Cette thèse propose une réflexion sur le développement du sens musical de l’enfant tunisien de 6 à 13 ans dans le contexte musical particulier du XXIème siècle. La problématique de base est de savoir si la culture musicale tunisienne qui repose principalement sur une esthétique modale arabe favorise le développement d’un ensemble d’habitudes d’écoutes chez l’enfant tunisien en rapport avec le système modal arabe. Peut-on alors postuler l’existence d’un éventuel « sens modal » chez l’enfant tunisien qui se développe progressivement de 6 à 13 ans et qui favorise l’acquisition des éléments caractéristiques du système modal tels que les intervalles spécifiques à la gamme arabe, la hiérarchie modale et les formules-types spécifiques à un mode ? Dans son aspect théorique, cette étude qui revêt une dimension psychologique passe en revue l’ensemble de travaux en psychologie de la musique et en psychologie du développement musical qui se sont intéressés à l’étude de la perception musicale en général et à la perception de la tonalité en particulier. Dans son aspect pratique, elle reprend un principe d’expérience effectué par Le Professeur Imberty dans son étude de l‘acquisition des structures tonales chez l’enfant occidental. Cette expérience qui a été réadaptée au contexte de la musique modale repose sur l’idée de la succession de trois épreuves : une première épreuve de mémorisation immédiate, une deuxième épreuve d’achèvement mélodique et une troisième épreuve de production vocale. Mots clefs : Développement musical - sens musical- système modal arabe - enfant tunisien- mémorisation- achèvement mélodique – production vocale / The present thesis offers a reflection on the development of 6-to-13 year-old Tunisian children’s musical awareness in the musical context of the XXI century. The basic argument here is whether the Tunisian musical culture that resides primarily in Arabic modal aesthetical system promotes the development of some listening habits among Tunisian children. Also postulated is the development of a modal awareness among the of 6-to-13 years old Tunisian children which boosts the acquisition of particular features of the modal system such as the specific intervals in the range Arab modal scale, the modal hierarchy, and standard formulas specific to a given mode. In its theoretical aspect, this study holds a psychological dimension in its review of literature attendant to the disciplines of psychology of music and musical developmental psychology which are concerned with the study of musical perception in general and the perception of tone in particular. In its practical aspect, the study draws on experimental model advanced by Professor Imberty in his account of the acquisition of the tonal structure among the Western children. The experimental procedure here has been adapted to the context of modal music which is based on the idea of three successive testing episodes related to the working memory, melodic attainment, and melodic vocal production.Keywords: Musical development - musical awareness - Arabic modal system - Tunisian children - memory - melodic attainment - vocal production

Analysis of teaching materials in the field of music education for children 3 to 6 years and their use in practice The theoretical part of the paper summarizes the current knowledge about the concept of music education in kindergarten, describes the musical ability and position of musical activities in the Framework curriculum for pre-school education. Furthermore, this work characterized the components of music education, such as singing, instrumental music and movement and listening activities. The practical part consists of two parts. The first section contains the mapping of the current situation of teaching materials for preschool children. Research method was a questionnaire survey, which was determined by width and source of musical materials that teachers use in practice with preschool children. The second part is methodical and includes songbook in which the notation of specific songs that appear when working in nursery schools. Keywords music, musical development conditions, musical ability, musical activities and games, RVP PV, teaching materials

