El proyecto propuesto es una Escuela Superior de Música en la ciudad de Lima, Perú. La escuela se encuentra ubicada en el Centro de Lima, en el barrio de Monserrate, en la ladera del Río Rímac. Propone generar una conexión entre ciudad y río, y de esa manera revitalizar la ladera “olvidada” del río Rímac. Su ubicación es importante ya que el proyecto se encuentra conectado, mediante un malecón peatonal, al proyecto de la Municipalidad Metropolitana de Lima llamado “Río Verde”, el cual propone elementos de carácter cultural a lo largo de la ladera del río. Es por esto que el proyecto no sólo cumple con dar solución a una necesidad encontrada, en este caso la falta de infraestructura para una educación de carácter superior musical en la ciudad, sino también como elemento complementario a un gran proyecto urbanístico. Está compuesto por dos áreas principales: el área académica, de carácter privado, y el área cultural, de carácter público. El área académica contiene todos los ambientes de la escuela: aulas, salones de música, salas de ensayo, biblioteca, entre otros; el área cultural está conformada por un área de tiendas con sala de exposición, un área de comidas anexada a un malecón peatonal, y el elemento principal es el gran auditorio, con un área de bar y un gran foyer de ingreso, al cual se accede a través de una gran plaza pública. / The proposed Project is a School of Music in the city of Lima, Peru. The school is located in Lima’s City Center, in the Monserrate neighborhood, on the side of Rimac River. It proposes to create a connection between the city and the river, and thus revitalize the “forgotten” riverside of Rimac river. Its location is important since the project is connected, through a pedestrian boardwalk, to the project of the Metropolitan Municipality of Lima called “Rio Verde”, which proposes elements of a cultural nature along the riverside. That is why the project not only meets a solution for an identified need, in this case the lack of infrastructure for a musical higher education in the city, but also as a complimentary element to a large urbanistic project. It is made up of two main areas: the academic area, which is private, and the cultural area, which is public. The academic area contains all the rooms dedicated to the school: classrooms, music rooms, rehearsal rooms, library, etc.; the cultural area is made up of music shops, and exhibition hall, food court next to the pedestrian boardwalk, and the main element is the big auditorium, with a bar area and a large entrance foyer, which is accessed through a large public square. / Tesis

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Syftet med detta självständiga arbete är att bidra med mer kunskap om hur grundskoleelever i musikklass med körprofil i Sverige uppfattar fenomenet notläsning. I bakgrundskapitlet presenteras en kort historik över notskriftens historia, en redogörelse för musikklassen som fenomen samt definitioner av termer som används i detta arbete. Den tidigare forskningen fokuserar på fenomenet notläsning utifrån de särskilda utmaningar som sångare möter jämfört med instrumentalister. Det teoretiska perspektivet fenomenografi ligger till grund för arbetet. Genom halvstrukturerade kvalitativa intervjuer med sjutton elever i årskurs åtta från en musikklass med körprofiol har empiriskt material samlats in vilket sedan analyserats med en fenomenografisk dataanalys. Enligt studiens resultat uppfattar eleverna fenomenet notläsning på sex kvalitativt skilda sätt: som ett verktyg för att tillägna sig musik genom att avkoda ett intervall mellan två toner, som ett verktyg för att distribuera och bevara musik över historiska avstånd, som ett verktyg för självständighet och variation i tolkning och framförande utifrån en noterad förlaga, som ett verktyg som möjliggör högre arbetstakt i musikundervisningen, som ett verktyg för överblick i en i övrigt gehörsbaserad personlig inlärningsstrategi, samt som en hämmande faktor för samspel, sångteknik och självförtroende i framförandet av körmusik. Resultatet jämförs med tidigare forskning och möjliga pedagogiska implikationer presenteras. / The purpose of this study is to contribute with more knowledge about how students in a high school music class with choir profile perceive the phenomenon of reading music. In the background chapter, a short account of the history of musical notation is presented, an account of the phenomenon of a music class with choir orientation as the term is used in this study, as well as definitions of terms that are used in this study. The prior research focuses on the phenomenon of reading music from the perspective of the special difficulties that singers experience in comparison to instrumentalists. The theoretical perspective of phenomenography is the basis for the study. Through semi-structured qualitative interviews with seventeen students in eighth grade from a music class with choir profile, empirical data has been collected which has then been analyzed with a phenomenographical analysis. According to the study the students perceive the phenomenon of reading music in six qualitatively different ways: As a tool for learning music by decoding an interval between two notes, as a tool for distributing and preserving music across historical distances, as a tool for independence and variation in interpretation and performance based on a notated source material, as a tool that makes possible a higher work rate in music lessons, as a tool for overview in an otherwise ear-based personal learning strategy, as well as an impeding factor for interplay, singing technique and confidence in the performance of choir music. The results are compared to prior research, and possible pedagogical implications are presented.

