Studien syftar till att bidra med ökad förståelse om musiklärares arbete med elever med NPF (neuropsykiatrisk funktionsnedsättning) i den ordinarie undervisningen. Jag har sökt finna både musiklärares arbetssätt och uppfattningar kring elever med NPF. Studien utgår från ett relationellt perspektiv. Jag har genomfört fyra kvalitativa intervjuer med musiklärare som arbetar på grundskolan samt en som jobbar på ett särgymnasium. Resultatet visade på en mängd arbetssätt och uppfattningar så som vikten av: anpassningar i miljön, struktur, samarbete med andra lärare, följa elevernas intresse och fysiska hjälpmedel. Resultatet visade också på vikten av att göra anpassningar som kommer alla till gagn. I slutsatsen tar jag bland annat upp att genom ordnad miljö, struktur, fysiska hjälpmedel, samverkan, flexibilitet, och adekvata lokaler och gruppstorlekar går det att möta elever med NPF på ett framgångsrikt sätt i musik i den ordinarie undervisningen. / This thesis aims to contribute to an increased understanding of music teachers' work with students with special needs, such as ADHD and autism, (called NPF) in the ordinary school in Sweden. I have tried to find both music teachers' working methods and their perceptions about students with NPF. The study is based on a relational perspective. I have done four qualitative interviews with music teachers who work in the primary school and one teacher that works in a special high school. The results showed a variety of working methods and perceptions, such as the importance of: adjustments and changes in the environment, structure, collaboration with other teachers, following students' interests and physical tools. The results also showed the importance of making adjustments that benefit every student. In the conclusion I mention that through an orderly environment, structure, physical tools, collaboration, flexibility, and adequate premises and group sizes, it is possible to meet all students needs successfully in music in the regular school.

The existing curriculum for piano lessons in West Malaysia is over-reliant on the syllabi of foreign examination boards resulting in a fragmentary curriculum which denies the student access to a wider range of musical experiences. The aim of the study was to identify and suggest solutions to problems by analysing the teaching approaches of piano teachers and to determine if there are elements which are lacking in the lessons. It also aimed to provide solutions by establishing a theoretical framework for effective piano teaching with optimal lesson plans. This study made use of mixed methods research design. A cross-sectional survey was conducted and data collection was by self-structured questionnaires. In addition, interviews were conducted for the qualitative component of this study. Twenty-five piano teachers with between one to twenty years of teaching experience were randomly selected to participate in the survey. A further fifteen interviews were conducted with teachers who were selected from the participants of the survey by purposive sampling. Interpretative phenomenology analysis was used to analyse the interviews in an effort to gain a better understanding of the nature and quality of the piano teaching in West Malaysia. The study finds that having piano examinations with regularity, usually on a yearly basis, has largely dominated the curriculum with examination requirements and has resulted in several elements being missing or absent in a typical lesson. Hence the situation is clearly not ideal as lessons are too examination oriented. Furthermore, students are generally not exposed to sufficient opportunities to display their skills and musical achievements. These findings suggest that Western classical piano music can be taught more effectively in West Malaysia if teachers re-think their approach to teaching in terms of planning for an optimal lesson. This would involve having both long-term and short–term goals in which a variety of strategies and important elements are incorporated seamlessly using the “simultaneous learning” approach advocated by Harris, Crozier and Ley. / Dissertation (MMus)--University of Pretoria, 2013. / gm2014 / Music / unrestricted

