Thesis (Ph. D.)--University of North Texas, 2001. / Includes bibliographical references (p. 164-167).

I denna uppsats undersöks hur några musiklärare går tillväga för att bygga en fungerande blåsorkesterverksamhet i de musik- och kulturskolor de är verksamma. Vad lärarna anser om planering, vilka mål de har med verksamheten samt hur de arbetar för att uppnå sina mål är frågor som besvaras i uppsatsen. Resultaten diskuteras med utgångspunkt i teorier om samspel och ledarskap. Datamaterialet består av intervjuer med fyra musiklärare på tre olika musik-/kulturskolor. Två av skolorna finns i Sverige och en i Norge. Två av lärarna arbetar på samma skola. I resultatet visas att arbetsmetoderna för planeringen verkar vara snarlika på de fyra skolorna. Lärarna anser att det krävs bra material och kunskap om det material som används, samt ordning och reda på repetitionerna. Skapa spelglädje och en mysig miljö är något som prioriteras högt hos samtliga lärare. Målsättningarna hos de respektive lärarna beror till stor del på vilka resurser som finns och vilka kunskaper eleverna har nått från år till år. Målsättningar på de respektive musik- och kulturskolorna finns inte, utan det är upp till varje ledare/dirigent att själva bestämma målen. Gemensamt för skolorna är planering av jul- och sommarkonserter samt att konkurrensen med idrotten alltid är något de får arbeta mot. När det gäller de intervjuades förhållningssätt i arbetet, är det ett situationsanpassat förhållningssätt det till sist handlar om för att ta sig mot målet. / This thesis purports to examine how different music teachers work in establishing a functioning wind ensemble at music and culture schools they teach at. How they view the planning process, their work goals, and how they strive to achieve their goals, are questions that are answered in the paper. The results are then discussed on the basis of theories of interaction and leadership. The data consists of interviews with four music teachers at three different schools of music / arts. Two of the schools are located in Sweden and one in Norway. Two of the teachers work at the same school. The results demonstrate that the planning is similar at the four schools. The teachers believe that good material and knowledge of the material being used, is required, in addition to discipline at the rehearsals to achieve good results. To create an enjoyful and relaxing environment is prioritized by all the teachers. The goal of the teachers depends largely on the material resources they have, and what knowledge the students have achieved from the previous year. Particular objectives at each respective music and culture school do not exist: this is up to each leader / conductor to decide each case. Common to all schools is the planning of Christmas and summer concerts at the end of every semester, as well as the conflict with sports, which is always something they must deal with. As for the interviewees and their approach to their work, the strategy in achieving the goal is based on each particular situation.

<p>The purpose of this investigation is to see if there is any difference in how long pupils are staying in the activity of the music- and culture schools in the country. I have compared this with how large the teachers engagements are in average at each school, how many teachers each school holds and if one teacher is teaching within different areas, e.g. on different instruments. Thru mail contact with the headmasters at the music- and culture schools I have gathered data concerning the length of which the pupils are staying at the schools, the number of teachers at each school, the size of the teachers services and in how many different areas each teacher is teaching.</p><p>It has been hard to get to any results in the investigation since the music- and culture schools don’t compile statistics on how long their pupils are staying at their schools. Only 10 % of the consulted schools could give me an answer regarding that. The great falling off of statistics has made it hard to come to any conclusion. One conclusion however that has been drawn is that there is an endless amount of factors involved concerning how long a pupil will stay in the activity of the music- and culture schools.</p>

The purpose of this investigation is to see if there is any difference in how long pupils are staying in the activity of the music- and culture schools in the country. I have compared this with how large the teachers engagements are in average at each school, how many teachers each school holds and if one teacher is teaching within different areas, e.g. on different instruments. Thru mail contact with the headmasters at the music- and culture schools I have gathered data concerning the length of which the pupils are staying at the schools, the number of teachers at each school, the size of the teachers services and in how many different areas each teacher is teaching. It has been hard to get to any results in the investigation since the music- and culture schools don’t compile statistics on how long their pupils are staying at their schools. Only 10 % of the consulted schools could give me an answer regarding that. The great falling off of statistics has made it hard to come to any conclusion. One conclusion however that has been drawn is that there is an endless amount of factors involved concerning how long a pupil will stay in the activity of the music- and culture schools.

