Orientador: Dorotéa Machado Kerr / Banca: João cardoso Palma Filho / Banca: Célia Maria Haas / Banca: Sônia Regina Albano de Lima / Banca: Carlos Bauer de Souza / Resumo: O ensino de música, desde quando instituído oficialmente nas instituições públicas brasileiras, na segunda metade do século XIX, tem passado por transformações e desempenhado diferentes papéis. Com as leis as leis 5.540/68 e 5.692/71, música, teatro, artes plásticas e desenho (substituído mais tarde pela dança), passaram a constituir a Educação Artística. A partir de então, o ensino de música foi perdendo visibilidade e importância. Esta tese aponta alguns pontos principais no processo histórico do ensino de música nesse período, visando esclarecer prováveis consequências para os dias atuais. A pergunta principal é: qual o papel desempenhado pela disciplina música na escola pública brasileira durante a vigência da Lei 5.692/71 e quais as possíveis consequências para seu ensino na atualidade? O referencial teórico baseou-se em Theodore Schultz (1961, 1973) na Teoria do Capital Humano, Jofre Dumazedier (2004), quanto ao conceito de lazer e sua aplicação na educação e Jürgen Habermas (1968), quanto ao conceito de racionalidade da dominação. A metodologia baseou-se no modelo de Dominique Julia (2001), que indica três caminhos para esse estudo: 1. conhecer as normas e finalidades que regem a escola, 2. avaliar a profissionalização do trabalho do educador e 3. analisar os conteúdos ensinados e as práticas escolares. Foram analisados leis, decretos e pareceres referentes a esses aspectos; livros didáticos de música utilizados nas escolas; a formação do docente. Observou-se o lugar... (Resumo completo, clicar acesso eletrônico abaixo) / The teaching of music, since when established officially in the Brazilian public institutions, in the second half of the 19th century, has undergone transformations and played different roles. With the laws 5,540/68 and 5,692/71, music, theatre, visual arts and design (later replaced by dance), become artistic education. From then on, the music was losing visibility and importance. This thesis aims some main points in the historical process of music education during this period, aiming to clarify probable consequences for the present day. The main question is: what is the role played by music in Brazilian public school discipline during the term of the law 5,692/71 and what the consequences to its teaching today? The theoretical framework is based on Theodore Schultz (1961, 1973) on Human Capital theory, Joffre Dumazedier (2004), about the concept of leisure and its application in education and Jürgen Habermas (1968), about the concept of rationality of domination. The methodology was based on the model of Dominique Julia (2001), indicating three paths for this study: 1. know the rules and governing the school purposes, 2. to assess the professionalization of the work of educator and 3. analyze the content taught and school practices. Was analyzed laws, decrees and opinions relating to these aspects; music textbooks used in schools; the education of the teaching staff. It was observed the secondary place and role of music in public school, seen as leisure within the mass culture. / Doutor

