Esta pesquisa busca contribuir para o desenvolvimento de projetos de formação contínua de educadores da rede pública, que trabalham com ensino de música na escola de Educação Infantil e no Ensino Fundamental I. A investigação compreende duas fases. A primeira dialogando e refletindo sobre contribuições de Caldeira Filho e do Experimental da Lapa, dentre outros, referentes a música na escola. A segunda descrevendo e analisando o projeto de pesquisa-ação Tocando, cantando,...fazendo música com crianças, da Secretaria Municipal de Educação de Mogi das Cruzes, (SP), apresentando considerações para o desenvolvimento de projetos de formação contínua de educadores em ensino de música, capazes de promover a superação da barreira do ensino tradicional, desenvolvendo a linguagem sonora e musical e a produção de conhecimentos sobre ensino de música para crianças, a partir da incorporação de novos paradigmas de ensino. Orientaram-me os seguintes objetivos: Contribuir com a produção de conhecimentos para desenvolver projetos de formação contínua de educadores da rede pública, em ensino de música para crianças; propiciar ao educador em exercício na Educação Infantil e no Ensino Fundamental I, em processo de formação contínua, saber música e saber ser educador que trabalha com música. Procedi a uma pesquisa qualitativa, na modalidade de pesquisa-ação colaborativa/comunicacional. A análise dos dados recolhidos ao longo do desenvolvimento do projeto resulta em princípios norteadores de Projetos de Formação Contínua de Educadores, para a superação do modelo tradicional de ensino de música, propiciadores da incorporação de novos paradigmas de ensino. São eles: construídos a partir dos docentes, de suas experiências profissionais, de seus conhecimentos e desconhecimentos de música e do ensino de música; privilegiam o lócus da escola como espaço de construção, inscrevem-se em seu Projeto Político Pedagógico; são de realização interdisciplinar; e no modo de pesquisa-intervenção, procedimento indispensável para cobrir pontos fundamentais em projetos de Formação Contínua de Professores de Música para crianças, quais sejam: 1. proceder a avaliação diagnóstica, processual e final; 2. articular o trabalho escolar de prática de ensino-investigativa, com trabalho de pesquisa-ensino da Universidade; 3. dar conta de importantes funções de um ensino produtivo de música: a) que providencie ensino de música como linguagem, incluindo música popular de tradição à erudita; b) que resulte na produção de conhecimento sobre ensino de música, no registro desse conhecimento produzido e em sua socialização através de escrita, publicação de artigos, participação em congressos; c) que se realize de forma contextualizada, envolvendo profissionais de música e ensino de música, bem como amadores da comunidade onde a escola se situa. / This research is aimed at contributing to the development of continuous training projects for elementary public school music teachers. Investigation includes two phases. The first dialogues and reflects on the contributions provided by the Caldeira Filho and Experimental da Lapa schools among others, related to music in the classroom. The second describes and analyzes the Tocando, cantando ... fazendo música com crianças (Playing, singing ... making music with children) research-action project mounted by the Mogi das Cruzes (SP) Municipal Secretariat of Education, and discusses proposals for the development of continuous training projects for music teachers on how to overcome the barriers of traditional teaching by developing sound and music languages and producing knowledge on music teaching for children by incorporating new teaching paradigms. The following objectives were sought: to contribute to the production of knowledge leading to developing projects of continuous training for public school music teachers who work with children; to design projects for Elementary School teachers involved in a continuous training process in order for them to know music and know how to be a teacher working with music. I conducted a qualitative collaborative/communicational research-action research project. Analysis of data collected during the projects development resulted in the creation of some guiding principles for Continuous Training Projects for teachers on how to overcome traditional music teaching models and incorporate new teaching paradigms. They are developed by the teaching staff from their professional experience and knowledge of music and music teaching; they favor the school locus as a constructive space, and enroll the teachers in a Political Pedagogical Project; they consist of an interdisciplinary aspect of the research-intervention type, a procedure that is essential for fulfilling fundamental aspects in Continuous Training projects for music teachers working with children, which are: 1. making a diagnostic, procedural and final evaluation; 2. making a link between the teaching-investigation work being conducted at the school and the research-teaching work occurring at the University; 3. treating the important functions of productive music teaching, which must: a) provide the teaching of music as a language, including traditional popular and classical music; b) result in the production of knowledge about music teaching which should be recorded, and published in papers, articles, lectures in congresses, etc; c) be accomplished in a contextualized way through the involvement of music and professional music teachers as well as amateur musicians in the community where the school is located.

