Orientador(a): Maria Júlia Canazza Dall'Acqua / Banca: Relma Urel Carbone Carneiro / Banca: Ilza Zenker Leme Joly / Resumo: O trabalho aqui realizado, de cunho qualitativo e caracterizado como estudo de caso, tem como temática a Educação Musical, com o foco na formação do professor de música que atua em salas comuns de ensino onde estão matriculados alunos público alvo da Educação Especial. A questão que embasou a pesquisa é: quais as características da percepção sobre o fazer de professores de música atuantes em salas comuns nas quais estão matriculados alunos Público Alvo da Educação Especial (PAEE) no contexto das políticas de inclusão escolar? Dessa forma, o objetivo principal pautou-se em analisar percepções e práticas expressas por meio do fazer de professores de música com vistas a enfocar facilidades e dificuldades apontadas a respeito de suas respectivas atuações em salas comuns em que estejam matriculados alunos PAEE, em uma cidade de porte médio do interior do Estado de São Paulo. Para isso, a pesquisa contou com a participação de cinco professores de música atuantes no contexto mencionado, que responderam a um questionário pelo qual forneceram dados a respeito da formação e das concepções que possuem e também como se dá o cotidiano da prática docente, abrangendo os assuntos referentes à inclusão escolar e à maneira com a qual lidam com esta realidade. As respostas dadas foram analisadas à luz da literatura e propiciaram reflexões que fossem ao encontro do objetivo almejado. O foco e o referencial teórico estão pautados na perspectiva da inclusão e da educação inclusiva, calcado em... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This work is related to Musical Education thematic with a qualitative nature and it is characterized as a case study that focuses the music teacher formation who works in the regular classroom of teaching where the target audience is enrolled students of Special Education. The question that based the research is: what features of perception about music teachers making that work in regular Classroom in which they are enrolled with special education target audience (PAEE) in the school inclusion policies context? Thus, the main objective was to analyze perceptions and practices expressed by music teachers making in order to focus on facilities and difficulties mentioned regarding their respective roles in regular classroom in which they are enrolled with PAEE students, in a midsize city of the state of São Paulo. For this, the research included the participation of five music teachers that work in the mentioned context, who answered to a questionnaire which provided data regarding about teacher's formation and concepts and also how is the everyday teaching practice, covering matters relating to school inclusion and the manner in which they deal with this reality. The answers were analyzed in the literature and they propitiated reflections that contributed to find the desired objective. The focus and the theoretical framework are guided by the perspective of inclusion and inclusive education, based on authors who defend that the concept of disability is socially constructed. Among the results, it is possible to point out that, in general, music teachers like their profession, they have good relationships with teachers from other areas of knowledge and they share with them a number of difficulties of teaching profession, such as low pay, excessive working hours, depreciation, undisciplined students, lack of resources and infrastructure, lack of preparation for work and the high... (Complete abstract click eletronic access below) / Mestre

South African primary school children need to be confronted with music in such a way that they can create, perform, listen and relate to it in a multicultural setting. This can be achieved by integrating music into the primary school curriculum, by means of ideas drawn from Comprehensive Musicianship, the spiral curriculum and outcomes-based education. Apart from the educational value of an integrated curriculum, the shortage of trained music educators makes it a necessity to involve generalist teachers in this way. There is thus a need, not being met by SASMT or SAMES, for a professional organisation to examine the goals and objectives of school music, and to equip teachers to put them into practice. In addition, as music is not specifically protected in Curriculum 2005, a professional organisation dedicated to primary school music is crucial to the survival of music education in South Africa. / Art History, Visual Arts and Musicology / M. Mus.

Multiculturalism is a policy of support for exchange among different groups of people to enrich all while respecting and preserving the integrity of each. South Africa comprises one of the most multi-ethnic, multiracial, multireligious and multicultural societies in the world. South Africa is a vast country of many peoples with many musics. Multicultural music can contribute to educational reform by providing equity and equality of learning experiences to all learners in a multicultural society. Music is not just an art to be practised within the education of a multicultural society. It is, in itself, a truly multicultural education. In the study of music education, the culture and nature of a people must be understood. There must be opportunities for all to be immersed in the music of other indigenous cultural groups and of world cultures. Music activity is not an isolated activity within a culture; music education as culture is the concept. Children have developmental levels and specific needs in different stages. This learning and becoming child experience music as a group of processes that reflect in sound what is happening in life. There is a difference in the development and behaviour between children of various cultures. Each child has special needs to become self-actualized. Multicultural music education attempts to meet these needs. In this thesis a curriculum model for multicultural music education is proposed. A common elements approach used in a spiral of musical and human development and based on the sound approach is used to expand awareness of fundamental elements of music to include all types of music of all people. This approach would lead to better understanding of other peoples and cultures. Based on these findings, guidelines and recommendations for multicultural music education are provided. / Educational Studies / D. Ed. (Empirical Education)