Syftet med studien är att vidga förståelsen för hur olika instrumental- och ensemblelärare inom klassisk musik och folkmusik upplever prestige. Detta undersöks i deras roller som både musiker och musiklärare. Därtill undersöks hur dessa musiklärare arbetar förebyggande mot negativ prestige i musikundervisning. I musikpedagogisk litteratur lyser ordet prestige med sin frånvaro. Istället används negativt laddade synonymer vilka kan kopplas ihop med min tolkning av negativ prestige. Tidigare forskning påvisar hur praxisgemenskapens gemensamma värderingar och hemmiljön är påverkande faktorer för prestige i musikundervisning för såväl lärare som elever. Studien är kvalitativ med en komparativ design och tar utgångspunkt i hermeneutiken. Data har samlats in med hjälp av semistrukturerade intervjuer med sex musiklärare på gymnasiet, folkhögskola och musikhögskola. Datan analyserades sedan med metoderna hermeneutisk meningstolkning och tematisk analys. I resultatet framkommer att krav, status, och duktighet förknippas med prestige av informanterna. Okunskap och stolthet framläggs därtill som huvudsakliga ursprungskällor för negativ prestige. Informanterna berättar att de i eget musicerande upplever prestige i samband med konkurrens mellan lärosäten och i form av olika sorters tävlingar. I undervisning berättar informanterna att prestige mellan lärare och mellan lärare och elever är påverkat av yrkesstolthet, personligt marknadsvärde och förväntningar. Intervjupersonerna beskriver därtill att de arbetar förebyggande mot negativ prestige i musikundervisning genom att använda diskussion som metod samt genom att sträva efter prestigelöst, lustfyllt lärande. I diskussionen resoneras kring min förförståelse av negativ prestige och hur den genom arbetet har förändrats, möjliga scenarion i en prestigefri tillvaro samt möjliga ursprung till prestige. Studien avslutas med resonemang kring studiens metod, betydelse och fortsatta forskningsmöjligheter. / The purpose of this study is to expand the understanding of how different instrumental and ensemble teachers in classical music and folk music experiences prestige within their daily music teaching praxes. Furthermore this study investigate how the teachers work towards preventing negative prestige in music teaching. The word prestige is seldom found within educational litterature in music. There are instead negative synonyms used which can be connected with my interpretation of negative prestige. Earlier research shows how communal values, as well as the home environment, affect prestige in musical teaching for both the teacher and the student. This is a qualitative study with a comparative design that is rooted in hermeneutics. In this study, data has been gathered through semi structured interviews with six music teachers from different educational levels. This data has then been analyzed using hermeneutical interpretations of sentences and thematic analysis. The results show that, according to the interviewees, demands, status, and cleverness are related to how different types of music are valued. Ignorance and pride are found to be the main sources of this negative prestige. The interviewees said that through their musical experiences, they perceive prestige-related rivalry between musical institutions in a variety of ways. Within teaching, the interviewees bring up that prestige-related rivalry between teachers, as well as between teachers and students, is affected by vocational pride, personal market value, and expectations. The interviewees describe that in order to help reduce negative prestige related to different genres of music, they strive to cultivate a prestige-free and zestful learning experience for their students. They also use discussion as a method for combatting this issue. The discussion of this study is focused around my understanding of musical prestige, how my understanding has changed through this study, possible models of prestige-free teaching, as well as possible sources of prestige in this field. The discussion concludes with a reasoning around the method of the study, its importance, and further possible areas of research.

In hierdie studie word die invloed van Unisa se Oorsese Musiekstudiebeurs vir Voordraers op musiekontwikkeling in Suid-Afrika ondersoek. Ten einde hierdie doel te bereik, is twee navorsingsmetodes gevolg. Eerstens is ’n literatuurstudie gedoen. Daardeur is die loopbane van gevestigde en aspirerende uitvoerende kunstenaars ondersoek, die term ‘professionele musikus’ omskryf, die invloed van formele en informele musiekonderrig op jong musiekstudente bestudeer en ook die verhouding tussen ’n onderwys- en uitvoerende loopbaan bloot gelê. Tweedens is ’n vraelys aan al die beskikbare Unisa Oorsese Musiekstudiebeurswenners tussen 1970 en 2000 gestuur. Die doel van die vraelys was hoofsaaklik om inligting oor die persoonlike ervaring wat die persone in die steekproefgroep gedurende hul opleiding in die buiteland en daaropvolgende loopbane opgedoen het, in te win. Beide kwantitatiewe en kwalitatiewe data is deur die navorsingsmetodes bekom. Hoewel die responskoers redelik laag was, is waardevolle inligting ingewin oor die invloed wat Unisa se Oorsese Musiekstudiebeurs op die beurswenners gehad het. Die data het die hoedanighede van die beurswenners se loopbane asook die bydraes wat hulle in uitvoerende en onderwys kapasiteit lewer, aangedui. Die resultate het getoon dat die meerderheid beurswenners wel in Suid-Afrika gevestig is, terwyl die meeste van dié wat oorsee is, Suid-Afrika steeds besoek op ’n professionele basis. Die feit dat die meeste beurswenners suksesvolle musiekloopbane volg en ook meestal hoogs gekwalifiseer is, dui daarop dat Unisa se Oorsese Musiekstudiebeurs ’n integrale deel vorm van die ontwikkeling van Suid-Afrika se musiekbedryf. ENGLISH : This study examines the influence of Unisa’s Overseas Music Scholarship for Performers on the music development of South Africa. Two research methods were used to achieve this. Firstly, a literature study was conducted. This was done to obtain existing information regarding the careers of performing artists, define the term ‘professional musician’, study the influence of formal and informal music education on young music students as well as to uncover the relationship between teaching and performing careers. Secondly, a quesionnaire was sent to all available Unisa Overseas Music Scholarship winners between 1970 and 2000. The aim of the quesionnaire was to gain information regarding the winners’ personal experience of their education and careers. Quantitative and qualitative data was gained through this research method. Although the respons rate was low, valuable information was gathered regarding the influence that the Unisa Overseas Music Scholarship had on the scholarship winners. The data showed the capacity of the scholarship winners’ careers as well as the contribution they make in the performing and teaching environment. The results showed that more scholarship winners settled in South Africa, while many of those who settled overseas, still visit South Africa on a professional basis. The fact that most of the scholarship winners lead sucsessful music careers and are mostly highly qualified, indicates that Unisa’s Overseas Music Scholarship forms an integral part in the development of South Africa’s music industry. / Dissertation (MMus)--University of Pretoria, 2011. / Music / Unrestricted

