Made available in DSpace on 2017-07-21T20:31:34Z (GMT). No. of bitstreams: 1 Egon Eduardo Sebben.pdf: 1754219 bytes, checksum: 34532e318099a98f37b3689897537ddb (MD5) Previous issue date: 2017-02-21 / The present work has as general objective to analyze the teaching activity of teachers of Music of Basic Education in the State of Paraná, problematizing the relationship between formation and practice and considering the public policies for the teaching of Art and Music in the educational reality of capitalist society. As specific objectives were defined: to analyze, through the curricula, the proposals of teacher training of courses of Music Teaching of State Universities at Paraná State; Analyze how graduates evaluate their training; To investigate in what way the teaching practice of the graduates has been constituted, specifically in the schools of Basic Education; To deepen studies on the potential of humanization through Art from the explanation of Marxian concepts. The research is based on the theoretical and methodological assumptions of historical and dialectical materialism, with Marx, Engels, Lukács and Vázquez as the main authors, as well as the works of Lessa, Tonet, Martins, Moraes, Saviani and Pimenta, which support the theoretical-empirical analyzes and seek to understand the object in the face of the broader conditioning of society. The particularities of Art and Music education are discussed based on the researches of Penna, Subtil, Peixoto, Figueiredo, França and others. The field of research was delimited to four Music Teaching courses of state universities of Paraná - Escola de Música e Belas Artes do Paraná (EMBAP), Faculdade de Artes do Paraná (FAP), Universidade Estadual de Maringá (UEM) e Universidade Estadual de Ponta Grossa (UEPG). The data are composed of documentary sources, represented by the political-pedagogical projects of the Music Teaching courses investigated and graduated from the courses, acting as teachers in Basic Education in the following modalities: Art Discipline; Discipline of Music and Music Project. The data were collected through an open questionnaire. From the data, the analysis argues that the educational policies, training in Music teaching courses and teachers' teaching practice ultimately respond to the imperatives of the market and capital. The research indicates that teacher training and practice have been appropriate elements oriented to utilitarianism and pragmatism and postmodern elaborations, which also reflects the theoretical appropriations carried out by the field of Music Education in general. Such findings show that Teacher Training courses lack broader sociohistorical theories that support the artistic, aesthetic and pedagogical interpretation of the students. In this perspective, the courses need to be understood as a mediation element for the elevation of the teacher's training and teaching practice to the condition of teaching praxis and as spaces of resistance and political formation, based on the conscience of práxis. It is from the dialectical relation between the singularity of Music, the particularity of the training courses and the universality of the Art, having as mediator the praxis, that the research argues about the possibility of concrete advances for the area of Music education. / O presente trabalho tem como objetivo geral analisar a atividade docente de professores de Música da Educação Básica no Estado do Paraná, problematizando a relação entre formação e prática e considerando as políticas públicas para o ensino de Arte e Música na realidade educacional da sociedade capitalista. Como objetivos específicos foram definidos: analisar, por meio dos currículos, as propostas de formação de professores de cursos de Licenciatura em Música de Universidades Estaduais do Paraná; Analisar como os egressos dos cursos avaliam sua formação; Investigar de que maneira tem se constituído a prática docente dos egressos, especificamente nas escolas de Educação Básica; Aprofundar estudos sobre a potencialidade de humanização pela Arte a partir da explicitação de conceitos marxianos. A pesquisa se fundamenta nos pressupostos teórico-metodológicos do materialismo histórico e dialético, tendo como autores principais Marx, Engels, Lukács e Vázquez, assim como os trabalhos de Lessa, Tonet, Martins, Moraes, Saviani e Pimenta, os quais dão suporte às análises teórico-empíricas e buscam compreender o objeto frente aos condicionamentos mais amplos da sociedade. As particularidades da Arte e da Educação musical são discutidas com base nas pesquisas de Penna, Subtil, Peixoto, Figueiredo, França entre outros. O campo de pesquisa foi delimitado a quatro cursos de Licenciatura em Música de universidades estaduais do Paraná – Escola de Música e Belas Artes do Paraná (EMBAP), Faculdade de Artes do Paraná (FAP), Universidade Estadual de Maringá (UEM) e Universidade Estadual de Ponta Grossa (UEPG). Os dados são compostos de fontes documentais, representadas pelos projetos político-pedagógicos dos cursos de Licenciatura em Música investigados e egressos dos cursos, atuantes como professores na Educação Básica nas seguintes modalidades: Disciplina de Arte; Disciplina de Música e Projeto de Música. Os dados foram coletados por meio de questionário de perguntas abertas. A partir dos dados, as análises apresentam subsídios para argumentar que as políticas educacionais, a formação nos cursos de Licenciatura em Música e a prática docente dos professores respondem, em última instância, aos imperativos do mercado e do capital. A pesquisa indica que formação e prática docente têm se apropriado de elementos voltados ao utilitarismo e pragmatismo e às elaborações de cunho pós-moderno, o que reflete igualmente as apropriações teóricas realizadas pelo campo da Educação Musical em geral. Tais constatações mostram que as licenciaturas carecem de teorias sócio-históricas mais amplas que fundamentem a interpretação artística, estética e pedagógica dos professores. Nessa perspectiva, os cursos necessitam ser compreendidos como elementos de mediação para a elevação da formação e prática docente do professor de Música à condição de práxis docente e enquanto espaços de resistência e formação política, tendo como fundamento a consciência da práxis. É a partir da relação dialética entre a singularidade da Música, a particularidade dos cursos de formação e a universalidade da Arte, tendo como mediadora a práxis, que a pesquisa argumenta sobre a possibilidade de avanços concretos para a área da educação musical.

