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.

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.

Der Beitrag untersucht, ob die Handreichung Kooperative Lernmethoden im Musikunterricht des niederländischen Musikpädagogen Frits Evelein als praktische Umsetzung des musikdidaktischen Modells 'Musikpraxen erfahren und vergleichen' (Mev) von Christopher Wallbaum verstanden werden kann. Zu diesem Zweck werden die Vorgaben des Modells rekonstruiert und in Vergleich mit Eveleins musikdidaktischen Vorstellungen gesetzt. Aus der Handreichung werden Unterrichtssituationen entworfen und auf ihre Kompatibilität mit Mev-Kriterien untersucht. Das Ergebnis zeigt zwar Gemeinsamkeiten, aber auch erhebliche Unterschiede – etwa hinsichtlich der Musik-, Kultur- und Praxisbegriffe – sodass die Ausgangshypothese, Evelein sei ‚Wallbaum für die Praxis‘, nicht bestätigt werden kann. Dennoch liefert die Arbeit einen Gewinn: Sie fasst die Kriterien des musikdidaktischen Modells »Musikpraxen erfahren und vergleichen« aus verschiedenen Schriften Wallbaums zusammen und zeigt Unterrichtspraktiken auf, die für Gestaltungen im Sinne des Modells vielversprechend erscheinen. Damit bietet der Beitrag sowohl Ergebnisse in Bezug auf die Forschungsfrage als auch Anregungen für weitere Konkretisierungen des musikdidaktischen Modells. / The paper compares the cooperative methods of the teaching book Kooperative Lernmethoden im Musikunterricht by the dutch music educator Frits Evelein to the music teaching concept “Musikpraxen erfahren und vergleichen” by Christopher Wallbaum. As a conclusion, the hypothesis that Evelein was ‘Wallbaum for praxis’ cannot be confirmed.

<p>Istraživanja su predstavljena u pet poglavlja. U prvom poglavlju Muzičko obrazovanje u ni&scaron;koj regiji pod Otomanskom vla&scaron;ću, prikazano je &scaron;kolstvo u okviru Otomanske carevine, dolazak prvog srpskog učitelja Spiridona Jovanovića u Ni&scaron; (1927), osnivanje srpske &scaron;kole i razvoj muzičkog obrazovanja u njoj. Drugo poglavlje Muzičko obrazovanje u Kneževini i Kraljevini Srbiji (1878-1914), donosi razvoj muzičkog obrazovanja i opismenjavanja u osnovnim &scaron;kolama, gimnazijama i učiteljskim &scaron;kolama, i doprinos &scaron;kolskih ansambala&nbsp; muzičkom životu grada Ni&scaron;a. U trećem poglavlju Muzičko obrazovanje za vreme bugarske opkupacije (1914-1918), govori se o ukidanju srpskih &scaron;kola, formiranju bugarske osnovne &scaron;kole i gimnazije i izvođenju muzičke nastave u njima. Čevrto poglavlje Kulturni uspon u Kraljevini Jugoslaviji (1918-1940), sadrži planove i programe za osnovne &scaron;kole, gimnazije i učiteljske &scaron;kole, govori o muzičkom obrazovanju učitelja, sadržaju i značaju muzičkih predmeta, formiranju horova i orkestara i izvođenju javnih koncerata. U petom poglavlju Nastavne metode i metodičari (1870-1940), prikazani su elementi nastavnog rada: obrada pesme po sluhu, notalno pevanje, primena intervalske i asocijativne metode. Govori se o prvim metodičarima nastave pevanja, Vladimiru R. Đorđeviću &ndash; poborniku notnog pevanja, prvim muzičkim udžbenicima i njihovim autorima.</p> / <p>The research work is presented in five chapters. The first chapter, Music education in lower region under the control of the Ottomans, is about the educational system as a part of the Ottoman Empire, the arrival of the first Serbian teacher Spiridon Jovanovic at Nish (1927), the founding of the Serbian school and development of musical education. The second chapter, Musical education in Principality and Kingdom of Serbia (1878-1914), is about the development of musical education and teaching in elementary schools, grammar schools and teachers&rsquo; academies and the contribution of the school ensembles to music life of the town of Nish. The third chapter, Musical education during the Bulgarian occupation (1914-1918), talks about the abolishing of Serbian schools, founding of Bulgarian elementary schools and grammar schools, as well as&nbsp; the teaching music in them. The fourth chapter, The cultural rise in The Kingdom of Yugoslavia (1918-1940), contains the curriculums of the elementary schools, grammar schools and teachers&rsquo; academies, facts about the musical education of the teachers, subject matter and the significance of the music subjects, forming of the choirs and orchestras and public performances. In the fifth chapter, Teaching methods and methodologists (1870-1940), some elements of the teaching process are shown: musical arrangement of a song by hearing ( perception by sound), singing from notes, the application of the interval and associational method. It is about the first methodologists of teaching singing, about Vladimir R. Djordjevic-a supporter of singing from notes, about the first textbooks and their authors.</p> / <p>The research work is presented in five chapters.<br />The first chapter, Music education in lower<br />region under the control of the Ottomans, is<br />about the educational system as a part of the<br />Ottoman Empire, the arrival of the first Serbian<br />teacher Spiridon Jovanovic at Nish (1927), the<br />founding of the Serbian school and development<br />of musical education. The second chapter,<br />Musical education in Principality and Kingdom<br />of Serbia (1878-1914), is about the development<br />of musical education and teaching in elementary<br />schools, grammar schools and teachers<br />academies and the contribution of the school<br />ensembles to music life of the town of Nish.<br />The third chapter, Musical education during the<br />Bulgarian occupation (1914-1918), talks about<br />the abolishing of Serbian schools, founding of<br />Bulgarian elementary schools and grammar<br />schools, as well as the teaching music in them.<br />The fourth chapter, The cultural rise in The<br />Kingdom of Yugoslavia (1918-1940), contains<br />the curriculums of the elementary schools,<br />grammar schools and teachers academies, facts<br />about the musical education of the teachers,<br />subject matter and the significance of the music<br />subjects, forming of the choirs and orchestrasand public performances. In the fifth chapter, Teaching methods and methodologists (1870-<br />1940), some elements of the teaching process<br />are shown: musical arrangement of a song by<br />hearing ( perception by sound), singing from<br />notes, the application of the interval and<br />associational method. It is about the first<br />methodologists of teaching singing, about<br />Vladimir R. Djordjevic-a supporter of singing<br />from notes, about the first textbooks and their<br />authors.</p>

