Teen Music es un servicio de intermediación entre músicos profesionales y padres de familia que requieren de profesionales que apoyen a sus hijos en lecciones de música con instrumentos modernos y canto a domicilio, dicha solución se basa en el uso de un sistema de página web, la cual se encargará de hacer posible la negociación entre padres y profesores de música. A lo largo del proyecto, se utiliza diversas metodologías de validación de hipótesis para saber cuáles son las alegrías y frustraciones de los clientes. Además, se establece el mercado total, disponible y operativo (target) para poder elaborar las diversas estrategias de marketing que serán necesarias para ofrecer el servicio de música a domicilio en sus diversas modalidades. No deja de ser importante, el desarrollo del plan de operaciones que contempla políticas operacionales, diseño de instalaciones, las especificaciones técnicas del servicio, la inversión en activos fijos que están vinculados al desarrollo del servicio y la estructura de los costos y gastos operativos. Asimismo, se realiza un análisis detallado de la estructura organizacional y recursos humanos. Finalmente, se utiliza todas las herramientas financieras para saber si el proyecto es viable. / Teen Music is an intermediation service between professional musicians and parents who require professionals to support their children in music lessons with modern instruments and home singing. This solution is based on the use of a website system, the which will be responsible for making possible the negotiation between parents and music teachers. Throughout the project, various hypothesis validation methodologies are used to find out what are the joys and frustrations of clients. In addition, the total, available and operational market (target) is established to be able to elaborate the various marketing strategies that will be necessary to offer the home music service in its various forms. The development of the operations plan, which includes operational policies, the design of facilities, the technical specifications of the service, the investment in fixed assets that are linked to the development of the service, and the structure of operating costs and expenses are still important. In addition, a detailed analysis of the organizational structure and human resources is carried out. Finally, all the financial tools are used to know if the project is viable. / Trabajo de investigación

Santrauka Magistro darbe nagrinėjamos naujos pianistų ugdymo paradigmos galimybės. Nustatyta, kad iš visų šiandieninę vaikų muzikos mokyklą baigusių mokinių tik 5% renkasi tolesnį būsimo muziko profesionalo kelią – pratęsia mokslus formalaus muzikinio ugdymo įstaigose (konservatorijose, menų mokyklose, LMTA). Taigi 95% moksleivių, neketinančių muzikos mokslus pratęsti toliau, yra taikomi nedidelio procento ugdytinių poreikius atitinkantys ugdymo metodai –- aukšti, profesionaliam ugdymui reikalingi mokymosi standartai. Tokie kontrastingi šiuolaikinėse muzikinio, taip pat ir fortepijono mokymo procentiniai rodikliai įrodo akivaizdų nuostatų diferencijavimo stygių. Šiame darbe modeliuojamas skirtingo ugdymosi alternatyvų vaikų muzikos mokyklų fortepijono skyriuose radimasis – naujas, įvairius moksleivių ugdymosi tikslus ir galimybes atspindintis reiškinys. Empirinio tyrimo, atlikto vaikų muzikos mokyklose, tikslas – nustatyti mokymo/si skambinti fortepijonu muzikos mokyklose ypatumus. Tyrimo objektas – mokymas/is skambinti fortepijonu muzikos mokyklose. Tyrimo metu atlikti šie uždaviniai: mokytojų anketine apklausa išsiaiškinta, kaip vaikai mokomi skambinti fortepijonu, nustatytas mokytojų požiūris į diferencijuoto ugdymosi radimąsi ir galimus tokio mokymo kriterijus fortepijono skyriuje. Anketine apklausa ištirtas mokinių požiūris į fortepijono mokymą/si. Tyrimo metodas – anketinė apklausa, interviu. Apklausti 64 fortepijono specialybės mokytojai ir 90 fortepijono specialybės... [toliau žr. visą tekstą] / The Master thesis analyses new possibilities of pianist teaching paradigms. The conducted research has shown that only 5 % of all contemporary music school graduates choose to be professional musicians by studying at schools of formal music education (conservatoires, art schools, LAMT). Therefore, teaching methods (high teaching standards necessary for professional education) corresponding the needs to a small number of students are applied to 95 % of students who do not intend to continue their studies as professionals. A big contrast in percentage points to an evident lack of attitude differentiation in contemporary music and piano teaching issues. This work modulates different educational alternatives in children‘s music schools and piano departments; a new phenomenon, reflecting different students educational objectives and possibilities. The objective of empirical research conducted at children’s music schools was to identify the peculiarities of teaching/learning playing the piano at music schools. The object of the research is teaching and learning playing the piano at music schools. During the research the several tasks were accomplished; teachers‘ questionnaires pointed out how children are taught to play the piano, teachers‘ attitude towards differentiating education and possible criterion of such education at piano departments was determined. Questionnaires established students‘ attitude to teaching and learning the piano. The research method applied was a... [to full text]