Orientador(a): Sonia Regina Albano de Lima / Banca: Fabio Miguel / Banca: Neide Esperidião / Resumo: Esta pesquisa tem como objetivo elaborar uma proposta curricular voltada para o desenvolvimento integral do estudante. O estudo de caso que aqui desenvolvido, descreve e analisa os processos de ensino-aprendizagem musical como fator de desenvolvimento integral humano, realizados no Colégio Marupiara, instituição educacional privada, localizada na Zona Leste da cidade de São Paulo, durante o período de 2002 a 2017. Definiu-se o conceito de desenvolvimento integral a partir da análise e convergência do "Relatório Delors" (1996), com foco nos quatro pilares educacionais (aprender a conhecer, fazer, conviver e ser) e da "Carta da Transdisciplinaridade" (1994), complementado pelo levantamento bibliográfico. Foram levantados artigos e trabalhos acadêmicos voltados para a música na educação básica, os quais traziam as palavras-chave desenvolvimento integral ou formação integral. Analisou-se os planejamentos, projetos, notas e relatos dos processos de ensino-aprendizagem musical que desenvolvi nesse colégio. Na análise desses procedimentos, trago a epistemologia musical do ensino musical do Colégio Marupiara e defino a incontestável fundamentação deste trabalho nas ações pedagógicas relatadas pelos compositores e educadores musicais, H. J. Koellreutter e Murray Schafer. Constatei, ao final da pesquisa, a relevância em construir o currículo de música desenvolvido no colégio, obedecendo princípios pedagógicos, respeitando o Projeto Pedagógico, para além da ideia de um ensino voltado... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This research aims to elaborate a curricular proposal focused on the integral development of the student. The case study that develops here describes and analyzes the processes of teaching musical learning as a factor of integral human development carried out in the Colégio Marupiara, private educational institution located in the East Zone of São Paulo, during the period from 2002 to 2017. The concept of integral development was defined from the analysis and convergence of the "Delors Report" (1996), focusing on the four educational pillars (learning to know, doing, living and being) and the " Charter of Transdisciplinarity " (1994), complemented by a bibliographical survey. Articles and academic works focused on music in basic education were brought up that included the words integral development or integral formation. The planning, projects, notes and reports of the teaching-learning processes that I developed in this college were analyzed. In the analysis of these procedures, I bring the musical epistemology of the musical education of the Colégio Marupiara and I define the undeniable foundation of this work in the pedagogical actions reported by musical composers and educators H. J. Koellreutter and Murray Schafer. I found at the end of the research, the relevance of constructing the music curriculum developed in this school obeying pedagogical principles, respecting the Pedagogical Project, besides the idea of a teaching focused exclusively on learning the musical... (Complete abstract click electronic access below) / Mestre

Present research provides strong support for the use of creative activities in school music programmes based on evidence that learning music is more effective when students are exposed to authentic, experiential learning activities, rather than verbal descriptions and explanations by the teacher. Based on this background the purpose of this study was to address the need to train music teachers with the confidence and skills necessary to incorporate creative music making in their classroom teaching. The study was divided into two phases. Phase I included a questionnaire survey that investigated the current situation of music teaching in Hong Kong secondary schools. To extend this survey three composers and three curriculum planners were invited to participate in semi-structured interviews in order to survey their opinions and suggestions on creative music making. Based on the literature review and findings from Phase I, Phase II focused on the design of a teacher education programme that would prepare teachers to undertake creative activities in their classroom music teaching. The programme was trialled twice with two groups of in-service music teachers studying at the Hong Kong Institute of Education. The trainees were asked to design their own creative projects that were taught during a four-week Teaching Practice session. Findings reveal that the most effective creative projects possessed a logical teaching sequence, addressed students???? musical preferences, and integrated listening and performing activities with the creative task. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study when designing and implementing their teaching programmes in order to nurture the musical creativity of their students. Music teacher education programmes in Hong Kong should also consider revising their modules so that they provide more balance between theory and practice, and integrate subject-based knowledge with pedagogical skills. A major conclusion of the study is that music teaching in Hong Kong secondary schools would benefited from a balance between creating, performing and listening activities where teachers apply a student-centred approach to expose their students to active, experiential and reflective learning environments in which creative musical expression is fostered at all levels of student development.

