The purpose of this study is to shed light on how teachers on the upper secondary Arts with Music programme use movement in their teaching of music, and how they approach movement as an educational tool, by investigating the following three issues: 1. What significance does movement have for teachers on the Arts with Music programme? 2. How do teachers on the Arts with Music programme regard movement as an educational tool in the teaching of music? 3. How do teachers on the Arts with Music programme use movement as educational tool? The methodology used is a combination of focus group interviews and observations. The aim was to connect data collected from focus groups interview with observations in order to look into how things were said by the teachers seemed to be employed in their practice. The values of different cultures and ages and their significance for our choice of methods as teachers, and our view of music and the consequences it has for our role in the learning process are the key areas of this study. I selected to dispose the content in informal and formal learning (Davidsson & Correia, 2002, Lilliestam, 2006), absolute and realtivistic views of musicality (Brändström, 1997), high and low (Klingfors, 2003), nature and culture (Ehn & Löfgren, 1982), male and female (Bouij, 1998, O´Neill 1997; Lenz Taguchi, 2003), mind and body (Gustavsson, 2000; Davidsson & Correia, 2002). The informants maintain that movement could have performance purposes, physical purposes and educational purposes, as a tool in the teaching of music. What I consider the most salient aspect of my study is that although the informants consider movement as important in both teaching and artistic contexts, they did not use it to any significant extent as a teaching aid.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-07-10T15:20:47Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DissertaçãoMatheusBarrosVersaoFinal.pdf: 1464519 bytes, checksum: dee0cc69d64e43016acfa081b97ed5b6 (MD5) / Made available in DSpace on 2017-07-10T15:20:47Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DissertaçãoMatheusBarrosVersaoFinal.pdf: 1464519 bytes, checksum: dee0cc69d64e43016acfa081b97ed5b6 (MD5) Previous issue date: 2016-06-21 / O presente trabalho teve como objetivo compreender como os saberes relacionados às tecnologias digitais de informação e comunicação (TDIC) são construídos pelos professores da licenciatura em música da UFPE. Os objetivos específicos foram identificar quais são os saberes mobilizados pelos professores do curso de Licenciatura em Música da UFPE quando utilizam as TDIC em sua prática pedagógica; identificar nos documentos norteadores da prática pedagógica (projeto pedagógico de curso; programas de disciplina) a presença das TDIC e analisar as concepções dos professores quanto à importância das TDIC na formação docente em Música. O percurso metodológico para atingir esses objetivos incluiu a definição do curso de Licenciatura em Música da UFPE como campo de pesquisa e o Estudo de Casos Múltiplos, com abordagem qualitativa, como estratégia de pesquisa utilizada. Os participantes da pesquisa foram 3 professores integrantes do corpo docente do referido curso, indicados pelos licenciandos como referência na utilização das TDIC em sua prática docente. Esses professores aceitaram participar voluntariamente da pesquisa, sendo denominados Professor A, Professor B e Professor C. Os dados foram coletados através de entrevistas semiestruturadas e análise documental dos programas de disciplina ministradas pelos Professores participantes da pesquisa e dos Projetos Pedagógicos do Curso (Perfil 8804-1 e Perfil 8805). O tratamento desses dados foi feito por meio da técnica de análise de conteúdo de Bardin (2011). Pudemos concluir que os saberes docentes relacionados às TDIC, no contexto da licenciatura em Música da UFPE, são construídos por professores Imigrantes Digitais, o que propicia uma visão e prática instrumentalista da tecnologia sem, no entanto, deixar de reconhecer a importância destas dentro do processo de formação inicial docente em música. Esta visão acaba por não permitir o entendimento da tecnologia como conhecimento específico da música. Os saberes construídos, em sua maioria, podem ser considerados experienciais e são resultado da formação inicial dos docentes, das demandas do corpo discente, que é constituído por nativos digitais, e da documentação que fundamenta suas práticas. / This study aims to understand how knowledge related to digital information and communication technologies (DICT) is constructed by professors of the Music Graduation Course in UFPE. The specific objectives were to identify what is the knowledge mobilized by such professors when using DICT in their practices; to identify the presence of DICT in the guiding documents of pedagogical practices (pedagogical project course; discipline programs), and to analyze the teachers’ conceptions of DICT’s importance to teacher training in music. The methodological approach in order to achieve those goals included the definition of the Bachelor's Degree in Music UFPE as a research field, and Multiple Case Study with a qualitative approach as the employed research strategy. The participants were three members of the faculty professors in that course nominated by undergraduates as a reference in the use of DICT in their teaching practice. These teachers agreed to take part in the study voluntarily, being named Professor A, Professor B and Professor C. Data were collected through semi- structured interviews and documentary analysis of discipline programs taught by professors participating in the research and Pedagogical Course Project (8804- Profile 1 and Profile 8805). The processing of the data was carried out according to Bardin’s content analysis technique (2011). We concluded that the faculty knowledge related to DICT, in the context of the Music Graduation Course at UFPE, is constructed by Digital-Immigrant-Professors, who provide an instrumentalist vision and practice of technology without, however, failing to recognize the importance of those in the process of initial teacher training in music. This view does not allow the understanding of technology as a specific knowledge of music. The knowledge built, in most cases, can be considered experiential and is the result of initial teacher training, the demands of the student body, which is made up by digital natives, and documentation that bases its practices.

