A presente pesquisa se insere na área de Educação Musical, especificamente no âmbito da Escola Básica e buscou compreender, a partir das narrativas das crianças, o significado atribuído à dança nas aulas de música. Participaram desta pesquisa 18 estudantes do quinto ano do Ensino Fundamental I de uma escola da rede privada de uma cidade da grande Porto Alegre/RS, que oferece regularmente Educação Musical do segundo ao quinto ano, sendo a dança um dos componentes da Educação Musical. A base teórica da pesquisa apoia-se no método autobiográfico, adotando-se principalmente Jean Clandinin e Michael Connelly (2008) como orientação metodológica; Dornelles e Bujes (2012) no atendimento às especificidades da pesquisa com crianças. Contribuíram na realização deste trabalho principalmente os autores Strazacappa (2001), Schiller e Meiners (2012), que referenciam teoricamente a aprendizagem através do movimento corporal e da dança; e Maffioletti (2008, 2012), Campbel (2011) e Torres (2003) no que se refere à Educação Musical. As narrativas foram capturadas em sessões de discussões em grupo, sendo uma realizada imediatamente após a experiência corporal e duas imediatamente após a execução da flauta doce, num total de três sessões. As dimensões das análises foram extraídas do próprio material, tendo em vista do seu significado dentro do que é narrado. Os resultados mostram que o contexto escolar, familiar e social estão presentes nas narrativas das crianças, sendo a dança reconhecida nesses espaços como importante forma de interação. O significado de dançar nas aulas de música está relacionado ao prazer vivido com o corpo e às sensações de alegria, satisfação e leveza que o movimento propicia. As crianças consideram que dançando é possível conhecer outras culturas, entender melhor o ritmo das músicas e tocar flauta doce com maior facilidade. A importância desta pesquisa está em tornar visível o significado das experiências das crianças sobre o movimento corporal como instância da aprendizagem musical. / This research falls within the field of music education, specifically within the Primary School and sought to understand, from the narratives of children, the meaning assigned to dance in music classes. 18 students from the fifth grade of elementary school I in a private school participated in this research in a big city in great Porto Alegre / RS, which offers regular musical education from the second to fifth grade, being the dance a component of the Music Education. The theoretical basis of the study is based on the autobiographical method, adopting mainly Jean Clandinin and Michael Connelly (2008) as a methodological orientation; Dornelles and Bujes (2012) in addressing the specificities of research with children. Contributed in this work mainly Strazacappa (2001), Schiller and Meiners (2012) authors, which theoretically refer to learning through body movement and dance; and Maffioletti (2008, 2012), Campbell (2011) and Torres (2003) in relation to music education. The narratives were captured in group discussion sessions, one held immediately after the bodily experience and two immediately after the execution of the recorder, a total of three sessions. The dimensions of the analysis were extracted from the material itself, in view of its significance within what is narrated. The results show that the school, family and social context are present in the narratives of children, and dance is being recognized in these spaces as an important form of interaction . The meaning of dance in music classes is related to the pleasure experienced with the body and the feelings of joy, satisfaction and lightness that the movement provides. Children believe that dancing can learn about other cultures and better understand the rhythm of the music and playing the recorder with greater ease. The importance of this research is to make visible the meaning of children's experiences on body movement as an instance of musical learning.