A presente pesquisa investiga aspectos do projeto educativo das famílias de crianças e jovens que aprendem música em uma orquestra. O estudo, construído a partir dos depoimentos orais de 27 famílias e dos 28 alunos participantes da orquestra na perspectiva qualitativa, tem como objetivo revelar expectativas e concepções da família sobre a aprendizagem musical desenvolvida com seus filhos, em um projeto que enfatiza a formação de músicos profissionais. O trabalho desvela o entorno social familiar dos alunos em que práticas musicais e pedagógicas familiares circunscrevem o cenário de socialização desses jovens. A análise de como o espaço familiar opera para que as crianças e os jovens da orquestra continuem sua aprendizagem musical é apoiada nos estudos de Lahire (2002; 2008), Bourdieu (2007; 2008), Gayet (2004), Papadopoulos (2004) e Setton (2002; 2005; 2010; 2011; 2012a; 2012b). Os resultados da pesquisa mostram que a família exerce um papel ativo como interlocutora do projeto musical dos alunos que integram a orquestra em estudo. Em sua maioria pertencentes aos meios populares, os pais ou responsáveis precisam reinventar a rotina cotidiana para que os filhos possam permanecer na orquestra, apontando estratégias de organização do estudo dos filhos, do tempo e dos projetos educativos familiares. Os dados revelam uma forte mobilização das famílias na construção de uma sonhada carreira profissional na área de música. Os resultados dessa pesquisa poderão contribuir para uma reflexão crítica sobre o projeto educativo de pais, suas expectativas em relação à educação musical dos filhos e como o núcleo familiar reconfigura-se a partir de projetos musicais dessa natureza e, consequentemente, para uma compreensão do impacto que projetos sociais na área de música têm sobre as famílias envolvidas. / This research investigates aspects of the educational project concerning families with children and young people learning music in an orchestra. The study was conducted from twenty-seven (27) families and twenty-eight (28) orchestra students from a qualitative perspective. Its aim is to reveal the family’s expectations and conceptions about their child’s musical development in a project that emphasizes the training of professional musicians. This work reveals the social environment in which musical and pedagogical practices circumscribes the familiar scenario of socialization of these young people. The analysis of how the family operates, so that the children and youth from the orchestra continue their musical learning, is supported in studies by Lahire (2002, 2008), Bourdieu (2007, 2008), Gayet (2004), Papadopoulos (2004) and Setton (2002; 2005; 2010; 2011; 2012a; 2012b). The results show that the family has an active role as motivation for the musical advancement of students that are involved in the orchestra in the study. Mostly belonging to a low-income family, parents or guardians need to reinvent the daily routine so that the children can remain in the orchestra, developing strategies for organizing the children’s studies, time, and family educational programs. The data shows a strong involvement by families who are active in building a dream career in music. Moreover, the results of this research may contribute to a critical reflection on the educational project of families, their hopes in relation to their children’s musical education and how a family restructures itself as a result from musical projects and, consequently, to a comprehension of the impact that social musical projects have on families involved.

