The investigator wished to determine the effect of certain school music techniques on children's attitudes.

This diploma thesis deals with a children's musical creativity development at primary school with the Step-by-step program. The thesis introduces an overview of the current topics in alternative education, reveals main ideas of the Step by step program and describes a creativity in general with focus on the area of musical creativity and its development. The main goal of this thesis was to analyze usage of activities stimulating musical creativity development in normal classes at primary school and compare the results with the classes where the Step by step program is in use.

The way in which music teachers choose and use the subject content in ensemble and music theory in the upper secondary school is focused in this study. The point of interest is the everyday classroom teaching of music teachers. The intentions that music teachers have with their teaching is also studied. This thesis is a study of music teaching and is a subject-didactic investigation, inspired by variation theory. The overarching aim of the thesis is to study how music teachers in upper secondary school choose teaching content when teaching ensemble and music theory. The teachers’ use of the teaching content implies that they choose to focus and teach certain parts in their teaching. This choice of con- tent and how it is used is in focus in this study. The research questions are: How do music teachers choose teaching content when teaching ensemble and music theory in upper secondary school? How do music teachers use the teaching con- tent in their teaching? The data collection includes video-documented lessons and qualitative inter- views with five music teachers in upper secondary school in 2004. The analysis reveals two different choices of content. When the teachers have music and theory as the content of their teaching, it is the content that guides the teaching methods, where the teacher uses a fixed content, which is then presented in different ways; this was mainly in music theory. When the content is music activities, the music teachers adjust the activity-based content in accordance with the level of the pupils’ skills in ensemble. The differences that occur in the varia- tion theory results are closely related to the teaching content. The foundations of the two different choices of content that are made by the music teachers, as well as the significance of the learning objects, are finally discussed.

This dissertation is the result of an investigation into masters level graduate program in education of the Faculty of education of the Federal University of Uberlândia-UFU. The aim of this work was to describe and analyze the theoretical reflections and the representations of education professionals from RPME/UDI and the UFU, about difficulties and possibilities of implementation of the Law 11.769/2008 establishing the compulsory teaching of music in primary education. For both were used as methodological procedures the qualitative research based on the bibliographical, documentary investigation techniques and the study of representations of education professionals from RPME/UDI and UFU, about the difficulties and possibilities for implementation of the law 11.769 in 2008 of professional practice and training of music teachers. The importance of this study lies in the fact that the law points to make the music as content required in basic education, not exclusive of curricular component called \"art education\". For the purpose of exhibition, this research was structured in three chapters. The first is performed an analysed on music in contemporary capitalist society and its implications for education according to the propositions of critical pedagogy. The second is presented with a reflection of the teaching of music in historical context of educational policies in Brazil. And the third chapter analyses and reflects from field work conducted in this research. In summary, it can be said that the final result of the music education in the schools of basic education has also met with different political-pedagogical concepts and practices which are contrary in reality at the time of the implementation of educational policies for this area, bringing as a result, the shift away from the teaching of music, both in relation to traditional curricular components, as regards the teaching of Arts which emphasis has been given to the teaching of Visual Arts. This is due, among other things, the lack of infrastructure for the teaching of music; specialized teachers and public tenders for contracting of the same educational networks. Despite this picture, can be seen in the context of this research, the interests of groups of teachers, both from public schools from Uberlândia, as from the music department of UFU to music education in school is actually introduced and enhanced through the expansion of teacher training and hiring generalists music teachers. However, the critical analysis of the situation points to the fact that, apart from the introduction of music education as more a \"curricular component\", it becomes vital to value the teaching profession at school and work to integrate, inter-and transdisciplinary, the knowledge and practice of the art, science and technology as a way to achieve an emancipatory education, capable of overcoming the dominant disciplinary paradigm, without it, is considered that Will be impossible to put into practice law 11.769/2008. / A presente dissertação é fruto de uma investigação em nível de Mestrado do Programa de Pós-Graduação em Educação da Faculdade de Educação da Universidade Federal de Uberlândia - UFU. O objetivo deste trabalho foi descrever e analisar as reflexões teóricas e as representações de profissionais da educação da RPME/UDI e da UFU, a respeito das dificuldades e possibilidades de implementação da Lei 11.769/2008 que institui o ensino obrigatório da música na educação básica. Para tanto, foram utilizados como procedimentos metodológicos a pesquisa qualitativa baseada nas técnicas de investigação bibliográfica, documental e o estudo das representações de profissionais da educação da RPME/UDI e da UFU, a respeito das dificuldades e possibilidades de implementação da Lei 11.769/2008 nos âmbitos da prática profissional e da formação de professores de música. A importância desse estudo radica no fato de que a referida lei aponta para tornar a música um conteúdo obrigatório na educação básica, não exclusivo do componente curricular Ensino de arte . Para fins de exposição, a presente pesquisa foi estruturada em três capítulos. No primeiro, é realizada uma análise sobre a música na sociedade capitalista contemporânea e suas implicações para a educação segundo as proposições da pedagogia crítica. No segundo, é apresentada uma reflexão sobre o ensino da música no contexto histórico das políticas educacionais no Brasil. E no terceiro, são apresentadas as análises e reflexões decorrentes da pesquisa de campo realizada nesta pesquisa. Em síntese, pode afirmar-se que, a concretização do ensino da música nas escolas da educação básica tem se defrontado com diferentes concepções e práticas político-pedagógicas que se revelam contraditoriamente na realidade no momento da implementação das políticas educacionais para esta área, trazendo, como consequência, a secundarização do ensino da música, tanto em relação aos componentes curriculares tradicionais, quanto ao ensino de Artes, dentro do qual tem sido dada ênfase ao ensino de Artes Visuais. Isto devido, dentre outros aspectos, à falta de: infraestrutura para o ensino da música; de professores especializados e de concursos públicos para contratação dos mesmos nas redes de ensino. Apesar deste quadro, pode ser constatado no âmbito desta pesquisa, o interesse de grupos de professores, tanto da rede pública municipal de ensino de Uberlândia, quanto do Curso de Música da UFU para que o ensino da música na escola seja, de fato introduzido e valorizado, por meio da ampliação da formação dos professores generalistas e a contratação de professores de música. Entretanto, a análise crítica da realidade aponta para o fato de que, para além da introdução do ensino da música como mais um componente curricular , torna-se fundamental valorizar a profissão docente na escola e trabalhar para integrar, inter e transdiciplinarmente, os saberes e práticas da Arte, da Ciência e da Tecnologia, como forma de tornar realidade uma educação emancipatória, capaz de superar o paradigma disciplinar dominante, sem o qual, considera-se, será impossível colocar em prática a Lei 11.769/2008. / Mestre em Educação