O presente estudo integra interfaces das áreas de Psicologia, Educação e Música, com o objetivo de investigar como as professoras de creche de um Centro de Educação Infantil (CEI) da cidade de São Paulo utilizavam a linguagem musical junto aos bebês e se suas ações propiciavam ou não aprendizagem e desenvolvimento musical infantil. Investigou-se também sobre a formação musical do professor de Educação Infantil, bem como a interação e qualidade das atividades musicais ofertadas aos bebês. A pesquisa foi realizada em três fases, sendo a primeira e terceira fases ocorridas no CEI e a segunda fase na Faculdade de Educação da Universidade de São Paulo, como o Curso de Formação continuada em Música para as professoras, com carga horária de 60 horas. Os sujeitos da pesquisa foram: na primeira fase 16 bebês e 4 professoras oriundos dos Berçários I e II do CEI; na segunda fase 35 profissionais de Educação Infantil, entre elas as professoras participantes da pesquisa; na terceira fase 9 crianças pequenas e 5 professoras do agrupamento Mini Grupos I e II do CEI. O estudo enquadrou-se em uma pesquisa educacional, cujos princípios nortearam ações como investigação, formação e intervenção ao longo da pesquisa, envolvendo a participação de segmentos diferenciados que abrangeu desde a Universidade até os berçários da creche, formando uma rede colaborativa que propiciou mudanças na práxis pedagógica musical do CEI. A metodologia baseou-se no paradigma qualitativo, cujo tema musicalização infantil foi um estudo de caso dentro de um ambiente de pesquisa-ação, fundamentado pelas contribuições de W. Carr; S. Kemmis e J. Elliott. Estas contribuições proporcionaram uma investigação colaborativa respeitando eticamente as conquistas e transformações ocorridas no CEI durante os 3 anos de pesquisa. Como ferramenta para a coleta de dados foi utilizadas as Escalas de Empenho do adulto e de Envolvimento da criança de F. Laevers, na primeira e terceira fases da pesquisa; e a categorização do registro escrito e oral das atividades teóricas e práticas realizadas durante o curso de formação musical, na segunda fase da pesquisa. A análise dos dados foi fundamentada a partir das concepções mediacionais de Lev S. Vigotski e R. Feuerstein; da estrutura de aprendizagem da teoria de Jerome Bruner e da fase de audiação preparatória da Teoria da aprendizagem musical para recém-nascidos de Edwin Gordon, além das contribuições de estudos nas áreas da psicologia cognitivo musical e neurociências. Os resultados mostraram que a cada fase investigada se conduzia às outras, ou seja, a investigação inicial levou à orientação e formação musical das professoras e depois à intervenção in lócus. Portanto, ao final do processo foi possível concluir que a proposta de oferecer uma aprendizagem que conduza ao desenvolvimento musical infantil é também possível de ser realizada em creches públicas. Para tanto, sugere-se que se invista na formação musical continuada e no desenvolvimento potencial do professor dentro de uma perspectiva de Formação em Contexto. / This study integrates interfaces of the areas of Psychology and Music Education, with the aim to investigate how nursery teachers of an Early Childhood Center (CEI) of the city of São Paulo used the musical language with the babies and if their actions propitiated or not learning and children\'s musical development. Also investigated on music teacher education Early Childhood Education, as well as interaction and quality of musical activities offered to babies. The survey was conducted in three phases, the first and third stages occurred in the CEI and the second phase in School of Education at University of São Paulo as the continuing education course for teachers in music, with a workload being of 60 hours. The study subjects were in the first phase - 16 babies and 4 teachers coming from the nurseries I and II of the CEI, in the second phase - 35 professionals in early childhood education, including teachers participating in the research; in the third stage - 9 small children and 5 teachers from grouping called Mini Groups I and II of the CEI. The study is framed in an educational research, whose principles have guided actions such as research, training and assistance throughout the research , involving the participation of different segments that ranged from nursery teachers to the University, forming a collaborative network which brought changes in pedagogical musical praxis CEI . The methodology was based on the qualitative paradigm, whose theme \"music to baby\" was a case study in an environment of action research, grounded by the contributions of W. Carr; S. Kemmis e J. Elliott. These contributions have provided a collaborative research ethically respecting the achievements and transformations that occurred during the 3 years of research. As a tool for data collection was used of Scales of commitment of adult and Scales involving children of F. Laevers, on the first and third phases of the research, and the categorization of written records and oral theoretical activities and practices performed during the course of musical training in the second phase of the research. The data analysis was based from the mediational conceptions of Lev S. Vigotski and R. Feuerstein; the learning structure of the theory of Jerome Bruner and phase preparatory audiation of music learning theory for newborn Edwin Gordon, besides the contributions of studies in the areas of musical cognitive psychology and neuroscience. The results showed that each phase is investigated leading to the other, ie, initial research led to the orientation and training of music teachers and after the intervention in locus. Therefore, when the process was concluded that the proposal to offer learning conducive to children\'s musical development is also likely to be held in public nurseries. For this, it is suggested that continuing to invest in music training and on the potential development of the teacher within a training context perspective.

SUMMARY: Fulfilment of the musical curriculum realization for 5th – 6th formers of general schools and its peculiarities. Master‘s work by Jurate Daugeliene. Music education in Lithuanian general schools has been studied in all different aspects. Still, the works that reveal all panoramic musical skills are missed. For this purpose, the research on the curriculum in 5 - 6 forms was carried out. Subject of investigation: fulfilment of the curriculum and its realization for 5th – 6th formers of general schools. Hypothesis: It is thougth that the level of students‘ knowledge and skills is not high enough and music material is memorized insufficiently. Aim of investigation: to study the possibilities of the fulfilment of the curriculum for 5th - 6th formers. Tasks of investigation: to study scientific, pedagogical, psychological, and methodical literature about musical education; to prepare the instrument of the fulfilment of the curriculum; to ascertain the level of students‘ abilities in a lesson; to carry out an experiment; to present conclusions and recomendations. Methods of investigation: theoretical analysis of pedagogical, psychological, methodical and philosophical literature; the tests for empirical evaluation of knowledge and abilities of students; questionnaire of pupils and music teachers; the experiment; the data processed using qualitative analysis, SPSS PC program. Empirical research baze: 500 five... [to full text]

