Orientador: Orly Zucatto Mantovani de Assis / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-06T12:15:43Z (GMT). No. of bitstreams: 1 Abrahao_AnaMariaPaesLemeCarrijo_M.pdf: 8957924 bytes, checksum: 892100e4fbc023a5355bf39870841dd9 (MD5) Previous issue date: 2006 / Resumo: A presente pesquisa pretende discutir a importância das atividades musicais para o trabalho com crianças no cotidiano da escola. Apresenta uma avaliação qualitativa intitulada rede semântica natural proposta por Figueroa, González e Solís (1981) sobre a concepção dos professores de educação infantil e ensino fundamental 1º e 2º ciclos de talento musical e a importância da música no ambiente escolar. Os resultados confirmam o julgamento, muito freqüente, do privilégio de poucos ¿dotados¿ de talento nato para o fazer musical e revela um reconhecimento das contribuições da música para o desenvolvimento cognitivo, afetivo, social e motor das crianças, embora as concepções dos professores sobre a música na escola não apresentem categorias que envolvam a prática musical como o cantar, tocar ou fazer música. Esses resultados provocaram algumas necessidades. Para tanto, pretendeu-se conhecer o processo de construção das noções musicais em crianças de educação infantil e propor um caminho de reflexão sobre as possibilidades musicais comum a todos. Assim, o estudo apresenta o registro gráfico do som realizado por crianças de 3 a 6 anos de idade que visa analisar à luz da psicologia genética o processo de representação gráfica do som e sua relação com a natureza da inteligência. Foram propostas duas observações, uma do ambiente sonoro da escola e outra da percepção de quatro instrumentos musicais: o par de cocos, o metalofone, a queixada e a flauta doce. Os estudos permitiram observar uma evolução do registro do som que parte das garatujas, sem semelhanças com os sons emitidos, passando pelo registro da fonte sonora, inicialmente sem nenhum sinal acompanhando o corpo do objeto e posteriormente com sinais que indicam o som como um prolongamento do objeto sonoro. Algumas representações apresentaram a evocação de objetos ausentes, características nas crianças pré-operatórias. Os registros mais evoluídos apresentaram o som desligado da fonte sonora se mantendo estável pela generalização do significante para um mesmo significado, caracterizando a passagem de símbolo para signo. A partir dessas observações, pôde-se concluir que a compreensão dos signos musicais exige a construção de estruturas mentais, fruto das explorações e invenções organizadas e criadas pelas crianças em contato com os elementos sonoros e das possibilidades de transformação do invisível para visível por meio da escrita, relacionando os signos arbitrários e convencionais às suas experiências anteriores. À guisa de conclusão, são apresentadas algumas reflexões sobre as práticas musicais decorrentes da exploração sonora e de suas representações escritas, possíveis de serem realizadas por qualquer profissional da educação, independente de ser ou não um especialista em música / Abstract: The present research intends to argue the importance of the musical activities for the work with children in the daily one of the school. It presents a qualitative evaluation intitled net natural semantics proposal for Figueroa, González and Solís (1981) on the conception of the professors of infantile education and basic education 1º and 2º cycles on musical talent and the importance of music in the pertaining to school environment. The results confirm the judgment, very frequent, of the privilege of few "endowed" with born talent to make musical comedy and disclose a recognition to it of the contributions of music for cognizance, affective, social and motor the development of the children, even so the conceptions of the professors on music in the school do not present categories that involve the practical musical comedy as singing, touching or to make music. These results had provoked some necessities. For in such a way, it was intended to know the process of construction of the musical slight knowledge in children of infantile education and to consider a reflection way on the musical possibilities common to all. Thus, the study it presents the graphical register of the sound carried through for children of 3 the 6 years of age that it aims at to analyze to the light of genetic psychology the process of graphical representation of the sound and its relation with the nature of intelligence. Two comments environment the school the sonorous another one of the perception of four musical instruments had been proposals, one of and: the pair of coconuts, metalofone, the jaw and the flute candy. The studies had allowed to observe an evolution of the register of the sound that has left of garatujas, without similarities with the emitted sounds, passing for the register of the sonorous source, initially without no signal following the body of the object and later with signals that indicate the sound as a prolongation of the sonorous object. Some representations had presented the absent, characteristic object mandate in the children daily pay-operative. The evolved registers more had presented the off sound of steady the sonorous source if keeping for the generalization of the significant one for one exactly meant, characterizing the ticket of symbol for sign. To leave of these comments, it could be concluded that the understanding of the musical signs demands the construction of mental structures, fruit of the explorations and inventions organized and created for the children in contact with the sonorous elements and of the possibilities of transformation of the invisible one for visible by means of the writing, relating the arbitrary and conventional signs to its previous experiences. To it stews of conclusion, are presented some reflections on the practical decurrent musical comedies of the sonorous exploration and its written, possible representations to be carried through for any professional of the education, independent of being or not a specialist in music / Mestrado / Psicologia, Desenvolvimento Humano e Educação / Mestre em Educação