This dissertation focuses on a previously unexplored aspect of music-making in the English parish church during the 1760s to 1860s, namely its local development in response to inter-related episcopal, elite, clerical and economic influences. The historiography suggests ineffectual episcopal leadership and little gentry engagement with parochial church music-making during this period. By contrast, this study presents evidence of their influence, particularly during the late eighteenth to early nineteenth centuries. Elite support for Sunday and charity schools was allied with a desire to improve congregational psalmody, and church organs and barrel-organs were given with this objective in mind. Gentry involvement with amateur military bands of music also influenced the instrumentation of choir-bands. These actions were mirrored by those further down the social scale, and formed part of a complex pattern of support for church music-making. This dissertation argues that methods adopted to improve congregational singing in one generation were reviled in the next. The suggestion that teaching charity school children to sing would result in a congregation of singing adults became a recurring theme, yet time and again it met with little success. Nineteenth-century reform of church music-making has often been presented as a clear-cut progression, with the replacement of choir-bands by a barrel-organ or harmonium, but this dissertation argues that these phases were sometimes parallel rather than sequential, with no inevitable outcome. Furthermore, new evidence reveals that nineteenth-century church rate disputes had a profound effect on church music-making, an area of research neglected in modern literature. Lack of available seating became a significant problem in parish churches owing to the often compulsory attendance of schoolchildren, which opens up another new area of research. This dissertation argues that attempts to reform music-making contributed to alterations in the church fabric long before ecclesiological reorderings, and had long-lasting repercussions.

Dissertation (MMus)--University of Pretoria, 2015. / Music / Unrestricted

Submitted by Rosina Valeria Lanzellotti Mattiussi Teixeira (rosina.teixeira@unisantos.br) on 2015-04-24T19:31:20Z No. of bitstreams: 1 Thais Moura de Oliveira Salgado.pdf: 1434113 bytes, checksum: c5849c68b8089f00fcedba1ea228d688 (MD5) / Made available in DSpace on 2015-04-24T19:31:20Z (GMT). No. of bitstreams: 1 Thais Moura de Oliveira Salgado.pdf: 1434113 bytes, checksum: c5849c68b8089f00fcedba1ea228d688 (MD5) Previous issue date: 2013-11-25 / This paper intends to discuss perceptions/social representations of the teachers-students of Pedagogy/Parfor about teaching music. Starts from the premise that the knowledge acquired in the area of training and performance of these subjects can make the process of teaching and learning significant. Regarding, in this case, the teaching of music, which, from the Law 11.769/08 (BRAZIL, 2008), became mandatory content in the curriculum. The research is based on Moscovici (1978), insofar as his theory of social representations (TRS) contributes to the analysis of the collected data, namely, to support the perceptions /social representations of these subjects about teaching music. Also, authors like Brito (2003), Bastian (2010), among others, gave support to the questions surrounding the teaching of music. And authors like Nóvoa (1992), Abdalla (2006, 2008, 2009) and Tardif (2012) contribute to support the analysis of data relevant to teacher training. Regarding methodological procedures, the research was done in three stages. The first was a questionnaire to 43 research subjects with closed questions, open and evocation next to the greater integrated project to the International Social Representations - CIERS-Ed/FCC; noting, however, that this study only data were considered profile of these subjects. Second, we conducted a Focal Group with eight (8) teachers-students, and, in the third phase, semi-structured interviews were conducted with four (4) participants of the previous phases, going deep into the theme in question. We pointed the analysis¿s dimensions: historical-normative, as it took into account the teaching of music in the context of the history of Brazilian education and the implementation of Parfor;-professional- training in the pedagogical training in music and teaching music of the teachers-students reveal their perceptions / social representations about teaching music. The results point to difficulties in the training of these teachers-students in Pedagogy/Parfor related to the teaching music, and, consequently, to the difficulties of being developed more elaborate musical activities in their workplaces. The music is introduced into the work environment of teachers-students through musical activities incorporated in the playtime. The ludic contributes, according to these research subjects, for the children¿s musical development. / Este trabalho pretende refletir sobre as percepções e/ou representações sociais das professoras-estudantes da Pedagogia/Parfor sobre o ensino de Música. Parte-se do pressuposto de que o conhecimento que se adquire no campo da formação e da atuação destes sujeitos, pode tornar significativo o processo de ensino e aprendizagem. Trata-se, neste caso, do ensino de Música, que, a partir da Lei 11.769/08 (BRASIL, 2008), tornou-se conteúdo obrigatório no currículo. A pesquisa se fundamenta em Moscovici (1978), na medida em que sua teoria das representações sociais (TRS) contribui para a análise dos dados coletados, ou seja, para fundamentar as percepções/representações destes sujeitos sobre o ensino de Música. Também, autores como Brito (2003), Bastian (2010), entre outros, deram suporte às questões em torno do ensino de Música. E autores como Nóvoa (1992), Abdalla (2006; 2008; 2009) e Tardif (2012) contribuem para fundamentar a análise dos dados pertinentes à formação de professores. Em relação aos procedimentos metodológicos, a pesquisa se desenvolveu em três etapas. Na primeira foi aplicado um questionário para 43 sujeitos da pesquisa, com questões fechadas, abertas e de evocação junto ao projeto maior integrado ao Centro Internacional de Representações Sociais ¿ CIERS-Ed/FCC; observando-se, porém, que, nesta pesquisa, só foram considerados os dados de perfil destes sujeitos. Na segunda, foi realizado um Grupo Focal com oito (8) professoras-estudantes; e, na terceira fase, foram realizadas entrevistas semiestruturadas com quatro (4) participantes das fases anteriores, aprofundando-se a temática em questão. Apontamos as dimensões de análise: histórico-normativa, em que se levou em conta o ensino de Música no contexto de história da educação brasileira e a implementação do Parfor; formativo-profissional, em que a formação pedagógica em Música e a didática musical das professoras-estudantes nos revelam suas percepções/representações sociais sobre o ensino de Música. Os resultados apontam para as dificuldades na formação destas professoras-estudantes na Pedagogia/Parfor referentes ao ensino de Música, e, consequentemente, para as dificuldades de serem desenvolvidas atividades musicais mais elaboradas em seus ambientes de trabalho. A Música é introduzida no ambiente de trabalho das professoras¿estudantes por meio de atividades musicais incorporadas às brincadeiras. O lúdico, assim, contribui, segundo estes sujeitos de pesquisa, para o desenvolvimento musical das crianças.