Music is integral to our lives, whether by listening to it, singing, or playing an instrument. In addition to this, music has effect on brain development and language learning. The aim of this thesis is close evaluation of relation between the development of musical and foreign language skills in case of primary age students. Through conducting an examination of the ability to gain foreign language skills using different ways of teaching musical education. 5th grade students who participated were divided into 3 groups. They differed in intensity and approach to music education. The first group had one singing lesson per week. The other two groups had as part of their lessons singing and also playing instruments such as flute and Orff instruments, and had movement education as part of their lessons. These two groups differed in intensity - 1 and 3 lessons per week. To note most of the students that had higher intensity of music education focused to music also in their after school activities. The three groups had the same amount of English lessons in all grades. Students were tested via Cambridge test "Movers" in listening, reading and writing. Analysis of data emerged generally better results in English test in case of students experiencing extended musical education. KEYWORDS teaching music,...

CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / Essa pesquisa investigou as preferÃncias musicais dos alunos de uma escola municipal de Juazeiro do Norte-CE, partindo de suas vivÃncias cotidianas, localizaÃÃo social e identificaÃÃes. Reconhecendo a impossibilidade de ignorar o acesso massificado dos alunos Ãs obras artÃsticas propagadas pela IndÃstria Cultural (ADORNO & HORKHEIMER, 1947), defendemos a inovaÃÃo do ensino de mÃsica na escola a partir da apreciaÃÃo musical, do diÃlogo e da formaÃÃo crÃtica dos estudantes, de modo a lhes favorecer uma postura crÃtica acerca da cultura de massa. Negar a influÃncia desse acesso no cotidiano nÃo corrobora com o diÃlogo (BOHM, 1998) entre escola, experiÃncia (BONDIA, 2002; BENJAMIN, 1987) e sentido (DUARTE Jr., 2000). Constituindo-se em uma pesquisa social, as metodologias adotadas foram a qualitativa, por permitir a evidÃncia das informaÃÃes à luz dos sujeitos investigados (MINAYO, GOMES e DESLANDES, 2009) e, a pesquisa-aÃÃo, por possibilitar ao pesquisador a anÃlise dos dados coletados e sua atuaÃÃo como participante no processo investigativo (BRANDÃO, 1987). Perceber que os hits da IndÃstria Cultural nÃo representavam a mÃsica dos alunos constituiu-se um dos principais achados dessa pesquisa. Ao defenderem suas identificaÃÃes (HALL, 2004, 2005) e localizaÃÃo social, os alunos criticaram os meios de comunicaÃÃo de massa e a marginalizaÃÃo da sua mÃsica, elencando e posicionando o RAP no topo de suas preferÃncias. Essa anÃlise apontou para a construÃÃo de uma metodologia que fizesse sentido no chÃo da escola, que aproximassem escola e aluno, considerando suas vivÃncias cotidianas e reverberando em uma fluÃncia pedagÃgica para o ensino de mÃsica na escola. / This research investigated the musical preferences of the students of a municipal school in Juazeiro do Norte-CE, starting from their daily experiences, social location and identifications. Recognizing the impossibility of ignoring the mass access of students to the artistic works propagated by the Cultural Industry (ADORNO & HORKHEIMER, 1947), we defend the innovation of music teaching in school based on musical appreciation, dialogue and critical formation of students, in order to favor a critical stance on mass culture. To deny the influence of this access in the daily life does not corroborate with the dialogue (BOHM, 1998) between school, experience (BONDIA, 2002; BENJAMIN, 1987) and sense (DUARTE Jr., 2000). The