho tem por objetivo discutir as ideias pedagógicas de Murray Schafer. Consideramos “ideias pedagógicas” a filosofia educacional que orienta e que é substância da atividade prática de ensino. Por meio de revisão bibliográfica de obras de Schafer, de periódicos especializados e de literatura relacionada a estas obras, formatamos três eixos centrais que permeiam suas ideias pedagógicas: a ecologia, a experiência espiritual e a experiência estética. Cada um deles foi considerado como consequência de um desdobramento histórico, o qual gera concepções filosóficas a partir de um processo de contradição entre ideias. Sendo assim, discutimos a ecologia e a experiência espiritual por meio da dicotomia entre o pensamento mecanicista e o pensamento ecológico, isto é, a relação ligação/separação entre o homem e a totalidade. A experiência estética foi considerada pelo prisma educacional, e analisada pela dicotomia entre as correntes pedagógicas que partem de um ideal de homem para erigir propostas educacionais (pedagogias da essência) e as que tomam o homem como ele realmente é (pedagogias da existência). Toda esta análise foi relacionada à obra de Murray Schafer, inserindo-o no contexto das referidas dicotomias. Isso nos mostra, tanto a construção de sua visão de mundo, quanto a estrutura, os objetivos e as reflexões que subjazem a sua prática educacional. Suas ideias pedagógicas apontam para um padrão de interação entre os eixos discutidos: a sacralização da experiência estética da paisagem sonora como mediadora da relação ecológica entre o indivíduo e o todo, ou seja, uma relação espiritual entre a arte e o indivíduo como meio de conexão entre ele e a totalidade, entendida aqui da perspectiva ecológica. Pretendemos que este trabalho auxilie na atividade pedagógica de professores que tomam as concepções educacionais de Murray Schafer ... / This study aims to discuss the pedagogical ideas of Murray Schafer. “Pedagogical ideas” are here understood as the educational philosophy that guides and composes the practice of teaching. Through the bibliographic review of Schafer‟s work, alongside specialized periodicals and related literature, three central axes that comprise his pedagogical ideas are proposed: ecology, spiritual experience and the aesthetical experience. Each of these axes was considered as a result of a historical development that generates philosophical conceptions from a process of contradictions between ideas. Thus, we discuss the ecology and spiritual experience through the dichotomy between mechanistic thinking and ecological thinking, i.e. the connection/separation relationship between man and the whole. The aesthetic experience was considered by the educational perspective, and analyzed by the dichotomy between the pedagogical currents that are based on an ideal of man to build educational proposals (pedagogies of essence) and currents which take man as he really is (pedagogies of existence). This analysis was correlated with the work of Murray Schafer, inserting the author in the context of these dichotomies. With this, we can observe the construction of his worldview, as well as the structure, objectives and considerations which underlie his pedagogical practice. His pedagogical ideas show a pattern of interaction between the axes discussed: the sacralization of the aesthetic experience of soundscape as a mediator of the ecological relation between the individual and the whole, i.e. a spiritual relationship between art and the individual as a means of connection from the singular to the total, understood here from an ecological perspective. This study intends to assist the pedagogical activity of teachers that employ the educational conceptions of Murray Schafer in the teaching of music, hoping that by providing ...

Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-06-26Bitstream added on 2014-06-13T20:49:04Z : No. of bitstreams: 1 lima_lcs_me_ia.pdf: 716961 bytes, checksum: 6634410aa6cf8fa3a13a74ccc37e3534 (MD5) / Universidade Estadual Paulista (UNESP) / A música é uma das formas de linguagem presentes na vida humana, desde a préhistória. Vários são os estudos a respeito da origem dos efeitos sonoros sobre o ser humano, sabe-se que o homem fazia música em seus rituais de caça e adoração. Objetivo: pesquisar como o ensino de História da Arte com o recurso da musicalidade com as crianças influencia na aprendizagem significativa. Método: Pesquisa descritiva, qualitativa realizada com as séries iniciais de uma escola da rede privada de ensino da cidade de São Paulo, em 2008. Resultados: Pelo estudo realizado, percebeu-se a importância da atuação do professor que busca provocar nos alunos um entendimento sobre a área de conhecimento, baseada nas experiências vividas em salas de aula; e esta atuação distingue-o do professor tradicional; e os alunos não precisam ter um conhecimento prévio da obra de Arte, mas, é importante que a vivência seja provocada para que, além da Experiência, tenham uma vivência sonora e visual, para que haja a aprendizagem em Arte / Music is one of the language forms that have been present in human life since Prehistoric times. There are several studies about the origin of the sound effects on human beings; it is known that man created music in their hunting rituals and worship. Objective: To investigate how musical resources added to Art History teaching influences students’ meaningful learning. Method: A descriptive, qualitative study was conducted with the initial series of a private school in the city of Sao Paulo in 2008. Results: Through this research, based on classroom experiences, it was observed that the performance of the teacher who motivates students towards significant learning is of great importance; and that this practice differs from traditional practices; that students do not necessarily have to possess a prior knowledge of a work of Art, but it is important to activate a connection of it to sounds and visuals stimuli, so that besides the Experience, they can have an auditory and visual involvement, and thus, learn Art

