Teachers of rural K–12 music education are subject to attrition rates that are higher than many other professions or teaching specialties (Goldring, Taie & Riddles, 2014; Harmon, 2001; Ingersoll, 2001). Because of this, a large number of music teachers who are hired to teach in rural schools are inexperienced educators who are often unaware of the specific demands that are unique to these jobs. Upon earning a teaching certification, many new graduates get hired in rural locations with unfamiliar teaching conditions that could potentially lead to dissatisfaction in the workplace which could be a contributing factor to the higher than average attrition rates (Bates, 2013; Hancock, 2008; Monk, 2007; Isbell, 2005). This dissertation is a case study of in-service music educators in the rural Western United States designed to help understand the trend of higher than average attrition rates. With a theoretical framework of utility maximization to find a satisfactory person-job fit, I observed, interviewed, and collected journals from 5 participants with current or previous rural K–12 music teaching experience to determine: 1) what reasons do educators consider influential in a decision to stay in or move from a teaching position?, 2) what changes do teachers report in their perception of job utility maximization over their careers?, and 3) what are some benefits and challenges of teaching in a rural music teaching setting? Reasons for attrition specific to rural music education and generic to teaching were discussed in terms of a participant’s perception of job satisfaction and their decisions to stay in or leave rural K–12 music teaching jobs. Participants listed five themes as influential to their decisions for attrition: 1) disproportionate emphasis on athletics and pep band, 2) teacher and student absenteeism, 3) spillover work time 4) family, and 5) administrative rapport. No individual theme was a singular indicator of attrition, nor was any theme more prominent than others in influencing a participant to keep or leave a job. Rather, the perception of each reason for attrition had a cumulative effect and jobs were maintained or sought anew based on a combination of views of each theme. Also, participants reported steady inclinations of preferred musical specialty, but the perception of each theme as a reason for attrition changed with time and teaching experience. Ultimately, participants revealed that rural K–12 music teaching jobs can be highly rewarding if a person is professionally flexible, willing to regularly travel long distances (with students and alone), and can appreciate the idiosyncrasies of living in remote communities.

No description available.

No description available.

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-07-20T15:20:06Z No. of bitstreams: 2 Tese - Meire Lisboa Santos Gonçalves - 2018.pdf: 2955463 bytes, checksum: 500082d172bb80be87206fe09c8f378d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-07-23T12:07:33Z (GMT) No. of bitstreams: 2 Tese - Meire Lisboa Santos Gonçalves - 2018.pdf: 2955463 bytes, checksum: 500082d172bb80be87206fe09c8f378d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-07-23T12:07:33Z (GMT). No. of bitstreams: 2 Tese - Meire Lisboa Santos Gonçalves - 2018.pdf: 2955463 bytes, checksum: 500082d172bb80be87206fe09c8f378d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-26 / This thesis aims to analyze the thematic representations present in Brazilian rural music, which began to be produced and transmitted from the 1920s, mapped by the rural way of life, often associated with a rural culture, the backland and the Brazilian guitar. The research developed sought to contextualize the conceptions of this musical style from the historical construction of Brazilian Popular Music, its characteristics and main representatives, then it has made a proper cut of what is Brazilian rural music in the country. In this attempt, based on a perspective of cultural studies, with notes which aimed at examining the identity and memory of the backland person, as well as analyzing the construction of the imagery of the man from the backland and the voice represented in the songs that are established through social and cultural conceptions. Based on theoretical assumptions, such as Andrade (2006, 2015), Bourdieu (1989), Bloch (1995),Caldas (1987), Candido (1977, 2010), Hall (1992, 2003, 2016), Halbwachs (2013), Le Goff (1990, 1992) Mariz (2005), Nepomuceno (1999), Patlagean (1992), Pesavento (2007), Peter Burke (2000, 2010), Ricouer (2007), Romildo Sant’Anna (2000), Tinhorão (2010), Woodward (2000) among others, it is opted for a discursive-literary analysis of Brazilian rural music from the roots and its different thematic approaches and differentiated in a broad and productive universe. Thus, it is intended to trace the identity and cultural formation of rural man, as well as presenting the faces of the backland, from the backland man by the perspective of the countryside and the city, addressing the theme of nostalgia in rural music. Besides these aspects, it will be approached the construction of memory and imaginary of the backland man, pointing out some rural stories that problematize the love and its varied conceptions, as well as misogynistic discursive representations in the analised genre. In this sense, it will be presented songs such as Chico Mineiro (Tonico e Francisco Ribeiro), Franguinho na Panela (Moacyr dos Santos e Paraíso), O doutor e o caipira (Goiano e Geraldinho), Saudade de minha terra (Goiá), Saco de Ouro (Paraíso e José Caetano Erba) and others that will be highlighted the elements described directly in the lyrics of the songs by composers and diversified pairs without a space-time presupposition or clipping, punctuating the transformations and modifications that music, as a form of communication, causes in the sociocultural context and also the aspects of identity, imaginary and memory. / Esta tese tem como objetivo analisar as representações temáticas presentes na música sertaneja brasileira de raiz, que passou a ser produzida e veiculada a partir da década de 1920, mapeada pelo modo de vida rural, muitas vezes, associada à cultura caipira, ao sertão e à viola. A investigação desenvolvida buscou contextualizar as concepções desse estilo musical a partir da construção histórica da Música Popular Brasileira, suas características e representantes principais, depois um próprio recorte do que é a música sertaneja de raiz no país. Neste intento, fundamentam-se em uma perspectiva dos estudos culturais, com apontamentos que visam perscrutar a identidade e a memória do caipira, além de analisar a construção do imaginário do homem do sertão e da voz representada nas canções que se estabelecem por meio de concepções social e cultural. Com base em pressupostos teóricos, como Andrade (2006, 2015), Bourdieu (1989), Bloch (1995), Caldas (1987), Candido (1977, 2010), Hall (1992, 2003, 2016), Halbwachs (2013), Le Goff (1990, 1992) Mariz (2005), Nepomuceno (1999), Patlagean (1992), Pesavento (2007), Peter Burke (2000, 2010), Ricouer (2007), Romildo Sant’Anna (2000), Tinhorão (2010), Woodward (2000) entre outros, opta-se por uma análise discursivo-literária da música sertaneja brasileira de raiz e suas aproximações temáticas diversas e diferenciadas em um universo amplo e produtivo. Assim, pretende-se, traçar a formação identitária e cultural do homem do campo, bem como apresentar as faces do sertão, do sertanejo pela perspectiva do campo e da cidade, abordando a temática do saudosismo na música caipira. Além desses aspectos será abordada a construção da memória e do imaginário do sertanejo, apontando algumas histórias sertanejas que problematizam o amor e suas variadas concepções, bem como representações discursivas misóginas no gênero em questão. Nesse sentido, serão apresentadas canções, tais como: Chico Mineiro (Tonico e Francisco Ribeiro), Franguinho na Panela (Moacyr dos Santos e Paraíso), O doutor e o caipira (Goiano e Geraldinho), Saudade de minha terra (Goiá), Saco de Ouro (Paraíso e José Caetano Erba) entre outras, em que serão destacados elementos descritos diretamente nas letras das canções de compositores e duplas variadas, sem uma pressuposição ou recorte espaço-temporal, pontuando as transformações e modificações que a música, como forma de comunicação, provoca no contexto sociocultural, bem como os aspectos de identidade, imaginário e memória.

