Göranzon, Ingrid: From concept to reality - Uppsala Municipal School of Music. Master thesis, 30 credits. Uppsala: Department of Musicology. 2013. This thesis aims to explain how and why the municipal school of music (kommunala musikskolan) in Uppsala was formed. Municipal schools of music are a Swedish phenomenon that was formed all over Sweden after the Second World War. Each school is individual since they are entirely controlled at a municipal level. Although several factors have been identified as reasons for the creation of municipal schools of music, research in the area is limited. The material forming the basis of the survey is municipal documents from Uppsala city archives. The method that has been chosen to analyze the material is critical ideology analysis. This means that the content of the documents is analyzed in relation to its context, to clarify both the manifest and latent ideologies. The study shows that the formation of a municipal school of music in Uppsala was part of a larger movement, both nationally and locally. Sweden went through great changes during the period after the Second World War, politically, socially and culturally. The development of municipal schools of music was influenced mainly by the ideas about education and culture. The guiding idea was that all citizens should have equal access and opportunity. Technological advances such as radio and gramophone had made high culture more accessible, but it also contributed to the spread of what was considered inferior culture. Studies of the time showed that the solution was to give people the knowledge needed to make the right choice. The municipal school of music in Uppsala was created with the aim of forming a culturally educated public. Key words: municipal school of music (kommunal musikskola), Uppsala, public education (folkbildning), cultural politics (kulturpolitik), critical ideology analysis, post World War II / <p>ISBN UU-MSU-SER-60-E</p>

Thesis (M. Ed.)--University of Hong Kong, 1985. / Includes bibliographical references (leaf 74-76).

Thesis (M.Ed.)--University of Hong Kong, 1985. / Includes bibliographical references (leaf 74-76). Also available in print.

In meinem Beitrag möchte ich die charakteristischen Züge des musikalischen Schuldramas und seinen Rang in der Geschichte des Theaters in Mähren erwähnen. Wenn sich auch diesem Bereich eine ganze Reihe von Forschern widmete, so bleiben hier immer wieder weiße Stellen, weil manche der Notenmaterialien unwiederbringlich verloren gingen.

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Syftet med studien är att i relation till musik- och kulturskolornas verksamhetsidéer/planer få insikt i elbaslärares förhållningssätt till vad som är viktigt för nybörjarelever att lära sig. Utifrån detta syfte är avsikten att försöka förstå vilka lektionsmoment elbaslärare prioriterar i sin undervisning av nybörjarelever, varför de valt att fokusera på just dessa och deras syn på eventuella styrdokument för respektive arbetsplats. Jag har i min undersökning genomfört kvalitativa intervjuer med fyra elbaslärare från olika musik- och kulturskolor. Arbetets har sin utgångspunkt i historiska perspektiv på musikkulturskolornas framväxt och de pedagogiska traditioner som format dem samt det sociokulturella perspektivet på lärande.   I resultatet framkommer att det viktigaste för informanterna är att eleven får komma igång och spela så snabbt som möjligt och att den huvudsakliga drivkraften i nybörjarundervisning för elbaselever är lust, glädje och upplevelser – vilket går helt i linje med mycket av de tendenser som behandlas i forskning rörande musik- och kulturskolan samt dess verksamhetsplaner under senare år.   Under diskussionsrubriken diskuteras informanternas syn på vad de tycker är viktigt för nybörjarelever att lära sig i relation till de traditioner, idéer och värderingar som enligt det sociokulturella perspektivet styr hur undervisningen formas. Utöver detta diskuteras musiklärarnas förhållningssätt till rådande styrdokument och deras respektive arbetsplats verksamhetsplan. / The purpose of this study is, in relation to the activity ideas/plans of community schools of music and art, to gain insight into the electric bass teachers approach to what is important for beginners to learn. From this view, the intention is to try to understand which lesson content is prioritized in the teaching of beginners, why they chose to focus on these and their views on possible regulatory documents for each workplace. In my survey I have conducted qualitative interviews with four bass guitar teachers from various community schools of music and art. Work is based on theories of the emergence of community schools of music, the educational traditions that shaped them and the sociocultural perspective on learning.   The results show that the main driving force of beginners teaching for bass guitar students is desire, joy and experiences – which is in line with much of the trends covered in research on community schools of music and art and their activity plans in recent years.   In the discussion section the views on what informants thinks is important for beginners to learn is discussed in relation to the traditions, ideas and values according to previous research which determines how the lessons are shaped. In addition to this the music teacher's attitudes and relations to current regulatory documents at their respective workplace is discussed.

