The main theme of the thesis is a musical instrument called transverse flute and its use in Chamber music subject in primary schools of art. The thesis focuses on chamber music in association with transverse flute, on an available music sheet and problems and benefits of chamber music at the primary school of arts from teachers' perspective. The paper is divided into three broad chapters. In the first chapter, the author focuses on the historical review, the structure and mechanics of the instrument and famous personalities who have influenced and contributed to the importance of transverse flute. In the second chapter, the author describes and characterizes chamber music and its history. She focuses on teaching students and on the method how to use the subject at primary schools of art. Part of this chapter is also a recommendation of specific literature for the students of primary schools of art. In the third chapter, the author addresses the research area which deals with the analysis of specific questions and answers of the questionnaire. She compares and evaluates the responses of teachers in Slovakia and Czech Republic. Keywords: flute, chamber music, teacher, teaching, student, bacis school of arts

This is a study that looks at the teaching process of making a dance show within the Community School of Arts from a posthumanist perspective. How does the matter the students meet and the dance teacher uses make a difference? My interest in this question came to grow from my dance related work in a pre-school context where matter is given importance in relation to how children gets possibilities to experience and learn. The research material for this study, however, was generated from the Community School of Arts in Stockholm. The study identifies the matter that is making a difference for the dance teaching and learning in a process towards making a dance show at the Community School of Arts of Stockholm. The matter of importance identified was connected to the subject areas Body, Music/Sound, Clothes, Light and Space. The study investigates and articulates performative force between human and non-human matter, and further how the students and the dance teacher perceive this performative force. The study discusses how dance teaching and learning can benefit from a more reflective use of matter. In connection to the posthumanist approach the study takes a stand for, I argue that knowledge-making in the Community School of Arts can be seen from a rhizomatic perspective. That implies that learning the arts at the Community School of Arts can give students the opportunity to experience art from their different points of interest. To actively acknowledge the performative force of the different material matter involved in the process of creating a dance show, give students a way to develop dance joy. I argue that a more reflective and conscious use of matter can positively transform the dance teaching and learning of today. In a wider perspective the matter of matter in dance teaching and learning is a question that fosters environmental consciousness building on the sense that we share and are part of the same world, where matter matters.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2018-04-05T18:14:02Z No. of bitstreams: 2 Tese - Fabíola Arantes de Morais - 2017.pdf: 4233903 bytes, checksum: 225445d507876817ad276fbfc672e063 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-06T12:16:48Z (GMT) No. of bitstreams: 2 Tese - Fabíola Arantes de Morais - 2017.pdf: 4233903 bytes, checksum: 225445d507876817ad276fbfc672e063 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-06T12:16:48Z (GMT). No. of bitstreams: 2 Tese - Fabíola Arantes de Morais - 2017.pdf: 4233903 bytes, checksum: 225445d507876817ad276fbfc672e063 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-19 / The thesis presented here defends the existence of a Visual Art course in the subsoil of the School of Arts and Architecture and explores the idea of a repression of this content, which returns to the surface in the form of symptoms. The structure in notebooks seeks to solve the singularities of from each approach of this phenomenon. This research stitches memories that oat within a the School of Art and Architecture of Pontifícia Universidade Católica de Goiás. It gives special attention to the fragments relative to the practice of drawing in itself and the factors that surround it. Freud, Rüssen, Didi Huberman and Ricouer bless and get along in these chapters that describe the Arts and