A presente pesquisa se insere na área de Educação Musical, especificamente no âmbito da Escola Básica e buscou compreender, a partir das narrativas das crianças, o significado atribuído à dança nas aulas de música. Participaram desta pesquisa 18 estudantes do quinto ano do Ensino Fundamental I de uma escola da rede privada de uma cidade da grande Porto Alegre/RS, que oferece regularmente Educação Musical do segundo ao quinto ano, sendo a dança um dos componentes da Educação Musical. A base teórica da pesquisa apoia-se no método autobiográfico, adotando-se principalmente Jean Clandinin e Michael Connelly (2008) como orientação metodológica; Dornelles e Bujes (2012) no atendimento às especificidades da pesquisa com crianças. Contribuíram na realização deste trabalho principalmente os autores Strazacappa (2001), Schiller e Meiners (2012), que referenciam teoricamente a aprendizagem através do movimento corporal e da dança; e Maffioletti (2008, 2012), Campbel (2011) e Torres (2003) no que se refere à Educação Musical. As narrativas foram capturadas em sessões de discussões em grupo, sendo uma realizada imediatamente após a experiência corporal e duas imediatamente após a execução da flauta doce, num total de três sessões. As dimensões das análises foram extraídas do próprio material, tendo em vista do seu significado dentro do que é narrado. Os resultados mostram que o contexto escolar, familiar e social estão presentes nas narrativas das crianças, sendo a dança reconhecida nesses espaços como importante forma de interação. O significado de dançar nas aulas de música está relacionado ao prazer vivido com o corpo e às sensações de alegria, satisfação e leveza que o movimento propicia. As crianças consideram que dançando é possível conhecer outras culturas, entender melhor o ritmo das músicas e tocar flauta doce com maior facilidade. A importância desta pesquisa está em tornar visível o significado das experiências das crianças sobre o movimento corporal como instância da aprendizagem musical. / This research falls within the field of music education, specifically within the Primary School and sought to understand, from the narratives of children, the meaning assigned to dance in music classes. 18 students from the fifth grade of elementary school I in a private school participated in this research in a big city in great Porto Alegre / RS, which offers regular musical education from the second to fifth grade, being the dance a component of the Music Education. The theoretical basis of the study is based on the autobiographical method, adopting mainly Jean Clandinin and Michael Connelly (2008) as a methodological orientation; Dornelles and Bujes (2012) in addressing the specificities of research with children. Contributed in this work mainly Strazacappa (2001), Schiller and Meiners (2012) authors, which theoretically refer to learning through body movement and dance; and Maffioletti (2008, 2012), Campbell (2011) and Torres (2003) in relation to music education. The narratives were captured in group discussion sessions, one held immediately after the bodily experience and two immediately after the execution of the recorder, a total of three sessions. The dimensions of the analysis were extracted from the material itself, in view of its significance within what is narrated. The results show that the school, family and social context are present in the narratives of children, and dance is being recognized in these spaces as an important form of interaction . The meaning of dance in music classes is related to the pleasure experienced with the body and the feelings of joy, satisfaction and lightness that the movement provides. Children believe that dancing can learn about other cultures and better understand the rhythm of the music and playing the recorder with greater ease. The importance of this research is to make visible the meaning of children's experiences on body movement as an instance of musical learning.

Years now, sound-based music has been struggling to reach a wider public. Research supports that in order to promote sound-based music, it should be introduced at an early age in someone’s life to have the opportunity to familiarise himself/herself with it and accept it (Kopiez and Lehmann, 2008). This thesis investigates the implementation of sound-based music in public schools in Cyprus. Building on previous research aiming to introduce sound-based music ideas and concepts into the music classrooms (Savage, 2005; Higgins and Jennings, 2006; Wolf, 2008; Holland, 2011), this research aims at creating a sound-based music curriculum that will be appropriate for the implementation in such a teaching-learning environment in Cyprus. The research focuses on the Educational Reform Programme of Cyprus (2008-2015), which aims at modernising the Cypriot education system. This project offers the opportunity to investigate a set of sound-based music lesson plans, implemented in music classrooms. The research examines the reactions of teachers and students towards these lessons, and the evaluation of the lesson plans in order to be suitable for primary and secondary schools of Cyprus. It is an interdisciplinary project, allowing for educational as well as musical concepts to inform its content and structure. The research follows a grounded theory methodology, utilising a mixed-methods approach involving multi-site case studies and action research. In total of six schools, with six teachers and 117 students, eight different sound-based music lesson plans were created, implemented and evaluated, in a total of 18 lesson periods. During these lessons, a combination of questionnaires, interviews, observations, visual data and tests have facilitated the collection of both qualitative and quantitative information relating to the teachers, the students and the lesson plans. Findings of this research identify that the specific set of lesson plans implemented in the schools is considered as appropriate to be used in the music classrooms of Cyprus. The sound-based music lessons introduced new ways of using ICT in the music classroom, supporting the national initiatives of the Ministry of Education and Culture of Cyprus. It was also identified that these lessons offer an inclusive education, with creative activities, engaging students with the learning experience. However, the outcomes of the research recognised the need to understand the multidimensional change necessary to take place before such an implementation, such as the need to resolve any teachers’ concerns relating to the implementation of innovative material as well as any issues related to the equipment.