A presente pesquisa investiga aspectos do projeto educativo das famílias de crianças e jovens que aprendem música em uma orquestra. O estudo, construído a partir dos depoimentos orais de 27 famílias e dos 28 alunos participantes da orquestra na perspectiva qualitativa, tem como objetivo revelar expectativas e concepções da família sobre a aprendizagem musical desenvolvida com seus filhos, em um projeto que enfatiza a formação de músicos profissionais. O trabalho desvela o entorno social familiar dos alunos em que práticas musicais e pedagógicas familiares circunscrevem o cenário de socialização desses jovens. A análise de como o espaço familiar opera para que as crianças e os jovens da orquestra continuem sua aprendizagem musical é apoiada nos estudos de Lahire (2002; 2008), Bourdieu (2007; 2008), Gayet (2004), Papadopoulos (2004) e Setton (2002; 2005; 2010; 2011; 2012a; 2012b). Os resultados da pesquisa mostram que a família exerce um papel ativo como interlocutora do projeto musical dos alunos que integram a orquestra em estudo. Em sua maioria pertencentes aos meios populares, os pais ou responsáveis precisam reinventar a rotina cotidiana para que os filhos possam permanecer na orquestra, apontando estratégias de organização do estudo dos filhos, do tempo e dos projetos educativos familiares. Os dados revelam uma forte mobilização das famílias na construção de uma sonhada carreira profissional na área de música. Os resultados dessa pesquisa poderão contribuir para uma reflexão crítica sobre o projeto educativo de pais, suas expectativas em relação à educação musical dos filhos e como o núcleo familiar reconfigura-se a partir de projetos musicais dessa natureza e, consequentemente, para uma compreensão do impacto que projetos sociais na área de música têm sobre as famílias envolvidas. / This research investigates aspects of the educational project concerning families with children and young people learning music in an orchestra. The study was conducted from twenty-seven (27) families and twenty-eight (28) orchestra students from a qualitative perspective. Its aim is to reveal the family’s expectations and conceptions about their child’s musical development in a project that emphasizes the training of professional musicians. This work reveals the social environment in which musical and pedagogical practices circumscribes the familiar scenario of socialization of these young people. The analysis of how the family operates, so that the children and youth from the orchestra continue their musical learning, is supported in studies by Lahire (2002, 2008), Bourdieu (2007, 2008), Gayet (2004), Papadopoulos (2004) and Setton (2002; 2005; 2010; 2011; 2012a; 2012b). The results show that the family has an active role as motivation for the musical advancement of students that are involved in the orchestra in the study. Mostly belonging to a low-income family, parents or guardians need to reinvent the daily routine so that the children can remain in the orchestra, developing strategies for organizing the children’s studies, time, and family educational programs. The data shows a strong involvement by families who are active in building a dream career in music. Moreover, the results of this research may contribute to a critical reflection on the educational project of families, their hopes in relation to their children’s musical education and how a family restructures itself as a result from musical projects and, consequently, to a comprehension of the impact that social musical projects have on families involved.

A presente pesquisa investiga aspectos do projeto educativo das famílias de crianças e jovens que aprendem música em uma orquestra. O estudo, construído a partir dos depoimentos orais de 27 famílias e dos 28 alunos participantes da orquestra na perspectiva qualitativa, tem como objetivo revelar expectativas e concepções da família sobre a aprendizagem musical desenvolvida com seus filhos, em um projeto que enfatiza a formação de músicos profissionais. O trabalho desvela o entorno social familiar dos alunos em que práticas musicais e pedagógicas familiares circunscrevem o cenário de socialização desses jovens. A análise de como o espaço familiar opera para que as crianças e os jovens da orquestra continuem sua aprendizagem musical é apoiada nos estudos de Lahire (2002; 2008), Bourdieu (2007; 2008), Gayet (2004), Papadopoulos (2004) e Setton (2002; 2005; 2010; 2011; 2012a; 2012b). Os resultados da pesquisa mostram que a família exerce um papel ativo como interlocutora do projeto musical dos alunos que integram a orquestra em estudo. Em sua maioria pertencentes aos meios populares, os pais ou responsáveis precisam reinventar a rotina cotidiana para que os filhos possam permanecer na orquestra, apontando estratégias de organização do estudo dos filhos, do tempo e dos projetos educativos familiares. Os dados revelam uma forte mobilização das famílias na construção de uma sonhada carreira profissional na área de música. Os resultados dessa pesquisa poderão contribuir para uma reflexão crítica sobre o projeto educativo de pais, suas expectativas em relação à educação musical dos filhos e como o núcleo familiar reconfigura-se a partir de projetos musicais dessa natureza e, consequentemente, para uma compreensão do impacto que projetos sociais na área de música têm sobre as famílias envolvidas. / This research investigates aspects of the educational project concerning families with children and young people learning music in an orchestra. The study was conducted from twenty-seven (27) families and twenty-eight (28) orchestra students from a qualitative perspective. Its aim is to reveal the family’s expectations and conceptions about their child’s musical development in a project that emphasizes the training of professional musicians. This work reveals the social environment in which musical and pedagogical practices circumscribes the familiar scenario of socialization of these young people. The analysis of how the family operates, so that the children and youth from the orchestra continue their musical learning, is supported in studies by Lahire (2002, 2008), Bourdieu (2007, 2008), Gayet (2004), Papadopoulos (2004) and Setton (2002; 2005; 2010; 2011; 2012a; 2012b). The results show that the family has an active role as motivation for the musical advancement of students that are involved in the orchestra in the study. Mostly belonging to a low-income family, parents or guardians need to reinvent the daily routine so that the children can remain in the orchestra, developing strategies for organizing the children’s studies, time, and family educational programs. The data shows a strong involvement by families who are active in building a dream career in music. Moreover, the results of this research may contribute to a critical reflection on the educational project of families, their hopes in relation to their children’s musical education and how a family restructures itself as a result from musical projects and, consequently, to a comprehension of the impact that social musical projects have on families involved.