methodologies adopted were qualitative, allowing the evidence of the information in the light of the investigated subjects (MINAYO, GOMES and DESLANDES, 2009), and the action research, since it enables the researcher to analyze the data collected and their role as participants in the investigative process (BRANDÃO, 1987). Realizing that Cultural Industry hits did not represent student music was one of the main findings of this research. In defending their identifications (HALL, 2004, 2005) and social location, the students criticized the mass media and the marginalization of their music, listing and positioning RAP at the top of their preferences. This analysis pointed to the construction of a methodology that made sense on the floor of the school, which approached school and student, considering their daily lives and reverberating in a pedagogical fluency for teaching music in school.

Der Beitrag untersucht, ob die Handreichung Kooperative Lernmethoden im Musikunterricht des niederländischen Musikpädagogen Frits Evelein als praktische Umsetzung des musikdidaktischen Modells 'Musikpraxen erfahren und vergleichen' (Mev) von Christopher Wallbaum verstanden werden kann. Zu diesem Zweck werden die Vorgaben des Modells rekonstruiert und in Vergleich mit Eveleins musikdidaktischen Vorstellungen gesetzt. Aus der Handreichung werden Unterrichtssituationen entworfen und auf ihre Kompatibilität mit Mev-Kriterien untersucht. Das Ergebnis zeigt zwar Gemeinsamkeiten, aber auch erhebliche Unterschiede – etwa hinsichtlich der Musik-, Kultur- und Praxisbegriffe – sodass die Ausgangshypothese, Evelein sei ‚Wallbaum für die Praxis‘, nicht bestätigt werden kann. Dennoch liefert die Arbeit einen Gewinn: Sie fasst die Kriterien des musikdidaktischen Modells »Musikpraxen erfahren und vergleichen« aus verschiedenen Schriften Wallbaums zusammen und zeigt Unterrichtspraktiken auf, die für Gestaltungen im Sinne des Modells vielversprechend erscheinen. Damit bietet der Beitrag sowohl Ergebnisse in Bezug auf die Forschungsfrage als auch Anregungen für weitere Konkretisierungen des musikdidaktischen Modells. / The paper compares the cooperative methods of the teaching book Kooperative Lernmethoden im Musikunterricht by the dutch music educator Frits Evelein to the music teaching concept “Musikpraxen erfahren und vergleichen” by Christopher Wallbaum. As a conclusion, the hypothesis that Evelein was ‘Wallbaum for praxis’ cannot be confirmed.

Author abstract In my thesis I pursued verify the effectiveness of Ladislav Daniel's "Bridge book for 2nd Primary School" in practise. This textbook had the task to compare the dificiencies and gaps in the music skills of students 2nd Primary School, which become from the music lessons at 1st Primary school. I realized my exploration in the 6th classes of one Prague school, where I have been this year teach music. The status of the music skills induced me to try Daniel's "Bridge book for 2nd Primary School" and return the music lessons between "living subject". Before my exploration I had to realized the initial review in the experimental group and in the control group too, read up Daniel's methodology of music education, textbooks with its methodological guide and analyzed Bridge book for 2nd Primary School with its methodological guide. Pursuant these books I worked out the studing plan of each lesson with methodological steps. At the beginning of the experimental teaching students accesed the lessons very critical. But in a short time they became very active. They carried away new skills and knowledge from each lesson, which they could used and repeat in the next lesson and learn some new. They accept the Bridge book and work with it. After five months of teaching with Daniel's Bridge book I can say,...