Studien syftar till att öka musiklärarens förståelse för elevernas uppfattning om fördelar och nackdelar med dagens gängse undervisningsmetoder. Jag har i min undersökning utgått från faktorer som jag funnit i tidigare undersökningar som visat sig vara viktiga för musikundervisningens kvalité. Genom en intervjuundersökning har ett antal elever fått beskriva vad de uppfattat av specifika moment, som att lära sig sitt första ackord på gitarr. Samt skillnaden mellan att lära sig spela nya ackord på gitarr nu och i början. Svaren har sedan jämförts med vad som tidigare framhållits som viktiga faktorer för att uppnå god kvalitet på undervisningen. Resultaten av denna jämförelse visar en överensstämmelse med tidigare forskningsresultat. Fler av de faktorer som angivits i tidigare forskning var genomförda på den undersökta skolan, vilket avspeglade sig i elevernas resultat. Slutsats av detta är, att med en genomtänkt plan för musikundervisningen ges eleverna bra förutsättningar för att lyckas. Vilket kan göra att skillnader mellan resursstarka och resurssvaga elever minskar. Ett didaktiskt dilemma som lyfts fram i min undersökning är hur läraren ska hjälpa eleverna med att hantera ett instrument, inom ramen för klassundervisningen. / This study aims to enhance the music teacher’s understanding of student's perception of the advantages of today's conventional teaching methods. In my study I have assumed elements that I have found in previous studies that have shown to be important for music education quality. Through interviews, a number of students had described their understanding of specific tasks, like learning his/her first chord on the guitar. The difference between learning to play new chords on the guitar now and in the beginning. The results of the interviews were then compared with what was previously highlighted as important elements in achieving good quality music teaching. The results of this comparison show a consistent with previous research. A lot of elements mentioned in previous research were already implemented in the school studied, which was reflected in the results of the interviews. The conclusion of this is that with a well prepared plan for music education students are given good opportunities to succeed, which can make the difference between high achieving and low achieving students decreases. A didactic dilemma highlighted in my research is how the  music teacher should deal with individual help.

ABSTRACT THE SCHOOL OF PERFORMING ARTS AT BELLEVUE BAPTIST CHURCH AS A MODEL OF THE CHURCH-BASED ARTS ACADEMY Hae Eun Kim, D.M.A. The Southern Baptist Theological Seminary, 2014 Chair: Dr. Esther R. Crookshank The School of Performing Arts founded at Bellevue Baptist Church in Cordova, Tennessee is one of most successful examples of a church-related music academy in a Protestant or evangelical church in the United States. This dissertation is a study of its history and development from its founding in 1984 through the present in order to understand how a church-based music academy may be successfully operated. The methodology draws on interviews of prominent individuals in the School of Performing Arts and primary source documents related to the operation of the school since its founding. Chapter 1 establishes the historical background of the Academy in the larger context of church music education in the United States since the nineteenth century and specifically in Southern Baptist church life after 1941, when the denomination's Church Music Department was created. This chapter gives an overview of the leaders, philosophies, and objectives of church music education in the Southern Baptist Convention by decade. Chapter 2 documents the origins, philosophy, and development of the overall music ministry of Bellevue Baptist Church and the rise of its tradition of excellence in music education and performance. Since its founding, the School of Performing Arts has advanced the goals of family-based church ministry through the intentionally intergenerational nature of its ensembles. Chapter 3 traces the history of the School of Performing Arts in two periods: 1984-2004 and 2005 through the present, corresponding with the school's changes of name. From Performing Arts Center (1984-2005) to School of Performing Arts (2005-present), the name was changed in order to reflect more accurately the mission and goals of the applied music program at BBC: teaching people to praise God with instruments and voice. The conclusion, chapter 4, seeks to identify key factors and principles in the school's success and longevity despite the shift in recent years away from orchestral worship music in many Southern Baptist churches. This chapter also addresses possible applications of the Bellevue model to evangelical churches in Korea, many of which have extensive church music programs but lack educational programs, especially for instrumental music instruction, found in the American Southern Baptist model.

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The purpose of this study was to discover whether the expanded educational goals for primary level Music and Art in British Columbia's Year 2000 Curriculum are met when the curriculum is integrated and teaching is done through themes. The sample population selected for this study was the lower mainland of British Columbia. 12 school districts participated in this study. Semi-structured interviews were conducted with 17 administrators of Fine Arts Programmes, District Principals or Consultants. The results indicate that educational goals for Music and Art can be achieved when thematic units are used to integrate the curriculum but only when the classroom teacher can be described as a specialist in primary Music and Art, having a personal background in Art and Music, or having a degree as a Fine Arts Major. The curriculum-as-practiced differs considerably from the curriculum-as-planned due to lack of resources, in-service education and program scheduling.