The purpose of the study was to develop and evaluate a series of video-tape lessons to supplement the traditional lecture-discussion method of teaching a college course in advanced music theory. The specific problems investigated were: 1) to evaluate the effect of video-tape material on achievement in an advanced music theory course. 2) To assess the effect of the video-tape materials on the achievement in harmony, keyboard, sight singing, and ear training for students who had differential learning ability levels. 3) To assess the attitudes toward music theory and the use of the supplemental lessons. 4) To assess attitudes toward music theory and the use of the supplemental lessons and achievement for all students involved in the study. Analysis of co-variance, simple analysis of variance, t tests, and Pearson correlations produced statistical results that led to the following conclusions: 1) Students who used the video-tape supplemental lessons did not score higher on achievement tests in harmony, keyboard, sight singing, and ear training than the students who did not use those lessons. 2) Students who used the video-tape lessons had greater variance among the ability levels on the achievement tests; and for those using the lessons, students in the low beginning-ability level did not achieve at a corresponding rate with the students in the high and middle levels. 3) Attitudes toward music theory and the use of supplemental materials were less positive for the students who used the video-tape lessons. 4) Among all participants of the evaluation, a significant relationship was found between attitudes toward music theory and the use of supplemental materials and achievement in music theory.

Made available in DSpace on 2015-10-06T13:02:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-07-03. Added 1 bitstream(s) on 2015-10-06T13:19:32Z : No. of bitstreams: 1 000849513.pdf: 3486170 bytes, checksum: bd70e9a411e0645146f53c494821bd7c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Minhas experiências com jovens em sala de aula, observando sua dinâmica em transitar em diferentes contextos - online, offline, escola, música - despertou em mim a curiosidade de entender melhor como se davam essas relações, e em que isso implicava em uma Educação Musical na contemporaneidade. Assim, a presente pesquisa trata das interações entre jovens estudantes de música e a cibercultura musical na mídia social Facebook, e suas implicações para a área de educação musical. Propõe também desvelar as articulações dos compartilhamentos vinculados à música com a formação musical de jovens estudantes de música entre 18 e 29 anos. Por meio de uma pesquisa de campo baseada em recursos etnográficos virtuais, os dados foram coletados via observação participante virtual no Facebook e entrevistas online assíncronas. O referencial teórico constitui-se um mosaico de conceitos: cultura musical, mundos musicais, compartilhar, cibercultura, cibercultura musical, pós-modernidade e Educação Musical. A interpretação dos dados é mostrada por intermédio de uma galeria de arte, na qual suas várias alas trazem as reflexões das práticas da cibercultura musical e a Educação Musical. Neste âmbito, os estudantes compartilham suas emoções, pensamentos e opiniões e utilizam o Facebook amplamente para divulgar seu trabalho. Os resultados mostram que o Facebook utilizado no dia a dia não traz muita contribuição para a formação musical dos estudantes participantes, porém se mostra uma ferramenta relevante para a construção do conhecimento musical, desde que mediado por um educador / My experiences with young people in the classroom, observing their dynamics in transit in different contexts - online, offline, school, music - awakened in me the curiosity to better understand how to get along these relationshi ps, and in what this implied a Musical Education contemporaneity. Thus, this research deals with the interactions between young music students and music cyberculture in Facebook social media and its implications for the field of music education. It also proposes to unveil the joints of shares linked to the music with the musical training of young music students between 18 and 29 years. Through a field research based on virtual ethnographic resources, data were collected via virtual participant observation Facebook and asynchronous online interviews. The theoretical framework constitutes a mosaic of concepts: musical culture, musical worlds, share, cyberculture, musical cyberculture, postmodernity and Music Education. Interpretation of the data is shown through an art gallery, in which its various wings bring the reflections of the practices of musical cyberculture and Music Education. In this context, students share their emotions, thoughts and opinions and use Facebook extensively to publicize their work. The results show that Facebook used in daily lives does not bring much contribution to the musical education of participating students, but it shows a relevant tool for the construction of musical knowledge from that mediated by an educator

