El Sistema est le nom d’un programme vénézuélien de formation à travers la musique symphonique. Au bout de quarante ans d’existence le nombre d’élèves est impressionnant, de toutes classes sociales. Imité dans plus de 60 pays, El Sistema est une référence mondiale pour l’utilisation de l’art musical comme instrument d’éducation personnelle et sociale auprès des populations de quartiers défavorisés socio-économiquement. Néanmoins, il existe une grande lacune quant à la recherche en sciences sociales sur ce qui est réellement fait au Venezuela et dans les pays qui s’inspirent d’El Sistema.Nous participons à combler cette lacune en appliquant des méthodologies ethnographiques sous un regard sociologique. Pour cela nous avons focalisé la recherche sur l’unité de base d’El Sistema – le núcleo. Il s’agit d’un espace physique, comme une école, où se regroupent des acteurs (élèves, professeurs, parents…) pour des cours de musique au quotidien, en suivant les principes et les méthodes d’El Sistema. Cet enseignement est gratuit et les instruments sont prêtés aux élèves.La double-question posée est : comment se déroulent les actions dans le núcleo et quel est le rôle de chaque type d’acteur qui le constitue ? Pour tenter de répondre à ces questions générales, qui seront approfondies au long de la thèse, nous proposons une analyse comparative entre trois núcleos de trois pays différents : Venezuela, Brésil, Portugal. Dans ces deux derniers, nous avons choisi des programmes de formation musicale inspirés par l’El Sistema vénézuélien : le Neojiba au Brésil ; l’Orquestra Geração au Portugal.Dans chaque programme, nous avons choisi un seul núcleo comme unité d’analyse. C’est donc une recherche multi-située, où sont appliquées des méthodologies qualitatives : observation ethnographique ; entretiens semi-directifs, focus-groups. L’analyse comparative n’est pas normative, elle sert ici à provoquer la pensée grâce aux différences et aux similarités entres les trois núcleos, ce qui complexifie la recherche. Dans les trois terrains de recherche, l’ethnographie est centrale, quotidienne et très intense, pour que l’on puisse illustrer le rôle de chaque type d’acteur dans les núcleos. Nous cherchons à comprendre quelles actions individuelles et collectives se développent dans chaque contexte. C’est le coeur de cette thèse : révéler le plus d’aspects empiriques possibles des núcleos et sous divers angles complémentaires.Pour comprendre les actions dans les núcleos nous avons besoin d’élargir l’analyse, en y intégrant les contextes sociaux, économiques et politiques qui les enveloppent. Les facteurs qui semblent externes ont, eux aussi, beaucoup d’impact sur les actions de chaque acteur et, en conséquence, sur les résultats atteints à travers l’éducation musicale dans les núcleos. / El Sistema is the name of a Venezuelan educational program that uses symphonic music as a tool. After forty years of existence, the numbers of students have increased impressively from all social classes. Reproduced in more than 60 countries, today El Sistema is a worldwide reference in the use of musical art as a tool for personal development and social education among populations living in socioeconomically disadvantaged neighbourhoods. Yet, there is a gap in social science research on what is really done in Venezuela and in the countries that have been inspired by it.We intend to fill in this gap by applying ethnographic methodologies under a sociological eye. For that, we focus the research on the basic unit of El Sistema – the núcleo. The núcleo is a physical space, like a school, where social actors (students, teachers, parents…) get together for daily music classes, following principles and methods of El Sistema. The lessons are free and the instruments are lent to the students.The starting double-question we ask is: how do the actions progress in a núcleo and what is the role of each of these actors? To answer these questions, we suggest a comparative analysis between three núcleos in three countries: Venezuela, Brazil and Portugal. In the last two, we chose musical education programs inspired by the Venezuelan El Sistema: Neojiba in Brazil and Orquestra Geração in Portugal.In each program, we chose one núcleo as a unit of analysis. It is, therefore, a multi-situated research, in which we apply qualitative methodologies: ethnographic observation, semi-structured interviews and focus-groups. The comparative analysis is not normative. Instead, it is a way to complexify, to provoke the researcher’s thinking using the differences and the similarities between the three núcleos. In our fields of research, ethnography is central, carried out daily in a very intense paste, aiming at capturing and illustrating the role of each actor in the núcleo. We want to understand which individual and collective actions are developed in each context. The heart of this thesis is to reveal as many empirical aspects of the núcleos as possible, through diverse complementary angles.To understand the actions in the núcleos we extend the analysis by incorporating the social, economical and political contexts surrounding them. The factors that seem external also have impacted on the actions of each actor and, in consequence, on the results obtained through musical education in the núcleos.

