The aim of this study is to create an understanding of how music teachers’ experience playing music by heart and how they experience that playing by heart may affect the students when they play music. The empirical material was based on semi-structured interviews with five music teachers from Sweden’s Art and Music Schools (kultur- eller musikskolor in Swedish). A hermeneutic perspective was used as a theoretical framework in order to analyze music teachers’ experience. The results of this study showed that music teachers’ experience of playing music by heart conduct a greater attention to listening and presence. Playing by heart can lead to improvement of playing with others and it may also increase students’ practice. There are different expectations regarding playing music by heart due to genre and instrument. In pop, rock, jazz and piano and also professional musicians there are expectations of playing music by heart. Students’ motivation may be helped by playing music by heart because several students’ have a problem with reading sheet music. This study shows that the experience of a students’ performance is perceived more positively when playing by heart, but it depends on the genre and instrument and their expectations. The understanding of how music teachers’ experience of playing music by heart is the conclusion that the traditions of music influence the music teachers’ perception of the possibilities of their students’ playing music by heart. Most of the student’s prefer playing music by heart rather than reading sheet music. Further conclusions are that music education should be adapted to each and every student due to some students prefer playing by heart and other prefer reading sheet music. By adapting the music education, it enables the students to playing music with joy. Plying music by heart may promote a feeling for the students of “here I am” and “I can do this”.

The purpose of the study was:1. To develop an inventory of music teacher roles which pertained to the setting, community schools of the arts (CSAs).2. To discover how music teachers perceive their actual job roles vs. their ideal job roles in CSAs.An instrument was structured using the roles found in the work of Onderdonk (1995), Barnes (1972), Moller (1981), White (1964), and input from experts. Roles were categorized into three areas: community, school, and professional. The population of teachers was drawn from member schools of the National Guild of Community Schools of the Arts (NGCSA) for the year 2005-2006. The final study population consisted of 139 CSA teachers from 16 schools across the USA.Overall, teachers indicated that roles in the professional category were and should be performed more often than community and school roles. The school and community categories were deemed equal to each other (actually and ideally). Teachers indicated that community, school, and professional roles in CSAs were complex, consisting of 31 roles (7 community, 10 school, and 14 professional). A ranked and tiered inventory of the 31 valid roles and a portrait of the CSA music teacher were created. As an aggregate, teachers ideally desired to increase the frequency with which they performed the following roles: Advocate, Attendee of Faculty/Committee Meetings, Attendee of School Activities, Performer/Demonstrator/Coach, and Student/Lifelong Learner. As an aggregate, teachers desired to decrease the frequency with which they performed the role of School Leader. Teachers indicated balance in regard to modeling, performing, parental education, discipline, tradition, and leadership.Implications for CSA administrators, personnel of the National Guild of Community Schools of the Arts, teacher educators and trainers, and future research include: finding paths to develop part-time leaders, developing content for coursework and professional development specific to CSA teachers, and promoting awareness that investment in current/future teachers should be given similar value and energy to fundraising efforts. In order to educate/train future CSA teachers, coursework which includes preparation as instrumental/pedagogical experts, as well as content which provides training in educational philosophy, history, curriculum development, role modeling, culture, and technology were recommended.