The purpose of this study was twofold: (a) Examine successful choral director beliefs about warm-ups and their successful practices in conducting warm-ups, and (b) examine the relationship of musical background, choral training and music teaching style of high school choral directors upon these beliefs and practices. Subjects were 365 high school choral directors from 28 states. Data were analyzed using descriptive analysis, correlation analysis, multivariate analysis of variance and multiple regression. Results indicated choral director's beliefs and practices differ as a function of musical back-ground, demographic characteristics, choral conducting training, and music teaching styles. Specifically, warm-up beliefs were predicted by knowledge of vocal health and variety of warm-ups. Conversely, those who relied on the warm-up time for discipline and focusing attention showed a significant negative relationship with their philosophy. From multiple regression analysis, doing choral warm-ups accounted for one-third of a director's overall success, predicted by 10 variables: (a) experience, (b) education, (c) teaching style teacher-directed performance, (d) teaching style deep-student learning, (e) warm-up literature and procedure, (f) planning warm-ups (g) warm-up content, (h) prior choral experience and piano background, (i) a foundation in music, and (j) a developed philosophy of choral warm-ups. However, having a philosophy about warm-ups did not predict successful teaching practices.

Detta arbete består av en undersökning om hur en musiklärare och en idrottstränare jobbar med deras elever respektive spelare inför en prestation. Undersökningen inkluderar också hur musikläraren och idrottstränaren jobbar med efterarbetet av en prestation. Genom kvalitativa intervjuer och observationer har jag undersökt deras olika metoder. Resultaten visar att både musikläraren och idrottstränaren jobbar aktivt med både förberedelden och efterarbetet av prestationen. Det finns många likheter och olikheter i deras undervisningsprocess som kommer fram i resultaten. Men det går inte utifrån resultaten att dra några generella slutsater som likheter och olikheter för arbete med prestationer inom musik respektive sport. / This essay contains of a study on how a music teacher and a sports coach are working with their students and players before an achievement. The study also includes the music teacher and sports coach tuition with the after work of an achievement. I have investigated their different methods through qualitative interviews and observations. The results show that both the music teacher and sports coach works diligent with both the before and after work of an achievement. Many similarities and differences in their tuition process are shown in the results. However, based on the results of the study you cannot draw any general conclusions on how the work of an achievement differs between music and sport.