The research is linked to the line of Education and Arts from the Postgraduate Program in Education at Federal University of Santa Maria and was developed by the research group FAPEM - Formation, Action and Research in Music Education. It aims to understand how music is educated and how the school movement influences that education in relation to empower the musical act of the students. It was motivated by a personal experience search for schooling processes that would increase the power of the musical act of basic education students from a public school. Apart from personal experience, the research was also developed in other full-time elementary school from January to June 2015, making it as empirical field for the construction of data. It is organized in four parts. The first outlines the methodological construction supported by guidelines linked to qualitative approach, bringing the empirical research field and pointing schooling of music as a phenomenon of real life, interpreted from a hermeneutic orientation (MUCCHIELLI 2004). The second presents conceptual bases of education from Masschelein and Simons (2014); School from Fernandes (2013), Masschelein and Simons (2014), Coêlho (2013; 2013b), among others, in addition to Spinoza s thinking that leads to the concept of power. The third presents the historical process of constitution of the School and the inclusion of music in this process, focusing on the meeting between music and Brazilian school from the legal guidelines that have subsidized the school musical education over the years. The fourth part elucidates the personal education experience of music that led to the proposition of this research and reports the construction data, observations and analyzes undertaken through empirical field. Also in the latter part is the analysis of the two experiences - the personal and the empirical field - from the concepts presented in the second part. It is based on the thesis that music, when educated, loses and regains power in function of the contexts and intentions coming from the school movement proposed by individuals who had constituted it. They is an interpretation of the fact that when the school tries to meet the expectations of a busy school from sense and organizational assumptions (COELHO, 2013, 2013b), the music loses power in order not to create opportunities to students empower the musical act. / A pesquisa está vinculada à linha Educação e Artes do PPGE/UFSM e foi desenvolvida junto ao grupo de pesquisa FAPEM Formação, Ação e Pesquisa em Educação Musical. Objetiva compreender como a Música é escolarizada e como o movimento escolar influencia nessa escolarização em relação à potência do agir musical dos estudantes. Foi motivada por uma experiência pessoal de busca por processos de escolarização que aumentassem a potência do agir musical de estudantes de uma escola pública de ensino básico. Para além da experiência pessoal, a pesquisa também foi desenvolvida em outra escola de ensino básico de tempo integral dentre os meses de janeiro a junho de 2015, constituindo-a como campo empírico para a construção de dados. Está organizada em quatro partes. A primeira delineia a construção metodológica apoiada em orientações ligadas à abordagem qualitativa, trazendo o campo empírico de pesquisa e apontando a escolarização da Música como um fenômeno da vida real, interpretado a partir de uma orientação hermenêutica (MUCCHIELLI, 2004). A segunda apresenta bases conceituais de escolarização a partir de Masschelein e Simons (2014); de Escola, a partir de Fernandes (2013), Masschelein e Simons (2014), Coêlho (2013; 2013b), dentre outros, além do pensamento spinozano que conduz ao conceito de potência. A terceira apresenta o processo histórico de constituição da Escola e a inserção da Música neste processo, com enfoque no encontro entre a Música e a escola brasileira a partir das orientações legais que têm subsidiado o ensino musical escolar ao longo dos anos. A quarta parte elucida a experiência pessoal de escolarização da Música que acarretou a proposição dessa pesquisa e relata a construção de dados, observações e análises empreendidas através do campo empírico. Também estão nesta última parte, análises das duas experiências - a pessoal e a do campo empírico -, a partir dos conceitos apresentados na segunda parte. Apoia-se sobre a tese de que a Música, quando escolarizada, perde e recupera potência em função dos contextos e intencionalidades advindas do movimento escolar proposto pelos indivíduos que o constituem. Tem como interpretação o fato de que quando a escolarização tenta atender a expectativas de uma escola movimentada a partir de sentido e pressupostos organizacionais (COÊLHO, 2013, 2013b), a Música perde potência no sentido de não oportunizar aos estudantes um agir musical potente.

The problem of this study was an analysis of the relationships between performance on certain admissions measures and academic achievement of students in master's degree programs in music education. The purposes of the study were (1) to determine the strength of relationships between scores on each measure included in an admission battery and the academic achievement of master's degree music education students; (2) to determine the strength of the relationship between the final grades in Admission Seminar and the academic achievement of master's degree music education students; and (3) to determine which combination of admissions measures best predict the academic achievement of master's degree music education students.