Mokymo individualizavimo idėjos, tai susilpnėdamos, tai išryškėdamos, įvairiais aspektais pasireiškia skirtingose šalyse atspindėdamos pažangią ugdymo mintį bei praktiką. Išanalizavus literatūrą, buvo pastebėta, jog individualių užsiėmimų metu mokant vaikus groti instrumentu, individualizavimo problema yra mažai tyrinėta. Nebuvo rasta duomenų, kaip individualizavimo idėjos įgyvendinamos muzikos mokyklose, bendrojo fortepijono pamokose. Tyrimo tikslas – nustatyti individualizavimo principo taikymo bendrojo fortepijono pamokose ypatumus ir galimybes. Tyrimo objektas – individualizavimo principo taikymas bendrojo fortepijono pamokose. Tyrimo metodas – anketinė apklausa ir jos duomenų interpretacija. Siekiant išsiaiškinti kaip taikomas individualizavimo principas mokant vaikus groti bendro fortepijono pamokose B.Dvariono dešimtmetėje muzikos mokykloje buvo atlikta anketinė apklausa. Tyrime dalyvavo 20 Fortepijono skyriaus mokytojų ir 50 įvairaus amžiaus ir skirtingų specialybių mokinių, turinčių vieną privalomą, pusės akademinės valandos trukmės, bendrojo fortepijono pamoką. Apibendrinus apklausos rezultatus paaiškėjo, kad mokiniai demonstruoja pakankamai aukštą mokymosi groti fortepijonu motyvaciją. Atsiskleidė, kad mokiniai neturi savarankiško darbo įgūdžių ir nedemonstruoja noro groti savarankiškai. Dauguma mokinių norėtų reikštis aktyvioje koncertinėje veikloje, tačiau realių galimybių tam maža – pedagogai nedemonstruoja pakankamo pasitikėjimo mokinių galimybėmis... [toliau žr. visą tekstą] / The ideas of education individualization are weaker or stronger appearing in various ways in different countries and they indicate advanced practices and minds. The analysis of the literature showed that individualization problem in student’s individual lessons with music instrument has been little researched. There was not found any data how principles of individualization are implemented in the general piano lessons at music schools. Research Target – The determination of peculiarity and potential possibilities of applying principle of individualization in the general piano lessons. Research Object- The principle of individualization in the general piano lessons. Research Method- The survey with the questionnaire and interpretation of the data collected. There was conducted a survey at Vilnius Balys Dvarionas decennary School of Music to find out how principle of individualization is applied in the general piano lessons. The survey was of a questionnaire type. There participated 20 teachers from piano department and 50 schoolchildren of various ages and specializations in survey. Each student had mandatory lesson of general piano once in a week which lasted half of academic hour. The results of the analysis of the student’s questionnaire showed that there is high level of motivation to learn to play with the piano. There was revealed that students do not have the skills for independent work neither have they demonstrated wishes to play independently. Major part of the... [to full text]

Darbe aptariami paauglių muzikos mokymosi motyvaciją lemiantys veiksniai, jų įtaka miesto ir rajono muzikos mokyklose. Baigiamojo darbo tikslas - atskleisti veiksnius, lemiančius muzikos mokymosi motyvaciją miesto ir rajono muzikos mokyklose. Darbo tikslui pasiekti buvo iškelti šie uždaviniai: 1) pristatyti ir apžvelgti muzikos mokymosi motyvacijos sampratą; 2) apibūdinti paauglių muzikinio ugdymo problemas; 3) išskirti muzikos mokymosi veiksnius, turinčius įtakos miesto ir rajono mokinių motyvacijai mokytis muzikos; 4) palyginti miesto ir rajono muzikos mokyklų paauglių motyvaciją groti pasirinktu instrumentu. Tyrimo objektas - veiksniai, lemiantys mokinių muzikos mokymosi motyvaciją miesto ir rajono muzikos mokyklose. Tyrimas atliktas Mažeikių mieste ir rajone, tai Mažeikių Vytauto Klovos muzikos mokykloje bei Mažeikių Vytauto Klovos muzikos mokyklos skyriuose – Laižuvos, Sedos bei Židikų skyriuose. Tyrime dalyvavo 120 respondentų iš miesto ir rajono muzikos mokyklų. Tyrimas vyko anketavimo metodu, kuriuo buvo siekta sužinoti kaip darbe nagrinėti veiksniai įtakoja miesto ir rajono muzikos mokyklų paauglių motyvaciją mokytis muzikos. Išanalizavus muzikinio ugdymo ir motyvacijos literatūros šaltinius, išnagrinėjus veiksnių įtaką paauglių muzikos mokymosi motyvacijai bei atlikus miesto ir rajono muzikos mokyklų paauglių motyvacijos groti pasirinktu instrumentu lyginamąją analizę galima daryti šias bakalaurinio darbo išvadas: 1) Motyvacija išskiriama į dvi pagrindines grupes:... [toliau žr. visą tekstą] / The BA paper focusses at discussing the factors which determine teenagers’ motivation to learn music in city and district music schools. The aim of the present paper is to identify the factors contributing to motivation to learn music in city