Made available in DSpace on 2016-01-13T13:27:32Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-07-17. Added 1 bitstream(s) on 2016-01-13T13:31:15Z : No. of bitstreams: 1 000855980.pdf: 14144212 bytes, checksum: a4a5cb0c448c09f5a18dee89a12eff3d (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Neste presente trabalho pretendeu-se realizar a pesquisa do repertório estudado por dezoito corais Infanto-Juvenis do Projeto Guri (Regional Ribeirão). O objetivo foi conhecer estes repertórios e examiná-los com a finalidade de observar suas caraterísticas composicionais, extensão vocal, os idiomas e o tipo de repertório em seus diversos gêneros e estilos musicais, analisando se eram adequados à faixa etária em que foram aplicados. Com a metodologia adotada Análise de Conteúdo, os documentos foram coletados, categorizados, descritos e analisados. A quantidade de documentos coletados foi de 431 itens que compreendem partituras, letras de músicas e letras de músicas com indicações de harmonia. A partir dos resultados deste mapeamento houve uma reflexão acerca da necessidade de ampliação deste repertório por meio do despertar dos sentidos, para que os estudantes pudessem ter contato com uma maior diversidade musical e assim, ampliassem também suas experiências artísticas. / The present work carried out our intention to perform the search of the repertoire studied by eighteen Children-Young choirs of the Guri Project (in the area of Ribeirao Preto city). The goal was to get to know their repertoires and examine them in order to observe their compositional characteristics, vocal range, languages and the kind of repertoire in its various genres and musical styles, analyzing their suitability to the age in which they were applied. The methodology adopted was a Content Analysis, in which we collected, categorized, described and analyzed the documents. The amount of collected data was about 431 items, which included musical scores, song lyrics and lyrics with harmony indications. According to the results of this study, we proposed a thought on the need of expanding such repertoire through the awakening of the singer senses, so that the students could be in contact with more musical diversity and, then, also expand their artistic experiences.

Made available in DSpace on 2016-04-01T17:54:37Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-07-16. Added 1 bitstream(s) on 2016-04-01T18:00:15Z : No. of bitstreams: 1 000859976.pdf: 3255563 bytes, checksum: 470ab064f5bab18c136176c3d7ddcd48 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A presente pesquisa buscou mostrar que é possível ao Pedagogo, sem formação específica em Música, responsabilizar-se pelas aulas de Educação Musical na Educação Básica, especificamente na Educação Infantil e nos Anos Iniciais do Ensino Fundamental. A pesquisa foi qualitativa e a coleta de dados feita por meio de: a) aplicação de questionários, b) coleta de relatos de experiência e c) observação participante de um Seminário de Pesquisa baseado nas Brincadeiras da Cultura Tradicional da Infância, elaborado pela Pesquisadora. Considerando a premissa de que o homem é um ser brincante e amparando-se na Teoria Geral dos Sistemas e na Cultura da Infância, foi possível observar que, por meio do Jogo, o professor não tem preconceito com o fazer musical e sente-se capaz de conduzir um trabalho de musicalização com seus alunos. A partir da participação, envolvimento e dedicação dos professores de classe durante a realização do Seminário, e as ações por eles desenvolvidas nas escolas, nas quais atuam, infere-se que eles podem dar conta do que a nova legislação brasileira pede em relação ao Ensino de Música tendo como base as Brincadeiras Infantis. Espera-se, com esta Pesquisa, contribuir com os profissionais da área da Pedagogia, em especial se puder aumentar-lhes a confiança na aproximação com a Música, auxiliar na formação musical de professores e colaborar com elementos para novos trabalhos acerca do tema / This research aims to show that it is possible to Educator, without specific training in Music, take responsibility for Music Education classes in Basic Education, specifically in kindergarten and elementary school. It is a qualitative research and the data collection was made using: a) questionnaires, b) experience reports, and c) a participant observation of a Research Seminar, which was prepared by the researcher, based on Play of Traditional Culture of Childhood. According to General Systems Theory and Culture of Childhood, our premise was that the human being is a 'playing' being; what was ratified when observing that, when the teacher is playing, there is no prejudice about self-production in music making, and also that these teachers feel able to conduct a musicalization class with their students. From the class teachers results concerning to the: 1) participation, 2) involvement, 3) dedication during the course of the seminar, and 4) the actions they have developed in schools where they operate; we inferred that they can carry on what the new Brazilian legislation demands about teaching Music with Children's Play. We hope that, with this research, it is possible to contribute to the Pedagogy professionals, specially, if it: 1) increases their confidence in approaching to the music, 2) assists them in Music teacher training, and 3) collaborates with elements for further work on the subject