La nueva sede para la Universidad Nacional de Música busca integrar diversos espacios diseñados para la enseñanza musical. En el primer capítulo se describe la tipología, el énfasis y el lugar, enfocándose en dar una introducción al tema a tratar. En el segundo capítulo se analiza la problemática y la justificación del proyecto. En el tercer capítulo se describe el marco histórico y referencial con respecto a la tipología de escuela de música. En el cuarto capítulo se analizan los diversos proyectos referenciales y se realiza un cuadro de conclusiones que ayudarán a elaborar el programa arquitectónico. En el quinto capítulo se analiza al usuario y cómo es que este va a influir en la elaboración del programa arquitectónico. En el capítulo seis se analizan las posibles opciones para la ubicación de la Universidad y se realiza el expediente urbano para determinar todas las condicionantes del entorno y de cómo estas van a influir en el diseño. En el séptimo capítulo se realiza un cuadro de criterios de diseño como conclusión de todo lo visto anteriormente junto con el terreno y sus parámetros urbanísticos. Se logra responder ante la necesidad de una nueva sede para la Universidad Nacional de Música. Como resultado se presenta un proyecto cuya arquitectura busca adaptarse y responder al entorno y contexto social en el que se emplaza. La volumetría, forma y presencia del edificio busca ser atractivo para el ciudadano y así acercarlo a la cultura a través de un Hito Urbano. / The new headquarters for the National University of Music seeks to integrate various spaces designed for musical teaching. The first chapter describes the typology, the emphasis, and the place, focusing on introducing the subject at hand. In the second chapter the problem and justification of the project are analyzed. The third chapter describes the historical and referential framework with respect to the music school typology. In the fourth chapter, the various referential projects are analyzed, and a table of conclusions is drawn up that will help to elaborate the architectural program. In the fifth chapter, the user is analyzed and how this is going to influence the development of the architectural program. In chapter six the possible options for the location of the University are analyzed and the urban file is carried out to determine all the determining factors of the environment and how these will influence the design. In the seventh chapter, a table of design criteria is drawn up as a conclusion of everything previously seen together with the land and its urban parameters. It is possible to respond to the need for a new headquarters for the National University of Music. As a result, a project is presented whose architecture seeks to adapt and respond to the environment and social context in which it is located. The volume, shape and presence of the building seeks to be attractive to the citizen and thus bring it closer to culture through an Urban Landmark. / Tesis