Made available in DSpace on 2016-07-27T13:52:53Z (GMT). No. of bitstreams: 1 DEBORA MIRTES DOS SANTOS RAVAGNANI DIAS.pdf: 922892 bytes, checksum: 3f728cc4cb17df7acb9acb0851a0c525 (MD5) Previous issue date: 2011-09-30 / The present study focused on the formation of the musical theoretical thought of the students of the first year of the Fundamental Teaching School. It is inserted in the didactics field, dealing with the relations between music teaching and learning. The theoretical references are based in works of Vygotsky, Luria, Leontiev, Elkonin and Davydov and of musical educators as Schaffer and Willems. It implied that the problems faced by the musical teaching education result of a multiplicity of factors, and the strong presence of a traditional education model is one of them. Thus, the investigation was directed for the following inquiries: How the music teaching can be organized in order to the students learning result in concepts formation? How to work the music concept in the Cultural-Historical Theory? What are the advantages and difficulties in the realization of this kind of teaching organization? The objectives of the research were: investigating and analyzing the application of the methodology proposed by Davydov for the learning of the music concept; organizing the music teaching for a group of the first year of the Fundamental Teaching School, keeping in mind the learning of music concept; identifying the advantages and difficulties of the implementation of the Davydov proposal considering the context of the field school. The research consisted in the realization and attendance of an educational-formative experiment for five months (February, March, April, May, June), in the year of 2011, in a state public institution of the regular educational system in the city of Goiânia, in Goiás state. The data were collected through the observation of the activity of the teacher and of the students along the carrying out of the educational experiment, having as reference the planning and the development of a developmental teaching plan elaborated with the intention of promoting the students´ acquisition of the necessary contents for the music concept formation. Besides the classes observation, it was also used the semi-structured interview with the teacher of the class, the school observation, the musical composition produced by the students in togetherness with the music teacher. The results showed that the educational experiment searched for understanding how the students appropriated the musical concepts oriented by principles of the theory of Davydov. They also showed that by using this procedure the students learning was significant. They also showed that by using this procedure the students learning was significant. The main contribution of this research consisted in showing that, despite the existence of several factors that reflect in school life and in the learning of the students, the Developmental Teaching can be a promising possibility to the formation of the students musical way of thinking. / O presente estudo teve como foco a formação do pensamento teórico musical dos alunos do primeiro ano do ensino fundamental. Insere-se no campo da didática, tratando das relações entre o ensino e a aprendizagem de música. Do referencial teórico constam obras de Vygotsky, Luria, Leontiev, Elkonin e Davydov e de educadores musicais como Schaffer e Willems. Partiu-se do pressuposto de que os problemas enfrentados pela educação musical escolar resultam de uma multiplicidade de fatores, sendo um deles a forte presença de um modelo de ensino tradicional. Assim, a investigação foi direcionada para as seguintes indagações: De que modo o ensino de música pode ser organizado para que a aprendizagem dos alunos resulte em formação de conceitos? Como trabalhar o conceito de música na Teoria Histórico cultural? Quais as vantagens e dificuldades na concretização desse tipo de organização do ensino? Os objetivos da pesquisa foram: investigar e analisar a aplicação da metodologia proposta por Davydov para a aprendizagem do conceito de música; organizar o ensino de música para uma turma do 1º ano do ensino fundamental, tendo em vista a aprendizagem do conceito de musica; identificar as vantagens e dificuldades da implementação da proposta de Davydov considerando o contexto da escola campo. A pesquisa consistiu na realização e acompanhamento de um experimento didático-formativo, durante cinco meses (fevereiro, março, abril, maio, junho), no ano de 2011, em uma instituição da rede estadual de ensino regular na cidade de Goiânia, no Estado de Goiás. Os dados foram coletados por meio da observação da atividade da professora e dos alunos no decorrer da realização do experimento didático, tendo como referência o planejamento e o desenvolvimento de um plano de ensino desenvolvimental elaborado com a intenção de promover a aquisição, pelos alunos, dos conteúdos necessários a formação do conceito de música. Além da observação das aulas, foi utilizada a entrevista semi-estruturada com o professor da classe, a observação da escola, a composição musical produzida pelos alunos em conjunto com a professora de música. Os resultados mostraram que o experimento didático buscou compreender como os alunos apropriaram do conceito de música, orientado por princípios da teoria de Davydov proporcionou maior participação e atividade da maior parte dos alunos. Evidenciaram também que por meio deste procedimento foi significativa a aprendizagem dos alunos. A principal contribuição desta pesquisa consistiu em mostrar que, apesar da existência de diversos fatores que repercutem na vida escolar e na aprendizagem dos alunos, o Ensino Desenvolvimental pode ser uma possibilidade promissora para formação do modo de pensar musical dos alunos.