Объектом исследования явились мотивационные аспекты и личностные особенности учащихся младших классов детской школы искусств. Предметом исследования стала взаимосвязь мотивационных аспектов и личностных особенностей у обучающихся в детской школе искусств. Магистерская диссертация состоит из введения, двух глав, заключения, списка литературы (34 источника) и приложения, включающего в себя данные корреляционного анализа. Объем магистерской диссертации 56 страниц, на которых размещены 7 рисунков и 7 таблиц. Во введении раскрывается актуальность проблемы исследования, ставятся цель и задачи исследования, определяются объект и предмет исследования, формулируются основная и дополнительные гипотезы, указываются методы исследования, подобранные методики и эмпирическая база. Первая глава включает в себя определения понятий, основные классификации мотивов, условия формирования мотивации в музыкальном классе, а также перечень факторов, влияющих на формирование мотивации в процессе обучения в детской школе искусств. Вторая глава посвящена эмпирической части исследования. В ней представлено описание организации и методов проведенного исследования и результатов, полученных по всем использованным методикам: Методика диагностики направленности учебной мотивации (Методика Дубовицкой Т.Д.), методика диагностики мотивации учения и эмоционального отношения к учению (Модификация Андреевой А.Д.), личностный опросник Р.Б Кеттела для младших школьников (CРQ). Также в главе представлен корреляционный и факторный анализ результатов исследования. Выводы по главе 2 включают в себя основные результаты эмпирического исследования. В заключении в обобщенном виде изложены результаты теоретической и эмпирической частей работы, а также выводы по выдвинутым гипотезам, обоснована практическая значимость исследования и описаны возможные перспективы дальнейшей разработки данной проблематики. / The object of the study was the motivational aspects and personal characteristics of junior school students at a children's art school. The subject of the study was the relationship between motivational aspects and personal characteristics of students in a children's art school. The master's thesis consists of an introduction, two chapters, a conclusion, a list of references (34 sources) and an appendix that includes correlation analysis data. The volume of the master's thesis is 56 pages, which contain 7 figures and 7 tables. The introduction reveals the relevance of the research problem, sets the goal and objectives of the research, defines the object and subject of the research, formulates the main and additional hypotheses, indicates the research methods, selected techniques and empirical base. The first chapter includes definitions of concepts, basic classifications of motives, conditions for the formation of motivation in a music class, as well as a list of factors influencing the formation of motivation during the learning process at a children's art school. The second chapter is devoted to the empirical part of the study. It presents a description of the organization and methods of the study and the results obtained from all the methods used: Methodology for diagnosing the direction of educational motivation (Methodology of Dubovitskaya T.D.), methodology for diagnosing motivation for learning and emotional attitude to learning (Modification of Andreeva A.D.), Personality Questionnaire by R.B. Cattell for junior schoolchildren (CPQ). The chapter also presents correlation and factor analysis of the research results. The conclusions of Chapter 2 include the main results of the empirical study. In conclusion, the results of the theoretical and empirical parts of the work are summarized, as well as conclusions on the hypotheses put forward, the practical significance of the study is substantiated and possible prospects for further development of this issue are described.

No description available.

La educación musical en el Perú afronta una problemática de carácter social, que se refleja en el centralismo de las entidades educativas que imparten este conocimiento. A su vez, se reconoce esta profesión como una salida laboral más que factible para miles de jóvenes estudiantes e interesados en la misma los cuales curiosamente provienen de sectores socioeconómicos precarios. Ante esta situación contradictoria surge la pregunta, si es factible y necesario descentralizar la enseñanza musical a puntos más pobres de la ciudad. Esta investigación concluye que no solo es pertinente debido a un análisis de oferta y demanda poblacional. si no que, además, la educación musical como actividad tiene el potencial de aminorar otras problemáticas sociales en la juventud, Además de otorgar un proyecto público que sea beneficioso para el desarrollo de la comunidad. Ante este último punto se analiza la situación de la Arquitectura pública del país, identificando como principal problema la pobreza Arquitectónica, la precariedad de la infraestructura, la falta de relación de este tipo de edificaciones públicas con la ciudad y el poco compromiso en entender como la arquitectura puede influir en sus usuarios. para finalizar, se analizan ejemplos referenciales a fin de lograr un entendimiento claro de las posibilidades a desarrollar en el proyecto. Se plantea es una Escuela Superior de Música destinada a Jóvenes matriculados y alumnos libres quienes quieran involucrarse con esta actividad además de otras actividades complementarias beneficiosas para la comunidad. / Music education in Peru faces a social problem, which is reflected in the centrality of the educational entities that impart this knowledge. In turn, this profession is recognized as a more than feasible job opportunity for thousands of young students and those interested in it, who curiously come from precarious socioeconomic sectors. Faced with this contradictory situation, the question arises, whether it is feasible and necessary to decentralize music education to poorer parts of the city. This research concludes that it is not only relevant due to a population supply and demand analysis. if not, in addition, music education as an activity has the potential to reduce other social problems in youth, in addition to granting a public project that is beneficial for the development of the community. Faced with this last point, the situation of public architecture in the country is analyzed, identifying as the main problem Architectural poverty, the precariousness of the infrastructure, the lack of relationship of this type of public buildings with the city and the little commitment to understand how the architecture can influence its users. Finally, referential examples are analyzed in order to achieve a clear understanding of the possibilities to be developed in the project. It is proposed to be a Higher School of Music for young people enrolled and free students who want to get involved with this activity as well as other complementary activities that are beneficial to the community. / Tesis