Orientador: Aci Taveira Meyer / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T21:35:14Z (GMT). No. of bitstreams: 1 Nascimento_AndreiaMirandadeMoraes_D.pdf: 96342335 bytes, checksum: 51433fb2817364742413bfc716f483fe (MD5) Previous issue date: 2014 / Resumo: O principal objetivo deste trabalho foi realizar um estudo analítico e pedagógico das Brasilianas para piano de Osvaldo Lacerda (1927-2011), compostas entre 1965 e 1993. Visou ao estudo, à análise e à divulgação da música brasileira e de um de seus mais significativos representantes, além de destacar a importância destas obras no contexto artístico-musical-educacional brasileiro. Justifica-se pela crescente importância em se valorizar a produção nacional nos meios acadêmicos, divulgando e desenvolvendo estudos técnicos e difundindo novos repertórios. Com o estudo analítico, procurou-se investigar os elementos técnicos utilizados pelo compositor e como ele os manipulou. Para introduzir e contextualizar essa análise, realizou-se um levantamento biográfico e histórico da vida do compositor, fundamentado por bibliografia já existente e entrevista com o mesmo. O estudo pedagógico iniciou uma discussão sobre a aplicabilidade didática destas obras na formação de professores de música, especificamente em cursos de licenciatura em música, pensando em um público que atuará em escolas de educação básica. A conclusão deste trabalho traz os aspectos mais relevantes de cada obra, identificando elementos unificadores e mostrando o uso variado de constâncias melódicas e rítmicas da música brasileira; além de direcionar esses dados ao contexto educacional, possibilitando uma integração entre teoria e prática dos gêneros abordados / Abstract: The main objective of this work was to carry out an analytical and pedagogical study of Brasilianas for piano by Osvaldo Lacerda (1927-2011), composed between 1965 and 1993. This work aimed at the study, analysis and dissemination of Brazilian music and one of its most significant representatives, in addition to highlighting the importance of these works in the Brazilian musical-artistic-educational context. Justifying by the growing importance of valuing domestic production in academia, publishing and developing technical studies and disseminating new repertoires. Through by the analytical study, we sought to investigate the technical elements used by the composer and how he manipulated them. To introduce and contextualize this analysis, there was a biographical and historical survey of the composer¿s life, based on existing literature and interviews with him. The pedagogical study sought to initiate a discussion on the didactic applicability of these works in teacher education in music, specifically in undergraduate courses in music, thinking about an audience that will work in elementary schools. The conclusion of this paper presents the most relevant aspects of each work, identifyin unifying elements and showing the varied use of typical melodic and rhythmic of brazilian music patterns; in addition to target these data to the educational context, allowing an integration of theory and practice of genres covered / Doutorado / Fundamentos Teoricos / Doutora em Música

Orientador: Edmundo Pacheco Hora / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T23:46:55Z (GMT). No. of bitstreams: 1 Zumpano_NiviaGasparini_D.pdf: 2081333 bytes, checksum: 2bd12f885adec4fb185459793cebd470 (MD5) Previous issue date: 2013 / Resumo: O presente trabalho apresenta uma reflexão a respeito da expressividade cravística com ênfase em alguns parâmetros da execução. Para tanto, foram delimitados fatores associados à expressividade a partir da literatura especializada e, na etapa seguinte, realizou-se um estudo sobre sua influência na sonoridade do instrumento, procurando-se destacar questões relativas à possibilidade de dinâmica no cravo. Com o objetivo de verificar a maneira como a expressividade tem sido abordada no contexto de aprendizado cravístico e a forma como os estudantes manipulam os parâmetros analisados, realizou-se também uma pesquisa com alunos e ex-alunos de diversas Instituições de Ensino do país. Ao final, a análise dos resultados obtidos possibilitou a visualização da forma como os parâmetros podem influenciar acusticamente a sonoridade na execução, permitindo concluir que sua manipulação pelo intérprete amplia as possibilidades expressivas do instrumento / Abstract: In this thesis we offer a discussion about harpsichord's expressiveness with emphasis on some performance parameters. Thus, we defined some factors associated to the expressiveness from the specialized literature and in the next step we performed a study about its influence on harpsichord's sound, seeking to highlight the instrument dynamic possibilities. In order to check how the expressiveness has been addressed in the context of harpsichords' learning and how students manipulate the parameters, we also carried out a survey involving harpsichord students in different educational institutions. Finally, the results' analysis showed us how expressive parameters can influence acoustically the harpsichord sound, allowing conclude that performer's manipulation expands the instrument expressive possibilities / Doutorado / Fundamentos Teoricos / Doutora em Música