A presente pesquisa se insere na área de Educação Musical, especificamente no âmbito da Escola Básica e buscou compreender, a partir das narrativas das crianças, o significado atribuído à dança nas aulas de música. Participaram desta pesquisa 18 estudantes do quinto ano do Ensino Fundamental I de uma escola da rede privada de uma cidade da grande Porto Alegre/RS, que oferece regularmente Educação Musical do segundo ao quinto ano, sendo a dança um dos componentes da Educação Musical. A base teórica da pesquisa apoia-se no método autobiográfico, adotando-se principalmente Jean Clandinin e Michael Connelly (2008) como orientação metodológica; Dornelles e Bujes (2012) no atendimento às especificidades da pesquisa com crianças. Contribuíram na realização deste trabalho principalmente os autores Strazacappa (2001), Schiller e Meiners (2012), que referenciam teoricamente a aprendizagem através do movimento corporal e da dança; e Maffioletti (2008, 2012), Campbel (2011) e Torres (2003) no que se refere à Educação Musical. As narrativas foram capturadas em sessões de discussões em grupo, sendo uma realizada imediatamente após a experiência corporal e duas imediatamente após a execução da flauta doce, num total de três sessões. As dimensões das análises foram extraídas do próprio material, tendo em vista do seu significado dentro do que é narrado. Os resultados mostram que o contexto escolar, familiar e social estão presentes nas narrativas das crianças, sendo a dança reconhecida nesses espaços como importante forma de interação. O significado de dançar nas aulas de música está relacionado ao prazer vivido com o corpo e às sensações de alegria, satisfação e leveza que o movimento propicia. As crianças consideram que dançando é possível conhecer outras culturas, entender melhor o ritmo das músicas e tocar flauta doce com maior facilidade. A importância desta pesquisa está em tornar visível o significado das experiências das crianças sobre o movimento corporal como instância da aprendizagem musical. / This research falls within the field of music education, specifically within the Primary School and sought to understand, from the narratives of children, the meaning assigned to dance in music classes. 18 students from the fifth grade of elementary school I in a private school participated in this research in a big city in great Porto Alegre / RS, which offers regular musical education from the second to fifth grade, being the dance a component of the Music Education. The theoretical basis of the study is based on the autobiographical method, adopting mainly Jean Clandinin and Michael Connelly (2008) as a methodological orientation; Dornelles and Bujes (2012) in addressing the specificities of research with children. Contributed in this work mainly Strazacappa (2001), Schiller and Meiners (2012) authors, which theoretically refer to learning through body movement and dance; and Maffioletti (2008, 2012), Campbell (2011) and Torres (2003) in relation to music education. The narratives were captured in group discussion sessions, one held immediately after the bodily experience and two immediately after the execution of the recorder, a total of three sessions. The dimensions of the analysis were extracted from the material itself, in view of its significance within what is narrated. The results show that the school, family and social context are present in the narratives of children, and dance is being recognized in these spaces as an important form of interaction . The meaning of dance in music classes is related to the pleasure experienced with the body and the feelings of joy, satisfaction and lightness that the movement provides. Children believe that dancing can learn about other cultures and better understand the rhythm of the music and playing the recorder with greater ease. The importance of this research is to make visible the meaning of children's experiences on body movement as an instance of musical learning.

A presente pesquisa se insere na área de Educação Musical, especificamente no âmbito da Escola Básica e buscou compreender, a partir das narrativas das crianças, o significado atribuído à dança nas aulas de música. Participaram desta pesquisa 18 estudantes do quinto ano do Ensino Fundamental I de uma escola da rede privada de uma cidade da grande Porto Alegre/RS, que oferece regularmente Educação Musical do segundo ao quinto ano, sendo a dança um dos componentes da Educação Musical. A base teórica da pesquisa apoia-se no método autobiográfico, adotando-se principalmente Jean Clandinin e Michael Connelly (2008) como orientação metodológica; Dornelles e Bujes (2012) no atendimento às especificidades da pesquisa com crianças. Contribuíram na realização deste trabalho principalmente os autores Strazacappa (2001), Schiller e Meiners (2012), que referenciam teoricamente a aprendizagem através do movimento corporal e da dança; e Maffioletti (2008, 2012), Campbel (2011) e Torres (2003) no que se refere à Educação Musical. As narrativas foram capturadas em sessões de discussões em grupo, sendo uma realizada imediatamente após a experiência corporal e duas imediatamente após a execução da flauta doce, num total de três sessões. As dimensões das análises foram extraídas do próprio material, tendo em vista do seu significado dentro do que é narrado. Os resultados mostram que o contexto escolar, familiar e social estão presentes nas narrativas das crianças, sendo a dança reconhecida nesses espaços como importante forma de interação. O significado de dançar nas aulas de música está relacionado ao prazer vivido com o corpo e às sensações de alegria, satisfação e leveza que o movimento propicia. As crianças consideram que dançando é possível conhecer outras culturas, entender melhor o ritmo das músicas e tocar flauta doce com maior facilidade. A importância desta pesquisa está em tornar visível o significado das experiências das crianças sobre o movimento corporal como instância da aprendizagem musical. / This research falls within the field of music education, specifically within the Primary School and sought to understand, from the narratives of children, the meaning assigned to dance in music classes. 18 students from the fifth grade of elementary school I in a private school participated in this research in a big city in great Porto Alegre / RS, which offers regular musical education from the second to fifth grade, being the dance a component of the Music Education. The theoretical basis of the study is based on the autobiographical method, adopting mainly Jean Clandinin and Michael Connelly (2008) as a methodological orientation; Dornelles and Bujes (2012) in addressing the specificities of research with children. Contributed in this work mainly Strazacappa (2001), Schiller and Meiners (2012) authors, which theoretically refer to learning through body movement and dance; and Maffioletti (2008, 2012), Campbell (2011) and Torres (2003) in relation to music education. The narratives were captured in group discussion sessions, one held immediately after the bodily experience and two immediately after the execution of the recorder, a total of three sessions. The dimensions of the analysis were extracted from the material itself, in view of its significance within what is narrated. The results show that the school, family and social context are present in the narratives of children, and dance is being recognized in these spaces as an important form of interaction . The meaning of dance in music classes is related to the pleasure experienced with the body and the feelings of joy, satisfaction and lightness that the movement provides. Children believe that dancing can learn about other cultures and better understand the rhythm of the music and playing the recorder with greater ease. The importance of this research is to make visible the meaning of children's experiences on body movement as an instance of musical learning.