Der vorliegende Text verbindet drei Dinge: einen V e r g l e i c h von Bildungsgängen für Musiklehrer an allgemein bildenden Schulen in Europa, den B e r i c h t von einem viel versprechenden „Intensive Programme" mit dem Titel „Schoolmusic in a European Perspective" und den E n t w u r f einer Musiklehrer-Typologie, die den Vergleich verschiedener europäischer Situationen von ‚Schoolmusic‘ erleichtern soll und die über den bloßen Vergleich von Curricula hinaus geht. / The article combines three things: A c o m p a r i s o n of policies of European teacher-education for music at general schools, a r e p o r t about a successful intensive programme for six countries called “Schoolmusic in a European Perspective” and the d r a f t of a typology of music-teachers, which condenses more aspects than a policie of music-teacher-education only. The typologie should help to compare the situation of schoolmusic in different countries of Europe.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-11T11:56:20Z No. of bitstreams: 2 Dissertação - José Antônio Silva - 2017.pdf: 4687068 bytes, checksum: 9871bab3c008cee78c95ffc1b1897f85 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-11T11:57:03Z (GMT) No. of bitstreams: 2 Dissertação - José Antônio Silva - 2017.pdf: 4687068 bytes, checksum: 9871bab3c008cee78c95ffc1b1897f85 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-11T11:57:03Z (GMT). No. of bitstreams: 2 Dissertação - José Antônio Silva - 2017.pdf: 4687068 bytes, checksum: 9871bab3c008cee78c95ffc1b1897f85 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-30 / The beginning of the career represents an important step in the constitution of the teaching profession and the experiences lived in this period have a direct influence on the decision of the teacher to continue or not in the career. The moment that corresponds to the first professional years is also recognized for presenting very specific characteristics that will reflect on the identity of the teacher in the course of the profession, representing the transition stage from student to teacher. Due to these characteristics, this research aims to analyze the process of initiation to the teaching of the music teacher in basic education in public schools in the city of Goiânia-GO, seeking to know the main challenges and difficulties of these teachers at the beginning of their careers. The research approach is qualitative and the instruments for data collection were the form and the semi-structured interview. Ten teachers of Music were interviewed, five of them belonging to the professional staff of the State Department of Education, Culture and Sport of Goiás (SEDUCE) and five of the Municipal Secretary of Education and Sport of Goiânia (SME). Professional profile, reception conditions for early music teachers, the relationships that teachers weave between the knowledge acquired in the academic formation and the needs of the field of action, and how the early-career teacher deals with the challenges of Reality of the classroom. In order to know the policies of insertion and continuous training of the two departments of education, four coordinating teachers were interviewed - two from each Network. The results show that the process of initiation to the teaching of music teachers is a challenging period, sometimes tense and even traumatic, but also conducive to intense learning. Through the reflections made, it was possible to perceive that there are several factors that motivate or discourage teachers at the beginning and the continuity of the career. The analysis of the data made it possible to know the challenges and dilemmas faced by the music teacher at the beginning of his career and to understand the various factors that influence the way he is inserted and reacts in the school environment during this period. The challenges faced by the teachers present common aspects, such as: difficulties with indiscipline, choice of teaching contents, lack of teaching materials and musical instruments, with little appreciation of music as a discipline, among others. Among the factors that influence how to face the initial challenges of teaching with a greater or lesser degree of difficulty, include: the diversity of profiles, the environmental, contextual, formative, personal and subjective factors of each teacher. Teachers point out several positive aspects related to the subject - beginning of teaching - however, their lines also show that there is a shortage in the form of reception of the beginning teacher, that the continued formation of the music teacher is unsatisfactory to enable him to constitute his professionalism of Full form and that it is necessary to have an approximation between the theoretical propositions of the university disciplines with the context of the public school and extension of the teaching practice in the stage, enabling the professional future the ability to articulate the theoretical knowledge with the teaching practice. In addition, it is necessary to unite efforts among teachers, universities and teaching networks to enable the construction of an increasingly qualified teacher initiation process. / O início da carreira representa uma etapa importante na constituição da profissionalidade docente e as experiências vivenciadas nesse período têm influência direta sobre a decisão de o professor continuar ou não na carreira. O momento que corresponde aos primeiros anos profissionais também é reconhecido por apresentar características bastante específicas que irão repercutir na identidade do professor no decurso da profissão, representando a etapa de transição de estudante a docente. Em razão dessas características, essa pesquisa tem como objetivo compreender o processo de iniciação à docência do professor de música na educação básica em escolas públicas na cidade de Goiânia-GO, buscando conhecer os principais desafios e dificuldades desses professores em início de carreira. A abordagem da pesquisa é qualitativa e os instrumentos para coleta de dados foram o formulário e a entrevista semiestruturada. Foram entrevistados dez professores de Música, sendo cinco pertencentes ao quadro de profissionais da Secretaria de Estado de Educação, Cultura e Esporte de Goiás (SEDUCE) e cinco da Secretaria Municipal de Educação e Esporte de Goiânia (SME), a fim de se conhecer o perfil profissional, as condições de acolhimento aos professores de música em início de carreira, as relações que os professores tecem entre os saberes adquiridos na formação acadêmico-profissional e as necessidades do campo de atuação, e como o docente em início de carreira lida com os desafios da realidade da sala de aula. Para conhecer as políticas de inserção e de formação continuada das duas secretarias de educação, foram entrevistadas quatro professoras coordenadoras – duas de cada Rede. Os resultados mostram que o processo de iniciação à docência dos professores de música configura-se como um período desafiador, algumas vezes tenso e até traumático, mas também propício a intensas aprendizagens. Por meio das reflexões feitas, pôde-se perceber que existem diversos fatores que motivam ou desmotivam os professores no início e na continuidade da carreira. A análise dos dados possibilitou conhecer os desafios e dilemas enfrentados pelo professor de música em início da carreira e perceber os diversos fatores que influem na forma como ele se insere e reage no ambiente escolar nesse período. Os desafios enfrentados pelos professores apresentam aspectos comuns, como por exemplo: dificuldades com a indisciplina, com a escolha dos conteúdos de ensino, com a falta de materiais didáticos e instrumentos musicais, com a pouca valorização da música enquanto disciplina, entre outros. Entre os fatores que influenciam na maneira de encarar os desafios iniciais da docência com maior ou menor grau de dificuldade, incluem-se: a diversidade de perfis, os fatores ambientais, contextuais, formativos, pessoais e subjetivos de cada professor. Os professores apontam vários aspectos positivos relativos ao tema – início da docência - no entanto, suas falas deixam transparecer também que há carências na forma de acolhimento do professor iniciante, que a formação continuada do professor de música é insatisfatória para lhe possibilitar constituir sua profissionalidade de forma plena, que é preciso haver aproximação entre as proposições teóricas das disciplinas universitárias com o contexto da escola pública e ampliação da prática docente no estágio, possibilitando ao futuro profissional a capacidade de articular os conhecimentos teóricos com a prática docente. Ademais, percebe-se a necessidade de uma união de esforços entre – professores, universidade e redes de ensino - para que se possibilite a construção de um processo de iniciação docente cada vez mais qualificado.

Der vorliegende Text verbindet drei Dinge: einen V e r g l e i c h von Bildungsgängen für Musiklehrer an allgemein bildenden Schulen in Europa, den B e r i c h t von einem viel versprechenden „Intensive Programme" mit dem Titel „Schoolmusic in a European Perspective" und den E n t w u r f einer Musiklehrer-Typologie, die den Vergleich verschiedener europäischer Situationen von ‚Schoolmusic‘ erleichtern soll und die über den bloßen Vergleich von Curricula hinaus geht. / The article combines three things: A c o m p a r i s o n of policies of European teacher-education for music at general schools, a r e p o r t about a successful intensive programme for six countries called “Schoolmusic in a European Perspective” and the d r a f t of a typology of music-teachers, which condenses more aspects than a policie of music-teacher-education only. The typologie should help to compare the situation of schoolmusic in different countries of Europe.

Studien syftar till att få större förståelse av musiklärares perspektiv på betygsättning av elevers socioemotionella kompetenser och sociala omständigheter. Studien lyfter även musiklärares strategier för att uppnå en betygsättning som inte väger in elevers socioemotionella kompetenser. Tidigare forskning visar att det förekommer att lärare väger in elevers socioemotionella kompetens och sociala omständigheter i betyget och på vilka grunder det kan ske. Genom kvalitativa intervjuer av tre verksamma musiklärare, två högstadielärare och en gymnasielärare, lyfts deras perspektiv och erfarenheter av betygssättning fram. Resultatet visar, precis som tidigare forskning, att musiklärare ibland väger in elevers socioemotionella kompetens och sociala omständigheter i betygsättningen. I resultatet identifieras också strategier för att möjliggöra en betygsättning som väger in elevers ämneskunskaper. Exempel på strategier kan vara lärares resonerande om elevers ämneskunskaper sinsemellan och vikten av ett professionellt förhållningssätt från lärarens sida vid betygsättning. I diskussionen används ett relationellt perspektiv med hjälp av begreppet relationskompetens. Studien är av intresse för lärarstudenter och yrkeresverksamma lärare som vill ha större förståelse av betygsättning och vilka svårigheter som kan förekomma.