The new project in the path of park of New South Center of Brno would by Music center. The device reacts on new regulatives in zone. There is rising the building that prevents direct contact with unpleasant waves of trfic. The fort is so urban arms, in a pleasant thought cluster charmed quality music. Enter the building is accompanied by a pleasant park with urban furniture and modifications, and richness of perspectives uncovered through the viaduct . The main task is Synfonic hall with a capacity of 1300 pax, chamber hall for 280 guests and also small chamber hall for 100 people or future new musicians. The proposal was that the space did not work only during night-life concerts, but also during the day and more so approaching the world of music. Center includes a music school, shops and cafe in the next arm background staff and musicians. Response shapes based on urban morphology continue to the interior, and almost everywhere they appear irregular arms embrace in the lines and space. Architectural design features that expresses fuel building contains. Material for rendering takes hardness and white veined travertine Spis combined with warm interior textil in colors of royal blue, the complet of interior quality complement metalic elements and details with high gloss silver. Come into the embrace of music…

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Den här studien syftar till att belysa hur musiklärare som undervisar grupper med funktionsnedsatta elever, förhåller sig till sin egen musikundervisning. För att närma mig musiklärarnas olika förhållningssätt valde jag att använda den kvalitativa intervjun som forskningsmetod. Hanken och Johansens (1998) kategorier för den pedagogiska grundsynen hos en musiklärare utgör en stor del av de teoretiska utgångspunkterna för studien. Jag har bland annat jämfört och placerat in informanterna i Hanken och Johansens kategorier för att på så sätt få fram en tydligare bild av informanternas undervisning. Resultatet visar tydligt att elevernas funktionsnedsättning inte påverkar målet med informanternas undervisning. Det som skiljer musikundervisning för elever med funktionsnedsättning från elever utan funktionsnedsättning är framförallt undervisningssättet och metoden. En slutsats jag kommit fram till är att det krävs en grundläggande kompetens i musikämnet, och framför allt en vid pedagogisk grundsyn samt ett intresse och engagemang för den enskilde elevens situation för att kunna bemöta och tillgodose dennes behov. / The purpose of this study is to highlight how music teachers who, when teaching groups of disabled pupils, relate to their own education. In approaching the teachers’ various relations to their education, I have chosen to use the qualitative interview as my research method. A large extent of the theoretical foundation in this study is based on Hanken and Johansen’s (1998) categories for the pedagogical fundamental view as a music teacher. In order to obtain a clearer understanding of the teachers’ education, I have compared and placed the teachers included in this study, into these categories. The result clearly shows that the disabilities of the pupils do not affect the objectives in regard to the teachers’ education. That which distinguishes the education for pupils with disabilities from pupils without disabilities, is primarily the teaching method. I have concluded that, in order to meet the needs of the pupil, basic competency in music is a prerequisite and above all, a pedagogical fundamental view and an interest and commitment to the situation of each individual pupil.