Made available in DSpace on 2014-06-11T19:26:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-06-25Bitstream added on 2014-06-13T20:15:39Z : No. of bitstreams: 1 lobo_la_me_ia.pdf: 968005 bytes, checksum: c68a5b6d75f9c986ec531ec3f23f8e71 (MD5) / Secretaria de Estado da Educação / Ao elaborar uma performance o músico está ciente de que decisões terão de serem tomadas. Este trabalho discute a respeito dos processos de tomadas de decisões e as suas relações com a performance, enfatizando principalmente as descobertas realizadas por Teversky e Kahneman. A ideia de racionalidade plena é contestada, fundamentando-se nas pesquisas que abordam as falácias nas decisões. Os processos cognitivos que auxiliam na velocidade de nossas escolhas – heurísticas – são responsáveis por erros sistemáticos – vieses. Os vieses são exemplos de nossa parcial racionalidade. Diante da complexidade que a performance possui e dos desafios enfrentados por um performer, defendemos a necessidade da proposta elaborada por um músico profissional ser coerente com a sua apresentação, para isso expomos a ideia de eficiência na performance defendida por Herr. O conflito existente entre a racionalidade parcial do ser humano e a busca pela eficiência é apresentado. A fim de tentar aprimorar o modelo de eficiência analisamos algumas das decisões realizadas pelo performer e buscamos identificar a utilização de heurísticas e vieses. Ter conhecimento dessas questões permite que sejamos mais conscientes de nossas escolhas e fornece novas ferramentas que possibilitem identificar e evitar os erros sistemáticos, aprimorando o modelo de eficiência. Por fim, apresentamos propostas para futuras pesquisas com o desígnio de ampliar o arcabouço teórico que possuímos / In developing a performance the musician is aware that decisions must be taken. This work discussed about the processes of decision-making and its relationship with performance, highlighting the discoveries made by Kahneman and Teversky. The idea of full rationality is challenged, basing on the research addressing the fallacies in the decisions. The cognitive processes that help speed our choices - heuristics - are responsible for systematic errors - biases. Biases are examples of our partial rationality. Given the complexity that has performance and the challenges faced by a performer, we sustain the need for the proposal prepared by a professional musician to be consistent with his presentation, to expound on this idea of efficiency in performance advocated by Herr. The conflict between the partial rationality of the human and the pursuit of efficiency is presented. In order to try to improve the efficiency model we analyze some of the decisions made by the performer and seek to identify the use of heuristics and biases. Knowledge of these issues allows us to be more conscious of our choices and provides new tools that enable the identification and avoidance of systematic errors, improving efficiency model. Finally, we present proposals for future research with the plan to expand the theoretical framework that we have