Architecture School of UCG (Escola de Artes e Arquitetura da UCG): Freud, opening the rst notebook, inspires every remark in the text that show how psique, inevitable path to the historic content, changes it. Lacan grounds the drawing of a map named the Interpretation of the Freudian psychic system, while Rüssen orients the conceptualization of the sources. In the second notebook, Didi Huberman brings to the text the idea of collage as an instrument of an assembly that carries meaning within itself. This concept was used both to organize the complexity that lies around the beings drawing, architecture, teaching methodology, arts and artists, and also strongly inspired the assembly of this very thesis, organized in notebooks, built by blocks of text that keep between them the gaps of collage. Still on notebook 2, the text makes an exercise with Paul Ricoeur, countering the relativization of any past with the statement that it only exists through the mediation of the present, with a positivist stream of historiographical praxis, both in classes previous to graduation, as in graduation courses, such as Architecture and Urbanism. In the third notebook, this problematization, applied to the very school’s contingencies, is better felt, through the exposing of documents: images with syllabi, programs, drawings and illustrations. In notebook IV, the bid is of a discourse in images, which not only illustrate the propositions in other notebooks, but also propose a visual narrative of free collage. To achieve this e ect we made two versions, one online and one printed. In the rst, the diagramming takes care that the images and phrases have white space of reverberation around each other. In the printed version, we use detached blades so that the reader can examine them separately. Furthermore, the images speak for itself. Literally. / A tese aqui apresentada, defende a existência de um curso de Artes Visuais no subsolo da Escola de Artes e Arquitetura, e explora a ideia de ter havido uma operação de recalque desse conteúdo, que retorna `a superfície em forma de sintomas. A estruturação em cadernos busca solucionar a singularidades de cada aproximação desse fenômeno. Essa pesquisa costura retalhos das memórias que utuam dentro da Escola de Artes e Arquitetura da PUC Goiás. Dá atenção especial aos fragmentos relacionados `a prática de desenho em si e os fatores que a envolvem. Apoia-se numa constelação de autores para construir um pensamento teórico em forma de cadernos que aponta para a historiogra a como o corte possível dado sobre o que de fato é a vida, um uxo de impermanências. Freud, Rüssen, Didi Huberman e Ricouer apadrinham e convivem em capítulos que apresentam a Escola de Artes e Arquitetura da UCG: Freud abrindo o primeiro caderno, inspira todas as pontuações do texto que mostram como a psiquê, caminho inevitável do conteúdo histórico, o altera. Lacan fundamenta o desenho de um mapa denominado a Interpretação do Sistema Psíquico Freudiano enquanto Rüssen orienta na conceituação das fontes. No segundo caderno, Didi Huberman leva ao texto a ideia de colagem como instrumento de uma montagem que porta signi cado em si. Esse conceito foi usado tanto para organizar a complexidade que há em torno dos entes desenho, escola, arquitetura, metodologias de ensino, arte e artistas, quanto inspirou fortemente a montagem da própria tese, organizada em cadernos, compostos de blocos de texto que mantém entre si as lacunas típicas da collage. Ainda no caderno 2, o texto faz um exercício com Paul Ricoeur contrapondo a relativização de qualquer passado pela a rmação de que esse só existe através da mediação do presente, com uma prática historiográ ca positivadora corrente, tanto nas aulas anteriores a uma graduação, quanto dentro dos cursos de graduação como arquitetura e urbanismo. No terceiro caderno sentimos melhor essa problematização aplicada `as próprias contingências da Escola através da exposição dos documentos: imagens com ementas, programas, desenhos e ilustrações. No caderno IV, a proposta é de um discurso em imagens, que não só ilustram as proposições presentes nos outros cadernos quanto também propõem uma narrativa visual de montagem aberta. Para alcançar esse efeito zemos duas versões, uma on line e outra impressa. Na primeira, a diagramação cuida para que as imagens e frases tenham espaço branco de reverberação em torno de si. Na versão impressa, utilizamos lâminas desprendidas para que o leitor possa examiná-las separadamente. Ademais, as imagens falam por si. Literalmente.