Made available in DSpace on 2016-04-28T20:56:35Z (GMT). No. of bitstreams: 1 Leila Yuri Sugahara.pdf: 3084987 bytes, checksum: 2fc9fd49ad0346d68adc60ab55c80711 (MD5) Previous issue date: 2013-05-07 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The present study had as its aim to analyse the social representations of music education students as well as pedagogy education ones about music and music at school, considering that this point of view can influence the future practices of these students with Primary and High Education teachers. This research allowed us to identify five thematic axles as part of social representations of students/future teachers in music: affectivity; movement; communication; context; and education. The categorization was done through the listening of three musical genders: pop, jazz, and world music. The chosen methodology throughout this research makes good usage of two questionnaires: one related to profile and the other related to question of free association from musical listening; open and closed questions; and image classification applied to 81 (eighty one) students in Pedagogy and 161 (one hundred and sixty one) students in music of one Institution of Superior Education in Sao Paulo. The social representations of music revealed that the five thematic axles were present in all the groups and for all musical genders presented throughout the research, varying its informational levels, which each group had about music. The axles of affectivity and context were revealed as extremely important for the comprehension of the music humanizer role in education. This way, the representations of music were presented as much as educational strength as restrictions of social representations in music at school, depending on the view that each researched group had about on school and education: beginners and last year students of pedagogy and music. The classification of images indicated that there is Dionisio concept for funk and rock in spite of the Apolo character of jazz. In order to give the music its important role into education, it is necessary that the education of the future teachers in regards to pedagogy and music courses offers the right conditions to overcome the present dichotomy in between the Apolo and Dionisio characters of music, as well as between the music outside school and the proper one at school for the school context. Aiming to reach the ideal into a reflexive practice and so humanized, the music teaching at schools, the courses of pedagogy need to contemplate specific disciplines linked to music and courses of music need to develop collaborative projects with the pedagogy courses / O presente estudo teve como objetivo analisar as representações sociais de estudantes de licenciatura em música e de licenciatura em pedagogia sobre música e música na escola, tendo em vista que essa visão pode influenciar nas práticas futuras desses estudantes como professores na Educação Básica. A pesquisa permitiu identificar cinco eixos temáticos constituintes das representações sociais dos licenciandos sobre música: afetividade; movimento; comunicação; contexto; e formação. A categorização foi realizada a partir da escuta de três gêneros musicais: pop, jazz e world music. A metodologia adotada nesta pesquisa envolveu dois questionários: um de perfil, e outro contendo uma questão de associação livre a partir da escuta musical; questões abertas e fechadas; e classificação de imagens, aplicados a 81 (oitenta e um) licenciandos em pedagogia e 161 (cento e sessenta e um) licenciandos em música de uma Instituição de Ensino Superior da cidade de São Paulo. As representações sociais de música revelaram que os cinco eixos temáticos estavam presentes em todos os grupos e para todos os gêneros de música apresentados na pesquisa, variando quanto ao nível de informação que cada grupo possuía sobre música. Os eixos da afetividade e do contexto se mostraram fundamentais para a compreensão do papel humanizador da música na educação. Nesse sentido, as representações de música se apresentaram tanto como potencial formativo, quanto como restrições nas representações sociais de música na escola, dependendo das visões que cada grupo pesquisado, licenciandos em pedagogia e em música, ingressantes e concluintes, possuía sobre escola e educação. A classificação das imagens indicou que existe uma concepção dionisíaca para o funk e o rock em contraposição ao caráter apolíneo do jazz. Para que a música tenha um papel transformador na educação, é necessário que a formação do futuro professor, no âmbito dos cursos de pedagogia e de música, ofereça as condições necessárias para a superação da dicotomia existente entre o caráter apolíneo e dionisíaco da música, e entre a música fora da escola e a música própria para o contexto da escola. Para se alcançar o ideal de uma prática reflexiva e, portanto, humanizadora, do ensino de música nas escolas, os cursos de pedagogia precisam contemplar disciplinas específicas ligadas à música, e os cursos de música, desenvolver projetos colaborativos com os cursos de pedagogia

Thesis (M. Ed.)--University of Hong Kong, 1985. / Includes bibliographical references (leaf 74-76).

Thesis (M.Ed.)--University of Hong Kong, 1985. / Includes bibliographical references (leaf 74-76). Also available in print.