Este trabalho teve como objetivo geral investigar as dimensões envolvidas no processo de escolarização da música na educação básica a partir da perspectiva de uma professora. Os objetivos específicos buscaram: identificar conteúdos e estratégias, objetivos e finalidades do ensino de música na escola; identificar as bases que sustentam o processo de seleção e organização dos conteúdos do ensino de música na escola; e analisar as estratégias utilizadas pela professora para realizar suas práticas de ensino de música na escola. O referencial teórico desta pesquisa está fundamentado nos conceitos de escolarização e cultura escolar. O método escolhido foi o estudo de caso, numa abordagem qualitativa. Como unidade de caso, foi escolhida uma professora de música da Rede Municipal de Ensino de Porto Alegre/RS. Os dados foram coletados por meio de entrevistas semiestruturadas, entrevista semiestruturada de estimulação de recordação, observações e análise de documentos. A análise dos dados foi construída a partir de categorias que focalizam a professora, a escola e o processo de ensinar música na Escola. Em cada uma delas, constam dimensões envolvidas no processo de tornar a música objeto de ensino na escola de educação básica. Os resultados da pesquisa sinalizam que é na interação de todas as dimensões que intervêm na prática educativo-musical da professora que a escolarização da música ocorre, o que aponta para múltiplas maneiras de ensinar música na escola. / This work aimed at investigating the dimensions involved in the process of schooling music from the perspective of a music teacher. More specifically, it aimed at: to identify contents and teaching strategies, objectives and purposes of school music teaching; to identify the basis that sustains the process of selecting and organizing the curriculum contents; and to analyze the strategies used by the teacher to perform her music teaching practices in the school. The theoretical framework was constituted by the concepts of schooling and school culture. A qualitative case study with a school music teacher from the municipal educational system of Porto Alegre, RS, southern Brazil, was carried out. Data were collected through semi-structured interviews, semi-structured interviews of stimulation recall, observations and analysis of documents. Data analysis was built from categories that focused on the teacher, the school and the process of teaching music at the school. Each of them reveals dimensions involved in the process of transforming music into something to be taught at the school of basic education. The results show that it is in the interaction of all these dimensions that underlie music education practices that the schooling of music takes place, which suggests multiple ways of teaching music at school.