This project appears to be the first to determine growth rates for writing using Curriculum-Based Measurement-Written Expression (CBM-WE). Growth rates, or the amount of change over time, help educators track how much progress can be expected given typical instruction. CBM-WE probes were administered to a sample of 1,004 students in first through fifth grades within a school district. The writing probes were scored using production-dependent variables: Total Words Written (TWW), Words Spelled Correctly (WSC), and Correct Word Sequence (CWS). Data were analyzed by grade level and gender. Results are presented as weekly growth rates. Growth rates were calculated from fall to winter, winter to spring, and from fall to spring. This study found higher growth rates in the lower grades and the lowest growth rates in fifth grade. Negative growth was found when examining winter to spring scores for students in third through fifth grades. Girls typically showed more improvement than boys. Results will be beneficial for educators to understand and monitor elementary student progress in written expression.

Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2006. / Includes bibliographical references (p. 160-168).

Thesis (M.A.)--University of Tennessee, Knoxville, 2009. / Title from title page screen (viewed on Mar. 10, 2010). Thesis advisor: Daniel Feller. Vita. Includes bibliographical references.

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 278-291). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 278-291). Also available on the Internet.

Syftet med denna studie är att belysa arbetet med genrebreddning inom sångundervisning på kulturskola och identifiera vilken betydelse sånglärares utbildning och musikaliska bakgrund har för elevers möjligheter att få sjunga olika genrer. Forskningsfrågorna är följande: Vilka möjliga mönster finns mellan lärares undervisning och deras egna genreintresse, musikaliska identitet och utbildning? Hur talar sånglärare på kulturskolan om sitt arbete med genrebreddning? Tidigare forskning om ämnet visar starka kopplingar mellan genre och identitet, samt att undervisningen påverkas av lärarens musikaliska bakgrund. Studien är av kvalitativ art och fyra sånglärare på kulturskolan har intervjuats i semistrukturerade intervjuer. Intervjuerna har transkriberats och analyserats med tematisk analys och utifrån ett sociokulturellt perspektiv. Resultatet lyfter två huvudteman: Genre och identitet och Undervisning utifrån genre. Resultatet pekar på samband och skillnader mellan informanternas svar och visar att informanterna själva drar starka kopplingar mellan deras egna genreintressen och den undervisning de erbjuder. De delar åsikten att genrebreddning är givande för undervisningen och att det är viktigt att inte lägga värdering i vilka genrer eller sångsätt som är bra eller dåliga. De har dock olika bild av hur arbetet med genrebreddning kan gå till. I diskussionen lyfts resultatet till en mer generell nivå och kopplas till tidigare forskning om ämnet. Exempel på ämnen som lyfts är möjligheten att undervisa genrefritt, och hur informanternas utbildning påverkat deras undervisning och genreval. / The aim of this study is to enlighten the work with genre breadth in teaching singing at the municipal school of arts and to identify the way the education and musical background of the singing teacher affects pupils’ possibilities to sing a variety of genres. The research questions are: What possible connections are there between the teachers’ instruction and their own interests, identity and education in different genres? How do the singing teachers at the municipal school of arts talk about their work with genre breadth? Previous research about the subject shows strong connections between genre and identity, and that instruction is affected by teachers’ background in music. The study is qualitative and four singing teachers at the municipal school of arts have been interviewed in semi-structured interviews. The interviews have been transcribed and analysed with thematic analysis based on a socio-cultural perspective. The result reveals two main themes: Genre and identity and Instruction based on genre. The result points to connections and differences between the informants' answers and shows that the informants themselves see strong connections between their own interests in genre and the instruction they offer. They share the opinion that genre breadth is rewarding for their interaction and that it is important not to value which genres and singing styles that are good or bad. They do however differentiate their view on how they work with genre breadth.  The discussion lifts the results to a more general level and connect the themes to previous research about the subject. Examples of themes that are illuminated are the possibilities to teach free from genre, and how the informants’ education have affected their instruction and choices in genre.