Este es el primer estudio realizado en Sudamérica respecto al canto a capella contemporáneo y sus beneficios para un músico. Numerosos son los alumnos que se retrasan o se retiran de la carrera de música debido a que carecen del nivel requerido en algunas habilidades musicales. Aún mayor es la cantidad de alumnos que indican tener dificultad en desarrollar una o más habilidades musicales. Luego de participar en el coro de la universidad por dos años, observé como algunas habilidades musicales se habían desarrollado por la práctica del canto a capella en varios alumnos y en mi caso. Este trabajo de investigación se ha realizado mediante la consulta de fuentes escritas de países como Estados Unidos y Canadá, encuestas a alumnos y exalumnos, entrevistas a profesores, y diversos análisis de arreglos a capella (video y partitura). Así no sólo se comprueba la hipótesis original sobre los beneficios del canto a capella, sino que se muestra la situación actual con respecto a la carrera universitaria de música en varias universidades del continente, y más específicamente en la UPC. En esta investigación, se busca aislar los elementos de un arreglo de a capella contemporáneo que desarrollen una habilidad musical específica; para poder ser aplicados en la elaboración de arreglos vocales a capella. De esta forma, se pueden seleccionar e interpretar los arreglos correspondientes a la habilidad específica que de desee desarrollar. Asimismo, estos elementos podrán ser aplicados a diferentes géneros o estilos musicales, de diferentes países, culturas y épocas. / This is the first research made in South America regarding contemporary a capella singing and its benefits for musicians. Various students fall behind or even drop completely out of the music major because they lack the required level in various musical skills. A significant number of students indicated they are having difficulty in the development of one or more musical skills. During my two years in the university choir, I noted that myself and other students managed to improve certain musical skills due to the choir’s a capella repertoire. This research was made through the consultation of a wide array of written sources from countries like United States and Canada, students and alumni surveys, professors’ and teachers’ interviews, and several analyses of a capella arrangements (video and music sheet). Therefore, not only is the original hypothesis proved, but it also shows the current situation of music degrees in various universities in the continent, and more specifically in a Peruvian university. This research seeks to isolate the elements of a contemporary a capella arrangement that contribute to the development of a specific musical skill. These then isolated elements can be used to construct a capella arrangements in order to improve the students chosen skill(s). Consequently, certain arrangements can be performed according to the specific musical skills the student wants to develop. Additionally, these elements can be applied to different music genres and styles, from various countries, cultures and eras. / Trabajo de investigación

The master thesis submits basic philosophy and vision of music education upon the creation of a new primary school with extended focus of musical education. The thesis unifies the knowledge about development of musical education in Czech lands from medieval era to present and states the development of primary schools with extended focus of musical education. The thesis also describes the creation of these institutions on work of Ladislav Daniel and the Olomouc experiment, its progression and future reflections on conception of education on primary school with extended focus of musical education, contemplates the creation of guidelines for extended musical education in the Czech educational system. The thesis also describes important trendsetters in this issue, such as Ladislav Daniel, Alena Tichá, Jan Prchal and Pavel Jurkovič. A different part states the creation of school as an educational institution and describes basic characteristics of this institution. It also contemplates all necessary guidelines for creating a primary school with extended musical education, specifies the legislative framework, functions, and corporate framework with accent on educational juridical person system. The thesis describes the financing and management of the subject. The practical elements of the thesis submits a...

The master thesis submits basic philosophy and vision of education upon the creation of a new primary school with extended focus of musical education. The thesis unifies the knowledge about development of musical education in Czech lands from medieval era to present and states the development of primary schools with extended focus of musical education. The thesis also describes the creation of these institutions on work of Ladislav Daniel and the Olomouc experiment, its progression and future reflections on conception of education on primary school with extended focus of musical education, contemplates the creation of guidelines for extended musical education in the Czech educational system. The thesis also describes important trendsetters in this issue, such as Ladislav Daniel, Alena Tichá, Jan Prchal and Pavel Jurkovič. A different part states the creation of school as an educational institution and describes basic characteristics of this institution. It also contemplates all necessary guidelines for creating a primary school with extended musical education, specifies the legislative framework, functions, and corporate framework with accent on educational juridical person system. The thesis describes the financing and management of the subject. The practical elements of the thesis submit a...

This diploma thesis introduces children's musical as a didactic tool at primary schools. This work maps the influence of creative playwright on the development of musical abilities, skills and creativities. The theoretical part of this diploma thesis defines the term "musical". It briefly describes the origin of the musical as a genre. The practical part brings possibilities of using a musical as a means of an educational process. It provides particular demonstrative situations which lead to development of the crucial competences of the students. The author of the musical is the author of this diploma thesis. She herself translates the music recording, scenario, and methodical material. The method, that has been used for the field research, is a systemic observation which is divided into ten lessons in the form of a project-based learning. This thesis deals with an issue, whether the musical enables an active engagement of the pupils in the musical educational process. The hypotheses, which have been set, are verified by the means of collective reflection from which follows students' higher motivation for musical activity. The realization of the musical positively develops students' attitudes towards music and enables them to react to current trends in the field of musical education. KEYWORDS...