Este trabalho teve como objetivo geral investigar as dimensões envolvidas no processo de escolarização da música na educação básica a partir da perspectiva de uma professora. Os objetivos específicos buscaram: identificar conteúdos e estratégias, objetivos e finalidades do ensino de música na escola; identificar as bases que sustentam o processo de seleção e organização dos conteúdos do ensino de música na escola; e analisar as estratégias utilizadas pela professora para realizar suas práticas de ensino de música na escola. O referencial teórico desta pesquisa está fundamentado nos conceitos de escolarização e cultura escolar. O método escolhido foi o estudo de caso, numa abordagem qualitativa. Como unidade de caso, foi escolhida uma professora de música da Rede Municipal de Ensino de Porto Alegre/RS. Os dados foram coletados por meio de entrevistas semiestruturadas, entrevista semiestruturada de estimulação de recordação, observações e análise de documentos. A análise dos dados foi construída a partir de categorias que focalizam a professora, a escola e o processo de ensinar música na Escola. Em cada uma delas, constam dimensões envolvidas no processo de tornar a música objeto de ensino na escola de educação básica. Os resultados da pesquisa sinalizam que é na interação de todas as dimensões que intervêm na prática educativo-musical da professora que a escolarização da música ocorre, o que aponta para múltiplas maneiras de ensinar música na escola. / This work aimed at investigating the dimensions involved in the process of schooling music from the perspective of a music teacher. More specifically, it aimed at: to identify contents and teaching strategies, objectives and purposes of school music teaching; to identify the basis that sustains the process of selecting and organizing the curriculum contents; and to analyze the strategies used by the teacher to perform her music teaching practices in the school. The theoretical framework was constituted by the concepts of schooling and school culture. A qualitative case study with a school music teacher from the municipal educational system of Porto Alegre, RS, southern Brazil, was carried out. Data were collected through semi-structured interviews, semi-structured interviews of stimulation recall, observations and analysis of documents. Data analysis was built from categories that focused on the teacher, the school and the process of teaching music at the school. Each of them reveals dimensions involved in the process of transforming music into something to be taught at the school of basic education. The results show that it is in the interaction of all these dimensions that underlie music education practices that the schooling of music takes place, which suggests multiple ways of teaching music at school.

Este trabalho teve como objetivo geral investigar as dimensões envolvidas no processo de escolarização da música na educação básica a partir da perspectiva de uma professora. Os objetivos específicos buscaram: identificar conteúdos e estratégias, objetivos e finalidades do ensino de música na escola; identificar as bases que sustentam o processo de seleção e organização dos conteúdos do ensino de música na escola; e analisar as estratégias utilizadas pela professora para realizar suas práticas de ensino de música na escola. O referencial teórico desta pesquisa está fundamentado nos conceitos de escolarização e cultura escolar. O método escolhido foi o estudo de caso, numa abordagem qualitativa. Como unidade de caso, foi escolhida uma professora de música da Rede Municipal de Ensino de Porto Alegre/RS. Os dados foram coletados por meio de entrevistas semiestruturadas, entrevista semiestruturada de estimulação de recordação, observações e análise de documentos. A análise dos dados foi construída a partir de categorias que focalizam a professora, a escola e o processo de ensinar música na Escola. Em cada uma delas, constam dimensões envolvidas no processo de tornar a música objeto de ensino na escola de educação básica. Os resultados da pesquisa sinalizam que é na interação de todas as dimensões que intervêm na prática educativo-musical da professora que a escolarização da música ocorre, o que aponta para múltiplas maneiras de ensinar música na escola. / This work aimed at investigating the dimensions involved in the process of schooling music from the perspective of a music teacher. More specifically, it aimed at: to identify contents and teaching strategies, objectives and purposes of school music teaching; to identify the basis that sustains the process of selecting and organizing the curriculum contents; and to analyze the strategies used by the teacher to perform her music teaching practices in the school. The theoretical framework was constituted by the concepts of schooling and school culture. A qualitative case study with a school music teacher from the municipal educational system of Porto Alegre, RS, southern Brazil, was carried out. Data were collected through semi-structured interviews, semi-structured interviews of stimulation recall, observations and analysis of documents. Data analysis was built from categories that focused on the teacher, the school and the process of teaching music at the school. Each of them reveals dimensions involved in the process of transforming music into something to be taught at the school of basic education. The results show that it is in the interaction of all these dimensions that underlie music education practices that the schooling of music takes place, which suggests multiple ways of teaching music at school.