Made available in DSpace on 2016-12-08T17:06:41Z (GMT). No. of bitstreams: 1 ligia.pdf: 752280 bytes, checksum: 76367b08b85e704571c508cf73a77430 (MD5) Previous issue date: 2012-03-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study had as the main objective to investigate about the way that the music education is developed in four public schools of integral time of Médio Vale do Itajaí region in Santa Catarina state. These schools are public and take part of the Integrated Public School Project, whose initiative has as purpose to broaden the educative experiences of students through the amplification of scholar day period. The specific objectives of this research were: to verify how music education takes part as a curricular subject in these schools, identifying who are the professionals that teach music and the material structure available for classes; to verify how the pedagogical practices of those teachers articulate with principles of integral education presented in the documents that direct the Integrated Public School Project; and to verify how music education relates with others subjects in the proposal of an integrated curriculum. The research has as theoretical reference the concepts of integral education and integrated curriculum presented by Rafael Yus. The methodology was the multicase study and the data were collected through semistructured interviews with music teachers and a member of administrative staff of each school, observation of music classes and analysis of documents. The analysis was built establishing categories that focused on the musical teaching in the perspective of integral education and the development of an integrated curriculum. The results showed that there are teachers with diversified preparation working as music teachers in the integrated public schools; the practices developed are based on the particular experiences and conceptions of those teachers with little orientation for the development of a specific pedagogical project for integral schools; and the activities developed in classes have diversified purposes, not always related with musical development of students. So, the music education in this experience of Integrated Public School is important because it offers music in the curriculum, but it is necessary more studies in pedagogical and musical terms, becoming this experience more relevant in the education of students / Este trabalho teve como objetivo investigar de que forma a educação musical é desenvolvida em quatro escolas públicas de tempo integral da região do Médio Vale do Itajaí, Santa Catarina. Estas escolas são da rede estadual de ensino e fazem parte do projeto Escola Pública Integrada, iniciativa que tem por objetivo oferecer mais experiências educativas aos alunos por meio da ampliação da jornada escolar. Os objetivos específicos desta pesquisa foram: verificar de que forma a educação musical se insere como disciplina curricular nestas escolas, identificando quem são os profissionais que lecionam música e a estrutura material disponível para as aulas; verificar como a prática pedagógica destes professores de música se articula com os princípios de educação integral presentes nos documentos que orientam a Escola Pública Integrada; e verificar como a educação musical se integra às outras disciplinas numa proposta de currículo integrado. A pesquisa teve como referencial teórico os conceitos de educação integral e currículo integrado apresentados por Rafael Yus. A metodologia utilizada foi o estudo multicaso e a coleta de dados se deu por meio de entrevistas semiestruturadas realizadas com os professores de música e um membro da equipe pedagógica de cada escola, observações das aulas de música e análise de documentos. A análise dos dados foi construída a partir do estabelecimento de categorias que focalizaram o ensino de música na perspectiva da educação integral e do desenvolvimento de um currículo integrado. Os resultados revelam que há professores com formação diversificada atuando como educadores musicais nas escolas públicas integradas; que as práticas desenvolvidas estão pautadas nas experiências e concepções particulares destes professores havendo pouca orientação para o desenvolvimento de um projeto pedagógico específico para a escola de tempo integral; e que as atividades desenvolvidas nas aulas de música atendem a objetivos diversificados, nem sempre relacionados ao desenvolvimento musical dos alunos. Desta forma, a educação musical nesta experiência da Escola Pública Integrada é importante porque oferece a música como parte do currículo, mas necessita de maiores aprofundamentos em termos pedagógicos e musicais, tornando esta experiência ainda mais relevante na formação dos estudantes