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Thesis (M.A.)--University of Hawaii at Manoa, 1983 / Pacific Islands Studies

This dissertation is a video ethnography of the enculturation and learning patterns among children on three school playgrounds in the Central Region of Ghana, West Africa. It includes a) a discussion of colonialism on the redefinition of Ghanaian cultural identity in relation to play culture and the school curriculum b) performance-based case studies of six singing games, which comprise a description of sound and structural features and an explanation of cultural forms evident in singing games and c) a discussion on the role multimedia technologies (video, audio, and computer technologies) played in configuring my explanations and the explanations of all participants: children, teachers, and community members. Goldman-Segall' s "configurational validity" is the conceptual basis of this ethnography of Ghanaian children's music cultures. Configurational validity is a collaborative theory for analyzing video documents that expands on the premise that research is enriched by multiple points of view. Performance stylistic features of singing games emerge that reflected the marriage of two music cultures, indigenous Ghanaian and European. These include: speech tones, onomatopoeia, repetition and elaboration of recurring melodic cliches, portamentos or cadential drops, syncopations, triplets, melisma, polyrhythms, vocables, anacrusis, strophic, circle, lines, and partner formations. During play, the children were cultural interlocutors and recipients of adult cultural interlocution as they learned about accepted and shared social behavioural patterns, recreated their culture, and demonstrated the changing Ghanaian culture. The culture forms that emerged include community solidarity, inclusion, ways of exploring and expressing emotions, coordination, cooperation, gender relations, and linguistic code switching. For children in Ghana, knowledge is uninhibited shared constructions; knowledge grows when every one is involved; and knowledge is like "midwifery." I recommended a teaching style that encouraged the expression of children's wide ranging knowledge by a) offering opportunities for cooperative learning through group work, b) encouraging continuous assessment, c) establishing stronger ties with the adult community, and d) recognizing that the ability of children to hear, interpret, and compensate for dialectic differences in closely related languages can be used to enrich the language arts curriculum and also e) recognizing that the cultural studies curriculum can be enriched by the ability of children to re-create hybrid performing arts cultures.

Thesis (EdD)--Montana State University--Bozeman, 2009. / Typescript. Chairperson, Graduate Committee: Priscilla Lund. Includes bibliographical references (leaves 140-146).

This dissertation is a video ethnography of the enculturation and learning patterns among children on three school playgrounds in the Central Region of Ghana, West Africa. It includes a) a discussion of colonialism on the redefinition of Ghanaian cultural identity in relation to play culture and the school curriculum b) performance-based case studies of six singing games, which comprise a description of sound and structural features and an explanation of cultural forms evident in singing games and c) a discussion on the role multimedia technologies (video, audio, and computer technologies) played in configuring my explanations and the explanations of all participants: children, teachers, and community members. Goldman-Segall' s "configurational validity" is the conceptual basis of this ethnography of Ghanaian children's music cultures. Configurational validity is a collaborative theory for analyzing video documents that expands on the premise that research is enriched by multiple points of view. Performance stylistic features of singing games emerge that reflected the marriage of two music cultures, indigenous Ghanaian and European. These include: speech tones, onomatopoeia, repetition and elaboration of recurring melodic cliches, portamentos or cadential drops, syncopations, triplets, melisma, polyrhythms, vocables, anacrusis, strophic, circle, lines, and partner formations. During play, the children were cultural interlocutors and recipients of adult cultural interlocution as they learned about accepted and shared social behavioural patterns, recreated their culture, and demonstrated the changing Ghanaian culture. The culture forms that emerged include community solidarity, inclusion, ways of exploring and expressing emotions, coordination, cooperation, gender relations, and linguistic code switching. For children in Ghana, knowledge is uninhibited shared constructions; knowledge grows when every one is involved; and knowledge is like "midwifery." I recommended a teaching style that encouraged the expression of children's wide ranging knowledge by a) offering opportunities for cooperative learning through group work, b) encouraging continuous assessment, c) establishing stronger ties with the adult community, and d) recognizing that the ability of children to hear, interpret, and compensate for dialectic differences in closely related languages can be used to enrich the language arts curriculum and also e) recognizing that the cultural studies curriculum can be enriched by the ability of children to re-create hybrid performing arts cultures. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

