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In this dissertation I examine the discourse of music educators as it relates to musical aesthetics in the United States from the creation of the Music Supervisors’ Conference in 1907 to the year of the publication of Basic Concepts of Music Education: The Fifty-Seventh Yearbook of the National Society for the Study of Education, Part 1 in 1958. The purpose of this dissertation is to show that philosophical discussion, especially in relation to musical aesthetics, was much more comprehensive than previously acknowledged. The conventional view that the arguments supporting music education were primarily utilitarian is a limited interpretation of the discourse prior to 1958. In actuality, arguments about music extended beyond its practical social, economic, and political utility. Additional aesthetic theories guided the field and girded ideas of musical understanding and informed instruction. A better understanding of the discourse of this period contributes to more informed conversations about musical aesthetics and its relation to music education. Utilizing philosophical analysis and archival research, I argue in this dissertation that the philosophical discourse relating to musical aesthetics was rich, varied, insightful, and pervasive. The evidence in this dissertation refutes the standard interpretation which eschews the possibility of discourse on aesthetics taking place prior to 1958. I show that there was deeper philosophical analysis than what is currently acknowledged by those who presently make the claim that what was intended to happen generally in the field of music education and during instruction was solely guided by utilitarian philosophy. In other words, it expands the current understanding of philosophical discourse relating to musical aesthetics in music education before the Music Education as Aesthetic Education movement that is argued to begin with the publication of Basic Concepts.

Made available in DSpace on 2016-06-02T19:39:17Z (GMT). No. of bitstreams: 1 3526.pdf: 775795 bytes, checksum: 943df9034b3b3023bd52e599ed05bf5d (MD5) Previous issue date: 2011-03-10 / The current research was developed at the Post-graduation Program in Education at UFSCar in a Social Practices and Educational Processes research line. This is the master's thesis in which was conducted a qualitative study in order to understand how the musicians discover themselves as music educators. The aims are to describe and to analyze the strengths and weaknesses in both professions, to understand how the family and society recognize them and how these professionals become more aware of their social role. The research also searched for understanding which social and academic practices promote the awakening of the musician toward music education. Questions, anxieties and reflections about the music return to the regular school curriculum and the current education of musicians and music educators were surveyed. The main authors of the research line helped to build a theoretical basis allowing the discussion on the research problem. The concept of experience was referenced on Larrosa Bondia (2002); the concepts of culture, pop culture and liberation were based on Dussel (undated); Education, Dialogue, Liberation, and others came from contributions of Paulo Freire (1979a, 1979b, 1992, 1993, 1996, 2000, 2001); and the concept of teaching practice was founded by Tardif (2002). The concepts of social practice and educational processes were built from the text developed by the professors of the research line. The concepts in the field of art-education were contributed by Barbosa (2009). Other references in the field of music education helped us to build the specific references, including: Penna (2005), Kater (2004), Koellreutter (1977), Fonterrada (2005). The data collection methodology used was the group interviews which promoted a dialogue among the participants. Fourteen graduated students of the Bachelor s Degree in Music at the Universidade de Ribeirão Preto, UNAERP, were interviewed. The research is organized into three chapters. The results show that the discovery of music education by musicians occurs as a result of the positive experience, of the involvement with working, and of the bond they establish with their students. We can also emphasize that the possibilities of personal and interpersonal changes that occurred during his/her professional course collaborate, motivate and encourage teachers to initiate and continue his/her career. / A presente pesquisa desenvolveu-se no Programa de Pós-Graduação em Educação da UFSCar, na linha de pesquisa Práticas Sociais e Processos Educativos. Trata-se da dissertação de Mestrado, em que foi realizado um estudo qualitativo que procurou compreender de que forma os músicos se descobrem educadores musicais. Os objetivos são descrever e analisar as forças e fragilidades em ambas as profissões, compreender como a família e a sociedade os reconhece e de que forma estes profissionais se conscientizam do seu papel social. A investigação buscou também compreender quais práticas sociais e acadêmicas favorecem o despertar do músico rumo à educação musical. Foram levantados questionamentos, inquietações e reflexões sobre a volta da música na matriz curricular da escola regular e a atual formação dos músicos e educadores musicais. Os autores centrais da linha ajudaram a construir uma base de fundamentação teórica que permitiu discutir o problema de pesquisa. O conceito experiência foi referenciado de Larrosa Bondia (2002), os conceitos de cultura, cultura popular e libertação foram embasados em Dussel (s/d). Educação, Diálogo, Libertação, entre outros vieram das contribuições de Paulo Freire (1979a; 1979b; 1992; 1993; 1996; 2000; 2001), além do conceito de prática docente fundamentado por Tardif (2002). Os conceitos de prática social e processos educativos foram construídos a partir do texto elaborado pelos docentes da linha de pesquisa. Os conceitos na área de arte-educação tiveram a contribuição de Barbosa(2009). Outras referências na área da Educação Musical ajudaram a construir o referencial específico, entre eles: Penna (2005), Kater (2004), Koellreutter (1977), Fonterrada (2005). A metodologia de coleta de dados utilizada foi entrevistas em grupo, o que promoveu o diálogo entre os participantes. Foram entrevistados quatorze formandos ou egressos do curso de Licenciatura em Música da Universidade de Ribeirão Preto, UNAERP. O texto está organizado em três capítulos. Os resultados apontam que a descoberta da educação musical pelos músicos se dá em decorrência da experiência positiva, do envolvimento com o trabalho, e do vínculo que estabelecem com seus alunos. Podemos destacar também que as possibilidades de transformações pessoais e interpessoais ocorridas durante sua trajetória profissional favorecem, motivam e encorajam o professor a iniciar e dar continuidade na carreira.