The aim of this thesis is to make a project documentation of building School of art. It´s a brick object with partial basement and there are 2 aboveground floors. The entrance of the house is situated north. The object has grand plan which is shape of the letter U and its roofed by flat roof with waterproofing from modified waterproofing strips. The peripheral masonry on the above-ground floors is designed from clay masonry POROTHERM and from permanent formwork Diton in the basement. Ceiling constructions are designed from prestressed concrete deck slab Spiroll. The whole building is insulated by contact thermal insulation system. When designing the external appearance of the building the regulations of the surrounding buildings, which consist of houses with flat roofs, were taken into account. The color and material solutions were also based on these principles. The combination of white and brick colors creates a modern look, which enhances the horizontal separation of individual floors by contrasting color line in gray. The premises of the new school also include large outdoor atrium spaces and a park area south of the atrium, which can be used for outdoor teaching and public productions.

Die Beherrschung der traditionellen Notenschrift gilt in der Instrumentalpädagogik als Voraussetzung für fortgeschrittenes Musizieren. Dagegen wird in der schulischen Musikpädagogik in Deutschland auf vertiefte Inhalte von Musiklehre oft verzichtet, um den Zugang zum Hören, Singen, Spielen und Verstehen von Musik barrierearm zu gestalten. Instrumentalpädagogik auf der einen und Schulmusik auf der anderen Seite bilden auf diese Weise Methoden aus, die weitgehend unverbunden koexistieren und ihr Potenzial zur wechselseitigen Inspiration nicht ausschöpfen. Dieser Aufsatz zeigt, wie eine Kombination traditioneller und innovativer Notationsweisen dazu beitragen kann, die beschriebene Kluft zu überwinden und Schüler*innen das Verständnis kompositorischer Elemente, Strukturen und Abläufe zu erleichtern. Variable Bausteine zur Verschriftlichung unter Einbeziehung von Solmisation und grafischen Elementen dienen der Vermittlung von Lernzielen, z. B. beim Hören und Analysieren von Musik, in Live-Arrangement, Improvisation und Komposition. Sie sind – vom Vorschulbereich bis zur Arbeit mit fortgeschrittenen Gruppen und Ensembles – an unterschiedliche Niveaus und Lerninhalte adaptierbar. / In instrumental pedagogy, proficiency in traditional musical notation is considered a prerequisite for advanced music-making. In contrast, school music pedagogy in Germany often dispenses with advanced music theory content in order to make listening to, singing, playing and understanding music more accessible. Thus, instrumental pedagogy on the one hand and school music on the other form methods that coexist largely disconnected and do not make use of their potential for mutual inspiration. This essay shows how combining traditional and innovative notation methods may help to bridge this gap and facilitate pupils’ comprehension of compositional elements, structures and progressions. Variable components for notation, including solmisation and graphic elements, serve to communicate learning goals, e. g., in listening to and analysing music, arranging, improvising and composing. They can be adapted to various levels and learning contents from pre-school education to working with advanced groups and ensembles.

Primary art schools enjoy a long tradition in our country. The Primary Art School ``Kochana z Prachové{\crqq} in Strakonice celebrates already the 70th anniversary of its foundation. It is surprising that nobody has attempted to elaborate a comprehensive work concerning its history for the whole period. With respect to the fact that I have been teaching the piano playing here since 2006 and therefore I have become a part of it, I have chosen just the history thereof as the subject of my thesis. The Primary Art School participates in many cultural activities of the town of Strakonice and it is an important educational institution because it provides education to 750 pupils in four subjects - the musical, graphic, dancing and literary-dramatic ones and it prepares talented pupils for the study at secondary schools, colleges and universities focused on arts.