Thesis (M.I.T.Ed.)--University of Melbourne, Faculty of Education, 2002. / Typescript (photocopy). Title of CD-ROM in back pocket: Attachment 1 - Student work in audio format, June to August 2001 all participants. Includes bibliographical references (leaves 106-110).

The aim of this study is to explore criteria characterizing music teacher’s strategies when trying to adapt their teaching to individual students. The interaction of three music teachers with their students was explored in case studies in different parts of Sweden (a pre-study, and the main study consisting of two parallel studies). The research interest especially concerns teaching class ensemble addressing teenagers in the tuition provided under the curriculum of Swedish secondary and upper secondary school.  This study adopts the perspective of cultural psychology according to which learning is understood as being relational, taking place in a cultural context, depending on available cultural resources and affected by it. Cultural tools are considered mediators of meaning and crucial for learning. Of special interest to the present study are the ways in which teachers distribute knowledge to their students. Many-sided data were collected in all case studies: series of lessons were observed and video-documented; preliminary results were followed up in semi-structured interviews with the teachers, respectively. The results show similarities in the use of general strategies; e.g. peer-teaching and -learning in the classroom and flexibility in using and developing cultural tools. Results also show three diverging practices; rehearsal-room practice, supervisor-practice and ensemble-leading-practice. The results are discussed from a societal perspective, in light of Swedish School history. Issues concerning the government of the School and equivalence are addressed.  An unexpected result is that the concept “individually adapted ensemble teaching” may be understood very differently among music teachers actively involved in teachers’ education. The need for development of professional concepts is further underlined by the findings that teachers develop new cultural tools within different practices. This is discussed related to the framing of the central curricula.

The purpose of this study was to design and develop instructional units for teaching jazz piano comping to collegiate music students possessing basic piano skills but limited experience in jazz performance. In establishing bases and rationale for the instructional units, a number of issues were considered. These issues were (1) the need for teaching jazz piano comping, (2) a definition and explanation of the musical elements and characteristics of jazz and jazz comping, (3) an understanding of the African and European transmission traditions and musical characteristics that contributed to the development of jazz, (4) a review of literature relating to jazz piano comping, including jazz, music teaching and learning, and learning theory literature, and (5) a review of jazz piano comping practice from the swing era to the present, as reflected in the work of selected central jazz pianists. The twenty-four instructional units present basic harmonic and rhythmic materials of jazz piano comping. Harmonic materials include seven basic chord structures, harmonic extensions and alterations, upper-structure triads, II-V-I cadences, tritone substitution, chord successions, and typical chord progressions. Rhythmic materials include typical jazz rhythms. Each instructional unit is comprised of (A) presentation of a theoretical concept, (B) exercises for learning the particular concept, (C) a chord progression containing the particular concept, (D) a list of recorded examples of the chord progression for examination, and (E) suggested song titles for realization by the student. The instructional units are organized into four chapters of six units each. Instructional Units I through VI focus on individual voicings, organized into cycles of descending fifths. Units VII through XII focus on the II-V-I cadence and tritone substitution. Units XIII through XVIII focus on short chord successions. Units XIX through XXIV serves as a "summing up" of material presented in the first eighteen units. Overall, this work is designed to guide the student to technical proficiency, theoretical understanding, idiomatic fluency, and a creative approach to jazz piano comping. / School of Music