and district music schools. To this purpose, the following tasks were set out: 1) to present the conception of motivation to learn music; 2) to name the problems of music education of teenagers; 3) to single out the factors which have an impact on the motivation of city and district pupils to learn music; 4) to compare the motivation of teenage pupils to play a musical instrument in a city music school with motivation in a district music school. The subject matter of the study is factors determining the motivation of pupils to learn music in city and district music schools. A survey was conducted in the Mažeikiai city and district – the Mažeikiai Vytautas Klova Music School and the branches of the school in Laižuva, Seda and Židikai. Questionnaires were administered to 120 pupils at the city and district music schools to determine how the factors analysed in the paper influence the motivation of teenage pupils to learn music. The review of the literature on music education and motivation, assessment of the influence of factors on teenagers’ motivation to learn music and comparative analysis of motivation of pupils at the city and district music schools to play the musical instrument suggest the following conclusions: 1) motivation is... [to full text]

Este trabalho teve como objetivo geral investigar os sentidos da Educação Profissional Técnica de Nível Médio (EPTNM) para os alunos do Centro de Educação Profissional em Música Walkíria Lima (CEPMWL), instituição pertencente à Rede Pública de Ensino do Estado do Amapá. Os objetivos específicos buscaram compreender os motivos que levam os alunos a buscar um curso técnico em música, analisar as expectativas dos alunos acerca da EPTNM em música e conhecer as contribuições do curso para seu alunado. O referencial que conduziu esta pesquisa inclui as bases legais da EPT e conceitos de profissionalização nelas expressos, as discussões em torno da formação profissional em música no contexto das instituições específicas de música e a definição de sentido segundo a perspectiva teórica de Bernard Charlot. O método utilizado foi o estudo de caso qualitativo, tendo os alunos do CEPMWL como unidade de caso. Os dados foram coletados por meio de entrevistas semiestruturadas com 13 alunos matriculados em diferentes etapas do curso. Os dados coletados foram analisados e organizados em três grandes categorias, que se constituem como instâncias de sentidos da EPTNM em música para os entrevistados: o sentido institucional, o sentido da formação e o sentido da inserção e atuação profissional. Os resultados desta pesquisa poderão contribuir para discussões acerca das políticas públicas voltadas à inserção e atuação profissional em música e para que a área de educação musical possa refletir sobre o ensino de música no nível profissional, ressignificando percursos e práticas formativas e buscando ampliar a articulação entre o disposto na legislação e as perspectivas dos estudantes, a quem se destinam os cursos de formação profissional. / This work aimed at investigating the meanings of the Professional Technical Education (EPTNM) for the students of the Center of Professional Music Education Walkíria Lima (CEPMWL), a music school belonging to the Public School System of the State of Amapá, northern Brazil. More specifically, it aimed to understand the reasons that lead students to look for the technical course in music, to analyze the students‟ expectations about the EPTNM in music, and to identify how the course contributes to the student‟s professional education in music. The theoretical framework is constituted by the legal basis that regulates professional technological education in Brazil and its concepts of professionalization, ideas about professional education in music in the Brazilian institutions, as well as the definition of meaning according to the theoretical perspective of Bernard Charlot. A qualitative case study with thirteen enrolled students in the EPTNM music courses of CEPMWL was carried out. Data were collected through semi-structured interviews. The collected data were organized and analyzed in three broad categories, that stand as instances of meanings of the EPTNM in music for the students: the meaning of the institution, the meaning of education as a process of lifelong learning, and the meaning of the insertion and activity in the professional market. The results of this study can contribute to broaden the discussions about public policies of professionalization in music. They can also encourage the area of music education to reflect on the curricula and practices of music teaching at a professional level, searching for broadening the relationship between the EPTNM legislation in music and the students‟ perspectives, for whom the professional courses are intended.