Orientadores: Aci Taveira Meyer, José Roberto Zan / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T16:01:39Z (GMT). No. of bitstreams: 1 Fernandes_JoseFortunato_D.pdf: 2123273 bytes, checksum: 4269e601af54f21b2ed69aaa1aa020e0 (MD5) Previous issue date: 2012 / Resumo: Este trabalho procura abordar os problemas relacionados à educação musical de adolescentes em cumprimento de medida socioeducativa. Ele se propõe a ser um estudo de caso que analisa o processo de ensino e aprendizagem em aulas de canto coral ministradas dentro de uma instituição correcional. Ele tem como objetivo relatar essa experiência e auxiliar a formação do educador musical que pretende trabalhar com esse público. Como metodologia se utilizou a pesquisa bibliográfica nas áreas de conhecimento da educação musical - que já compreende as áreas de educação e música -, da sociologia e da psicologia. Após a pesquisa bibliográfica, se fez um trabalho de campo por meio de aulas de canto coral dentro de uma Unidade da Fundação CASA no interior do Estado de São Paulo durante o período de agosto a dezembro de 2010. Como resultado deste trabalho, se pode perceber os elementos que diferenciam a educação musical aplicada aos adolescentes em cumprimento de medida socioeducativa da aplicada aos que não estão em conflito com a lei. Identificou-se fatores socioculturais inerentes aos adolescentes que devem ser do conhecimento do educador musical para que o processo de ensino e aprendizagem seja eficaz. Percebeu-se que credibilidade com os adolescentes somente seria conseguida por meio de uma relação dialógica e com o estabelecimento de um vínculo afetivo, que nesse caso não se conseguiu devido ao pouco tempo de convívio entre educador e educandos. Tentou-se a abordagem de um repertório musical eclético que favorecesse o crescimento musical concomitantemente com letras que levariam à formação de um bom caráter, como também o desenvolvimento de conteúdos musicais, mas a não solidificação do vínculo afetivo não permitiu que tais objetivos fossem alcançados. Durante o processo pedagógico utilizou-se estratégias de ensino para minimizar os problemas comportamentais que se apresentaram durante as aulas como também para a resolução de problemas da execução musical, especialmente aos relacionados à técnica vocal. Conclui-se que os conhecimentos extramusicais relacionados às áreas de conhecimento da sociologia e da psicologia são imprescindíveis para o sucesso do desenvolvimento da educação musical de adolescentes em cumprimento de medida socioeducativa através do canto coral / Abstract: This work seeks to approach problems related to musical education of adolescents who are serving a socio-educational sentence. It intends to be a case study that analyses the teaching process and learning choir singing in classes given in a correctional institution. It aims to tell this experience and to assist the formation of the music teacher who intends to work with this population. The methodology used carried out bibliographic research in the areas of knowledge of music education - which already includes the areas of education and music -, sociology and psychology. Following the bibliographic research, some fieldwork was carried out through choir singing lessons in one of the units of Fundação CASA in the interior of the State of São Paulo from August to December 2010. As a result of this work, we can see the elements that differentiate musical education applied to adolescents who are serving a socio-educational sentence from that given to adolescents who do not have conflicts with the law. We identified sociocultural factors inherent in adolescents that should be known by the music educator so that the process of teaching and learning is effective. It was felt that credibility with the adolescents would only be obtained through a relationship of dialogue and the establishment of an emotional bond, which in this case was not achieved due to the short time of interaction between teacher and students. The approach of an eclectic musical repertoire was attempted as this favored not only musical development but, at the same time, it was hoped that the message of the lyrics would help build character, and develop musical content; however, as a firm affective bonding was not established it was not possible to achieve these goals. During the teaching process, teaching strategies were used to minimize behavioral problems that were manifested during the classes and also for solving problems of musical performance, especially those related to vocal techniques. The conclusion reached is that extramusical knowledge related to fields of sociology and psychology are essential to the successful development of musical education through choir singing of adolescents serving sentences in correctional institutions / Doutorado / Fundamentos Teoricos / Doutor em Música

M.Ed. (Media Studies) / Please refer to full text to view abstract

The problem of the study was to investigate the comparative effectiveness of two methods of teaching harmonic dictation to beginning college music students. The methods were (1) the conventional teacher-classroom approach as suggested by Robert Ottman's Elementary Harmony, and (2) a linear programed book to be used in conjunction with a series of tape recordings. This volume is Harmonic Dictation, a Programed Text.

