This study is an evaluation of individual music textbooks from eight series for grades four, five, and six, by a definite criterion basis. It seems very worthwhile to have an evaluation of such books: (a) to aid in the wise selection of music books, and (b) to become familiar with the contributions of each series.

The purpose of this study is to make the Protestant church workers more efficient in their use of music in religious work by giving them a clear conception of the kind of music to be used and by suggesting detailed plans and methods by which desirable results may be secured in the use of church music. Ideal standards have their place, but here it is proposed to be matter-of-fact, practical and concrete, and to secure immediate results with the average church member and choir singer as the final criterion in every phase of the work. The purpose is not to emphasize high ideals but to instruct and inspire all those who have leadership in the service of church music, that they may be able here to provide the greatest religious helpfulness that the use of music can bring the souls to whom they minister.

The purpose of this thesis is to acquaint future band and orchestra directors with a successful, thoroughly "tried and tested" plan of building an instrumental program within the music department. This thesis presents the technique of instrumentating the senior high school band by planning an instrumental program from the first grade to the time the band student reaches the senior high school level.

Pablo Minguet y Yrol's Academia Musical of 1752, M891 in the Bíblioteca Nacional of Madrid, is a loosely organized collection of tutors for thirteen musical instruments: guitar, tiple, mandola, cittern, bandurria, psaltery, clavichord [i.e., keyboard], organ, harp, violin, transverse flute, recorder, and flageolet. The tutors concerning the guitar and related instruments are by far the most comprehensive; topics covered include basic playing technique, figured-bass accompaniment, and notation, both mensural and tablature. Most musical examples are given in both types of notation. The thesis is a complete translation of the Academia Musical, including the texts of the illustrations, with an introductory commentary giving the historical background of music education in eighteenth-century Spain, a brief review of European musical-instrument tutors in general, and an analysis of Minguet's tutors in particular.

This dissertation examines issues of social class and musical parenting within the context of an early childhood jazz education program. Using administrative and survey data from 469 self-selected families from six cities in the U.S. where this program is offered, I aimed to identify what factors play a role in parental decisions for enrolling in the program and whether those factors were associated with their social class. Considering this early childhood jazz program as an organized activity supports the analysis of music classes as a form of investment in cultural capital fostered by parents. I used current economic models of the family and theories of social and cultural class reproduction to understand families’ participation in the program and their musical engagement. Principal component analysis revealed four components representing possible reasons that drove parents to enroll in the program: Cultural and Educational Enrichment for the Future; Appreciation of Jazz; Socialization and Bonding; and Social Networks. Simple linear regression analysis showed significant associations between socioeconomic status (SES) and two principal components (Cultural and Educational Enrichment for the Future and Social Networks). Overall, parents showed high scores of both general and musical engagement, and those variables were highly correlated. Additionally, there were no statistically significant associations between parents’ previous formal musical experiences and their musical engagement when controlling for musical materials at home and their average value of music education. Parents’ engagement with the program activities was positively associated with their music making at home and that association stayed stable and strong after taking into account sociodemographic factors, parents’ values of music education and access to musical materials. Families from lower SES backgrounds used activities and materials from the jazz class at home with more frequency than families from other SES groups. This finding could suggest that when lower SES families are given access, they incorporate new musical tools and ideas from the jazz program as affordances to increase their parenting skills; therefore, the impact of the program might be stronger for those parents than for the other more advantaged groups. Jazz music in this context seems to be working as an equalizer of opportunities by reducing inequalities.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-30T12:24:58Z No. of bitstreams: 1 Margarete Hiromi Kishi Diniz.pdf: 3006654 bytes, checksum: 613351350e1b0fdc888b53a4553c6333 (MD5) / Made available in DSpace on 2018-07-30T12:24:58Z (GMT). No. of bitstreams: 1 Margarete Hiromi Kishi Diniz.pdf: 3006654 bytes, checksum: 613351350e1b0fdc888b53a4553c6333 (MD5) Previous issue date: 2018-06-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research aims to break the silence imposed by the formal curriculum of Basic Education, Music Education and Educators. The founder of this work sought to integrate the Life History of this researcher with the description and critical analysis of practices developed in musical projects carried out in a private elementary school in the city of São Paulo. The nature of the analysis process allowed the construction of a dense narrative, contributed in the matrix of Interdisciplinarity proposed by Ivani Fazenda, directing the collection of data of the research for the observation of important aspects of the relations and correlations between researcher, teaching performance, its student role and meanings of the school community. Interdisciplinarity provided the narrative-descriptive methodological process, a deep reveal of significant learning acquired in the process of personal and professional construction, which overflows and transposes personal barriers and floods the school universe. The result obtained, points to Interdisciplinarity as an aesthetic and sensitive need, which a Musical Educator lacks to be connected when the full exercise of teaching, because in order to achieve it in essence, they must be freed to provide freedom, autonomous, to enable autonomy and "Whole" to feel, think and do / Esta pesquisa tem como objetivo romper o silêncio imposto pelo currículo formal da Educação Básica, à Educação Musical e Educadores. O fundante deste trabalho buscou integrar a História de Vida desta pesquisadora com a descrição e análise crítica de práticas desenvolvidas em projetos musicais realizadas em três escolas privadas de Ensino Fundamental da cidade de São Paulo. A natureza do processo de análise permitiu a construção de uma densa narrativa, aportada na matriz da Interdisciplinaridade proposta por Ivani Fazenda, direcionando a coleta de dados da pesquisa para a observação de aspectos importantes das relações e correlações entre pesquisador, atuação docente, seu papel discente e significados da comunidade escolar. A Interdisciplinaridade propiciou ao processo metodológico narrativo-descritivo, um profundo revelar de aprendizagens significativas adquiridas no processo de construção pessoal e profissional, que transborda e transpõem as barreiras pessoais e inunda o universo escolar. O resultado obtido aponta para a Interdisciplinaridade da música como uma necessidade estética e sensível, a qual um Educador Musical carece de estar conectado quando do exercício pleno da docência, pois para atingi-la em essência, precisam estar libertos para propiciar liberdade, autônomos, para possibilitar autonomia e “Inteiros” para Sentir, Pensar e Fazer