Föreliggande studies syfte är att få insikt i vad som påverkar elevers val av tvärflöjt och fortsatta spelande i musik- och kulturskolan.I bakgrundskapitlet presenteras forskning om musik- och kulturskolor samt tidigare forskning kring barn- och ungdomars instrumentval. Som teoretisk utgångspunkt användspositivism. Sammanlagt 97 respondenter i åldrarna 7–22 år genomförde en tvärsnittsdesignad webbenkät. Resultatet har analyserats med en univariat analys där en variabel studerats i taget. I resultatet framkommer det att de största påverkansfaktorerna till att elever valt att spela tvärflöjt är instrumentprovdagar och att känna någon som spelar tvärflöjt. Vidare visar resultatet att det eleverna önskar ha mer av i musik- och kulturskolan är att få möjlighet att spela med andra i band eller orkester. I diskussionen lyfts fem teman upp: genus och instrumentvalet, betydelse av sociala sammanhang, instrumentets egenskaper, förebilders påverkan och lärarens betydelse. / The purpose of the present study is to gain insight into what influencesstudents´ choice of flute and continued participation in Swedish community music schools. Research on community music schools as well as the factors influencinginstrument choice among children and youths are presented in the background section. Positivism was applied as a theoretical lens for the present study. A total of 97 participants ranging from 7 to 22 years of age, filled out a cross sectional websurvey. The result has been analyzed with a univariate analysis where one variable is studied at a time.The results revealed that instrument trial days and knowing someone who plays flute were the most important factors determining the student´ perference for flute playing. Furthermore, the results revealed that students requested more frequent oportunities to play with others in bands or orchestras. In the discussion, five themes are raised: gender and instrument selection, importance of social contexts, the characteristics of the instrument, the impact of role models and the importance of the teacher.

Made available in DSpace on 2016-12-08T17:06:47Z (GMT). No. of bitstreams: 1 122570.pdf: 1814693 bytes, checksum: 7bf53bcfef55199686336de35a5af10c (MD5) Previous issue date: 2015-03-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper sought to trace the didactics characteristics used by acoustic guitar teachers in music schools in Santa Catarina. So the research was divided in three sequential stages: 1) An exploratory study that listed, through emails, phones and internet search, the municipalities where there are music schools, the ones where there are not, and those where there are music projects taking place; 2) A questionnaire survey was sent to 1:2 sample of municipalities with music schools through Google Docs, receiving a rate of replies that could indicate a range of municipalities and music schools that were taken as a context to select teachers for a case study; 3) A case study, through guided interviews, with twelve male and one female teachers. It was observed the social situation of the acoustic teachers interviewed, mostly man, with a parallel performance career, lacking professional value and having a clientele mainly focused on learning a hobby as commonalities. The adaptation to the student s profile, along with a teaching focused on instrumental development, is in many times not fully desired, but anyway influent in all the components of the teaching cycle analyzed through the theoretical framework from Piletti (2011) and Haydt (2011), and aims at the motivation for the student to remain enrolled. / Neste trabalho objetivou-se traçar as características da didática utilizada por professores de violão em escolas de música de Santa Catarina. Para tanto, o trabalho se subdividiu em três etapas sequenciais: 1) Um estudo exploratório que elencou, através de e-mails, telefones e consultas à Internet, os municípios com escolas de música, os sem escolas de música e aqueles em que há projetos de música; 2) Um survey no qual, a partir de uma amostragem de 1:2 nos municípios com escolas de música, se enviou um questionário através do Google Docs, obtendo-se uma taxa de respondentes que pôde indicar uma gama de municípios e escolas de música que foram tomadas como contexto para a seleção de professores para o estudo de caso; 3) Um estudo de caso, realizados através de entrevistas baseadas num roteiro, com doze professores e uma professora. Detectou-se a situação social dos professores de violão entrevistados, majoritariamente do sexo masculino, com carreira artística paralela, tendo um contexto de carência de valorização profissional e uma clientela principalmente voltada para o aprendizado de um hobby como pontos comuns. A adequação ao perfil do aluno, ao lado de um ensino voltado para a formação instrumental, é, muitas vezes, não totalmente desejada, mas, de qualquer forma, influente em todos os componentes do ciclo-docente, analisados à luz dos referenciais teóricos escolhidos, quais sejam Piletti (2011) e Haydt (2011), e visa à motivação para que o aluno permaneça matriculado.