Este trabalho propõe apresentar uma parte do patrimônio cultural brasileiro inserindo-o no teatro através das brincadeiras cantadas que, por sua vez, a cada dia estão fadadas a caírem no esquecimento. Com a intenção de manter a chama viva dessa cultura popular e mergulhar nessa essência brasileira criou-se um registro sonoro e visual, contendo além do CD, as partituras e a descrição de como se pode brincar e do como efetivamente brincamos. Além disso, uma personagem, intitulada \"Menina\", a qual narra toda a experiência brincante com as brincadeiras selecionadas de dois espetáculos, garante-nos os detalhes teóricos dos recortes dos espetáculos. O primeiro refere-se à peça de Georg Büchner \"Woyzeck\", em uma adaptação de Ingrid Dormien Koudela, chamada \"Ferida Woyzeck\" e o segundo, \"Quero ser grande\", criação coletiva dos alunos da Escola Villare, de São Caetano do Sul - SP. Nos dois casos a \"Menina\" nos conta como a brincadeira cantada está relacionada ao estado do teatro por conter elementos inerentes à linguagem dele, das artes do corpo e da performance. Assim, a pesquisa apresenta o conceito de brincante para defender este estado em cena e aprofundar tais relações com a brincadeira no palco. / This work aims at presenting part of the Brazilian cultural heritage by placing it in the drama through singing games that are doomed to be forgotten. With the purpose of keeping the living flame of the popular culture and diving in its essence, it was created a visual and sound register, containing beyond the CD, the sheet music and the description of how we can play and how we really play. Despite this, a character whose name is \"Menina\", narrates the whole experience of the playing experience, with games selected from two plays, ensuring us the theoretical details of the pieces of the play. The first play is Woyzeck, by Georg Büchner, in an adaptation of Ingrid Dormien Koudela, called \"Ferida Woyzeck\" and the other \"Quero ser grande\", a collective creation by students from Escola Villare, São Caetano do Sul. In both cases, the \"girl\" tell us how the singing game is related to the state of the drama, because it contains elements embodied in its language, body art, performance. In this sense, the research presents the concept of player so as to defend this state on stage and deepen the relations between player and stage.

Este trabalho propõe apresentar uma parte do patrimônio cultural brasileiro inserindo-o no teatro através das brincadeiras cantadas que, por sua vez, a cada dia estão fadadas a caírem no esquecimento. Com a intenção de manter a chama viva dessa cultura popular e mergulhar nessa essência brasileira criou-se um registro sonoro e visual, contendo além do CD, as partituras e a descrição de como se pode brincar e do como efetivamente brincamos. Além disso, uma personagem, intitulada \"Menina\", a qual narra toda a experiência brincante com as brincadeiras selecionadas de dois espetáculos, garante-nos os detalhes teóricos dos recortes dos espetáculos. O primeiro refere-se à peça de Georg Büchner \"Woyzeck\", em uma adaptação de Ingrid Dormien Koudela, chamada \"Ferida Woyzeck\" e o segundo, \"Quero ser grande\", criação coletiva dos alunos da Escola Villare, de São Caetano do Sul - SP. Nos dois casos a \"Menina\" nos conta como a brincadeira cantada está relacionada ao estado do teatro por conter elementos inerentes à linguagem dele, das artes do corpo e da performance. Assim, a pesquisa apresenta o conceito de brincante para defender este estado em cena e aprofundar tais relações com a brincadeira no palco. / This work aims at presenting part of the Brazilian cultural heritage by placing it in the drama through singing games that are doomed to be forgotten. With the purpose of keeping the living flame of the popular culture and diving in its essence, it was created a visual and sound register, containing beyond the CD, the sheet music and the description of how we can play and how we really play. Despite this, a character whose name is \"Menina\", narrates the whole experience of the playing experience, with games selected from two plays, ensuring us the theoretical details of the pieces of the play. The first play is Woyzeck, by Georg Büchner, in an adaptation of Ingrid Dormien Koudela, called \"Ferida Woyzeck\" and the other \"Quero ser grande\", a collective creation by students from Escola Villare, São Caetano do Sul. In both cases, the \"girl\" tell us how the singing game is related to the state of the drama, because it contains elements embodied in its language, body art, performance. In this sense, the research presents the concept of player so as to defend this state on stage and deepen the relations between player and stage.