Studiens syfte är att lyfta fram olika upplevelser och berättelser från elever som, oavsett anledning,tar mindre plats i specifikt musikundervisningen på högstadiet. I och med detta är även syftet attbidra till en djupare förståelse för hur eleverna upplever att deras egen utbildning påverkas och hurlärare bör bemöta dessa elever. För att få fram resultatet användes en kvalitativ metod, muntligaintervjuer med elever som själva positionerade sig i en tillbakadragen roll i musikklassrummet.  Resultatet visade att en majoritet kände sig bekväma i en tillbakadragen roll, men att de samtidigtkände en yttre press från läraren att behöva ta mer plats främst för betygets skull. Informanternahade dock inte fått tillräcklig information om vad som faktiskt menades när de fått uppmuntran omatt "ta mer plats". Feedback i musikämnet upplevdes som en bristvara, inte enbart för de som togmindre plats. Informanterna hade självinsikt om sitt tillbakadragna sätt och upplevde att deras egetlärande kunde påverkas negativt om läraren uppfattade att de i och med detta inte var intresseradeeller villiga att delta. Olika moment i musiken kunde upplevas som mer eller mindre påfrestande attta plats på, ofta beroende på vad just den eleven tyckte var svårt eller i vad som kändes mestutpekande, att spela instrument eller sjunga. Flera fick även höra att de behövde ta mer plats men dekunde bara komma på fåtal exempel där läraren vänt sig till de tillbakadragna och försökt inkluderadessa mer på lektionerna på ett sätt som känts bekvämt för dessa elever. Informanterna tyckte inteatt läraren anpassade lektionerna tillräckligt för de som tar mindre plats. / The purpose of this study is to showcase different experiences and stories from students who,regardless of reason, have a more quiet role or withdrawn bevavior in music class. Along with this,the purpose is also to contribute with a deeper understanding for how students think when it comesto their own education and learning potential, and also how they think teachers should act whileencountering this kind of students. A qualitative method was used to get the result, one-on-one interviews with students who positioned themselves as quiet, introverted or withdrawnin the music classroom. The result showed that a majority of the students felt comfortable in awithdrawn or introverted role, however, they felt a pressure from the teacher to ”take more space”,mostly for the sake of the grade. The informants also felt like they did not fully understand what theteacher meant with the encouragement to ”take more space”. Feedback during music lessons wasdeficient, not only for the withdrawn students. The informants expressed self-awareness of theirwithdrawn behavior and felt like their own learning process could be affected negatively, if theteacher were to misinterpret the students behavior as a lack of interest or an unwillingness toparticipate. Different parts of the music education was experienced as more or less challenging todo, depending on what the informant thought was more difficult (for example, to play a specificinstrument or sing) or how much one task would force them to ”take space”. While the informantssaid they were getting comments about how they ”should take more space”, they could only thinkof a few examples where the teacher would try to include these students in a way that feltcomfortable for them. The informants did not think the teachers adjusted the lessons enough forthose who are more quiet, shy, introverted or withdrawn.

No description available.

Depuis 2001, le Programme de formation de l’école québécoise impose l’enseignement de la compétence « apprécier » dans les quatre disciplines artistiques. Ce mémoire s’intéresse à l’influence que peuvent avoir des activités intégrant les arts plastiques à la musique sur l’expérience d’appréciation musicale d’élèves de sixième année du primaire. Plus spécifiquement, elle vise à rendre compte des différentes dimensions présentes dans la description que font les élèves de leur expérience d’appréciation ainsi qu’à comprendre de quelle façon les activités d’appréciation intégrant les arts plastiques à la musique affectent la verbalisation que font les élèves de cette expérience. La recherche prend la forme d’études de cas réalisées auprès de cinq élèves de sixième année du primaire. Ces élèves, ainsi que tous les élèves de leur classe, ont participé à une activité d’appréciation musicale intradisciplinaire ainsi qu’à deux activités d’appréciation interdisciplinaires. Après chacune des activités, ces cinq élèves ont été rencontrés individuellement. Au cours d’entrevues semi-dirigées, il leur était demandé de rendre compte de leur expérience d’appréciation. Quatre grandes tendances ont émergé de l’analyse des propos des élèves, soit le sentiment de mieux s’approprier l’œuvre entendue, une verbalisation plus précise des éléments perçus, une verbalisation plus précise des sentiments ressentis et enfin, une forme de distraction par rapport à l’œuvre entendue. Au terme de cette étude, il semble que l’utilisation d’activité d’appréciation intégrant les arts plastiques à la musique, sans faire l’objet d’un usage systématique, pourrait constituer une forme de différenciation pédagogique qui serait utile à certains types d’apprenants. / Since 2001, the Quebec school program states that an « appreciation » competency has to be taught within all four artistic school disciplines. This study describes the influence of activities integrating visual arts and music on the appreciation experience of 6th grade students. More specifically, this study aims to relate the different dimensions that can be found in the students’ verbal account of their appreciation experience and to show how the interdisciplinary activities affect their verbalization of these dimensions. Five case studies conducted with 6th grade elementary school students are presented. These five students, along with the other students in their class, have participated in one intradisciplinary activity and two interdisciplinary activities integrating visual arts and music. Following each activity, the students were met for semi-structured interviews in which they were asked to share their appreciation experience. Four tendencies have emerged from qualitative data analysis: a more insightful listening, a more accurate description of perceptual elements, a more accurate description of the student’s feelings and finally a form of distraction from the music. It appears that appreciation activities which integrate visual arts and music could be, if not a systematic approach, a way to differentiate teaching in a way that could be helpful to some types of learners.