Esta pesquisa busca contribuir para o desenvolvimento de projetos de formação contínua de educadores da rede pública, que trabalham com ensino de música na escola de Educação Infantil e no Ensino Fundamental I. A investigação compreende duas fases. A primeira dialogando e refletindo sobre contribuições de Caldeira Filho e do Experimental da Lapa, dentre outros, referentes a música na escola. A segunda descrevendo e analisando o projeto de pesquisa-ação Tocando, cantando,...fazendo música com crianças, da Secretaria Municipal de Educação de Mogi das Cruzes, (SP), apresentando considerações para o desenvolvimento de projetos de formação contínua de educadores em ensino de música, capazes de promover a superação da barreira do ensino tradicional, desenvolvendo a linguagem sonora e musical e a produção de conhecimentos sobre ensino de música para crianças, a partir da incorporação de novos paradigmas de ensino. Orientaram-me os seguintes objetivos: Contribuir com a produção de conhecimentos para desenvolver projetos de formação contínua de educadores da rede pública, em ensino de música para crianças; propiciar ao educador em exercício na Educação Infantil e no Ensino Fundamental I, em processo de formação contínua, saber música e saber ser educador que trabalha com música. Procedi a uma pesquisa qualitativa, na modalidade de pesquisa-ação colaborativa/comunicacional. A análise dos dados recolhidos ao longo do desenvolvimento do projeto resulta em princípios norteadores de Projetos de Formação Contínua de Educadores, para a superação do modelo tradicional de ensino de música, propiciadores da incorporação de novos paradigmas de ensino. São eles: construídos a partir dos docentes, de suas experiências profissionais, de seus conhecimentos e desconhecimentos de música e do ensino de música; privilegiam o lócus da escola como espaço de construção, inscrevem-se em seu Projeto Político Pedagógico; são de realização interdisciplinar; e no modo de pesquisa-intervenção, procedimento indispensável para cobrir pontos fundamentais em projetos de Formação Contínua de Professores de Música para crianças, quais sejam: 1. proceder a avaliação diagnóstica, processual e final; 2. articular o trabalho escolar de prática de ensino-investigativa, com trabalho de pesquisa-ensino da Universidade; 3. dar conta de importantes funções de um ensino produtivo de música: a) que providencie ensino de música como linguagem, incluindo música popular de tradição à erudita; b) que resulte na produção de conhecimento sobre ensino de música, no registro desse conhecimento produzido e em sua socialização através de escrita, publicação de artigos, participação em congressos; c) que se realize de forma contextualizada, envolvendo profissionais de música e ensino de música, bem como amadores da comunidade onde a escola se situa. / This research is aimed at contributing to the development of continuous training projects for elementary public school music teachers. Investigation includes two phases. The first dialogues and reflects on the contributions provided by the Caldeira Filho and Experimental da Lapa schools among others, related to music in the classroom. The second describes and analyzes the Tocando, cantando ... fazendo música com crianças (Playing, singing ... making music with children) research-action project mounted by the Mogi das Cruzes (SP) Municipal Secretariat of Education, and discusses proposals for the development of continuous training projects for music teachers on how to overcome the barriers of traditional teaching by developing sound and music languages and producing knowledge on music teaching for children by incorporating new teaching paradigms. The following objectives were sought: to contribute to the production of knowledge leading to developing projects of continuous training for public school music teachers who work with children; to design projects for Elementary School teachers involved in a continuous training process in order for them to know music and know how to be a teacher working with music. I conducted a qualitative collaborative/communicational research-action research project. Analysis of data collected during the projects development resulted in the creation of some guiding principles for Continuous Training Projects for teachers on how to overcome traditional music teaching models and incorporate new teaching paradigms. They are developed by the teaching staff from their professional experience and knowledge of music and music teaching; they favor the school locus as a constructive space, and enroll the teachers in a Political Pedagogical Project; they consist of an interdisciplinary aspect of the research-intervention type, a procedure that is essential for fulfilling fundamental aspects in Continuous Training projects for music teachers working with children, which are: 1. making a diagnostic, procedural and final evaluation; 2. making a link between the teaching-investigation work being conducted at the school and the research-teaching work occurring at the University; 3. treating the important functions of productive music teaching, which must: a) provide the teaching of music as a language, including traditional popular and classical music; b) result in the production of knowledge about music teaching which should be recorded, and published in papers, articles, lectures in congresses, etc; c) be accomplished in a contextualized way through the involvement of music and professional music teachers as well as amateur musicians in the community where the school is located.