Made available in DSpace on 2016-12-08T17:06:46Z (GMT). No. of bitstreams: 1 122556.pdf: 14880852 bytes, checksum: faf2bf14e0a57e69f41cb8e9c0a18243 (MD5) Previous issue date: 2015-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho apresenta pesquisa de mestrado na área de Educação Musical e teve como objetivo principal investigar como as crianças participantes se apropriam, transmitem e reinventam as brincadeiras cantadas e os jogos musicais numa oficina de música. O referencial teórico foi construído a partir dos estudos de Kathryn Marsh (2008; 2013), que investigou os jogos cantados realizados pelas crianças nos pátios escolares em diversos contextos sociais e étnicos. Ao investigar esses jogos, a autora observou que eles serviam como base para importantes estudos sobre como as crianças transmitiam, mantinham e transformavam os jogos do parque infantil com seus pares. Assim, identificou o caráter colaborativo entre as crianças, tanto no processo de transmissão, quanto de composição. A pesquisa de Marsh (2013) contempla sugestões sobre como os professores podem trabalhar os jogos na sala de aula, permitindo que as crianças manipulem e alterem o repertório, tal como elas fazem criativamente no recreio e sugere que as características desses jogos realizados nos contextos informais podem ser incorporadas no ambiente de sala de aula para aprendizagem musical. Tal proposta motivou esta pesquisa que busca melhor compreender como a aprendizagem musical com os pares no contexto informal sugerida por Marsh (2013) ocorre no contexto da sala de aula. A pesquisa foi realizada no Curso de Extensão Brincando Criando e Cantando oferecido pela Universidade Estadual de Maringá (UEM). Para responder a questão, buscou-se compreender as perspectivas das crianças sobre os processos de aprendizagem musical. A investigação consistiu num estudo de caso com abordagem qualitativa e os dados foram coletados num período de três meses por meio de observação participante, de cadernos de anotações das crianças e entrevistas de grupo focal. Após a organização e descrição dos dados, destacamos três categorias de análise a partir das quais as crianças fizeram, falaram e escreveram relacionando-as com os estudos de Marsh (2008; 2013): o processo de aprendizagem com abordagem holística; os trabalhos realizados em grupo e interação com os pares; o tempo e espaço dados para que as crianças pudessem realizar as brincadeiras e os jogos na sala de aula. Diante das análises observou-se que brincando as crianças se socializaram, construíram e aumentaram a interação entre os pares, desenvolveram mais sua autonomia musical e realizaram processos holísticos de aprendizagem. Todas essas categorias auxiliaram nas apropriações, transmissões e reinvenções das brincadeiras e dos jogos musicais, porque as crianças puderam estar envolvidas no processo construindo o mesmo. Acredita-se, então, que os resultados de estudos dessa natureza possam contribuir para repensar as metodologias de ensino da música, reconhecendo as práticas da aprendizagem musical informal e incorporando-as à educação musical. Tal perspectiva também valoriza a aprendizagem entre as crianças, valorizando sua autonomia, sua capacidade de ação na elaboração de suas próprias ideias de música, reconhecendo ainda a perspectiva das crianças sobre os próprios processos de aprendizagem musical.