<p>What amount of knowledge of guitar playing can be expected after completing upper compulsory school? A qualitative research involving three different music teachers provides their view of knowledge. Their expectations have been compared to a quantitative research involving 58 upper secondary students from the social sciences programme. The idea is to compare their pedagogic intentions to the pedagogic realities of music teachings.</p><p>The study shows a clear advantage for students who has attended some form of external music tuition as well as for those students who have someone in their families who play an instrument</p><p>If the knowledge primarily is due to extracurricular activities perhaps there is time for a reformation of the music subject so that all may enjoy the education, not merely those who already possesses a curtain amount of knowledge...</p><p>The experience must not be allowed to submit to the vast forests of chords, by doing so one misses the purpose entirely</p>

<p>I min undersökning har jag valt att undersöka hur musik används i förskolans verksamhet. Undersökningen baserar sig på litteratur, observationer (som dessutom filmats) och efterföljande kvalitativa intervjuer med ansvariga för musikstunden, jag har besökt fem olika förskolor.</p><p>Resultatet i min undersökning visar att samtliga respondenter tycker att musik är en viktig del av förskolans verksamhet och de använder sig av musik både som mål (att berika barnens liv) och som verktyg (förbättra barnens sociala utveckling, inför skolan t ex). Men flera av respondenterna i mitt arbete är oroliga inför framtiden eftersom kommunen vill att barngrupperna ska bli större men även därför att personalen tvingas att arbeta med mer administrativa delar som de känner tar tid från barngrupperna. På sikt medför detta, enligt deras uppfattning, att även musiken i verksamheten blir lidande eftersom personalen känner sig stressad och otillräcklig.</p> / <p>In my study, I have chosen to observe how music is used in primary schools. The research is based upon literature, observations (which were filmed) and follow-up interviews with heads of the musical moments. I have visited five various primary schools.</p><p>The result of my study shows that all of the respondents view music as being a substantial part of the primary school, in that they use music both as a goal (to enrich the children’s lives) and as a tool (to improve the children’s social development, for example, before entering elementary school.). Yet many of the respondents in my study are worried about the future because local government aims to enlarge the number of children in primary schools, while also forcing the employees to work more with administration, which they regard as taking time away from the children. As a consequence, they expect this will lead to a reduction of music in primary schools, as teachers will experience more stress and feel less adequate in their jobs.</p>