As escolas de música são espaços de reconhecida importância como instâncias de formação e atuação profissional em música no Brasil. Com o objetivo de compreender a escola de música em suas singularidades, esta tese parte da perspectiva da sociologia das instituições escolares, e de um estudo de caso realizado numa escola de música particular na cidade de Porto Alegre, RS, Brasil. As técnicas de coleta de dados utilizadas foram entrevistas e observações. Apoiado em autores como Estevão (1998), Castanho (2007) e Derouet (2000), o estudo mostra que a escola é vista, sobretudo, como um lugar para aprender e ensinar música, dotado de permanência, com missões próprias e sustentado por valores; com procedimentos próprios e com recursos instrumentais pertinentes. Estudar a escola de música enquanto instituição educativa, pode trazer para a área a consciência dos diferentes aspectos constituintes da escola, fazendo deles pontos de partida para a discussão da escola de música como campo de atuação profissional e de formação musical. / Music schools are places of acknowledged importance as venues for music education and professional performance in Brazil. In order to understand the music school in its singularities, this study adopts the perspective of the sociology of educational institutions, and of a case study conducted in a private music school in Porto Alegre, RS, Brazil. The techniques of data collection used were interviews and observations. Supported by authors such as Estevão (1998), Castanho (2007), and Derouet (2000), the study shows that the school is seen mainly as a place to learn and teach music, characterized by permanence, with its own missions and supported by values; with its own procedures and pertinent instrumental resources. Studying the music school as an educational institution can bring to this area the awareness of the various aspects that constitute the school, making them the starting points for the discussion of the music school as a field of professional performance and music education.

As escolas de música são espaços de reconhecida importância como instâncias de formação e atuação profissional em música no Brasil. Com o objetivo de compreender a escola de música em suas singularidades, esta tese parte da perspectiva da sociologia das instituições escolares, e de um estudo de caso realizado numa escola de música particular na cidade de Porto Alegre, RS, Brasil. As técnicas de coleta de dados utilizadas foram entrevistas e observações. Apoiado em autores como Estevão (1998), Castanho (2007) e Derouet (2000), o estudo mostra que a escola é vista, sobretudo, como um lugar para aprender e ensinar música, dotado de permanência, com missões próprias e sustentado por valores; com procedimentos próprios e com recursos instrumentais pertinentes. Estudar a escola de música enquanto instituição educativa, pode trazer para a área a consciência dos diferentes aspectos constituintes da escola, fazendo deles pontos de partida para a discussão da escola de música como campo de atuação profissional e de formação musical. / Music schools are places of acknowledged importance as venues for music education and professional performance in Brazil. In order to understand the music school in its singularities, this study adopts the perspective of the sociology of educational institutions, and of a case study conducted in a private music school in Porto Alegre, RS, Brazil. The techniques of data collection used were interviews and observations. Supported by authors such as Estevão (1998), Castanho (2007), and Derouet (2000), the study shows that the school is seen mainly as a place to learn and teach music, characterized by permanence, with its own missions and supported by values; with its own procedures and pertinent instrumental resources. Studying the music school as an educational institution can bring to this area the awareness of the various aspects that constitute the school, making them the starting points for the discussion of the music school as a field of professional performance and music education.

As escolas de música são espaços de reconhecida importância como instâncias de formação e atuação profissional em música no Brasil. Com o objetivo de compreender a escola de música em suas singularidades, esta tese parte da perspectiva da sociologia das instituições escolares, e de um estudo de caso realizado numa escola de música particular na cidade de Porto Alegre, RS, Brasil. As técnicas de coleta de dados utilizadas foram entrevistas e observações. Apoiado em autores como Estevão (1998), Castanho (2007) e Derouet (2000), o estudo mostra que a escola é vista, sobretudo, como um lugar para aprender e ensinar música, dotado de permanência, com missões próprias e sustentado por valores; com procedimentos próprios e com recursos instrumentais pertinentes. Estudar a escola de música enquanto instituição educativa, pode trazer para a área a consciência dos diferentes aspectos constituintes da escola, fazendo deles pontos de partida para a discussão da escola de música como campo de atuação profissional e de formação musical. / Music schools are places of acknowledged importance as venues for music education and professional performance in Brazil. In order to understand the music school in its singularities, this study adopts the perspective of the sociology of educational institutions, and of a case study conducted in a private music school in Porto Alegre, RS, Brazil. The techniques of data collection used were interviews and observations. Supported by authors such as Estevão (1998), Castanho (2007), and Derouet (2000), the study shows that the school is seen mainly as a place to learn and teach music, characterized by permanence, with its own missions and supported by values; with its own procedures and pertinent instrumental resources. Studying the music school as an educational institution can bring to this area the awareness of the various aspects that constitute the school, making them the starting points for the discussion of the music school as a field of professional performance and music education.