A presente dissertação toma como objeto a escuta construída culturalmente elaborada conceitualmente a partir da concepção de escuta cultural proposta por Pierre Schaeffer , a fim de analisar seu papel e contribuição na aprendizagem e desenvolvimento musical de crianças de uma escola da cidade de São Paulo. O processo investigativo foi conduzido pela professora de música dos alunos observados, que, desempenhou o papel de observadora participante da investigação qualitativa. A pesquisa de campo sustentou-se em formulações teóricas de autores das áreas da Música, da Antropologia, da Educação e da Educação Musical, e na realização de entrevistas e questionário dirigidos às crianças. Foram investigados os elementos musicais extra e intra-classe/escola, presentes na construção do repertório de escuta de uma criança de sete anos e dos alunos de 5º ano do ensino Fundamental e realizadas a análise e interpretação de situações de aula, associadas ao objeto de estudo. Os resultados demonstram que a escuta construída culturalmente é elemento fundamental dos processos de aprendizado e desenvolvimento musical, servindo de referência ao professor, enquanto mediador, e à participação consciente da criança em seus próprios processos de aprendizagem musical. Conclui-se que o objetivo inicial de analisar e interpretar a participação e a contribuição da escuta construída culturalmente nos processos de educação musical de alunos de seis a dez anos de uma escola particular da cidade de São Paulo tenha sido alcançado. / The objective of this dissertation was to analyze the role and contribution of the cultural listening developed conceptually from the concept proposed by Pierre Schaeffer in the process of musical learning and development of children from a school in the city of São Paulo. The investigative process was conducted by the music teacher of the observed children, who took the role of a participant observer in the qualitative research of ethnographic type. The field research was based on theoretical formulations from authors of areas such Music, Anthropology, Education and Music Education, and also on the results of interviews and questionnaires aimed at children. We studied the musical elements extra and intra-classes/school present in the construction of the listening repertoire of a child of seven years and of children from fifth grade of elementary school and made the analysis and interpretation of classroom situations, associated with the object study. The results showed that the cultural listening is a fundamental process of musical learning and development, and should be used as a reference to the teacher, as a mediator, and also to the conscious participation of children in their own process of learning music. We concluded that the initial study aim of to analyze and interpret the participation and contribution of cultural listening in the process of musical education of students from six to ten year-old in a private school in the city of Sao Paulo has been achieved.

With this scientific essay I examine, what I choose to phrase as, music-centered educational practices in contemporary Swedish preschool. Using two personal experiences of these practices as empirical data, I aim to discern what types of philosophical and musicological ideas have helped shape their formation. One of the experiences used as empirical data is centered around a traditional educational practice, the song-gathering, and the other around an experimental practice of my own devising, the music-machine. Using my own term, music-centric educational practice, I explore different views on why music ought to be seen as a productive and valuable tool in regards to children’s education and development. I also compare the two main views, music as means to gain general knowledge and music as means to handle existential questions, only to find that they have more in common than one might think. The crucial factor is whether or not the teacher is aware of, and is able to handle, the philosophical implications. The essay is aimed to explore three main questions: What constitutes as the existential dimensions of music and what impact they might have on music-centric teaching, which criteria needs to be met in order to facilitate meaningful music-centric teaching and lastly what separates the idea of an existentially inclined music-centric teaching from the ideas of teaching-practice in a traditional sense. The essay, in its entirety, is an example of musico-philosophical thinking. I examine these questions with a view on music as a living organism, deriving philosophical ideas from new materialism and try to pin-point moments, where it could be argued that the impact of music is effecting and altering a persons state of mind. These instances I identify, using Roland Barthes terminology, as being in a state of jouissance. / Med denna vetenskapliga essä undersöker jag, vad jag vill kalla för, den musikcentrerade undervisningspraktiken i dagens svenska förskola. Med utgångspunkt i två egenupplevda situationer söker jag förstå vilka bakomliggande filosofiska och musikologiska idéströmningar som format dessa praktiker. Den ena situationen som används som empiriskt underlag kretsar kring en traditionell undervisningspraktik, sångsamlingen, och den andra kring en experimentell praktik som jag själv utformat, musikmaskinen. Med hjälp av mitt egna begrepp, musikcentrerad undervisning, utforskar jag olika idéer om varför musiken bör ses som ett produktivt och värdefullt verktyg i relation till barns bildning och utveckling. Jag jämför också de två huvudsakliga tankarna, musik som redskap för allmänbildning och musik som redskap för att hantera existentiella frågor, och finner att de båda synsätten har mer gemensamt än en först kan tro. Den avgörande faktorn är huruvida läraren är medveten om, och kan hantera, de olika filosofiska implikationerna. Denna essä är avsedd att utforska tre huvudfrågor: Vad som utgör musikens existentiella dimensioner och vilken konsekvens dessa har för den musikcentrerade undervisningen, vilka förutsättningar som krävs för att kunna bedriva en meningsfull musikcentrerad undervisning och slutligen vad som skiljer idén om en existentiellt betonad musikcentrerad undervisning från idéerna om undervisningspraktik i traditionell bemärkelse. Essän, i sin helhet, blir således ett exempel på musiskt-filosofiskt tänkande. Jag undersöker dessa frågor med en förståelse av musik som en levande organism, vilken är hämtad ur ett neomaterialistiskt perspektiv, och försöker peka ut de ögonblick då musiken kan sägas påverka och förändra en människas sinnestillstånd. Dessa ögonblick kallar jag, för att använda Roland Barthes terminologi, som förknippade med ett tillstånd av jouissance.

