Orientador: Marisa Trench de Oliveira Fonterrada / Banca: Maria Teresa Alencar de Brito / Banca: Margarete Arroyo / Resumo: A presente pesquisa visou conhecer as histórias de vida dos músicos educadores Fernando Barba e Stenio Mendes, suas ideias e contribuições para o cenário artístico e educacional brasileiro relacionadas às Práticas da Música Corporal. A investigação baseou-se na metodologia de História Oral de Vida, por meio de entrevistas com os referidos músicos educadores, cujas análises fundamentaram-se nos conceitos da Construção da Identidade Profissional segundo os pensamentos de Selma Garrido Pimenta e Antônio Nóvoa, com o intuito de compreender os princípios e referências que nortearam a elaboração das práticas educacionais da Música Corporal propostas por Barba e Stenio. O estudo também buscou dados a respeito da compreensão e disseminação dessas práticas dentro do cenário da educação musical brasileira que constantemente sofre transformações por conta das inúmeras mudanças nas políticas educacionais do país e dos desafios apresentados pela sociedade contemporânea. Para tanto, analisou-se os relatos de doze educadores musicais que tiveram contato direto com as práticas mencionadas e que as aplicam em seus ofícios, assim como publicações acadêmicas relacionadas ao tema, para esclarecer o alcance da disseminação dessas práticas no país e a consciência de suas utilizações. A fundamentação teórica do presente estudo, sustentou-se nas propostas de reforma do ensino, pautadas no senso comunitário e humanista, com ideias de superação da fragmentação dos saberes concebidas por Edgar Morin e ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The present research seeked to know the life stories of the musicians educators Fernando Barba and Stenio Mendes, their ideas and contributions to the Brazilian artistic and educational scenario related to the Practices of Corporal Music. The research was based on the Oral History of Life methodology, through interviews with these educators, whose analyzis were based on the concepts of the Construction of Professional Identity according to the thoughts of Selma Garrido Pimenta and Antônio Nóvoa, with the purpose of figure out the principles and references that oriented the elaboration of the educational practices of Corporal Music proposed by Barba and Stenio. The study also searched data about the understanding and dissemination of these practices within the scenario of Brazilian music education that constantly undergoes transformations due to the several changes in the educational policies of the country and the challenges presented by contemporary society. For this purpose, we analyzed the reports of twelve musical educators who had direct contact with the practices mentioned and applied them in their occupations, as well as academic publications related to the subject, to clarify the scope of the dissemination of these practices in the country and the awareness of their uses. The theoretical foundation of this study was supported on the proposals of the educational reform, guided on the communal and humanist sense, with ideas of overcoming the fragmentation of the knowledge conceived by Edgar Morin and Paulo Freire, and the concept of communities of apprentices and learning exposed by José Pacheco and Murray Schafer. / Mestre

The study determines what factors and human input are placed into large instrumental music programs within New South Wales (Australia) public secondary schools and investigates the perceptions of instrumental directors as to what variables contribute to overall large instrumental music program success. Two survey instruments were developed with 73 directors of 142 schools secondary schools partaking in the study. The first survey instrument was designed to investigate directors’ perceptions of what variables are important to an overall successful large instrumental music program. (Success Survey Part A). The second survey sought to determine what factors and input make up the current programs (Factors and Input Survey Part B). The findings have implications for all large instrumental music program directors, students, those associated with both of these groups, such as administrators and volunteers, and also has implications for DET. The implications include a need for the NSW Department of Education and Training to acknowledge in an academic sense the input that students give to the instrumental programs, the time that teachers spend and accreditation for directors of the large instrumental programs. / Doctor of Philosophy (PhD)