O presente estudo integra interfaces das áreas de Psicologia, Educação e Música, com o objetivo de investigar como as professoras de creche de um Centro de Educação Infantil (CEI) da cidade de São Paulo utilizavam a linguagem musical junto aos bebês e se suas ações propiciavam ou não aprendizagem e desenvolvimento musical infantil. Investigou-se também sobre a formação musical do professor de Educação Infantil, bem como a interação e qualidade das atividades musicais ofertadas aos bebês. A pesquisa foi realizada em três fases, sendo a primeira e terceira fases ocorridas no CEI e a segunda fase na Faculdade de Educação da Universidade de São Paulo, como o Curso de Formação continuada em Música para as professoras, com carga horária de 60 horas. Os sujeitos da pesquisa foram: na primeira fase 16 bebês e 4 professoras oriundos dos Berçários I e II do CEI; na segunda fase 35 profissionais de Educação Infantil, entre elas as professoras participantes da pesquisa; na terceira fase 9 crianças pequenas e 5 professoras do agrupamento Mini Grupos I e II do CEI. O estudo enquadrou-se em uma pesquisa educacional, cujos princípios nortearam ações como investigação, formação e intervenção ao longo da pesquisa, envolvendo a participação de segmentos diferenciados que abrangeu desde a Universidade até os berçários da creche, formando uma rede colaborativa que propiciou mudanças na práxis pedagógica musical do CEI. A metodologia baseou-se no paradigma qualitativo, cujo tema musicalização infantil foi um estudo de caso dentro de um ambiente de pesquisa-ação, fundamentado pelas contribuições de W. Carr; S. Kemmis e J. Elliott. Estas contribuições proporcionaram uma investigação colaborativa respeitando eticamente as conquistas e transformações ocorridas no CEI durante os 3 anos de pesquisa. Como ferramenta para a coleta de dados foi utilizadas as Escalas de Empenho do adulto e de Envolvimento da criança de F. Laevers, na primeira e terceira fases da pesquisa; e a categorização do registro escrito e oral das atividades teóricas e práticas realizadas durante o curso de formação musical, na segunda fase da pesquisa. A análise dos dados foi fundamentada a partir das concepções mediacionais de Lev S. Vigotski e R. Feuerstein; da estrutura de aprendizagem da teoria de Jerome Bruner e da fase de audiação preparatória da Teoria da aprendizagem musical para recém-nascidos de Edwin Gordon, além das contribuições de estudos nas áreas da psicologia cognitivo musical e neurociências. Os resultados mostraram que a cada fase investigada se conduzia às outras, ou seja, a investigação inicial levou à orientação e formação musical das professoras e depois à intervenção in lócus. Portanto, ao final do processo foi possível concluir que a proposta de oferecer uma aprendizagem que conduza ao desenvolvimento musical infantil é também possível de ser realizada em creches públicas. Para tanto, sugere-se que se invista na formação musical continuada e no desenvolvimento potencial do professor dentro de uma perspectiva de Formação em Contexto. / This study integrates interfaces of the areas of Psychology and Music Education, with the aim to investigate how nursery teachers of an Early Childhood Center (CEI) of the city of São Paulo used the musical language with the babies and if their actions propitiated or not learning and children\'s musical development. Also investigated on music teacher education Early Childhood Education, as well as interaction and quality of musical activities offered to babies. The survey was conducted in three phases, the first and third stages occurred in the CEI and the second phase in School of Education at University of São Paulo as the continuing education course for teachers in music, with a workload being of 60 hours. The study subjects were in the first phase - 16 babies and 4 teachers coming from the nurseries I and II of the CEI, in the second phase - 35 professionals in early childhood education, including teachers participating in the research; in the third stage - 9 small children and 5 teachers from grouping called Mini Groups I and II of the CEI. The study is framed in an educational research, whose principles have guided actions such as research, training and assistance throughout the research , involving the participation of different segments that ranged from nursery teachers to the University, forming a collaborative network which brought changes in pedagogical musical praxis CEI . The methodology was based on the qualitative paradigm, whose theme \"music to baby\" was a case study in an environment of action research, grounded by the contributions of W. Carr; S. Kemmis e J. Elliott. These contributions have provided a collaborative research ethically respecting the achievements and transformations that occurred during the 3 years of research. As a tool for data collection was used of Scales of commitment of adult and Scales involving children of F. Laevers, on the first and third phases of the research, and the categorization of written records and oral theoretical activities and practices performed during the course of musical training in the second phase of the research. The data analysis was based from the mediational conceptions of Lev S. Vigotski and R. Feuerstein; the learning structure of the theory of Jerome Bruner and phase preparatory audiation of music learning theory for newborn Edwin Gordon, besides the contributions of studies in the areas of musical cognitive psychology and neuroscience. The results showed that each phase is investigated leading to the other, ie, initial research led to the orientation and training of music teachers and after the intervention in locus. Therefore, when the process was concluded that the proposal to offer learning conducive to children\'s musical development is also likely to be held in public nurseries. For this, it is suggested that continuing to invest in music training and on the potential development of the teacher within a training context perspective.