A presente dissertação toma como objeto a escuta construída culturalmente elaborada conceitualmente a partir da concepção de escuta cultural proposta por Pierre Schaeffer , a fim de analisar seu papel e contribuição na aprendizagem e desenvolvimento musical de crianças de uma escola da cidade de São Paulo. O processo investigativo foi conduzido pela professora de música dos alunos observados, que, desempenhou o papel de observadora participante da investigação qualitativa. A pesquisa de campo sustentou-se em formulações teóricas de autores das áreas da Música, da Antropologia, da Educação e da Educação Musical, e na realização de entrevistas e questionário dirigidos às crianças. Foram investigados os elementos musicais extra e intra-classe/escola, presentes na construção do repertório de escuta de uma criança de sete anos e dos alunos de 5º ano do ensino Fundamental e realizadas a análise e interpretação de situações de aula, associadas ao objeto de estudo. Os resultados demonstram que a escuta construída culturalmente é elemento fundamental dos processos de aprendizado e desenvolvimento musical, servindo de referência ao professor, enquanto mediador, e à participação consciente da criança em seus próprios processos de aprendizagem musical. Conclui-se que o objetivo inicial de analisar e interpretar a participação e a contribuição da escuta construída culturalmente nos processos de educação musical de alunos de seis a dez anos de uma escola particular da cidade de São Paulo tenha sido alcançado. / The objective of this dissertation was to analyze the role and contribution of the cultural listening developed conceptually from the concept proposed by Pierre Schaeffer in the process of musical learning and development of children from a school in the city of São Paulo. The investigative process was conducted by the music teacher of the observed children, who took the role of a participant observer in the qualitative research of ethnographic type. The field research was based on theoretical formulations from authors of areas such Music, Anthropology, Education and Music Education, and also on the results of interviews and questionnaires aimed at children. We studied the musical elements extra and intra-classes/school present in the construction of the listening repertoire of a child of seven years and of children from fifth grade of elementary school and made the analysis and interpretation of classroom situations, associated with the object study. The results showed that the cultural listening is a fundamental process of musical learning and development, and should be used as a reference to the teacher, as a mediator, and also to the conscious participation of children in their own process of learning music. We concluded that the initial study aim of to analyze and interpret the participation and contribution of cultural listening in the process of musical education of students from six to ten year-old in a private school in the city of Sao Paulo has been achieved.

No description available.