This study examined the personal and professional experiences of Canadian professional female popular musicians. The researcher gathered data in two phases. In phase one, 85 female musicians completed a 105-question on-line survey. In phase two, the researcher interviewed four musicians to expand and elucidate survey data. In keeping with a critical feminist approach, the researcher’s voice is prominent in the report. The study reveals a complex combination of personal and professional circumstances that both compel and impel women to become musicians, and then to cleave to or to abandon careers in the music industry. Families, peers, role models, and teachers all have some effect on personal and professional choices that musicians make. Gender stereotyping and sexual harassment prevail in both music education and the music industry, making these contested sites for women musicians. However, respondents’ identity as “musician” is a powerful force, in both personal and professional realms, making both education and industry also sites of triumph. Important findings include: respondents’ reflections on what makes for a successful pop musician; data revealed no essential biographical precursors for success in pop music; respondents’ opinions about the importance of music lessons are divided; and, along with credible technical music skills, musicians need to develop strong personal, social, and business skills. / Thesis (Master, Education) -- Queen's University, 2008-04-10 10:30:48.856

An extensive study on the influences of music education on the forming of musical identities was undertaken. Information obtained from thorough literature review, questionnaires and interviews has been analysed, collated and set out in the dissertation. The review of literature has revealed that there remain few unanswered questions regarding the defining of both music education and musical identities. However, few studies have examined the influences music education has on the formation of identity, particularly concerning the making of music career-choices. The effects of a variety of musical and non-musical developments and/or adaptations may influence the formation of musical identities, since the individual has to develop and adapt alongside these changes. This study was conducted in a multi-cultural South African society, and investigated the influences music education has on the forming of musical identities. The primary purpose of the study was to develop an understanding and awareness amongst professional South African musicians, in practice at the time of the study, regarding the value that music education has on the forming of musical identities. The aim in attaining the said purpose was, firstly, to examine the differences between formal and informal music education, the latter being very prominent in non-Western countries, including South Africa. In this regard musical arts education was also attended to. Secondly, musical identities were delineated so as to view their forming due to music educational influences. Finally, the study examined how prior exposure to different music educational aspects influences professional South African musicians’ career-choices. There were two groups of respondents in the study: <ol> <li>A group of music experts from different music spheres participating in semi-structured interviews, each lasting approximately 45 minutes, that were recorded and then transcribed; and</li> <li>A matched group of music experts asked to complete a questionnaire based on interview questions.</li> </ol> Diverse participants included academics, choir conductors, educators, ethnologists, tertiary music students, performers, psychologists, therapists, and representatives from the private sector. The results indicated that music education, continuously developing and transforming, contributes to one’s musical identities and is crucial to the development of identities, with particular consideration of one’s choice of music career. / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted

This diploma thesis interprets the anonymous Inventory of Chamber Compositions, which is held in the Archives and Library of Prague Conservatory. It informs about the conditions of performing the repertory from this source between 1843 and 1864. In comparison with other sources the author of this manuscript was identified. His biography is contained in the second chapter. The content of the manuscript is analyzed and compared with the repertory performed in other bourgeios houses and Prague public concerts. Apart from the relevant literature the period critical concert reviews and further archive sources are taken into consideration. The discovered Inventory of the compositions performed in JUDr. František Švestka's house is one of the few sources which prove reception of similarly demanding repertory among non-professional instrumentalists in the 19th century. Key words: 19th century, Prague, chamber music, music societies, non-professional musicians, František Švestka, Moritz Mildner, music in salons, concert programmes, the Bohemia journal