Esta pesquisa trata da motivação na aprendizagem musical e teve por objetivo investigar as relações entre os níveis de interesse e os níveis de competência, dificuldade e esforço para aprender música na escola. Para tal, foi realizado um estudo quantitativo utilizando-se dados secundários da pesquisa internacional "Os significados da música para crianças e adolescentes em ambientes escolares e não-escolares" coordenada por Gary McPherson (EUA) e, no Brasil, conduzida no Estado do Rio Grande do Sul, no Programa de Pós-Graduação em Música da Universidade Federal do Rio Grande do Sul, sob a coordenação da Profa Dra Liane Hentschke. Fizeram parte da amostra da presente pesquisa 631 alunos de séries finais do ensino fundamental e médio de 11 escolas (públicas e privadas) de Porto Alegre e interior do Estado do Rio Grande do Sul. As idades variaram de 11 até 19 anos, sendo 300 meninos e 331 meninas. O referencial teórico fundamenta-se no modelo de expectativa e valor de Eccles et al. (1983), complementado por outras teorias da motivação que discutem as influências do interesse, autopercepção de competência, dificuldade e esforço na motivação para a aprendizagem. Para a análise de dados foram utilizados procedimentos da estatística descritiva e inferencial, tais como análise descritiva, o teste de correlação de Pearson, o teste qui-quadrado e o teste t. Através da análise descritiva foi identificado que 47,7% dos alunos atribuíram alto interesse em aprender música na escola, 16,2%, médio interesse e 35,8%, baixo interesse. A maioria dos alunos da amostra considerou-se com alta competência (80,3%) e baixa dificuldade (77%) para aprender música na escola. Os resultados também mostraram que houve correlações significativas moderadas e fracas entre os níveis dos fatores investigados. Quanto à questão de gênero, as meninas sentem-se mais competentes e acham menos difícil aprender música na escola do que os meninos. E, em relação ao tipo de escola, pública ou privada, há diferença quanto a sensação de esforço exigido. Os alunos da escola pública percebem uma exigência maior de esforço para aprender música do que os da escola privada. Comparando-se as faixas etárias, as diferenças significativas apresentaram-se relacionadas ao interesse, competência e esforço. O maior interesse, a maior competência e o menor esforço foram atribuídos pelos alunos de 14 a 16 anos. Os resultados referentes ao alto interesse neste trabalho são apoiados pela literatura e por pesquisas feitas sobre motivação na aprendizagem musical realizadas em âmbito internacional. Contudo, os resultados relativos ao baixo interesse são discutidos a partir de questões levantadas sobre o senso de competência, dificuldade e esforço percebidos na aprendizagem da música na escola pelos alunos brasileiros. / This research aimed to investigate the relation among the levels of interest and levels of competence, difficulty and in learning music in school. It consisted in a quantitative study based on secondary data of the international research named, "Meanings of Music for Children and Adolescents in Musical schools and Non-school Activities" under the international coordination of Professor Gary McPherson (USA/Australia). In Brazil the research was coordinated by Professor Hentschke in Brazil (Graduate Program In Music of UFRGS - Federal University of Rio Grande do Sul. Out of the total Brazilian sample of 1848 students, this study used a sample of 631 students from the final series of Fundamental Education and Secondary Education, of 11 schools (public and private) from Porto Alegre other nearby cities. There were 300 boys and 331 girls between 11 and 19 years-old. Eccles et al. (1983) Expectancy-Value Model was used as a theoretical framework of this work, complemented by other theories of motivation that discussed the influences of interest, self perception of competence, difficulty and effort in motivation to learn. For data analysis some statistical tests were applied such as, descriptive analysis, Pearson test of correlation, Chi- Square test and T test. Through descriptive analysis it was identified that 47,7% of the students conferred high interest in learning music in school, 16,2%, medium interest and 35,8%, low interest. The majority of students from the sample was considerated with high competence (80,3%) and low difficulty (77%) in learning music in school. The results showed also that there were meaningful moderated and weak correlations among the levels of investigated factors. As far as gender is concerned, girls feel more competent than boys and think that it is less difficult to learn music in school. Regarding the kind of school, public and private, there is a difference as to the sensation of the effort demanded. Children from public school perceive more effort required to learn music than those from private school. In comparing age groups, the meaningful differences were related to interest, competence and effort. The greatest interest, the greatest competence and less effort were allocated by students between 14 and 16. The results concerning the high interest to learn music found among students are supported by research on motivation for music learning. However the results about low interest are discussed from the questions raised about the level of competency, difficulty and effort perceived by students in Brazil.

