Orientador: Carlos Fernando Fiorini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T19:49:37Z (GMT). No. of bitstreams: 1 Oliveira_CleodicelesBrancoNogueirade_M.pdf: 4799497 bytes, checksum: 6e4d95e2b0d97373282c260943c5fdcb (MD5) Previous issue date: 2012 / Resumo: Esta dissertação tem por finalidade apresentar uma proposta de musicalização infantil através de canto coral nas escolas e os benefícios que essa prática traz para a criança. Com base na pesquisa bibliográfica como referencial teórico e em parceria com o Instituto Cultural Canarinhos da Terra através de seu programa O Coral na Escola, foi realizado um trabalho onde cerca de 25 crianças de uma Escola Municipal de Ensino Básico, situada na região de Campinas tiveram a oportunidade de participar de aulas de Canto Coral ao longo do ano de 2010. Através da pesquisa de campo pode-se destacar a importância de ter uma equipe qualificada para a realização de um trabalho de coro infantil bem como os benefícios que tal prática traz para a formação da criança / Abstract: This dissertation aims to present a proposal for Music Education to children through Choral Singing in Schools, and discuss the benefits that this practice brings to the child. Based on a bibliographic research as a theoretical reference, and in partnership with Instituto Cultural Canarinhos da Terra through its program "O Coral na Escola", 25 children from the Escola Municipal de Ensino Basico, located in the region of Campinas, had the opportunity to participate in choral singing lessons throughout the year 2010. Through this research, it was possible to highlight not only the importance of having a qualified staff working with a children's choir, but also the benefits that this practice can bring to the child's education / Mestrado / Praticas Interpretativas / Mestre em Música

This study's purpose was to investigate the kinds of instructions provided for teachers by authors and publishers of elementary music series for the development of children's voices. Specifically, the study was 1. to investigate the recommended methodology related to the development of vocal concepts in children, 2. to investigate musical aspects that could be indicators of expected vocal ability in children, and 3. to relate the findings of this study to other research results that give insight into the vocal capabilities of children. To collect the data, the teacher's editions of grades one, three, and five of music series published by the Silver Burdett Company and by the American Book Company during the period circa 1945 to 1975 were subjected to a content analysis and to a musical analysis. Three categories were established for the content analysis: Vocal Characteristics, Singing Objectives, and Teaching Strategies. Validity of the research tool was tested by the jury method and by logical validity. Reliability coefficients of .90 were determined by using two additional coders and by re-coding material.

Please read the abstract in the section 00front of this document / Thesis (DMus)--University of Pretoria, 2007. / Music / unrestricted

South African education is currently in a process of restructuring, stemming from radical political changes in 1994. In 1995 a system of outcomes-based education was adopted by the Department of Education, strategically supported by the South African Qualifications Authority with its twelve relevant National Standards Bodies. Together with this, a system of unit standards, based on the accreditation of credits, learning programmes and qualifications is in a process of development. Music as formal school subject does not enjoy the same financial support from the Education Department as do the so-called "essential" subjects such as Mathematics and Science. Therefore no formal structures to generate unit standards for Music were origmally planned and budgeted for by educational authorities. To fill this need, and to prevent the marginalisation of such an important subject, the MEUSSA (Music Education Unit Standards for Southern Africa) project was initiated by the Music Department of the University of Pretoria early in 2000, involving 18 Master's and doctoral students in various areas of musical expertise. The aim is to generate unit standards for Music(s) in Southern Africa across traditional aspects such as instrumental training, harmony, history, theory and aural training, as well as the relatively unexplored domains of Music Technology, World Musics and Popular Music. Cultural shifts over the last approximately forty years began reshaping the understanding of the world we are' living in, resulting in a transition from a modern to a postmodern culture in Western societies. For the project of writing unit standards for music to be relevant, it was necessary to reflect on these changes and to accommodate them in music education. Frameworks and standards generated in the USA, Australia, New Zealand and England were also investigated and contextualised. Because the field of expertise of the author lies, inter alia, in the field of Aerophones, unit standards were specifically generated for music performance. These standards have to be considered as part of the MEUSSA project, and therefore be read in conjunction with contributions by other members of this team. It is the wish of the author, as part of the MEUSSA team, that this study will contribute towards making music education of high quality available to every learner in Southern Africa. / Thesis (DMus)--University of Pretoria, 2006. / Music / unrestricted