I min undersökning har jag valt att undersöka hur musik används i förskolans verksamhet. Undersökningen baserar sig på litteratur, observationer (som dessutom filmats) och efterföljande kvalitativa intervjuer med ansvariga för musikstunden, jag har besökt fem olika förskolor. Resultatet i min undersökning visar att samtliga respondenter tycker att musik är en viktig del av förskolans verksamhet och de använder sig av musik både som mål (att berika barnens liv) och som verktyg (förbättra barnens sociala utveckling, inför skolan t ex). Men flera av respondenterna i mitt arbete är oroliga inför framtiden eftersom kommunen vill att barngrupperna ska bli större men även därför att personalen tvingas att arbeta med mer administrativa delar som de känner tar tid från barngrupperna. På sikt medför detta, enligt deras uppfattning, att även musiken i verksamheten blir lidande eftersom personalen känner sig stressad och otillräcklig. / In my study, I have chosen to observe how music is used in primary schools. The research is based upon literature, observations (which were filmed) and follow-up interviews with heads of the musical moments. I have visited five various primary schools. The result of my study shows that all of the respondents view music as being a substantial part of the primary school, in that they use music both as a goal (to enrich the children’s lives) and as a tool (to improve the children’s social development, for example, before entering elementary school.). Yet many of the respondents in my study are worried about the future because local government aims to enlarge the number of children in primary schools, while also forcing the employees to work more with administration, which they regard as taking time away from the children. As a consequence, they expect this will lead to a reduction of music in primary schools, as teachers will experience more stress and feel less adequate in their jobs.

What amount of knowledge of guitar playing can be expected after completing upper compulsory school? A qualitative research involving three different music teachers provides their view of knowledge. Their expectations have been compared to a quantitative research involving 58 upper secondary students from the social sciences programme. The idea is to compare their pedagogic intentions to the pedagogic realities of music teachings. The study shows a clear advantage for students who has attended some form of external music tuition as well as for those students who have someone in their families who play an instrument If the knowledge primarily is due to extracurricular activities perhaps there is time for a reformation of the music subject so that all may enjoy the education, not merely those who already possesses a curtain amount of knowledge... The experience must not be allowed to submit to the vast forests of chords, by doing so one misses the purpose entirely

This research is intended for studying the management of Music Teaching Institutions of ¡§Yamaha Music education System¡¨ and ¡§Ju Percussion Music education System¡¨ were focused for study. In the process of research, the author collected related literatures and data to study the backgrounds of music teaching institutions. Then interview were made with institution operator and teachers to find out the problems involved to the operation of music teaching institution. Finally, a questionnaire survey was conducted among parents of students to analyze and compare the view and thinking of parents with regards to different teaching system. The findings are analyzed and reduced into conclusion as well as drawn into suggestions for the reference of music teaching institution in building their programs and guidelines, as well as the possible directions of their operation modes. Went through literature and data research, interview and questionnaire survey, the following conclusions were obtained: 1. Dimensioning the teaching belief of music teaching institution is an important direction of the operation of the organization. 2. Music teaching institution shall have completed and systematic organization. 3. Music teaching institution must have systematic development program. 4. The professional capacity and personality of teacher have great effects on the results of learning of children. 5. ¡§Providing children with fundamental music ability or understanding¡¨ is the prime factor for parents to enroll into music teaching system. 6. Music learning requires regular practices and patience. 7. Attending music concert can agitate the interest of students, and it is recommended that children are encouraged to participate. 8. The roles played by parents are the key to success. 9. Music teaching institution can play the role of culture promotion media. 10. It would be recommendable to establish Appraisal scales and revision mechanisms of music teaching institution. It is expected that our results of research will do certain good in the effect of music learning of children, enrich and develop potential of children in music. Offer children with a happy music learning experience will allow them to gain much more happiness and achievement.

Studiens syfte är att belysa några yrkesverksamma elbasisters syn på egen utveckling och dess samband med övning. Som metod har halvstrukturerade intervjuer använts. Informanterna utgörs av tre yrkesverksamma elbasister som berättar om sin syn på övning och utveckling samt vad de anser vara viktigt för att utvecklas som elbasist. Den teoretiska utgångspunkten för denna studie är ett hermeneutiskt perspektiv då målet är att göra en djupare analys och tolkning av de intervjuades livsvärld. Resultatet visar att informanterna tycker att viktiga byggstenar i utvecklingen är att spela tillsammans med andra och lyssna på musik. De beskriver också sin syn på övning, tonbildning och sound samt sina upplevelser av att spela musik. Förhoppningen är att studien ska kunna bidra till mer instrumentspecifik forskning om övning samt inspirera utövare till att diskutera och dela med sig av sina varierade erfarenheter av övning. / The study aims to highlight some professional bass players approach to self-development and its connection with the exercise. The method that has been used is semi-structured interviews. The informants consist of three professional bass players who tell us about their views on practicing and development and what they consider to be important to develop as a bass player. The theoretical basis for this study is a hermeneutic perspective when the goal is to do a deeper analysis and interpretation of the interviewed life-world. The result shows that the interviewees think that the important building blocks in the development are to play with others and listen to music. They also describe their view of exercise, voice production and sound as well as their experiences of playing music. It is hoped that the study will contribute to more instrument-specific research on exercise and inspire practitioners to discuss and share their varied experiences of exercise.