Ausgangspunkt sind Video-Aufzeichnungen von drei Unterrichtsstunden im Fach Musik. Sie werden zunächst in einen musikdidaktischen Rahmen eingeordnet, der es erlaubt, eine Stunde primär der „Handlungsorientierung“ im Sinn der 1980er Jahre zuzuordnen, die zweite Stunde primär dem musikdidaktischen Modell eines „Aufbauenden Musikunterrichts“ und die dritte Stunde „offenen“ Unterrichtskonzeptionen. Der zweite Abschnitt fragt nach dem Verhältnis von Lernen und Lehren und mündet in die These, dass „natürliches“, informelles Lernen und das Lernen in der Institution Schule in einem unauflösbaren Spannungsverhältnis zueinander stehen. Diese These wird dann an einigen Teilaspekten der aufgezeichneten Schulstunden konkretisiert. Im abschließenden Abschnitt wird die These auf das Spannungsverhältnis zwischen den schulischen Leistungserwartungen und der individuellen Leistungsbereitschaft der Schüler bezogen. Der Beitrag mündet in einem Plädoyer für die Anerkennung und Förderung der grundlegenden Leistungsbereitschaft der Schüler sowie der Selbstwahrnehmung ihrer individuellen Leistungen und ihres individuellen Erfolgs im Sinn einer zunehmenden Leistungsbewusstheit. / The point of departure consists of video recordings of three music lessons. These are first of all localised within a music-didactic framework, allowing one lesson to be classified primarily along the lines of “action-oriented” processes in the 1980s sense of the term, the second to be classed primarily with the music-didactic model of “progressive music learning” and the third lesson with “open” teaching concepts. The second section is an enquiry into the relationship between teaching and learning, resulting in the thesis that there is an irresolvable tension between “natural” informal learning and learning within the school institution. In the following section this thesis is concretised along various partial aspects of the recorded lessons. The thesis is then applied in the final section to the tension between the school’s performance expectations and the pupils’ individual willingness to perform. The piece ends by arguing for the recognition and promotion of the pupils’ fundamental willingness to perform as well as of their self-awareness of their individual performance and individual success in the sense of an increasing awareness of performance.

Felix Saul (1883-1942) var verksam som körledare, musikskribent och musikpedagog, och undervisade främst i sin egen musikskola, Stockholms privata konservatorium (SPK). Syftet med studien är att undersöka den pedagogik som Felix Saul tillämpade i sin musikundervisning i barngrupper på SPK. Empirin utgörs av intervjuer med Sauls tidigare elever, och av hans egna artikelserier om musikpedagogik. Materialet har analyserats utifrån ett övergripande kulturpsykologiskt perspektiv. Resultatet visar att Sauls undervisning som syftade till att utveckla elevernas musikalitet i stor utsträckning följde Tonika-do-metoden som den beskrivs av samtida litteratur, men att han lade större vikt vid ackordfunktioner och rytmikövningar, och att lek var en central del av undervisningen. Genom undervisningen fick eleverna tillgång till en omfångsrik verktygslåda med kulturella verktyg i form av konventioner att strukturera, uttrycka och representera musik, som de i fortsatt lärande kunde kombinera till individuella strategier för notläsning, interpretation och i musiklyssnande. Av studien har också framkommit att Saul var en betydelsefull musikpedagog trots att han inte fullt ut var accepterad av etablissemanget. / Felix Saul (1883-1942) was engaged as a choiremaster, music writer and music teacher, mainly at his own music school: Stockholms privata konservatorium (SPK). The purpose of this study is to describe how Felix Saul tought children's groups at SPK, and what pedagogy he employed. The empirical material consists of interviews with students who participated in Saul's children's groups and Saul's own series of articles about his music pedagogy. The material has been analyzed from a cultural psychological perspective. The result show that the teaching methods used by Saul to a large extent followed the Tonika-do method as it was described in the contemporary literature, but with a bigger emphasis on harmonic theory and eurhythmics, and that playing games was a central part of the educational activities. The education gave the students access to cultural tool-box a variety of tools in the form of established music-cultural conventions of structuring, expressing and representing music, that they could combine to create individual learning strategies for sight reading, interpretation as well as listening to music. In this study Saul has emerged as an influential music educator even though he was not fully accepted by the establishment.