Made available in DSpace on 2014-08-13T14:50:58Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-03-02Bitstream added on 2014-08-13T17:59:50Z : No. of bitstreams: 1 000772134.pdf: 1209811 bytes, checksum: fef56fe38ac61a3eb88b53caf2326347 (MD5) / Esta tese foi ensejada pela constatação da ausência de repertório da música contemporânea, experimental e eletroacústica no ambiente escolar. Esta constatação, especulada pelo compositor Guy Reibel, tendo como causa a pouca comunicabilidade por ter um código pouco conhecido, pôde ser verificada pela observação e análise de ações do Programa “Música na Escola”, do Município de Pouso Alegre – MG. Este Programa é uma demonstração de comprometimento político e social, por ser uma instituição que, desde 2005, dá acesso ao ensino de música na escola regular de forma estruturada, porém sem contemplar o repertório musical contemporâneo ou técnicas pedagógicas que o acolham. Não se excluem os méritos desta política pública, que dá relevância ao Estado de Minas Gerais, por ter este uma atuação diferenciada em relação a outros Estados da União, no que se refere ao ensino da música. Esta pesquisa buscou formas de ampliar suas ações já consolidadas para uma maior abrangência na atuação docente em suas escolas e abrir espaço a novas abordagens. As observações preliminares se concentraram nos seguintes aspectos: a origem do Programa como resultado de ação de políticas públicas, descrição de suas estruturas, estabelecimento de relações com os Projetos “Música na Escola” dos conservatórios mineiros, bem como o reconhecimento de sua abrangência na Rede Municipal de Ensino. Buscou-se, posteriormente, criar pontes de aproximação entre os educadores do Programa e o repertório musical e didático que envolve formas alternativas de ouvir e fazer música, reportando-se às propostas dos compositoreseducadores da metade do século XX, ou seja, Murray Schafer, Guy Reibel, John Paynter, Boris Porena e George Self, entre outros. Este processo de desenvolvimento estrutural da pesquisa ocorreu pela análise das estruturas pedagógicas vivenciadas em reuniões dos ... / This thesis was developed to lessen the absence of the repertoire of contemporary, experimental and electroacoustic music in the school environment. Contemplated by composer Guy Reibel, this finding, caused by a lack of communicability of some unfamiliar code, was verified through observations and analyses of the “School Music Program” at the City of Pouso Alegre - MG. This program is a demonstration of social and political opportunity, being that since 2005 it provides access to music education in regular schools by a structured process. However it doesn’t address the contemporary repertoire and pedagogical techniques that embrace it. We don’t want to reduce the merits or the relevance of Minas Gerais public policy, which has a differentiated performance if compared to other states in Brazil regarding the teaching of music. The study sought ways to expand the actions already consolidated for greater coverage on performances in the schools. Preliminary observations were focused on some aspects: the origin of the program as a result of public policies and description of its structures and its relationship with the conservatories programs “School Music Program”, as well as its scope in municipal schools. Subsequently, bridges were built to approach the educators of the program to the educational musical repertoire that involves alternative ways to listen and make music following some contributions of the composers-educators from the mid twentieth century, namely Murray Schafer, Guy Reibel, John Paynter, Boris and George Porena Self and others. The structural development process of this research was the educational experiences analysis developed through meetings with the program educators and the researcher, called “Training Workshops”, as well as an analysis of the direct work of the educators in the schools with their students. The main purpose of this procedure was to expand the teach ...

Made available in DSpace on 2014-08-13T14:50:58Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-09-25Bitstream added on 2014-08-13T17:59:50Z : No. of bitstreams: 1 000772246.pdf: 1651312 bytes, checksum: 694d4e1049c63a00daa7cecc14f0275e (MD5) / Este trabalho buscou verificar a interferência da construção de instrumentos musicais com material alternativo como solução para a crença dos estudantes na impossibilidade de praticar música e na ideia de que o ato de tocar esteja condicionado à aquisição de um instrumento musical, modificando o que pensam sobre a ideia de tocar instrumentos e fortalecendo, dessa forma, a sua crença na própria capacidade. Os resultados foram obtidos por meio de pesquisa de campo com entrevistas, observação de oficinas de construção de instrumentos musicais com material alternativo e análise de documentos sobre o assunto, além da triangulação dessas fontes pelo método qualitativo. Concluiu-se que para se obter um resultado positivo é necessário ter uma pré-conscientização ou ao menos a não instalação de um pensamento limitador em relação à pratica musical, em primeira instância uma experiência fácil e exitosa com instrumentos de simples execução, além da rede social que a incentive e o tempo como fator importante para mudança. Foram verificadas quatro oficinas que apresentaram resultados que confirmaram a hipótese, duas de forma mais expressiva, o que corrobora a construção de instrumentos musicais com material alternativo como uma ferramenta possível para o ensino de música voltado a necessidades dos estudantes, como elemento facilitador da prática musical e como oportunidade de desenvolvimento pessoal além da música / This paper aimed to verify the interference of the construction of musical instruments with alternative material as a solution to students’ belief in the inability to practice music, and in the idea that the act of playing is conditioned on acquisition of a musical instrument, changing what they think about playing instruments and empowering this way their belief of their own capacity. The results were obtained through field research with interviews, observation workshops of musical instruments with alternative material and analysis of documents about the subject, and the triangulation of these sources by the qualitative method. It was concluded that to obtain a positive result it is necessary to have a pre-consciousness or at least not to install a limiting thought in relation to musical practice, in first instance an easy and successful experience with tools simple to perform, as well as social network that encourages and time as an important factor for changing. It was verified that four workshops presented results confirming the hypothesis, two in a more significant, which supports the construction of musical instruments with alternative material as a possible tool for teaching music geared to the needs of students, as a facilitator of musical practice to them, and as an opportunity for personal development beyond the music