L’objectif de ce travail était d’examiner la spécificité fonctionnelle du traitement et des représentations des hauteurs musicales. À cette fin, ce traitement a été comparé à celui des phonèmes de la parole, d’une part, et aux associations spatiales évoquées par des séquences ordonnées, d’autre part. Nos quatre études avaient pour point commun d’adapter à un nouvel objet de recherche des méthodes bien établies en psychologie cognitive. Ainsi, nous avons exploité la tâche de classification accélérée (Etude 1) de Garner (1974), l’analyse des conjonctions illusoires en mémoire (Etude 2), l’additivité de la composante mismatch negativity (MMN) des potentiels évoqués (Etude 3) et l’observation d’associations spatiales de codes de réponse (Etude 4).<p>Les trois premières études, menées chez des participants non-musiciens, portaient sur la spécificité de traitement des hauteurs par rapport à celui des phonèmes au sein de stimuli chantés. Les deux premières études ont mis en évidence un effet surprenant de la nature des phonèmes sur leurs interactions avec le traitement des mélodies :les voyelles apparaissaient plus intégrées à la mélodie que les consonnes. Ceci était vrai à la fois lors du traitement en temps réel de non-mots chantés (Etude 1) et au niveau des traces en mémoire de ces mêmes non-mots (Etude 2, utilisant une tâche de reconnaissance à choix forcé permettant la mise en évidence de conjonctions illusoires). Cette dissociation entre voyelles et consonnes quant à leur intégration avec les traitements mélodiques ne semblait pas causée par des caractéristiques acoustico-phonétiques telles que la sonorité. Les résultats de la troisième étude indiquaient que les MMNs en réponse à des déviations de hauteur et de voyelle n’étaient pas additives et que leur distribution topographique ne différait pas selon le type de déviation. Ceci suggère que, même au niveau pré-attentionnel, le traitement des voyelles n’est pas indépendant de celui des hauteurs. <p>Dans la quatrième étude, nous avons comparé le traitement des hauteurs musicales à un autre domaine :la cognition spatiale. Nous avons ainsi montré que les non-musiciens comme les musiciens associent les notes graves à la partie inférieure et les notes aiguës à la partie supérieure de l’espace. Les deux groupes liaient aussi les notes graves au côté gauche et les notes aiguës au côté droit, mais ce lien n’était automatique que chez les musiciens. Enfin, des stimuli musicaux plus complexes (intervalles mélodiques) n’évoquaient ces associations spatiales que chez les musiciens et ce, uniquement sur le plan horizontal.<p>Ces recherches contribuent de plusieurs manières à la compréhension de la cognition musicale. Premièrement, nous avons montré que les consonnes et les voyelles diffèrent dans leurs interactions avec la musique, une idée à mettre en perspective avec les rôles différents de ces phonèmes dans l’évolution du langage. Ensuite, les travaux sur les représentations spatiales des hauteurs musicales ouvrent la voie à un courant de recherche qui aidera à dévoiler les liens potentiels entre habiletés musicales et spatiales.<p>/<p>The purpose of this work was to examine the functional specificity of musical pitch processing and representation. To this aim, we compared musical pitch processing to (1) the phonological processing of speech and (2) the spatial associations evoked by ordered sequences. The four studies described here all use classical methods of cognitive psychology, which have been adapted to our research question. We have employed Garner’s (1974) speeded classification task (Study 1), the analysis of illusory conjunctions in memory (Study 2), the additivity of the mismatch negativity (MMN) component of event-related potentials (Study 3), as well as the observation of spatial associations of response codes (Study 4).