Orientador: Jose Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T17:30:30Z (GMT). No. of bitstreams: 1 Pinto_JoaoPaulodoAmaral_M.pdf: 6828945 bytes, checksum: b0e6967a207bca86632cf629ed108239 (MD5) Previous issue date: 2008 / Resumo: Esse trabalho é resultado de uma pesquisa sobre a obra musical do músico e compositor Tião Carreiro (José Dias Nunes, 1934-1993). O enfoque principal foi identificar os elementos constitutivos e as características do estilo desse artista como instrumentista de viola, instrumento reconhecido como o símbolo da chamada música caipira. Para tanto, foram analisados musicalmente os dois LPs instrumentais do violeiro gravados em 1976 e 1979. Além disso, foram abordados os aspetos históricos da viola caipira, do segmento instrumental sertanejo e da trajetória do artista no mercado fonográfico. A partir das análises musicais, foi identificado um conjunto de elementos e técnicas utilizados pelo músico para construir seus toques e solos. A pesquisa também relacionou e caracterizou musicalmente as matrizes e gêneros, caipiras ou não, utilizados pelo violeiro na gravação desses dois discos. Entre eles, destaca-se o pagode de viola, gênero criado no final dos anos cinqüenta a partir da combinação de algumas matrizes musicais e que, por ter se tornado a marca principal do violeiro, foi objeto de uma investigação mais aprofundada. / Abstract: This work is the result of a research on the musical work of the musician and composer Tião Carreiro (José Dias Nunes, 1934-1993). The main focus was to identify the constituent elements and the characteristics of the style of this artist as a viola (Brazilian ten-string guitar) instrumentalist, considering the viola a recognized instrument as the symbol of what is so called música caipira (typical rural music of the central-southern region of Brazil). For that, the two first instrumental LPS of the artist, recorded in 1976 and 1979, were musically analysed. Besides that, historical aspects of viola caipira, also from the instrumental sertanejo segment and the trajectory of the artist in the phonographic market were approached. From these musical analyses a group of elements and techniques used by the musician to build his touches and solos was identified. The research also related and musically characterized the origins and genders, caipira or not, used by the violeiro in the recordings of these two records. Among them, there is one in particular, the pagode de viola, gender created at the end of the fifties's, from the combination of some musical origins and that, for having become the main mark of the violeiro, was the subject of a deepened investigation. / Mestrado / Mestre em Música