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No. of bitstreams: 1 chiarini_ca_me_ia.pdf: 1655214 bytes, checksum: 7fbbde6aa571cbd4088b5782ed44dc36 (MD5) Previous issue date: 2017-07-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O objeto de estudo dessa pesquisa é o processo de construção do trabalho pedagógico realizado por educadores musicais da Associação Amigos do Projeto Guri (AAPG) na Fundação Centro de Atendimento Socioeducativo ao Adolescente (Fundação CASA, antiga FEBEM), instituição paulista de internação e internação provisória de adolescentes infratores/ras em cumprimento de medidas socioeducativas. Foi realizado um estudo de casos múltiplos com nove educadores musicais atuantes nessa instituição, cujos trabalhos realizados são pouco conhecidos e discutidos no campo da educação musical, conforme a escassa bibliografia localizada permitiu concluir. A presente pesquisa tem por objetivos: desvelar as demandas do trabalho de educadores musicais dentro da Fundação CASA; conhecer as maneiras com as quais cada educador musical foi respondendo na prática pedagógico-musical a essas demandas e analisar, a partir dos relatos dos educadores musicais, as conexões entre as especificidades desse contexto, seus atores e a prática pedagógico-musical. Para atender a esses objetivos, os procedimentos metodológicos adotados foram do tipo qualitativo, com a realização de entrevistas semiestruturadas individuais. O referencial teórico para a interpretação dos dados resultantes das etapas da investigação é interdisciplinar, proveniente, por um lado, de áreas como a sociologia e a criminologia, com Erving Goffman e Alvino Augusto de Sá, e, por outro lado, de áreas como a filosofia da educação, abordando as ideias de experiência de John Dewey e Jorge Larrosa. A presente pesquisa desvelou demandas especificas do trabalho de educadores musicais na Fundação CASA, o que ajudou a compreender como são construídas as experiências pedagógicas dos entrevistados, dando maior visibilidade acerca da educação musical em unidades socioeducativas de internação e de internação provisória situadas na cidade de São Paulo. / The object of study of this research is the work made by musical educators of the Associação Amigos do Projeto Guri (AAPG) in the Fundação Centro de Atendimento Socioeducativo ao Adolescente (Fundação CASA, old FEBEM), institution of internment and provisional internment for juvenile in fulfillment of socio-educational measure. A multi-case study was carried out with nine musical educators working in this institution whose works are little known and discussed in the field of musical education, according to the scarce bibliography on this subject. The present research aims to: unveil the demands of the work of musical educators within the Fundação CASA; to know the ways in which each musical educator has responded in pedagogical-musical practice to these demands; to analyze, from the reports of the musical educators, the connections between the specifics of this context, its actors and the pedagogical-musical practice. To meet these objectives, the methodological procedures were of the qualitative type with the execution of individual semi-structured interviews. The theoretical reference for the interpretation of the data resulting from the stages of the investigation is interdisciplinary, coming from areas such as sociology and criminology with Erving Goffman, Alvino Augusto de Sá and in the philosophy and pedagogy with the ideas of experience of John Dewey and Jorge Larrosa. The present research revealed specific demands of the work of musical educators in the Fundação CASA, which helped to understand how the pedagogical experiences of the interviewees are constructed, providing greater visibility about musical education in socio-educational units of incarceration located in São Paulo city.

The purpose of this study was to investigate preservice music educators' perceptions of collegiate large ensemble experiences. The researcher created and tested a survey designed to explore how preservice music educators perceived their large ensemble experiences may impact their pedagogy skills and musicianship skills. Local (n = 101) and national (n = 77) respondents answered agreement statements about ensemble experiences, course enrollment questions, and a ranking question. An exploratory factor analysis on data from the instrument yielded four factors: Conducting Gesture Growth, Musical Skills and Pedagogy Skills, Repertoire and Literature Selection, and Other with a Cronbach's alpha of .92. Composite score results indicated that there was a statistically significant difference for one factor by primary teaching identity. Preservice music educators observed the most musical skills growth for their conducting gesture. Participants gave the highest pedagogy skills ratings for statements about large ensembles preparing them for a career in music education, improving their teaching effectiveness, and ensemble experiences altering their perceptions of music teaching.