Since it arose in the 1960s, the minimalist aesthetic has increasingly influenced composers of art and popular music around the world and, in turn, minimalist composers have drawn on the compositional ideas of Western popular music and several non-Western musics. Educationally, minimal music offers much potential for music in the classroom as it embodies a number of musical characteristics known to, and preferred by, students aged 9-18 years at primary, secondary and first year tertiary level. Socially, it offers teachers an opportunity to engage students, through composing activities, with contemporary society. The study aims, firstly, to analyse compositions by students aged 9, 12, 15 and 18 years and their teachers, seeking pastiche development of, and compositional expansion beyond, the musical concepts presented in a resource booklet of projects, The Pulse Music Album. Secondly, this study aims to investigate how nineteen participating teachers in three countries engage their students with minimalist composing activities stimulated through the resource booklet. The study attempts to determine why teachers adopt their particular roles and strategies by examining music qualifications, preferences and experience, teaching perspectives and teaching environments. It also seeks to identify reasons why one group of teachers submitted pieces which were pastiches of those presented in the projects and another group submitted compositions which moved well beyond pastiche into an expansion of these same musical concepts and argues for this as evidence of dialogue with contemporary society. Conclusions drawn from the findings note that while there are many commonalities between the backgrounds and approaches of both groups of teachers, there are clearly observed differences. These differences suggest approaches to classroom composition for consideration by practising classroom teachers, in-service instructors and teacher training institutions.

Thesis (M. A.)--University of Hong Kong, 2006. / Title proper from title frame. Also available in printed format.

Thesis (Ph. D.)--Florida State University, 2004. / Advisor: Dr. Sally E. McRorie, Florida State University, School of Visual Arts and Dance, Department of Art Education. Title and description from dissertation home page (viewed June 16, 2004). Includes bibliographical references.

Title from title page of PDF (University of Missouri--St. Louis, viewed February 22, 2010). Includes bibliographical references (p. 111-118).

'There is more to a song than meets the ear' to paraphrase an old adage. This 'more' refers particularly to certain songs in which the acoustic properties of the music move in confluence with spoken English. This 'more' refers to a particular process through which children learn songs, and once learned engage with them as objects of thought and represent them in symbol. This 'more' refers to particular songs as events aptly suited to circumscribe the temporal/spatial, perceptual/motor, emotional/social, imaginative/cognitive engagement of children-as-learners. The dissertation is a narrative in which the author traces the story of her transformation from being a successful symbol-to-sound music teacher, to becoming a sound-to-symbol educator of children and the teachers of children.

To me, emotions have been a source of self-discovery and self-acceptance. / Thesis (M.Ed.) - University of KwaZulu-Natal, Durban, 2004.

This study is in response to national, state and local curriculum issues. Curriculum work is taken to embrace curriculum research and theory, and curriculum development and implementation. This study is a critical reflection on current curriculum work as a day-to-day experience. This study is about the impact and local implementation of standards-based curriculum frameworks for students with disabilities and impairments. The focus is to develop an improved understanding of the extraordinary complexities that encompass standards-based music curriculum policy frameworks for these students in the State of Victoria. For most people, a better understanding of these extraordinary complexities may much reduce fear, unease and distrust. The phenomenon would seem logical. This study explores ways in which public curriculum policy is developed and implemented in modern societies like Australia. This study is a critical reflection on moves to change curriculum, curriculum policy framework initiatives and the institutional contexts that shape the impact and implementation of curriculum. Public curriculum policy formation is challenged by competing pressures and limitations including an increasing emphasis on ‘partnerships’ and ‘networking’. There are difficulties and complex challenges to ensure that all students share in the benefits.

Since it arose in the 1960s, the minimalist aesthetic has increasingly influenced composers of art and popular music around the world and, in turn, minimalist composers have drawn on the compositional ideas of Western popular music and several non-Western musics. Educationally, minimal music offers much potential for music in the classroom as it embodies a number of musical characteristics known to, and preferred by, students aged 9-18 years at primary, secondary and first year tertiary level. Socially, it offers teachers an opportunity to engage students, through composing activities, with contemporary society. The study aims, firstly, to analyse compositions by students aged 9, 12, 15 and 18 years and their teachers, seeking pastiche development of, and compositional expansion beyond, the musical concepts presented in a resource booklet of projects, The Pulse Music Album. Secondly, this study aims to investigate how nineteen participating teachers in three countries engage their students with minimalist composing activities stimulated through the resource booklet. The study attempts to determine why teachers adopt their particular roles and strategies by examining music qualifications, preferences and experience, teaching perspectives and teaching environments. It also seeks to identify reasons why one group of teachers submitted pieces which were pastiches of those presented in the projects and another group submitted compositions which moved well beyond pastiche into an expansion of these same musical concepts and argues for this as evidence of dialogue with contemporary society. Conclusions drawn from the findings note that while there are many commonalities between the backgrounds and approaches of both groups of teachers, there are clearly observed differences. These differences suggest approaches to classroom composition for consideration by practising classroom teachers, in-service instructors and teacher training institutions.