Este trabalho teve como objetivo geral investigar os sentidos da Educação Profissional Técnica de Nível Médio (EPTNM) para os alunos do Centro de Educação Profissional em Música Walkíria Lima (CEPMWL), instituição pertencente à Rede Pública de Ensino do Estado do Amapá. Os objetivos específicos buscaram compreender os motivos que levam os alunos a buscar um curso técnico em música, analisar as expectativas dos alunos acerca da EPTNM em música e conhecer as contribuições do curso para seu alunado. O referencial que conduziu esta pesquisa inclui as bases legais da EPT e conceitos de profissionalização nelas expressos, as discussões em torno da formação profissional em música no contexto das instituições específicas de música e a definição de sentido segundo a perspectiva teórica de Bernard Charlot. O método utilizado foi o estudo de caso qualitativo, tendo os alunos do CEPMWL como unidade de caso. Os dados foram coletados por meio de entrevistas semiestruturadas com 13 alunos matriculados em diferentes etapas do curso. Os dados coletados foram analisados e organizados em três grandes categorias, que se constituem como instâncias de sentidos da EPTNM em música para os entrevistados: o sentido institucional, o sentido da formação e o sentido da inserção e atuação profissional. Os resultados desta pesquisa poderão contribuir para discussões acerca das políticas públicas voltadas à inserção e atuação profissional em música e para que a área de educação musical possa refletir sobre o ensino de música no nível profissional, ressignificando percursos e práticas formativas e buscando ampliar a articulação entre o disposto na legislação e as perspectivas dos estudantes, a quem se destinam os cursos de formação profissional. / This work aimed at investigating the meanings of the Professional Technical Education (EPTNM) for the students of the Center of Professional Music Education Walkíria Lima (CEPMWL), a music school belonging to the Public School System of the State of Amapá, northern Brazil. More specifically, it aimed to understand the reasons that lead students to look for the technical course in music, to analyze the students‟ expectations about the EPTNM in music, and to identify how the course contributes to the student‟s professional education in music. The theoretical framework is constituted by the legal basis that regulates professional technological education in Brazil and its concepts of professionalization, ideas about professional education in music in the Brazilian institutions, as well as the definition of meaning according to the theoretical perspective of Bernard Charlot. A qualitative case study with thirteen enrolled students in the EPTNM music courses of CEPMWL was carried out. Data were collected through semi-structured interviews. The collected data were organized and analyzed in three broad categories, that stand as instances of meanings of the EPTNM in music for the students: the meaning of the institution, the meaning of education as a process of lifelong learning, and the meaning of the insertion and activity in the professional market. The results of this study can contribute to broaden the discussions about public policies of professionalization in music. They can also encourage the area of music education to reflect on the curricula and practices of music teaching at a professional level, searching for broadening the relationship between the EPTNM legislation in music and the students‟ perspectives, for whom the professional courses are intended.

Este trabalho teve como objetivo geral investigar os sentidos da Educação Profissional Técnica de Nível Médio (EPTNM) para os alunos do Centro de Educação Profissional em Música Walkíria Lima (CEPMWL), instituição pertencente à Rede Pública de Ensino do Estado do Amapá. Os objetivos específicos buscaram compreender os motivos que levam os alunos a buscar um curso técnico em música, analisar as expectativas dos alunos acerca da EPTNM em música e conhecer as contribuições do curso para seu alunado. O referencial que conduziu esta pesquisa inclui as bases legais da EPT e conceitos de profissionalização nelas expressos, as discussões em torno da formação profissional em música no contexto das instituições específicas de música e a definição de sentido segundo a perspectiva teórica de Bernard Charlot. O método utilizado foi o estudo de caso qualitativo, tendo os alunos do CEPMWL como unidade de caso. Os dados foram coletados por meio de entrevistas semiestruturadas com 13 alunos matriculados em diferentes etapas do curso. Os dados coletados foram analisados e organizados em três grandes categorias, que se constituem como instâncias de sentidos da EPTNM em música para os entrevistados: o sentido institucional, o sentido da formação e o sentido da inserção e atuação profissional. Os resultados desta pesquisa poderão contribuir para discussões acerca das políticas públicas voltadas à inserção e atuação profissional em música e para que a área de educação musical possa refletir sobre o ensino de música no nível profissional, ressignificando percursos e práticas formativas e buscando ampliar a articulação entre o disposto na legislação e as perspectivas dos estudantes, a quem se destinam os cursos de formação profissional. / This work aimed at investigating the meanings of the Professional Technical Education (EPTNM) for the students of the Center of Professional Music Education Walkíria Lima (CEPMWL), a music school belonging to the Public School System of the State of Amapá, northern Brazil. More specifically, it aimed to understand the reasons that lead students to look for the technical course in music, to analyze the students‟ expectations about the EPTNM in music, and to identify how the course contributes to the student‟s professional education in music. The theoretical framework is constituted by the legal basis that regulates professional technological education in Brazil and its concepts of professionalization, ideas about professional education in music in the Brazilian institutions, as well as the definition of meaning according to the theoretical perspective of Bernard Charlot. A qualitative case study with thirteen enrolled students in the EPTNM music courses of CEPMWL was carried out. Data were collected through semi-structured interviews. The collected data were organized and analyzed in three broad categories, that stand as instances of meanings of the EPTNM in music for the students: the meaning of the institution, the meaning of education as a process of lifelong learning, and the meaning of the insertion and activity in the professional market. The results of this study can contribute to broaden the discussions about public policies of professionalization in music. They can also encourage the area of music education to reflect on the curricula and practices of music teaching at a professional level, searching for broadening the relationship between the EPTNM legislation in music and the students‟ perspectives, for whom the professional courses are intended.