Title: Liturgical Music as Curriculum in Primary School Author: Bc. Lenka Jelínková Supervisor: PhDr. Leona Saláková, Ph.D. Department: Department of Music Education, Charles University in Prague Abstract: This thesis speaks about the liturgical music taught in Czech primary schools. Firstly, the meaning of liturgical music is explained, we focus at the liturgy and its forms, then we present the survey results about teaching liturgical music, thirdly the textbooks are analyzed - we look for liturgical music as curriculum here, and in the end, there is our owns project for teaching the liturgical music. Project is about the Passion. The main goal of this work is to chart how is liturgical music in textbooks and at school approached and to give some ideas for working with liturgical music during music lessons in primary schools. Keywords: liturgy, liturgical music, music textbooks, liturgical music in primary school, spiritual music in primary school

The thesis introduces one of the most important personalities of the Czech musical pedagogy of the last century - professor PaedDr. Jaroslav Herden, CSc. Its aim of the thesis is to present the wide range of pedagogical activities he practiced. The thesis consists of six main chapters dealing with Herden's life with the focus on his musical activities, his education and professional growth. The chapters analyse Herden's experience at the Faculty of Education at Charles University in Prague and his publication and broadcast activities. This work also mentions the Summer School of Music, as Herden was its founder. The last part of the thesis focuses on the heritage of this extraordinary personage.

Denna studie har som syfte att undersöka musiklärares syn på arbete för inkludering och ökad mångfald i kulturskolan. Studiens forskningsfråga handlar om hur musiklärare konstruerar och legitimerar sin syn på arbete för inkludering och ökad mångfald i kulturskolan. För att undersöka detta har tre fokusgruppsintervjuer genomförts på tre olika kulturskolor. Studiens teoretiska ramverk består av diskursteori och den data som genererats ur fokusgruppintervjuerna har bearbetats och analyserats med hjälp av diskursanalytiska redskap. I resultatet presenteras sex diskurser utifrån lärarnas konstruktioner om synsätt på arbete för inkludering och ökad mångfald i kulturskolan. Dessa handlar om att arbetet för inkludering och ökad mångfald ses som givet, som motsägelsefullt, som socialt utvecklande, som extern verksamhet, som svårt och som gemensamt ansvar. Resultatet presenterar även föräldrar och skola som två kontextuella påverkansfaktorer som på olika sätt påverkar diskurserna. I diskussionen behandlas två mer övergripande motstridiga diskurser om arbete för inkludering och ökad mångfald som självklart respektive icke självklart, i relation till tidigare presenterad litteratur. / The purpose of this study is to examine music teachers’ views on the work for inclusion and increased diversity in Swedish Community School of Music. The study’s research question concern how music teachers’ construct and legitimate their views on the work for inclusion and increased diversity in Swedish Community School of Music. To examine this three focus group interviews were held at three different schools. The theoretical framework of the study is discourse theory and the data generated from the focus group interviews has been processed and analyzed with discourse analytical tools. In the result the six discourses found are presented based on the teachers’ constructions about the work for inclusion and increased diver- sity in Swedish Community School of Music. These discourses is about how the work for inclusion and increased diversity is seen as given, as contradictive, as social developing, as ex- ternal activity, as difficult and as mutual responsibility. The result also shows parents and school as two contextual factors which affects the discourses in different ways. In the discussion two more general contrarious discourses, about the work for inclusion and increased diversity as obvious and non-obvious, are discussed in relation to previous presented literature.

Graduates who responded to the survey indicated that the undergraduate music education curriculum between 1967 and 1972 was generally adequate in preparing students to teach music in the public schools. Areas such as administration, supervision, student teaching, and professional education were deemed weaker than other areas by both the vocal and instrumental graduates. In comparing vocal and instrumental graduates' responses in certain areas of the questionnaire it was found that in most cases opinions of both groups agreed regarding importance of listed competencies. The curriculum was equally effective in training vocal and instrumental teachers, with the exception of secondary instrumental methods, which appeared to be an outstanding weakness. A low positive correlation (r=.107) existed between selected graduates' academic success and their success as teachers in public schools. This correlation was, however, not statistically significant and it was accepted that there was only a slight relationship between students' success in undergraduate training at North Texas and their success as public school music teachers. Graduates who responded to the survey indicated that the undergraduate music education curriculum between 1967 and 1972 was generally adequate in preparing students to teach music in the public schools. Areas such as administration, supervision, student teaching, and professional education were deemed weaker than other areas by both the vocal and instrumental graduates. In comparing vocal and instrumental graduates' responses in certain areas of the questionnaire it was found that in most cases opinions of both groups agreed regarding importance of listed competencies. The curriculum was equally effective in training vocal and instrumental teachers, with the exception of secondary instrumental methods, which appeared to be an outstanding weakness. A low positive correlation (r=.107) existed between selected graduates' academic success and their success as teachers in public schools. This correlation was, however, not statistically significant and it was accepted that there was only a slight relationship between students' success in undergraduate training at North Texas and their success as public school music teachers.