This study assessed music educators' health literacy, musician health literacy, and intentions to teach the health-related Fine Arts TEKS in ensembles. An online survey was developed using the integrated behavior model, Newest Vital Sign (NVS), and Musician Health Literacy Questionnaire (MHL-Q19). Texas music educators who taught secondary band, choir, or orchestra were recruited via email and social media. Results: This survey yielded N = 207 respondents, with 43%, 29%, 14.5%, and 13.5% teaching band, choir, orchestra, and multiple ensembles, respectively. Most participants (67.6%) demonstrated adequate health literacy by answering at least four items correctly on the NVS. Attitude (p =.47) and personal agency (p =.30) were significant predictors of behavioral intention, while perceived norm was not (R2 =.484). Including NVS total score and MHL-Q19 total score in the model showed that while both factors improved the model (ΔR2=.038), only NVS total score was significant (p =.26) in predicting behavioral intention. Music educators in this study had adequate health literacy, which may contribute to their intentions to teach health concepts in ensembles. However, future efforts to improve these intentions should focus on bolstering perceived norms and personal agency by providing music educators with opportunities to take charge of implementing these concepts in their classrooms while showing that other stakeholders (i.e., campus administration, parents of students, and music educator colleagues) are also invested in presenting health concepts to student-musicians.

El objetivo de esta investigación es elaborar el perfil profesional del docente de música de Educación Primaria de la Comunidad Autónoma de la Región de Murcia. Para ello, esta tesis aporta un modelo de análisis del perfil professional basado en múltiples variables agrupadas en el conjunto Pensamiento-Contexto-Acción. Se utiliza un Cuestionario para la recogida de datos. La participación voluntaria en este estudio pionero en la región de Murcia representa el sesenta por ciento de la muestra. Los resultados obtenidos permiten identificar las fortalezas y debilidades de este colectivo de especialistas. Entre las primeras, destaca la elevada confianza que perciben tener en su preparación en competencias docentes y musicales, así como en su compromiso personal con la profesión elegida. El punto débil más significativo es la ausencia de colegialidad. La tesis finaliza indicando propuestas de formación dirigidas a los responsables de la política educativa regional y sugiriendo temas de investigación para profundizar en el conocimiento del colectivo. / The aim of this research is to elaborate a professional profile of primary school music teachers in the region of Murcia. This thesis develops an analytical model of that professional profile based on multiple variables grouped in the Thought-Context-Action framework. Data are collected with a questionnaire. The voluntary response rate in this pioneer study in Murcia reached sixty per cent of the representative sample. The findings identify the strengths and weaknesses of such specialised group of music teachers. Some of the strengths are a high level of perceived self-confidence in their training and their teaching and music abilities as well as their professional commitment. The most significant weakness is the absence of collegiality. The thesis concludes with some proposals for the authorities responsible for education policy in the region of Murcia and suggestions for research topics to further the knowledge about primary school music teachers.

This study records the history and activities of the South African Society of Music Teachers (SASMT) from its founding in 1922 until 2015, concentrating on the contribution it has made to music education in South Africa and the extent to which it has adapted to changing socio-political circumstances. Within the context of South African history and its education system, a study of the SASMT's Constitution, journal and other archival material was undertaken. The SASMT's reaction to changing trends in music education, including multiculturalism and the praxial philosophy, was contrasted with the activities of the South African Music Educators' Society (SAMES) and comparable overseas organisations. The mission and activities of ISME and PASMAE were used as a yardstick for determining the extent to which the SASMT fulfills the music educational needs of post-apartheid South Africa. Initially the SASMT provided a link between Europe and South Africa, focusing almost exclusively on Western Art Music. With an arguably colonial-based outlook, the organisation helped to unite music teachers by means of various projects and activities, as well as through its magazine and by forming a strong relationship with the overseas examining bodies and Unisa. Throughout its history, the SASMT has grappled with determining exactly what aspects of music education it represents, and consequently who should be admitted to membership. This became particularly pertinent in the 1980s with the formation of the South African Music Educators' Society, which highlighted the need for a more open organisation in the context of the fragmented education system of the times. The SASMT has a long, stable history, with a network of centres and institutional members, and in the late 1990s was appointed as the National Affiliate of ISME. Currently the SASMT is characterised by reduced participation in its activities and a membership that does not adequately reflect South Africa's demographics. The study concludes with recommendations as to how the SASMT might transform its vision to serve fully the needs of South African music education. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Musicology)