The aim of the thesis is to address the important role and benefit of folk songs in the development of child's musical skills. The theoretical part studies children currently attending nursery schools and their development. Children are often in heterogeneous by age classes but each age category is on a different level of development and has own specific needs. At the same time it is necessary to work in accordance with the education system and follow its curriculum. The thesis offers guidelines that give suggestions and examples of how to fulfil this requirement by working with a selection of folk songs. The majority of exercises address the all-round development of the child's musical skills (activities: exercises with music, instrumental, singing and listening). There are examples of other activities facititating all- round development of the child based on the topic of the song.

El trabajo desarrollado en el presente documento consiste en el Proyecto Profesional “DESARROLLO DEL SENTIDO AUDITIVO PARA MÚSICOS ASPIRANTES MEDIANTE UN APLICATIVO MÓVIL IOS UTILIZANDO ARCHIVOS DE AUDIO Y REALIDAD AUMENTADA” el cual será nombrado como NODATRAINER (Nombre del aplicativo móvil iOS resultante). En los ámbitos estudiantiles de formación musical en el Perú existen vacíos teóricos y prácticos sobre el entrenamiento auditivo, habilidad vital para todo músico aspirante. El objetivo de este proyecto de tesis es complementar el estudio integral del alumno mediante lecciones interactivas y gratuitas en un aplicativo móvil iOS en el idioma español, iniciando por el aprendizaje de notas (notación musical), intervalos, para la adquisición y reforzamiento del oído tanto relativo como absoluto. Para llevar a cabo el proyecto, se han analizado los aplicativos actuales en el App Store, y las clases impartidas en Camerata Perú, alineado al repositorio académico de la UPC, así como consultadas las bases de datos OpenMusicLibrary y EBSCOHost. El aplicativo involucra desarrollo en plataforma iOS para los dispositivos iPhone y iPad, perfil e inicio de sesión de usuario, realizado mediante el servicio Firebase de Google. También, una sección exclusiva para venta de instrumentos musicales por empresas, así como personas naturales, y publicaciones de clases de música para impartir cursos a los que se encuentren interesados (clientes potenciales). Este aplicativo se encuentra publicado en el App Store de Apple de manera gratuita y diseñada para usabilidad del usuario. / The current paper consists in the professional project called "DEVELOPMENT OF THE AUDITORY SENSE FOR ASPIRING MUSICIANS THROUGH AN IOS MOBILE APP USING AUDIO FILES AND AUGMENTED REALITY", which will be also named as NODATRAINER (Name of the resultant iOS app). At the student levels of musical development in Peru, informal or formals, there are theorical and practical gaps about ear training, a vital skill for every aspiring musician. The goal of this thesis project is to complement the integral study of the student through free and interactive lessons in an iOS mobile application in the Spanish language, beginning by learning the notes (music notation), intervals, to reach the acquisition and reinforcement of both relative and absolute ear. In order to culminate the project, the current applications in the AppStore has been analyzed, along with the teachings at “Camerata Perú”, aligned with the academy repository at UPC, as well as the following data bases consulted “OpenMusicLibrary” and “EBSCOHost”. The app involves developing in the platform iOS for the iPhone and iPad device, a profile and login through the Firebase service by Google. Also, an exclusive section for musical instruments selling by formal and informal businesses or even natural persons, just like posting music classes to teach courses to those, who are interested (potential clients). This free app has been published in the Apple App Store and designed with user usability in mind. / Tesis