This study details the growth of education in Botswana, with specific reference to the lack of development of Music as a subject. One of the main obstacles to the development of Music in schools has been the theoretical bias in the Colleges of Education, which generally ignore practical and instrumental work, including traditional instruments. This observation was noted during the pilot project of the draft Music syllabus in Botswana, which began in 1999 and continues until the end of 2001. What the teachers in training are taught bears little relation to the syllabus they are expected to teach in schools. Teacher trainers have little practical experience in music making and have little support from institutions that cannot relate to a perceived, noisy (music-filled) environment. Music lecturers have no experience of teaching Music at Primary or Secondary level, and began their own Music careers as adults, when they were sent to the University of Reading, England, for further studies, having expressed an interest in the subject. The training there appears to have been entirely theoretical. The aim of this study is to suggest and offer a course of work for use in teacher training institutions based on a three year/nine term academic programme, as presently followed in Botswana. Although the programme suggested correlates with the Music syllabus for Community Junior Secondary schools in Botswana, it can be used in other teacher training environments, such as training colleges, distance education modules or inservice courses. Following guidelines set by the Music Education Unit Standards for South Africa(MEUSSA) research team at the University of Pretoria, South Africa, and the Department of Vocational Education and Training in Gaborone, Botswana, with reference to international standards and exit levels, this thesis supplies generic music unit standards for use in Botswana, but which are easily adaptable for other Southern Africa Development Community countries (SADC). The units contain Access statements, Range statements, Performance criteria, Evidence requirements and Support notes, which are based in the African tradition in the early stages, so that trainees have a familiar basis from which to spread their wings. At present, there are no suitable Music resources for use in Botswana. The thesis discusses educational research in Botswana concerning teaching methodology and the pertinent Government literature and recommendations. / Thesis (DMus)--University of Pretoria, 2007. / Music / unrestricted

Why teach music? To answer this question one has to be able to see the full value of musical education. One has to recognize its effect on the unfolding of character and personality on the one hand and, on the other, its value for the development and sharpening of the intellect. In ancient Greece, the cradle of Western culture, the significance of music for man, the people, and the state was frequently emphasized. The Greeks regarded music almost as a magic force, the inherent harmony of which was capable of transforming things and creating order by reconciling contrarieties. Similarly they believed that the power of music could restore the harmony in man's soul. Intro., p.1.

Please read the abstract in the section 00front of this document / Thesis (DMus)--University of Pretoria, 2005. / Music / unrestricted

Frequent changes in the school music curriculums in South Africa necessitated changes in teaching music in schools. Music teachers in secondary schools who are responsible for teaching music as a subject have been confronted with the challenges presented in such a changing educational climate and often found that their pre-service teacher training did not sufficiently prepare them for changing syllabi. The quality of teaching in schools is directly linked to the quality of teacher training at universities and when institutional policies prohibits pre-service teachers from qualifying themselves sufficiently for their in-service careers, frustration and disillusionment sets in. This study explores the perceptions of music teachers of the effectiveness of their pre-service training. It also explores the content of university music degree courses and whether it is in line with school music curricula. The study addressed the research questions through the use of questionnaires and interviews. The finding suggested that there is a need for teacher training courses to be adapted and contextualised so that there is continuum between university and school curriculums. This research also exposed the policies barring music graduates from fully qualifying themselves as teachers and raised important issues that music teacher educators need to address in order to ensure that music graduates are adequately prepared for classroom music teaching.

The purpose of this study was to discover whether the expanded educational goals for primary level Music and Art in British Columbia's Year 2000 Curriculum are met when the curriculum is integrated and teaching is done through themes. The sample population selected for this study was the lower mainland of British Columbia. 12 school districts participated in this study. Semi-structured interviews were conducted with 17 administrators of Fine Arts Programmes, District Principals or Consultants. The results indicate that educational goals for Music and Art can be achieved when thematic units are used to integrate the curriculum but only when the classroom teacher can be described as a specialist in primary Music and Art, having a personal background in Art and Music, or having a degree as a Fine Arts Major. The curriculum-as-practiced differs considerably from the curriculum-as-planned due to lack of resources, in-service education and program scheduling. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

Riffs of Change is a storied dissertation that researches the inherent shifts and extensions in musicians' identities as they transform into school teachers. My research explores literary studies, arts-based research and feminist-based literature. I investigate musicians' lives in practicum, university, and schoolbased contexts. I discuss the nature of institutional education and the musicians' conflicts with love, loss, pain, wisdom, and change. The musicians even draw me into my own autobiographical journey. I rediscover that my identity is constructed poetically, psychologically, educationally and philosophically by music and reflect on how this changes the trajectory of my life. I represent my research in the form of eight short stories and an autobiographical account of my experience. The stories are considered creative non-fiction. My dissertation seeks to demonstrate the creation of stories, pedagogy, and research shaped by constructivist philosophy. I examine musicians' beliefs, education, and experiences focusing on their identity issues as they transform into music teachers. The stories confront and challenge, chime wisdom, and steer readers into critical places of thought and unexpected spaces of change. My research found several results. First, some musicians could overcome their conflict if they collaborated in the story writing process, and was mentored by a school advisor that was also a professional musician. Second, story and autobiographical writing were found to be rich research methodology tools. While story writing helped some musicians, autobiography helped me resolve earlier conflicts which drew me back into music. Story authorship has helped me to understand my questions and musings about musicians, music educators, musicians as educators, and musicians becoming music educators. I gained a fresh voice and embraced the notion that I could explore issues from multiple viewpoints and writing styles. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate