Master of Music / School of Music, Theatre, and Dance / Virginia Houser / This Lecture Recital, given in lieu of a Master’s Report, was on the use of improvisation as a teaching aid in the private piano lesson. The lecture and supplemental handout included an historical overview of the role of improvisation, research on its educational benefits in regards to student learning, and a review and demonstration of current piano method books designed to teach the concept of improvisation. A bibliography of sources used in the presentation, as well as reviewed articles, books, and websites were included in the handout. The piano method books reviewed are Scott McBride Smith’s American Popular Piano, and Pattern Play, by Forrest Kinney. This graduate lecture recital was given in partial fulfillment of the requirements for the Master of Music degree in piano pedagogy on February 25, 2015 in Kirmser Hall at Kansas State University. It featured demonstrations with the aid of Leah Harmon on piano.

Syftet med detta arbete är att undersöka hur musik används och lärs ut i den lilla byn Berefet i Gambia. Under ett första besök i byn tyckte vi oss nämligen se att barn och vuxna musicerade med stor glädje och kunskap. Anledningen till ämnesfokus var att vi ville hitta vägar till ett mer naturligt och glädjefyllt sätt att undervisa som musiklärare här i Sverige. Undersökningen har genomförts med hjälp av kvalitativa intervjuer med tre lärare och tre andra invånare i byn. Svaren har vi sedan analyserat utifrån ett musiketnologiskt perspektiv och jämfört med vad andra forskare och författare inom musiketnologi och pedagogik har kommit fram till. Resultatet visar på att det vardagliga musicerandet i Berefet inte är så utbrett som det verkar vid en första anblick. Det visar sig att barnen i byn i första hand lär sig och övar upp sina musikaliska kunskaper i sin hemmiljö, och att de då lär sig av äldre släktingar och familjemedlemmar. / The purpose of this study is to examine how music is being used and how it is taught in the small village of Berefet in The Gambia. During our first visit to the village, it seemed to us that both children and adults used music in a very natural, knowledgeable and, at the same time, joyful way. We, as music teachers from Sweden, would like to learn from the citizens in Berefet and find new methods of teaching music in a more intuitive and enjoyable way. The research has been conducted through qualitative interviews with both teachers and inhabitants of the village. We have analyzed the collected data from a music ethnological perspective and compared our results with findings from other studies and literature concerning music ethnology and pedagogy.Our study indicates that a daily practicing of music in Berefet isn’t as widely spread as initially assumed. It appears that the children in the village learn and practice music primarily in their home environment, and that they learn from their older relatives and family members.

How folk musicians of today learn to play their instruments is an over-all question in this article. One violin lesson and one guitar lesson have been observed at Framnäs folk high school. Three research questions were formulated. What do the two lessons have in common? What are the differences? How could the folk music education of today be related to the Swedish fiddler movement in the 1920s and other folk music traditions? Theoretically, the interpretation of the results was based on the mimesis theory of Ricoeur. Two teachers and three students participated in the study. The results showed that the lessons were structured in a similar way and dominated by master apprenticeship teaching. The violin teacher showed a more respectful attitude towards the tradition compared to the guitar teacher. Great parts of the manifest ideology of the fiddler movement seems to have become concealed into a latent or frozen ideology in the formal folk music education of today. There seems to be no big differences between learning the music by way of visiting an older fiddler hundred years ago compared to the study of music today at a formal institution. / Musikfolkhögskolans utbildningsideologier

Thesis (Ed.D.)--Teachers College, Columbia University, 1966. / Typescript; issued also on microfilm. Sponsor: Gladys Tipton. Dissertation Committee: Ernest Harris. Includes bibliographical references (leaves: 252-259).

This study examined the narratives of three women music teachers’ professional practice, drawing on the research question: Through examining processes of subjectification: (a) How do mid-career women music teachers construct narratives of their professional and musical practice? (b) What are the implications for women music teachers’ professional and musical sustenance? Participants Hayley, Becky and Lynne, all with 12 years teaching experience, told stories of diverse musical participation within and beyond their schools and within a range of social groups and institutional settings. Taking a post-structural feminist theoretical perspective, these narratives were viewed as 'technologies of the female self' (Foucault, 1988; Tamboukou, 2008, 2010). The research question was shaped and answered through the concept of subjectifcation and considered how these women constructed a portrait of ‘self-in-practice.’ This questioned how they fashioned their personal pedagogical approach, how they created and projected a music departmental identity within the school, and how they conceptualised their musical and teaching selves. Data collection took place over a seven-month engagement with three participants and involved: a narrative/biographical interview; the compilation of a ‘memory box’ in which participants gathered artefacts related to the theme, ‘My music, my teaching’; and a follow-up conversational interview. In the final interview participants presented their artefacts and told stories related to their gendered experiences in music and teaching. Narratives showed the ‘woman music teacher’ is a site of struggle, where material roles within different discursive fields such as the home, the community as well as the school, pulled at other subjectivities. Through an analysis of processes of gendered subjectification, these women music teachers presented a complex narrative of their professional lives, within discursive fields of competing and complementary institutional discourses. While individually teachers conceptualised their musical and teaching subjectivities in personal, biographically-shaped ways, collectively they used similar discursive strategies to create a music subject department identity. They all told stories of their practice sustained by moments of ‘musical space’ and enabling others. Extra-curricular music provided valued moments of musical and aesthetic gratification and professional autonomy, functioning as a way to project the standing of the music subject department in the school and the local community, but this also added to an already burdensome workload. The education system in Northern Ireland is undergoing a prolonged yet stilted process of reform, and with the increase in the collaborative sharing of curriculum with other schools, it is likely that in the future secondary music teachers will be teaching in very different circumstances. This may be particularly challenging for established music teachers who have worked to create musical worlds in their subject departments drawing on personal and affective biographical resources. It is suggested that identity work with teachers’ narrative understandings of their self-in-practice, as a form of professional development, may allow space for teachers to imagine and negotiate alternative personal/professional identities, values and beliefs within new managerial and collaborative structures.

The purpose of the study is to study, from a teacher's perspective, how music teachers describe how they identify success factors for good musical learning environments in music teaching as well as what teachers need to be able to implement it.. The study has a hermeneutic perspective with the hermeneutic circle as a concept. To study how music teachers reflect and reason about success factors and learning, a qualitative semistructured interview study with music teachers who work at secondary school and high school were conducted. Previous research reports on various factors that influence music education from different perspectives such as teacher education, student, music teacher and evaluation perspectives. Results show that the music teachers are satisfied with their teaching situation in many ways and at the same time they see opportunities for improvement. Improvement opportunities that can be difficult to obtain. The discussion clarifies similarities between the previous research but also differences in how the Swedish music teacher works with student focus as a priority. The discussion provides suggestions for further research on the subject where the researcher sees further research on whole and half class in music education and how students view the quality of music education within it.

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Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2016-02-18T09:22:30Z No. of bitstreams: 2 Tese - Gilka Martins de Castro Campos - 2015.pdf: 2003063 bytes, checksum: addc4ba0846e59aca3b20e2d95f9f0f3 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-02-18T09:42:37Z (GMT) No. of bitstreams: 2 Tese - Gilka Martins de Castro Campos - 2015.pdf: 2003063 bytes, checksum: addc4ba0846e59aca3b20e2d95f9f0f3 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-02-18T09:42:37Z (GMT). No. of bitstreams: 2 Tese - Gilka Martins de Castro Campos - 2015.pdf: 2003063 bytes, checksum: addc4ba0846e59aca3b20e2d95f9f0f3 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-09-14 / This paper discusses the education of music teachers who work with Elementary Education and have attended to undergraduate courses of Universities from Middle-west Region of Brazil. The goal was to acquaint the formative project of such courses, particularly: training conception and action proposed in the political pedagogical projects (PPP) of each course, identifying possible similarities and distinctness they might present. To achieve such goal, there is a discussion on curriculum documents – curriculum matrix and political pedagogical projects (PPP) – of the Music Education Courses of the Federal University of Goiás (UFG), Federal University of Mato Grosso do Sul (UFMS), Federal University of Mato Grosso (UFMT) and University of Brasília (UnB).The discussion was through the study of National policies for teacher training (implemented in the National Curriculum Guidelines for undergraduate courses in Music and for the training of teachers for Basic Education) and its contextualization in teachers training courses in the Middle-west Region (as a development of this legislation in the PPPs of the Undergraduate programs in Music from the Universities of the region). The methodology included bibliographical review, documental research and interviews. The discussions proposed in this research considered as reference the works of authors who research teachers’ education such as Freitas (2002) and Brzezinski (1996a, 1996b, 1996c, 1999 and 2008). In the curriculum field works by Moreira (2003, 2009) and Apple (1994a, 1994b, 2006) were used as reference. In the education politics and legislation Works by Cury (2002, 2009), Catani, Oliveira and Dourado (2001), Carvalho (2011), Dourado (2002), Oliveira (2009), Sguissardi (2000), Silva Júnior (2002), Silva Júnior and Sguissardi (2001, 2005) were considered. In the music education and the education of the music teacher works by Penna (2007, 2010) and Pereira (2012, 2013) were adopted. Among the most significant similarities verified throughout this research, the promptness of the Superior Education Institutions (IES) on accepting totally or partially the statements of the National Curriculum Guidelines for Undergraduate courses in music and for the teaching training programs for Music Education. Also important to mention the emphasis given to musical practice in its different ways of expression in the curriculum. The differences found are punctual and they might be attribute to the specific characteristics and/or problems of each IES. / Este trabalho trata da formação de professores de Música que atuam no Ensino Fundamental, formados nos cursos de Licenciatura em Música das Universidades na Região Centro-Oeste do Brasil. Pretendeu-se conhecer o projeto formativo destes cursos destacando-se: concepções de formação e de práticas assumidas nos projetos político-pedagógicos (PPP) dos cursos, identificando possíveis semelhanças e distinções que apresentam entre si. Para tanto foram discutidos os documentos curriculares – matrizes curriculares e Projetos Político-Pedagógicos (PPP) – dos cursos de Licenciatura em Música da Universidade Federal de Goiás (UFG), da Universidade Federal do Mato Grosso do Sul (UFMS), da Universidade Federal do Mato Grosso (UFMT) e da Universidade de Brasília (UnB). Esta discussão se deu através do estudo das políticas nacionais para a formação de professores (concretizadas nas Diretrizes Curriculares Nacionais para os cursos de graduação em Música e para a formação de professores para a Educação Básica) e sua contextualização nos cursos de formação de professores de Música na região Centro-Oeste (como desdobramento desta legislação nos PPPs dos Cursos de Licenciatura em Música das Universidades da região). Foram adotados como procedimentos metodológicos a revisão bibliográfica, pesquisa documental e a realização de entrevistas. Para a fundamentação das discussões propostas nesta pesquisa tomou-se como referência a produção de autores que trabalham a formação de professores, tais como Freitas (2002) e Brzezinski (1996a, 1996b, 1996c, 1999 e 2008). Na área do currículo recorreu-se aos trabalhos de Moreira (2003, 2009), e Apple (1994a, 1994b, 2006). Na área de políticas educacionais e legislação tomou-se como referência Cury (2002, 2009), Catani, Oliveira e Dourado (2001), Carvalho (2011), Dourado (2002), Oliveira (2009), Sguissardi (2000), Silva Júnior (2002), Silva Júnior e Sguissardi (2001, 2005). Na área da Educação Musical e da formação do professor de Música, os referenciais adotados foram Penna (2007, 2010) e Pereira (2012, 2013). Dentre as semelhanças mais significativas verificadas ao longo da pesquisa podemos citar a disposição das Instituições de Ensino Superior (IES) na aceitação total, ou quase total, do que se encontra disposto nas Diretrizes Curriculares Nacionais para os cursos de graduação em Música e para a formação de professores para a Educação Básica. Há também que se mencionar a ênfase dada nos currículos às práticas musicais em suas diferentes formas de expressão. As distinções elencadas são pontuais e podem ser atribuídas às características e/ou problemas específicos de cada IES.

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.

Esta pesquisa tem como objetivo compreender as imagens da docência de música na educação básica que emergem da literatura da área de educação musical. Fundamentado no conceito de profissionalização docente e em princípios da hermenêutica, o trabalho adota como estratégia de pesquisa a análise textual, tomando como objeto empírico 111 textos da Revista da ABEM, publicados entre 1992 e 2013. Os resultados indicam que a docência é abordada pela literatura a partir de uma diversidade de autores, instituições, procedimentos de produção, bases e fontes teóricas, além de uma multiplicidade de campos temáticos. A literatura sugere um interesse abrangente da área sobre a docência, ao mesmo tempo em que sinaliza uma possível dispersão em relação à produção sobre o tema ao longo dos vinte e um anos da publicação analisada. Predomina na literatura analisada o viés da formação e a permanência de pares, quais sejam, formação e atuação, teoria e prática, universidade e escola, saberes musicais e saberes pedagógicos, como dimensões a serem equilibradas e tratadas de modo conjunto e complementar. Conclui-se que, ao valorizar determinados aspectos – como garantias legais para a presença do ensino de música na escola; formação específica em música; reconhecimento dos sentidos da docência de música na formação das pessoas; presença de profissionais qualificados; e ações para a garantia do espaço do ensino de música nas escolas –, a área parece buscar a profissionalização docente. Porém, contradições percebidas na própria literatura, no que diz respeito a uma série de fundamentos e princípios que são propostos e à escassez de pesquisas sobre as realidades escolares, podem caracterizar a desprofissionalização da docência. As imagens da docência de música na educação básica que emergem da literatura analisada parecem se constituir a partir dessa dualidade: de um lado, uma idealização da profissão; de outro lado, as ausências: o que a própria literatura parece não apresentar, na direção daquilo que ela mesma sugere. Essa dualidade é expressa ao final do trabalho por meio de uma alegoria, a partir de duas cartas do tarô egípcio: O Mago e O Louco. / This research aims to understand the images of music teaching in basic education that emerge from the literature of music education. Based on the concept of professionalization and principles of hermeneutics, this work adopts the textual analysis as its research strategy. 111 papers published between 1992 and 2013 in Revista da ABEM (Brazilian Association of Music Education), the main journal of music education in Brazil, have been selected so far. The results indicate that teaching is addressed in the literature from a variety of authors, institutions, ways of elaborating the texts and theoretical basis and sources, and a plurality of thematic areas. This suggests a broad interest in teaching, but, at the same time, a possible dispersion of the production on the subject over the period under analysis. A tendency to treat teaching from the perspective of teachers’ education was identified, as well as the presence of some pairs, such as education and professional activity, theory and practice, university and school, musical knowledge and pedagogical knowledge, as dimensions to be balanced and treated together and in a complementary way. It follows that, by emphasizing certain aspects – such as legal guarantees for the presence of music education at school; specific training in music; recognition of the meanings of music teaching to people’s education; presence of qualified professionals; and actions to guarantee the space of music education in schools – the area seems to pursue the teacher professionalization. However, some contradictions in the literature itself were perceived, regarding some fundamentals and principles that are proposed and the lack of research about the school realities, that can characterize the deprofessionalization of teaching. The images of music teaching in basic education that emerge from the literature seem to be constituted from a duality: on the one hand, an idealization of the profession; on the other hand, some absences: what the literature itself seems not to present, in the direction of what it suggests. This duality is expressed at the end of this work through an allegory, from two cards from the Egyptian Tarot: The Magician and The Fool.