This essay is about the municipal music and culture schools’ teaching of students during their ordinary school day in elementary schools. There is a debate going on concerning if it is according to the law or not when students leave their class to get instrumental or song lessons. The music and culture schools has been teaching students in their ordinary schooldays since a long time in Sweden and my intention is to examine the attitudes for or against music teaching in ordinary schooldays. For this purpose, I choose to interview principals and teachers from elementary schools in different parts of Sweden. There are differences between the schools in my examination according to size and if they are situated in a city or in the countryside. Common to all the choosen schools is that they all have students leaving their scheduled school day for instrumental or song lessons. The result of this examine is not clear but shows differences between the schools concerning the principals’ and teachers’ attitudes for or against music lessons during the school day. A tendency I notice is that the principals and teachers in countryside schools are more positive than those in the city schools. The result does not show a generalized image of attitudes when my selection is too small but shows an image of each of the principals and teachers’ attitudes about music and culture school teaching. At the end I am discussing the uncertainty that is present in the schools about how to relate to culture schools’ teaching of students during their ordinary school day. From the government and the inspecting authority, the frames are conflicting with each other and causes this uncertainty in how to act. / Uppsatsen handlar om de kommunala musik- och kulturskolornas undervisning av elever under ordinarie skoldag i grundskolan. Skolinspektionen utfärdar ett vite om 500 000 kronor i juni 2019 gentemot Gislaveds kommun eftersom musikskolan där undervisar under skoltid. Elever som går ifrån ordinarie undervisning riskerar att inte nå målen i skolan menar Skolinspektionen och att sådan frånvaro strider mot skollagen. Musik- och kulturskolorna har under lång tid undervisat vissa elever under deras ordinarie skoldag och för att ta reda på attityderna för eller emot detta har jag valt att intervjua rektorer och lärare i grundskolan. Skolorna som blir föremål för mina intervjuer ligger i olika delar av landet och uppvisar skillnader i storlek och om de ligger i tätort eller på landsbygden. Alla skolorna har det gemensamt att de har elever som går till sin kulturskolelektion på skoltid. Syftet är att undersöka hur grundskolans rektorer och lärare ser på kulturskolornas närvaro under skoldagen, och om hur de ställer sig till att elever går till sina kulturskolelektioner under ordinarie skoltid. Resultatet av undersökningen är inte entydigt utan visar på en splittring mellan skolorna i hur rektorer och lärare ser på kulturskolornas undervisning under skoldagen. Tendensen är att man i glesbygdsskolor är mer positiv och i tätort mer negativ till kulturskoleundervisning på skoltid. Arbetet ger ingen generell bild av attityder eftersom urvalet är för litet men det ger en bild av de enskilda rektorernas och lärarnas attityder till kulturskoleundervisning på skoltid. I diskussionen diskuterar jag den osäkerhet som råder kring hur man i skolan kan förhålla sig till kulturskoleundervisning på skoltid. Ramarna för hur skolorna kan agera är motstridiga med regering och inspekterande myndighet som resonerar olika i frågan.