Föreliggande självständiga arbete har sitt ursprung i en nyfikenhet på den praktiska potentialen i musikteoriundervisning på gymnasienivå. Enligt forskning blir musikteoriundervisning ofta teoretisk utan tydliga kopplingar till autentiskt musikutövande. Syftet med denna uppsats har varit att få djupare insikt i hur gymnasielever uppfattar det musikteoretiska begreppet funktionsanalys och vad det kan användas till. Material har samlats in genom sex intervjuer med gymnasielever och en före detta gymnasieelev som läser eller nyligen har läst Gehörs- och musiklärakurser. Materialet har därefter analyserats ur ett fenomenografiskt perspektiv. Resultatet visar att funktionsanalys och dess praktiska användning kan uppfattas på några olika sätt. Exempelvis är en uppfattning av funktionsanalys att det är en akademisk musikbeskrivning som inte är särskilt praktiskt tillämpbar. En uppfattning av vad funktionsanalys kan användas till är att motivera vilken karaktär något ska spelas med. I diskussionskapitlet diskuteras resultatet utifrån litteratur och mina egna tankar, inte minst ur ett pedagogiskt perspektiv hur undervisning skulle kunna anpassas för att elever ska erhålla så bred och djup förståelse för funktionsanalys som möjligt. / The present degree project has its origins in a curiosity about the practical potential of music theory teaching at the upper secondary school level. According to research, music theory teaching often becomes theoretical without clear connections to authentic music practice. The purpose of this essay has been to gain a deeper insight into how upper secondary school students perceive the music theoretical concept of functional harmony and what it can be used for. Materials have been collected through six interviews with upper secondary school students and one former upper secondary school student who are taking or recently have taken Pitch and music theory courses at upper secondary school in Sweden. The material has been analyzed from a phenomenographic perspective. The results show that functional analysis and its practical use can be perceived in some different ways. For example, one perception of functional analysis is that it is an academic music description that is not very practically applicable. One perception of ​​what functional analysis can be used for is to motivate with which character something should be played. In the last chapter the result is discussed based on literature and my own thoughts, not least from a pedagogical perspective how teaching could be adapted so that students receive as broad and deep understanding of functional analysis as possible.

Im Zentrum des Textes steht ein systemisches Modell, das verschiedene Schichten und Komponenten des Musikunterrichts in Beziehung zueinander stellt und als Beobachtungs- und Analyserahmen anbietet. Es zeigt die möglichen Perspektiven auf Praxis und die Ansatzpunkte für Theorie. Die Bestandteile des Modells werden erläutert und mit Beispielen aus den drei vorgegebenen Unterrichtsstunden veranschaulicht. Es soll verdeutlicht werden, dass didaktische Theorie das Bewusstsein für die Einflussfelder und ihre Wechselbeziehung schärfen und als Werkzeug zur Reflexion und Entwicklung von Unterricht zur Verfügung stellen kann. / The author suggests observing and analysing music lessons with regard to certain crucial fields and aspects. They are presented as part of a systemic model offering different perspectives on practice and initial points for a theoretical discourse. The components of the model are exemplified and applied to the three music lessons. Didactic theory is regarded to support the awareness of these aspects and their reciprocal influence on teaching and learning music and to offer tools for the reflection and development of practice.

In diesem Beitrag werden eine videographierte Musikstunde und Interviews, die mit den Schülerinnen und Schülern sowie mit der Lehrerin über die Stunde geführt wurden, in Beziehung gesetzt zu einem Modell „Dimensionen von Unterrichtsqualität“. In diesem Modell, das im Rahmen der TIMSS-Video-Studie entwickelt wurde, wird zwischen Angebot, Nutzung und Wirkung von Unterricht unterschieden. Deshalb wird das Lernangebot der videographierten Stunde mit Hilfe von Unterrichtsbeobachtung und von Äußerungen der Lehrerin erschlossen; Nutzung und Wirkung dieses Angebots werden durch eine Analyse der Schülerinterviews rekonstruiert. Im Ergebnis klaffen Angebot und Nutzung auseinander; Leistung, Verständnis und Motivation als erwünschte Wirkungen von Unterricht haben sich nicht in wünschenswertem Umfang eingestellt. In den Äußerungen der Schülerinnen und Schüler offenbart sich eine enge Verbindung zwischen der Angemessenheit des Anforderungsniveaus, ihrem Lernen und ihrer Motivation. / This article relates a videotaped lesson of general music education to a model of teaching quality that was developed within the TIMSS Video Study. The model differentiates between teaching offers, the way students make use of them and students’ learning outcomes. The teaching offer is made accessible not only by video analysis but also by evaluating a teacher interview. Student interviews allow the reconstruction of both students’ usage and outcomes. The results reveal a big difference between the learning offers on the one hand and the students’ usage of those on the other hand. Achievement, comprehension and motivation were not accomplished as desired. The student interviews show a correlation between an adequate level of requirements, the learning process and motivation.