Orientador: Sonia Regina Albano de Lima / Banca: Adriana Clementino / Banca: Francisca Eleodora Santos Severino / Banca: Yara B. Caznok / Banca: Flávio Apro / Resumo: Esta pesquisa, de caráter bibliográfico, foi pautada tomando como base o questionamento: Quais as razões que impedem a utilização ampla da tecnologia nos processos de ensino e aprendizagem musical, considerando - se o seu amplo emprego na sociedade? Para sua confecção foram traçados os seguintes objetivos: 1 - Descrever e refletir sobre o uso de tecnologias de informação e comunicação na sociedade, na educação e no ensino musical brasileiro, sob uma ótica sociocultural e educacional; 2 - Descrever os atores desse mundo tecnológico focando mais intensamente as teorias veiculadas por GARDNER & DAVIS (2013); STRAUSS & HOWE e PRENSKY (1991); 3 - verificar em que medida as Revistas Científicas na área de Música têm realizado textos referendando esta temática. A justificativa encontra - se no fato de que se houver uma intensificação do emprego de ferramentas tecnológicas no ensino musical, a música enquanto área de conhecimento terá melhor desenvolvimento. A metodologia da pesquisa adotada constituiu - se de um levantamento bibliográfico de autores, entre eles, SANTOMÉ (2013), NOVAK (2012), SIEMENS (2004), LÉVY (1993;1999,2003) sem desconsiderar os autores acima citados. Além da Introdução e das Considerações Finais foram delineados 7 capítulos, o primeiro abordou o Ciberespaço, o segundo descreveu os exemplos práticos da construção da inteligência coletiva. O terceiro capítulo tratou dos processos de ensino e aprendizagem e do Conectivismo. O quarto capítulo cuidou das TICs e sua adoção no cotidiano, no sistema educativo e no ensino musical. O quinto reporta - se aos atores no cenário tecnológico, evidenciado nas teoria s de GARDNER & DAVIS; STRAUSS & HOWE E PRENSKY. O sexto traz o levantamento de Revistas Científicas de Música com Qualis A1 e A2 que abordam a relação da tecnologia com a música. O sétimo capítulo ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This bibliographical research was guided, based on the following question: What are the reasons that prevent the widespread use of technology on music teaching and learning, given its wide use in society? For its preparation the following objectives were outlined: 1 - reflect and discuss about the use of information and communication technologies in society and in education and as the Brazilian music education in a socio - cultural and educati onal perspective. 2 - Describe the actors in this technological world focusing more intensely in theories propagated by GARDNER & DAVIS (2013); STRAUSS & HOWE and PRENSKY (1991). 3 - Check as the Journals in the Music area have carried out texts endorsing this theme. The justification for its realization lies in the fact that if there is an intensification of the use of technological tools in teaching music, music as knowledge area will have a considerable advance. The research methodology adopted consisted of a literature of authors, among them, SANTOMÉ (2013), Novak (2012), Siemens (2004), Levy (1993, 1999, 2010), without disregarding the others aforementioned authors. Besides the introduction and the final considerations were outlined six chapters, first charpter addressed the Cyberspace, second described the practical examples of the construction of collective intelligence. The third chapter dealt with the processes of teaching and learning as connectivism well. The fourth chapter took care of ICTs and it s adoption in everyday life, in education and musical education. The fifth refers to the actors in the technological scenario, evidenced in the theories of GARDNER & DAVIS; STRAUSS & HOWE and PRENSKY. The sixth chapter has introduced Music Journals with Qualis A1 and A2 that address the relationship of technology with music. The seventh deliveries the researcher's point fo view about the material ... (Complete abstract click electronic access bellow) / Doutor