In the years around 1950 the first Music Schools – organized by the municipalities – started in Sweden. They were a result of local initiatives. They were not a part of the national school system. Instead their focus was on creating opportunities for children to learn to play an instrument in their spare time. They became so common that in 1970 they could be found in almost every municipality in Sweden. Even so, they were never authorised or controlled by the state. In this thesis I try to describe the ideology of the first local music schools around the year 1950. I try to find out what kind of traditions, ideas and other influences that shaped this ideology. I do that by comparing the ideology of the music schools to the characteristics of the popular education (in German: Bildung). Thereafter I try to do the same with the development of Schools of Arts around the year 1990. I do that in a hermeneutic tradition by using an idea- and ideology analysis from social sciences. My research questions are: Could the ideologi of the first music schools be described by comparing it with the characteristics of ”bildung”. Could the ideologi of the first schools of Arts be described by comparing it with the characteristics of ”bildung”. The ideology of the music schools was strongly influenced by the voluntary music education in grammar schools. That meant that the education was organized in semesters, one lesson per week and one child at a time. More focus was on the development of every childs´ability to play an instrument, less on the possibility to play together with other children or to sing. The ideology of the music schools was also influenced by popular education (Bildung). The schools aimed to give equal opportunities to all children to learn to play an instrument and learn about the ”good culture”. With that expression was meant classical music. The answer to my first question is that the ideologi of the music shools were influenced both from grammar schools and the ”bildung”- movement. In the years around 1990 many Music Schools had developed into Schools of Arts. They included education in dance, drama/theatre, visual art and film/movie. In the same way as the first music schools were born, the first Schools of Art developed in a local context. Some of them found a closer cooperation with the obligatory school but all continued to be independent. The structure of Schools of Arts were in many ways a continuation of the music schools. They were also organized in semesters, one lesson a week etc. In the same time they were a part of the a new trend which meant they were more interested in the creative possibilities for the children, cooperation and the opportunities to be on stage. They also had a broader wiew on what ”good culture” was. The answer on my second question is that the ideologi of the Schools of Arts in some extent are a part of the ”Bildung”-movement but at the same time they are more focused in collaborating with the obligatory school system and are more influenced by instrumental goals like being part of devolopment of new industries in the society. To some extent they are less influenced by ”Bildung” than the first music Schools. There are even today more than 200 000 children taking part in the Schools of Arts. (Including those who are still named Music Schools) In such a big professsionel organisation in most of the Swedish communities it is very surprising that they have developed without a national agenda. / I slutet av 1940-talet bildades de första kommunala musikskolorna med det namnet. Deras bakgrund var dels den frivilliga instrumentalundervisning som erbjöds på läroverken, privat undervisning – inte minst på piano – samt undervisning inom militärmusiken och orkesterföreningar. Allt detta smälte samman till musikcirklar – ofta drivna av studieförbund – som sedan nästan undantagslöst drevs vidare i form av kommunala musikskolor. De lokala variationerna var många. På 1970-talet hade i stort sett alla kommuner en kommunal musikskola. I denna uppsats försöker jag beskriva de första kommunala musikskolornas ideologi runt år 1950, och sedan även beskriva de första kommunala kulturskolornas[1] ideologi runt år 1990. Detta gör jag genom att tolka de idéer, traditioner och ambitioner som kan ses i offentliga dokument, vetenskapliga texter och andra dokument som beskriver pedagogiska idéer som fanns och påverkade beslutsfattandet. Jag gör detta i en hermeneutisk tradition genom en idé- och ideologianalys hämtad från samhällsvetenskapen. Metodiskt arbetar jag med begreppet dimensioner. Dessa utgår från de begrepp som karakteriserar bildning. På så sätt använder jag bildningen som ett raster för att tydligare se musikskolornas och kulturskolornas respektive ideologi. Mina forskningsfrågor är: Kan de första kommunala musikskolornas ideologi beskrivas i relation till bildningsbegreppet? Kan de första kommunala kulturskolornas ideologi beskrivas i relation till bildningsbegreppet? Bildningsbegreppet jag använder är hämtat från Gustavssons och Varkøys beskrivningar av vad som kännetecknar bildning:   Lärandet är en fri process  Lärandet skapar sammanhang  Lärandet skapar jämlikhet eller ojämlikhet  Lärandet är icke-instrumentellt Organisationen av undervisningen på musikskolorna var starkt präglad av läroverken. Den innebar att musikskolorna var organiserade i terminer, en lektion i veckan och med starkt fokus på individen. Den enskilde elevens kunskaper i hanterandet av sitt instrument kom i första rummet, före samspel, eget skapande och även sång/körsång. Den ideologi som präglade musikskolorna hade samtidigt ett starkt folkbildande inslag. Alla barn skulle i demokratisk anda få möjlighet att både lära sig spela ett instrument och ta del av den goda kulturen. Med det senare avsågs främst den klassiska musiken. Svaret på min första forskningsfråga är att de första musikskolornas ideologi i hög grad var påverkad av bildningsbegreppet men att den samtidigt var starkt påverkad av traditionen från läroverk och folkskola. De kommunala kulturskolorna övertog senare mycket av musikskolornas ideologi. Samtidigt var ideologin i den tidens anda präglat av ett större intresse för elevernas eget skapande, för samverkan och att alla elever också skulle framträda. Flera kulturskolor sökte också få en ökad betydelse genom ett närmande till den obligatoriska skolan. Deras ideologi präglades också i hög grad av instrumentella mål som transfereffekter vid inlärning av andra skolämnen, lokaliseringsfaktorer m.fl. Svaret på min andra forskningsfråga är att de första kommunala kulturskolorna ideologiskt i viss mån var en del av bildningsrörelsen. Samtidigt önskade de bli en del av det obligatoriska skolväsendet och motiverade sin existens med instrumentella mål, varför de kan sägas alltmer ta avstånd från att bygga på en ideologi präglad av bildning. Med tanke på musik- och kulturskolorna storlek, över 200 000 deltagare, är det förvånande att all utveckling av dem skett genom lokala initiativ och att samordning och utveckling på nationell nivå i stort sett varit helt frånvarande under de epoker jag berör i denna uppsats. De kommunala musikskolorna, senare kulturskolorna, dominerades av ett görande, av enskilda lärares egna modeller för undervisning, i högre grad än formulerande av en genomtänkt ideologi eller för den delen metodik. [1] De kommunala kulturskolorna benämns oftast som ”kulturskolor”. I den statliga politik som beslutats under uppsatsens tillkomst benämns de som ”kommunala kulturskolor”. Jag använder därför det begreppet men för att göra texten lättare att läsa använder jag ibland de enklare formerna ”musikskola” och ”kulturskola”.  De står för samma sak.