Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-05-23T20:07:09Z No. of bitstreams: 1 DanielFerreiraSantos.pdf: 2541300 bytes, checksum: 33cb0782043a688ec9476e645bc46ee5 (MD5) / Made available in DSpace on 2017-05-23T20:07:09Z (GMT). No. of bitstreams: 1 DanielFerreiraSantos.pdf: 2541300 bytes, checksum: 33cb0782043a688ec9476e645bc46ee5 (MD5) Previous issue date: 2016-07-19 / This study aimed to analyzing the application of a teaching methodology based on musical instruments practices in U.E.B. Gomes de Sousa school. This institution is located in the suburb of Sao Luis named as Vila Maranhão. The methodology is characterized as a complementary way to the music art teaching and learning process of the students enrolled in the final levels of the elementary school. Moreover, its contributions on the thinking about the applicability and importance of instrumental teaching as well as its capability to offer a vision of how musical education and instrumental practices can integrate the curriculum of the basic education were taken in account. For a better comprehension regarding to the reality of this method, it was conducted a profound research on the instrumental music teaching programs adopted in other countries educational systems. To improve the practice used here, the methodology used by teachers and teaching strategies that can be consistent and enrich the approach of this research were analyzed. Among them, it could be mentioned the Suzuki philosophy, the fundamental learning theory based on Edwin Gordon, and the usage of the teaching collective method tools knows as orchestra Da Capo Tutti from Prof. Dr. Joel Barbosa. As the main methodological procedure in order to carrying out this research work, it was done a kind of research-action. This aimed to make links between theory and practice on the application of instrumental project onset practices by investigating their contributions and results on the educational, social and political outcomes for the area of instrumental music education. The results achieved allowed to perceive the challenges on the issues about the curriculum concepts and implementation of instrumental training programs to provide a complementary background to the students enrolled in the basic education system. Furthermore, the results enable to evaluate the significant gains during the construction process of various diversity ways to be followed in the music learning. To sum up, through all the research carried out and pedagogical suggestions, it was possible to confirm that the instrumental teaching process applied to the elementary school acted as a strengthening way to consolidate the music teaching in this context. Moreover, was observed a natural interest in musical art from the part of youth people and comprehensiveness that this practice offers. Finally, this practice serves as a model of idealization for an effectiveness way to implement musical instruments teaching routine in all Brazilian schools. / Este estudo objetivou a aplicação de uma metodologia de ensino voltada à prática de instrumentos musicais na escola U.E.B. Gomes de Sousa, localizada na Vila Maranhão, como forma complementar ao ensino e aprendizagem musical dos alunos das series finais do ensino fundamental e suas possíveis contribuições na reflexão acerca da aplicabilidade e importância do ensino instrumental, bem como, oferecer uma visão de como a educação musical e a prática instrumental podem integrar o currículo da educação básica. Para uma melhor compreensão desta realidade, realizamos um levantamento sobre os programas do ensino musical instrumental em sistemas educacionais de outros países. Para melhor fundamentar nossa prática, analisamos o trabalho de pedagogos e de estratégias de ensino que podem coadunar e enriquecer nossa abordagem, no qual, apresentamos a filosofia Suzuki, a teoria da aprendizagem fundamentada em Edwin Gordon e à utilização do método coletivo de ensino de instrumentos de orquestra Da Capo Tutti do Prof. Dr. Joel Barbosa. Como principal procedimento metodológico na realização deste trabalho de pesquisa, lançamos mão da pesquisa-ação, visando tecer elos entre a teoria e a prática diante da aplicação do projeto de iniciação instrumental, investigando suas possíveis contribuições e resultados educacionais, sociais e políticos para área da educação musical instrumental. A partir dos resultados alcançados foi possível perceber os desafios sobre as questões acerca da concepção dos currículos e da implementação de programas de formação instrumental que contemplem alunos da Educação Básica, além de ser capaz de avaliar os significativos ganhos na construção da diversidade de caminhos da educação musical. Enfim, por meio de todo o estudo realizado e das sugestões pedagógicas apresentadas, foi possível confirmar que o ensino instrumental aplicado à escola básica pode servir como meio de fortalecimento do ensino de música neste contexto, haja visto o interesse natural dos jovens pela arte musical e a abrangência educacional que este ensino oferece, servindo como como modelo para a idealização de um percurso para o ensino instrumental e sua implementação efetiva nas escolas brasileiras.

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xv, 166 p. : col. ill. / The purpose of this study was to investigate the frequency and the time that middle and high school orchestra directors engaged in seven specific teaching behaviors in a rehearsal setting. Of particular interest was the amount of time orchestra directors engaged in conceptual teaching behaviors operationally defined as verbal behaviors of orchestra directors in which they attempt to make students aware of, have an understanding of, and/or be able to transfer any musical concept. Participants ( N = 12) were full-time middle and high school orchestra directors teaching in Washington, Oregon, or California. Each participant submitted a video recording of two regular orchestra rehearsals. Video recordings of participants were divided into 20-minute segments and randomly selected for observation of seven specific and operationally defined teaching behaviors: (a) nonmusical behavior, (b) nonverbal instruction (direction), (c) verbal instruction (direction), (d) noninteractive listening, (e) nonverbal feedback, (f) verbal feedback, and (g) conceptual teaching. These seven teaching behaviors were analyzed using the Simple Computer Recording Interface for Behavioral Evaluation (SCRIBE) of Duke and Stammen (2007). The data were reported in the form of the frequency with which each behavior occurred, the average time for each behavior expressed in minutes and seconds, and the percentage of time used on each behavior. Findings on conceptual teaching were reported. The results indicated that, on average, orchestra directors spent slightly more than 5% of the observed rehearsal time on conceptual teaching. Most of the instructional time was used on nonverbal instruction (28.15%) and verbal instruction (27.76%). Orchestra directors observed in this study used the least amount of time (2.42%) on nonverbal feedback. The most concerning finding of the study was the time orchestra directors used on nonmusical behaviors (14.70%), and the most interesting finding of the study was that middle school orchestra directors used twice as much time (7.40%) as high school orchestra directors (3.21%) on conceptual teaching. The findings of this study provided suggestions for future research and implications for music educators. / Committee in charge: Dr. Frank Diaz, Chair; Dr. Phyllis Paul, Member; Dr. Eric Wiltshire, Member; Dr. Leslie Straka, Member; Dr. Julie Hessler, Outside Member

School orchestra programs are overwhelmingly concentrated in suburban districts, which are becoming increasingly racially and economically diverse. Diversifying suburbs lie at the crossroads of race, racism, and whiteness and findings drawn from these settings can have implications for racial dynamics in all educational contexts. The purpose of this instrumental case study was to explore how racially underrepresented students perceive race within an urban characteristic high school orchestra program through the lens of critical race theory. I developed a composite counter-story to examine the racialized experience of school orchestra told from the perspective of students of color with a particular interest on competition. Participants were six students and two teachers affiliated with the same high school orchestra program in Texas. Emergent thematic findings examined students' sense of racial belonging, mechanisms upholding the racial status quo, and fulfilling aspects of students' orchestra participation. Though the lens of critical race theory, I discuss how everyday whiteness, property of whiteness, and meritocracy function to maintain white hegemony in school orchestra.