Esta pesquisa trata da motivação na aprendizagem musical e teve por objetivo investigar as relações entre os níveis de interesse e os níveis de competência, dificuldade e esforço para aprender música na escola. Para tal, foi realizado um estudo quantitativo utilizando-se dados secundários da pesquisa internacional "Os significados da música para crianças e adolescentes em ambientes escolares e não-escolares" coordenada por Gary McPherson (EUA) e, no Brasil, conduzida no Estado do Rio Grande do Sul, no Programa de Pós-Graduação em Música da Universidade Federal do Rio Grande do Sul, sob a coordenação da Profa Dra Liane Hentschke. Fizeram parte da amostra da presente pesquisa 631 alunos de séries finais do ensino fundamental e médio de 11 escolas (públicas e privadas) de Porto Alegre e interior do Estado do Rio Grande do Sul. As idades variaram de 11 até 19 anos, sendo 300 meninos e 331 meninas. O referencial teórico fundamenta-se no modelo de expectativa e valor de Eccles et al. (1983), complementado por outras teorias da motivação que discutem as influências do interesse, autopercepção de competência, dificuldade e esforço na motivação para a aprendizagem. Para a análise de dados foram utilizados procedimentos da estatística descritiva e inferencial, tais como análise descritiva, o teste de correlação de Pearson, o teste qui-quadrado e o teste t. Através da análise descritiva foi identificado que 47,7% dos alunos atribuíram alto interesse em aprender música na escola, 16,2%, médio interesse e 35,8%, baixo interesse. A maioria dos alunos da amostra considerou-se com alta competência (80,3%) e baixa dificuldade (77%) para aprender música na escola. Os resultados também mostraram que houve correlações significativas moderadas e fracas entre os níveis dos fatores investigados. Quanto à questão de gênero, as meninas sentem-se mais competentes e acham menos difícil aprender música na escola do que os meninos. E, em relação ao tipo de escola, pública ou privada, há diferença quanto a sensação de esforço exigido. Os alunos da escola pública percebem uma exigência maior de esforço para aprender música do que os da escola privada. Comparando-se as faixas etárias, as diferenças significativas apresentaram-se relacionadas ao interesse, competência e esforço. O maior interesse, a maior competência e o menor esforço foram atribuídos pelos alunos de 14 a 16 anos. Os resultados referentes ao alto interesse neste trabalho são apoiados pela literatura e por pesquisas feitas sobre motivação na aprendizagem musical realizadas em âmbito internacional. Contudo, os resultados relativos ao baixo interesse são discutidos a partir de questões levantadas sobre o senso de competência, dificuldade e esforço percebidos na aprendizagem da música na escola pelos alunos brasileiros. / This research aimed to investigate the relation among the levels of interest and levels of competence, difficulty and in learning music in school. It consisted in a quantitative study based on secondary data of the international research named, "Meanings of Music for Children and Adolescents in Musical schools and Non-school Activities" under the international coordination of Professor Gary McPherson (USA/Australia). In Brazil the research was coordinated by Professor Hentschke in Brazil (Graduate Program In Music of UFRGS - Federal University of Rio Grande do Sul. Out of the total Brazilian sample of 1848 students, this study used a sample of 631 students from the final series of Fundamental Education and Secondary Education, of 11 schools (public and private) from Porto Alegre other nearby cities. There were 300 boys and 331 girls between 11 and 19 years-old. Eccles et al. (1983) Expectancy-Value Model was used as a theoretical framework of this work, complemented by other theories of motivation that discussed the influences of interest, self perception of competence, difficulty and effort in motivation to learn. For data analysis some statistical tests were applied such as, descriptive analysis, Pearson test of correlation, Chi- Square test and T test. Through descriptive analysis it was identified that 47,7% of the students conferred high interest in learning music in school, 16,2%, medium interest and 35,8%, low interest. The majority of students from the sample was considerated with high competence (80,3%) and low difficulty (77%) in learning music in school. The results showed also that there were meaningful moderated and weak correlations among the levels of investigated factors. As far as gender is concerned, girls feel more competent than boys and think that it is less difficult to learn music in school. Regarding the kind of school, public and private, there is a difference as to the sensation of the effort demanded. Children from public school perceive more effort required to learn music than those from private school. In comparing age groups, the meaningful differences were related to interest, competence and effort. The greatest interest, the greatest competence and less effort were allocated by students between 14 and 16. The results concerning the high interest to learn music found among students are supported by research on motivation for music learning. However the results about low interest are discussed from the questions raised about the level of competency, difficulty and effort perceived by students in Brazil.