Studiens syfte är att ta reda på vad musiklärare på kulturskolor, utan tidigare erfarenhet av distansundervisning, har dragit för lärdomar av att undervisa på distans under pandemin covid-19. Dessutom undersöks på vilka sätt lärare kan tänka sig att undervisa på distans i framtiden samt vilka råd de vill ge till andra som ska ställa om till distans- undervisning. I bakgrundskapitlet ges en bild av hur situationen ser ut när det gäller distansundervisning på kulturskolor under pandemin, samt forskning som rör distans- arbete och undervisning med digital teknik. I teoridelen definieras lärdomar och lärande, samt lärande utifrån ett sociokulturellt perspektiv. Metoden som används för datainsamling är semistrukturerad kvalitativ intervju. Jag har intervjuat fem musik- lärare från fem olika kulturskolor. I resultatet kartläggs och kategoriseras de lärdomar som framkommit. Dessutom redogörs för olika användningsområden för distans- undervisning, samt råd som kan underlätta vid en framtida omställning. I diskussionen jämförs resultatet med den litteratur och den forskning jag använt mig av i studien. Slutsatsen jag har kommit fram till är att lärarna i studien har lärt sig många olika saker av att undervisa på distans, samt att personliga egenskaper spelar stor roll för hur lyckad omställningen till distansundervisning blir. Lärarna ser flera användnings- områden för distansundervisning, samtidigt som uppfattningen är att metoden inte kan ersätta den interaktion som äger rum vid närundervisning. / The purpose of the study is to examine what music teachers at municipal music and arts schools in Sweden, with no previous experience of online teaching, have learned from teaching remotely during the covid-19 pandemic. The study also examines how teachers might consider teaching remotely in the future and what advice they want to give to others who are going to switch to online teaching. The background chapter gives a picture of the situation regarding distance education at municipal music and arts schools during the pandemic, as well as research on teleworking and teaching with digital technology. The theory defines lessons and learning, as well as learning from a socio- cultural perspective. The method used for data collection is semi-structured qualitative interview. I have interviewed five music teachers from five different municipal music and arts schools in Sweden. The result identifies and categorizes the lessons learned from online teaching. In addition, it describes various uses of online teaching, as well as advice that can facilitate future transitions. In the discussion, the results are being compared with the literature and the research I have used in the study. I have come to the conclusion that the teachers in the study have learned many different lessons from teaching remotely, and that personal qualities play a major part in how successful the transition to online teaching is. Teachers see many uses for online teaching, but a common opinion is that this way of teaching cannot completely replace the interaction that occurs when teaching takes place in person.

No description available.

Detta är ett fenomenografiskt arbete som har undersökt hur musiklärare som undervisar i årskurs 7-9 på grundskolor i Stockholm upplever hip-hop som ett kulturellt fenomen. Data har samlats in genom fyra semistrukturerade intervjuer med fokus på följdfrågor för att fånga upp så många unika och spontana beskrivningar som möjligt. Deltagarna är alla högskoleutbildade musiklärare i 30-50-årsåldern. Arbetets resultat består av framträdande sätt att uppleva fenomenet hip-hop på, som rubriceras i kapitel 5 under olika beskrivningskategorier. Dessa sammanfattas i det utfallsrum som tilldelas namnet Hip-hop: Kulturens oslipade diamant. Arbetets resultat visar att hip-hop upplevs som ett fenomen som har en tydlig utgångspunkt i “orten”, vilket i en hip-hopkontext syftar på till exempel utsatta områden som förorter där det bland annat förekommer utanförskap och utbredd grov kriminell verksamhet som ofta skildras i hip-hopmusiken. Dessa områden agerar som en slags “tryckkokare” där rå talang, oberoende av traditionella musikaliska förkunskaper och formell undervisning, koncentreras till de oslipade diamanter till artister vars autentiska och stötande uttryck formar en oemotståndligt lockande konstform för ungdomar som antingen delar samma erfarenheter av utanförskap, eller ungdomar som söker att ventilera det tabubelagda i ett allt mer “politiskt korrekt” samhälleligt samtalsklimat. / This is a phenomenographic study which aim was to study how music teachers who teach grades 7-9 at elementary schools in Stockholm, Sweden experience hip-hop as a cultural phenomenon. Data has been collected through four semi-structured interviews with a focus on follow-up questions to capture as many unique and spontaneous descriptions as possible. The participants are all university-educated music teachers aged between approximately 30-50. The results of the study consist of prominent ways that the teachers experience the phenomenon of hip-hop, which are labeled in chapter 5. These are then summarised under the label Hip-hop: Kulturens oslipade diamant (Hip-hop: Culture's diamond in the rough). In summary, the study's results show that hip-hop is experienced as a phenomenon which is heavily rooted i what is known as “orten”(Swedish slang for “the suburbs”), which in a hip-hop context refers to areas where there is segregation and widespread criminal activity that is often depicted in hip-hop music. These areas act as a kind of "pressure cooker" where raw talent, independent of traditional musical knowledge and formal education, is concentrated into diamonds in the rough. Artists whose authentic and offensive expression constitutes an irresistible art form for youth who either share the same experiences of segregation, or youth who simply seek to vent what is deemed taboo in an increasingly "politically correct" social climate.