1 ABSTRACT The diploma thesis "Teaching Music in Composite Classes at Elementary School and Kindergarten Dvory" is divided into two parts: a theoretical and a practical part. The theoretical part involves a general description of mixed-grade education, schools with composite classes and educational goals and tasks applied in teaching Music at the first level of a primary school with composite classes. The practical part deals with the characterization and history of Elementary School and Kindergarten Dvory, as well as the inclusion of Music as a school subject in the school's educational program. Furthermore, musical activities appearing in the school's tuition are described, together with specific ideas for teaching Music at a school with composite classes. The thesis is also accompanied by a questionnaire survey concerning teaching Music, conducted at nearby schools with composite classes. KEYWORDS primary school, music activities, musical education, primary school with composite classes, lesson

Cette thèse se veut une contribution à la recherche en éducation musicale en France. Elle est ancrée dans le domaine de l’enseignement spécialisé de la direction de chœur et aborde les pratiques de l’élève et de l’enseignant dans leur interdépendance, à travers l’analyse d’une situation réelle d’enseignement-apprentissage du geste de direction musicale. La recherche traite spécifiquement le travail de l’enseignant et tente de mettre en lumière le rôle de ce dernier dans la construction des savoir-faire liés à un élément technique particulier :« la levée ». Il s’agit de mettre en évidence la manière dont l’enseignant structure le cours, et les aménagements qu’il opère, en termes de « milieu » pour accompagner l’élève vers les connaissances visées. / This thesis has the purpose investing in the research of musical education in France. It isfocused on specialised teaching for choir conductors and hence studies the practicesundertaken by both the student and the teacher interdependently, by analysing the conductinggestures in a real teaching-learning situation. The research specifically takes an interest in theteacher's work, and seeks to highlight the role of the latter in the building of knowledge linkedto a particular technical element: « the upbeat ». Of particular importance is the way in whichthe teacher structures the lessons, organises the layout, in terms of “the environment” in orderto direct the students towards targeted learning.

No contexto atual, caracterizado por transformações decorrentes do fenômeno da globalização nas sociedades, é preciso considerar a emergência da Educação Musical como um campo de conhecimento que deve estar inserido nas chamadas Ciências da Educação. Neste novo cenário, a natureza dos saberes pedagógico-musicais passou a configurar-se de forma mais ampla e abrangente, trazendo novas implicações para a formação de professores. Após a promulgação da Lei Federal nº 11.769/08 que determina a obrigatoriedade do ensino de música nas escolas brasileiras de educação básica, novos desafios surgiram para a área, mediante a escassez de profissionais para atender a grande demanda escolar. Com isso, surgiram novas propostas e ações de formação pedagógico-musical no contexto atual, porém, ainda locais e pontuais. Esta pesquisa propõe discutir tais questões e investigar os desafios que os licenciandos em Música/Educação Musical e em Pedagogia enfrentam durante os respectivos percursos de formação pedagógico-musical e, ainda, apresentar os constructos que permeiam algumas concepções dos participantes da pesquisa relativas à educação musical, formação e profissionalização. Por meio da abordagem metodológica da nova pesquisa-ação, fundamentada nos pressupostos de René Barbier (2007), buscou-se analisar e evidenciar as possíveis implicações desse processo formativo nas relações estabelecidas pelos licenciandos com os saberes pedagógico-musicais, bem como as transformações que ocorrem na práxis e na construção da identidade profissional. A análise e interpretação dos diversos aspectos levantados apontaram a necessidade de haver mudança de paradigma na formação pedagógico-musical dos licenciandos e diálogo mais efetivo entre os campos da Música e da Educação, devido, especialmente, às múltiplas demandas da escola e aos diferentes contextos de atuação profissional do educador musical. / In the current context, characterized by transformations resulting from the phenomenon of globalization on societies, it is necessary to consider the emergence of Music Education as a field of knowledge that must be inserted in the so-called Educational Sciences. In this new scenario, the nature of the music-pedagogical knowledge has become more broadly and comprehensively, bringing new implications for teacher training. After the promulgation of the Federal Law no. 11,769/08 which stipulates compulsory music teaching in Brazilian schools of basic education, new challenges have arisen for the area, by the shortage of professionals to meet the great demand of schools. For this reason, there are new proposals and actions of music-pedagogical training in the current context, however these proposals are local and punctual. This research proposes to discuss such issues and investigate the challenges that students of Music, Music Education and Pedagogy face during their music-pedagogical educational training and also to present ideas that permeate some conceptions of the survey participants concerning Music Education, training and professionalization. Through the methodological approach of the new research-action, grounded in the assumptions of René Barbier (2007), it was sought to analyze and highlight the possible implications of that formative process on the relations established by students with music-pedagogical knowledge, as well as the transformations occurring in praxis and in the construction of a professional identity. The analysis and interpretation of the various aspects raised have pointed to the need for paradigm shift in music-pedagogical training of students and a more effective dialogue between the fields of Music and Education, especially because of the multiple demands of school and the different contexts of professional activity of a music educator.