<p>The three first studies examined, in non-musician participants, the specificity of pitch processing compared to phoneme processing in songs. Studies 1 and 2 revealed a surprising effect of phoneme category on their interactions with melodic processing: vowels were more integrated with melody than were consonants. This was true for both on-line processing of sung nonwords (Study 1) and for the memory traces of these nonwords (Study 2, using a forced-choice recognition task allowing the occurrence of illusory conjunctions). The difference between vowels and consonants was not due to acoustic-phonetic properties such as phoneme sonority. The results of the third study showed that the MMN in response to pitch and to vowel deviations was not additive and that its brain topography did not differ as a function of the kind of deviation. This suggests that vowel processing is not independent from pitch processing, even at the pre-attentive level.<p>In the fourth study, we compared pitch processing to another domain: spatial cognition. We showed that both musicians and non-musicians map pitch onto space, in that they associate low-pitched tones to the lower spatial field and high-pitched tones to the higher spatial field. Both groups of participants also associated low pitched-tones with the left and high-pitched tones with the right, but this association was automatic only in musicians. Finally, more complex musical stimuli such as melodic intervals evoked these spatial associations in the horizontal plane only in musicians.<p>This work contributes to the understanding of music cognition in several ways. First, we have shown that consonants and vowels differ in their interactions with music, an idea related to the contrasting roles of these phonemes in language evolution. Second, the work on the spatial representation of pitch opens the path to research that will help uncover the potential links between musical and spatial abilities.<p> / Doctorat en sciences psychologiques / info:eu-repo/semantics/nonPublished

This qualitative study analyses gendered metaphors in selected Zimbabwean Shona songs. The study explores how musicians deploy gendered metaphors to propagate, reinforce or challenge gender views and positions held in the Zimbabwean contemporary society. The corpus of data comprised Shona popular songs released between 1988 and 2018 and down loaded from You-tube. The songs were transcribed, translated into English and metaphors identified and interpreted using a combination of the Pragglejaz Group (2007), Steen (2007) and Charteris-Black (2004) metaphor identification methods. Charteris-Black’s (2004) Critical Metaphor Analysis was adopted as the key theory and method of analysis. The analysis drew support from Lazar's (2007) Feminist Critical Discourse Analysis, Foucault (1980) and Butler's (1990) ideas on discourse and gender. The findings reveal that Zimbabwean musicians singing in Shona discursively use gendered metaphors to construct, reinforce or challenge views and positions on gender. While the metaphors describe and evaluate men and women positively and negatively for ideological purposes, the metaphors largely marginalise women more than men. The metaphors therefore, have the effect of legitimising and naturalising male dominance in the Zimbabwean society. However, the same musicians occasionally utilise metaphor discoursal power to resist, challenge and control the dominance. Metaphors become a conduit through which topical contemporary gender issues, norms and values, gender views and positions are highlighted and debated. Two contesting ideologies were noted: one ideology emphasised that women are inferior to men and men should tolerate them for their weaknesses and the second projected women as men’s equals and that men and women roles complement each other. It is the conclusion of this study that gendered metaphors in Shona song lyrics allow musicians to discursively and for ideological purposes reinforce, contest and negotiate various gender perspectives making metaphors a powerful tool for shaping views on gender. Therefore the research, recommends that stakeholders recognise and promote the critical role played by language on inculcating gender perceptions in such domains as music, to come up with language programmes that promote gender parity and equality in society. / Linguistics and Modern Languages / Ph. D. (Languages, Linguistics and Literature)