Orientador: Gisela Gomes Pupo Nogueira / Banca: Dorotéa Machado Kerr / Banca: Rosemara Staub de Barros / Resumo: Ao elaborar uma performance o músico está ciente de que decisões terão de serem tomadas. Este trabalho discute a respeito dos processos de tomadas de decisões e as suas relações com a performance, enfatizando principalmente as descobertas realizadas por Teversky e Kahneman. A ideia de racionalidade plena é contestada, fundamentando-se nas pesquisas que abordam as falácias nas decisões. Os processos cognitivos que auxiliam na velocidade de nossas escolhas - heurísticas - são responsáveis por erros sistemáticos - vieses. Os vieses são exemplos de nossa parcial racionalidade. Diante da complexidade que a performance possui e dos desafios enfrentados por um performer, defendemos a necessidade da proposta elaborada por um músico profissional ser coerente com a sua apresentação, para isso expomos a ideia de eficiência na performance defendida por Herr. O conflito existente entre a racionalidade parcial do ser humano e a busca pela eficiência é apresentado. A fim de tentar aprimorar o modelo de eficiência analisamos algumas das decisões realizadas pelo performer e buscamos identificar a utilização de heurísticas e vieses. Ter conhecimento dessas questões permite que sejamos mais conscientes de nossas escolhas e fornece novas ferramentas que possibilitem identificar e evitar os erros sistemáticos, aprimorando o modelo de eficiência. Por fim, apresentamos propostas para futuras pesquisas com o desígnio de ampliar o arcabouço teórico que possuímos / Abstract: In developing a performance the musician is aware that decisions must be taken. This work discussed about the processes of decision-making and its relationship with performance, highlighting the discoveries made by Kahneman and Teversky. The idea of full rationality is challenged, basing on the research addressing the fallacies in the decisions. The cognitive processes that help speed our choices - heuristics - are responsible for systematic errors - biases. Biases are examples of our partial rationality. Given the complexity that has performance and the challenges faced by a performer, we sustain the need for the proposal prepared by a professional musician to be consistent with his presentation, to expound on this idea of efficiency in performance advocated by Herr. The conflict between the partial rationality of the human and the pursuit of efficiency is presented. In order to try to improve the efficiency model we analyze some of the decisions made by the performer and seek to identify the use of heuristics and biases. Knowledge of these issues allows us to be more conscious of our choices and provides new tools that enable the identification and avoidance of systematic errors, improving efficiency model. Finally, we present proposals for future research with the plan to expand the theoretical framework that we have / Mestre

The primary purpose of this research was to ascertain the attitudes and opinions of Church of God (Anderson, Indiana)* musicians regarding continuing education. The secondary purpose of the study was to determine the types of continuing education experiences that are needed by current church musicians who are employed by, or volunteer for Church of God congregations.An online survey was developed and made available to current musicians serving in Church of God congregations. One hundred and fourteen participants responded to the survey.The writer gathered data from participants regarding their personal information, details about their congregation, about their responsibilities with their congregations, their personal belief statements about their position with their congregation and their interest in and/or barriers to receiving further education.The initial hypotheses for this study were: 1) many who lead worship in Church of God congregations are not trained or educated in the skills and knowledge needed to serve effectively. 2) Many of these persons are not opposed to continued education in church music topics, but they do not know where to look for the training, and, in many cases, the type of educational resources they need do not exist.The results of the study indicated a great interest in receiving continuing education in the worship arts The study also indicated that time, money and family constraints prove to be significant obstacles in the pursuance of further education by music and worship leaders.The data gathered from the study indicated that the types of continuing educational experiences that musicians practicing in the Church, of God congregations need are many and varied. The writer concluded that those who would provide such experiences must take into consideration the constraints and barriers most of these leaders experience and provide practical and theological and philosophical elements.Data were presented in narrative form with the help of listings and figures when appropriate. Based on the data received, the writer gave recommendations for continuing educational opportunities. / School of Music

This study was undertaken in an effort to determine the effects of piano instruction on attitudes and piano skills of elementary education majors enrolled in a music methods class. A class of nineteen elementary education majors at a private mid-western university served as subjects for the case study. They were given both written and oral pre and posttests, and extensive anecdotal data were recorded.As a result of the study, general conclusions and recommendations were as follows:1. Subjects' initial perceptions of their probable success in the piano laboratory were high. In addition, seventy-nine percent of the subjects accurately predicted their probable success (or failure) in the piano laboratory. It is recommended that instructors take time at the outset of the course to reassure and encouage the students in an effort to increase confidence and thereby the probability of success in the piano laboratory.2. Subjects' attitudes and skill development were negatively affected by perceived inadequacies when comparing themselves to other subjects in the class. As the more advanced students tested out of the piano laboratory, skills and attitudes of the slower subjects improved appreciably. This suggests that ability grouping in methods classes may improve students' perceptions and also performances in these lasses.3. Subjects' confidence in their ability to teach music increased, as indicated by pretest and posttest rankings. Since the sample size was adequately large, the Wilcoxin T value of 7.5 was standardized to a Z value = 2.66 (p <.01). Interpretation of a Z-value = 2.66 strongly suggests the posttest score has significantly increased over the pretest score.4. Subjects' perceptions of their ability to read and write music, their ability to sing songs with their students, and their piano playing ability significantly increased as shown by a series of paired comparisons t-test analyses on the pretest/ posttest data.It is recommended that additional case studies be conducted in the methods class in an effort to isolate and identify additional aspects of the class which influence the students' growth and/ or lack of growth in self confidence and musical skills. / School of Music