Orientadores: Claudiney Rodrigues Carrasco, Paulo José de Siqueira Tiné / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-28T02:47:09Z (GMT). No. of bitstreams: 1 Silva_UlissesRochaLoureiroda_D.pdf: 7291185 bytes, checksum: 0b262169510cca3bd487bd5f0e38c8cc (MD5) Previous issue date: 2015 / Resumo: Os 10 Estudos para violão escritos por mim em 1997 e publicados em 2000, foram o resultado de uma vivência prática, que exigia revisões constantes dos princípios técnicos utilizados em minhas experiências musicais, que ocorriam sempre na tentativa do equilíbrio entre a estética do violão clássico, do violão popular brasileiro e do jazz. Esta dissertação é uma análise do trabalho sobre tais estudos, desde o fator desencadeante do processo, até os elementos utilizados no âmbito técnico e musical, buscando relatar de forma detalhada as questões envolvidas na elaboração de uma obra artística de aplicação didática, além de uma avaliação dos objetivos alcançados em cada um dos casos, propondo uma reflexão em amplo espectro sobre a questão da composição de estudos para o instrumento / Abstract: 10 Studies for guitar written by myself in 1997 and published in 2000, are the result of practical experiences, requiring regular review of the fundamentals of technique used in my musical activity, which always occurred in an attempt to reach the balance between the aesthetics of classical guitar, the brazilian guitar and jazz. This thesis is an analysis of the work on such studies, considering the triggering factor of the process and the data used in the technical and musical contexts, seeking to report in detail the issues involved during the development of an artistic work applied to didactics, in addition to a review of the goals achieved in each case by proposing a broad spectrum reflection on the question of composing studies for the instrument / Doutorado / Processos Criativos / Doutor em Música

This project focused on the rate of growth in reading skills of two first grade classrooms. The goal of this project was to improve the reading skills of below grade level students through musical activities.

This qualitative dissertation identifies musical strategies that black theatre singers use when presenting and representing music that integrates western classical vocal aesthetics with stylistic genres of traditionally black forms like gospel, jazz, and blues. This study investigates the use of the voice by five black opera and musical theatre performers and the approaches that they take in the representation of music that requires integrated vocality, which integrates elements from western classical traditions with those from black popular and folk idioms. Data were collected through audio/visual analysis, interviews, and video stimulated recall, presented through narrative analysis. Three emergent themes are explored are as follows: Authenticity is rooted in the singer’s experience of cultural traditions and expression; technique is a means of personal and cultural expression and provides the opportunity for personal liberation, and; a singer positions themself at the nexus of their cultural legacy as a learner, exemplar, advocate, and transmitter of culture. The implications for educators at the tertiary level are discussed in the final chapter. Alignment of technique, personal expression, and identity infuses a singer’s sound with meaning; fostering the black singer’s use of their cultural capital helps them transform their life experiences into artistic interpretation. Representation, the use of signs that link a person to their cultural circles, is an act of re-humanization, combating dehumanization caused by systematic and societal exclusion by placing positive images at the center of their cultural legacy. In higher education, pre-professional training becomes humanizing when expression is viewed as a means of critical understanding of a student’s lived experience. Also, inspiring persons with marginalized identities requires re-centralizing power toward those who can imagine themselves transforming the entertainment industry into a more inclusive artistic space.

The specific problem prompting this investigation is the creation of a method of music criticism. The purposes for the investigation are three in number. First and foremost, the purpose of the investigation is to develop an unrestricted method of music criticism. The development of such a method fulfills the second reason for the investigation. Although Mortimer Adler and the Paideia Group have clearly stated the classes and pedagogy to be utilized in a Paideia curriculum, they have done little to suggest specific class content. This study resolves the content problem for one class. It is recommended that the music masterworks class be treated as a course in music criticism. Through such treatment of the class, students will meet the goals of the Paideia Group and develop the tools for societal reconstruction. Finally, the goal of establishing a method of music criticism harmonious with the educational philosophy of reconstructionism is the end to the previous two "means" purposes.

The first purpose of this study was to investigate whether different modeling conditions (Aural and Aural/Notated Transcription) produced significant differences for improvisation achievement. Another purpose was to investigate whether music learning theory-based improvisation instruction had an effect on students' self-efficacy for improvisation and for instrumental music. Participants (N = 76) from an accessible population of 6th through 8th grade instrumental music students were assigned to either an aural model group or an aural and notated transcription model group based on scores from Gordon's Harmonic and Rhythmic Readiness Records (1998). All students were administered two researcher-designed self-efficacy scales before and after a 10 treatment session music learning theory-based improvisation instruction. Following the treatment sessions, each participant was individually recorded and assessed by three experienced music educators. The posttest improvisation scores were subjected to an ANOVA, while the pretest to posttest scores of the students' self-efficacies for music improvisation and instrumental music were subjected to two repeated measures ANOVAs. The Bonferroni technique was used to adjust the alpha level from .05 to .017. The statistical analysis showed that there was no significant difference in improvisation achievement for the modeling conditions of aural and aural/notated transcription. Further statistical analyses showed there were significant increases in students' self-efficacy for improvising and for instrumental music following improvisation instruction. This study's results suggest that music educators should consider using either modeling technique for improvisation learning experiences. Results also suggest that music educators may wish to consider using a music learning theory-based improvisation approach to facilitate greater confidence in improvising. Additionally, results suggest that classroom music educators may wish to consider improvisation instruction as a means for achieving greater student confidence in instrumental music. This study concludes with issues for further study.

This study is an experimental investigation of two groups of junior high school students in an effort to evaluate the advantages of workbooks in their music classes. The comparison was made with two classes composed of thirty-two students each from the two junior high schools in the Beaumont Independent School District. One class used the workbooks in conjunction with the regular singing and appreciation work, but the other class did not use formal workbooks. They discussed the theory and notation of the music in relation to the work they were doing.