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This master thesis deals with socials skills of instrumental music teachers and their development through the VTI method. The theoretical part of the thesis sums up a knowledge of music education psychology, social skills and it outlines VTI method. The empirical chapter of the thesis uses a questionnaire focused on music teachers' attitude to social skills and their development. At the same time it analyses by means of a case-study an appropriate form of VTI intervention in the field of music education. The results of the questionnare research show that teachers perceive social skills as important ones. As well they show that teachers are used to developing their skills by consulting their colleagues, practicing their musical instruments or participating in professional workshops and master classes. The case study shows a possible form of the VTI method intervention. Keywords: social skills, video interaction guidance, music teacher

The purpose of this study was to create a deeper understanding of how music teachers in Sweden interpret the phenomenon equal assessment. The purpose was also to investigate how music teachers practice equal assessment in the classroom. To achieve this a phenomenographic analysis of qualitative interviews with four music teachers. All of these participants were work at various upper-level lower secondary schools in southern Sweden. The results of the study show that the participants see challenges in carrying out an equivalent assessment in the music subject. Co-assessment is seen as a relevant approach to promoting equivalent assessment. The results show, however, that there are problems with co-assessment. One problem that is raised in the study’s result is the fact that music teachers are often alone in their subject competence and can therefore not discuss with colleagues. The participants also experience difficulties in assessing instruments outside their own instrument competence in an equivalent way. The results of the study show that formative assessment is used to give students the opportunity to achieve as high grades as possible during the work process at the individual level. Formative assessment is also described as part of the work with student health, which in turn promotes an equivalent education. In previous research, teachers' “gut feeling” is described as a problem in the equivalent assessment work, as it is considered to be substantiated by subjectivity. The results show, however, that gut feeling is seen as one of the music teacher's most important tools in teaching and that it should not be seen as subjective opinion but rather part of the music teaching profession.

Äldre litteratur har visat att talkonsten kan användas för att övertyga sina åhörare. En väsentlig del i läraryrket är att göra sig förstådd hos elever och studenter. I denna studie undersöktes det hur musiklärare använde sig av retoriska grepp i sin undervisning samt hur deras elever uppfattade musiklärarnas retorik. Studien genomfördes genom observering av musiklärarnas lektioner, därefter intervjuades deras elever. Resultatet visade att musiklärarna använde rösten på olika sätt, via övertygelse, tempo, betoningar och pauser, för att framföra sitt budskap. Studien visade att elevernas förståelse för ämnet kan påverkas genom att läraren anpassar sitt sätt att tala. / In the olden literature it has been shown that the art of speech can be used to convince its listeners. An essential part of the teaching profession is to make oneself understood by pupils and students. This study examines how music teachers use rhetorical devices in their teaching and how their students perceive the music teachers' rhetoric. The study was conducted by observing the music teachers' lessons, afterwards their students were interviewed. The results show that music teachers use their voice in different ways, through conviction, tempo, strategic emphases and pauses for effect, to convey their message. The study shows that students' understanding of the subject can be influenced by the teacher adapting his or her way of speaking.

The purpose of the study was to examine general music teachers’ practices of cooperative learning in two elementary music classrooms. Using the intrinsic case study method, I examined elementary general music teachers’ perspectives on cooperative learning, the utilization of cooperative learning in their general music classrooms, and the challenges the music educators faced in creating and implementing cooperative learning. I selected one general music classroom in two elementary schools in Boston, Massachusetts—totaling two general music teachers from different schools. I conducted eight class observations and three interviews for each participant during the fall 2016 semester. From separate and cross-case analyses, I found the following: (1) the two teachers’ instructions were linked to the characteristics of cooperative learning, (2) they believed that cooperative learning provided opportunities to improve students’ academic development in music and promote positive interpersonal relationships, and (3) both teachers used their own strategies for cooperative learning in order to maximize students’ learning. These findings provided evidence that cooperative learning engaged students in the process of learning music and, in addition, fostered positive interpersonal relationships. Moreover, this study suggested that music educators might undertake an effort to thoroughly understand students’ cognitive development when they wish utilize cooperative learning. Although this study was subject to a number of limitations due to its scope, the findings may contribute to the body of research on cooperative learning in elementary music education.

Studiens syfte är att undersöka klassiska sångpedagogers upplevelser av distansundervisning i enskilda lektioner i klassisk sång. Fyra pedagoger som är verksamma vid gymnasieskolor i Stockholm har intervjuats. Den sociokulturella teorin har använts i studien som teoretiskt perspektiv. Studiens resultat visar att undervisningen på distans inte kan bedrivas på samma sätt som traditionell undervisning i klassrum. Musikaliskt samspel mellan pedagog och elev är svårt med de verktyg som används i dag vid distansundervisning. Den kontinuitet som undervisningen på distans har möjliggjort under Covid-19-pandemin har varit en positiv aspekt då pedagogerna utforskat andra sätt att arbeta med eleverna under distansundervisningen. Andra studier visar också på svårigheter med samspel mellan pedagog och elev och belyser vikten av fortsatt forskning inom området. Det behövs mer forskning inom området för att utveckla de arbetssätt och verktyg som används vid musikundervisning på distans. / The purpose of this study is to explore classical singing teacher’s experiences of remote teaching in one-to-one lessons in classical singing. Four singing teachers who are active pedagogues at high schools in Stockholm have been interviewed. The sociocultural theory has been applied to this study as the theoretic perspective. The result of the study shows that teaching classical singing in remote cannot be taught as it’s taught on location. This is due to the difficulty for musical interaction during distance teaching when using today’s technology. The continuity which remote teaching has allowed during the Covid-19 pandemic is seen as a positive aspect due to teachers exploring other ways of teaching their students remotely. More research on this subject is needed to develop the work procedure and the tools that are used in remote teaching. Other studies also highlight the difficulties of musical interaction between teachers and students during remote teaching and stress the need of further research within the field.

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