Orientador: Maria Antônia Ramos de Azevedo / Resumo: Foi pelo caminho (auto)biográfico, amalgamado com o cartográfico, que decidi prosseguir. Tantas outras terras já haviam sido desbravadas no Território da Educação... Mas... Um Grupo de Pesquisa... Em que chão pisavam? Do que se alimentavam? Com que tribo se relacionavam? Que língua falavam? Como se mantinham e como se intercomunicavam? Eu precisava saber. E me apegando a viajores experientes como Michel Foucault, Gilles Deleuze, Maria Isabel da Cunha, Milton Santos e Marilena Chauí, me embrenhei mata a dentro. Lá, numa pequena Ilha de Pesquisa, pude observar seus moradores e registrar seu cotidiano: publicações; estrutura interna; temáticas das reuniões; organização de congressos; em verdade, gostaria de saber se estaria frente a um Espaço, Lugar ou Território, tentando identificar o “dialeto” dos habitantes, seus “costumes” de pesquisa, suas correlações com outras Ilhas e como influenciavam e/ou eram influenciados por elas. Tudo isso interligando significações geográficas dos três termos – Espaço, Lugar e Território - às transposições pedagógicas de sentido. Como resultado, cheguei à conclusão de que a Ilha é, por enquanto, um Lugar. Entretanto, certamente, migrará para Território no sentido de que já se organiza como centro de produção de artigos científicos, de formadora e compartilhadora de conhecimentos. Ao final da jornada, como uma grata surpresa, descobri que o encontro é “núpcias sempre fora e entre”. / Abstract: It was through the (auto) biographic path, amalgamated with the cartographic, that I decided to continue. So many other lands had already been cleared in the Territory of Education ... But ... A Research Group ... On what ground did they step on? What did they feed on? With which tribe did they relate? What language did they speak? How did they stay and how did they intercommunicate? I needed to know. And clinging to experienced travelers like Michel Foucault, Gilles Deleuze, Maria Isabel da Cunha, Milton Santos and Marilena Chauí, I got a lot of trouble inside. There, on a small Island of Research, I was able to observe its inhabitants and register their daily life: publications; internal structure; meetings; organization of congresses; in fact, I would like to know if I would be facing a Space, Place or Territory, trying to identify the "dialect" of the inhabitants, their research "customs", their correlations with other Islands and how they influenced and / or were influenced by them. All this interconnecting geographical meanings of the three terms - Space, Place and Territory - to the pedagogical transpositions of meaning. As a result, I came to the conclusion that the Island is, for the time being, a Place. However, it will certainly migrate to Territory in the sense that it is already organized as a center for the production of scientific articles, as a formator and knowledge-sharing. At the end of the journey, as a pleasant surprise, I discovered that the meeting is "... (Complete abstract click electronic access below) / Doutor

During my years as a Cabinet Minister in New Zealand, the relationship between a Minister and his key officials was strongly modelled on the Westminster system as then applied in Britain. As in Britain, the ministers were the product of the political and parliamentary processes. The leader of the political party with the majority in the House was called upon by the Queen's representative (our Governor General) to form the new Government. All Ministerial appointees were necessarily chosen entirely from members then in Parliament. As in Britain, also, the key officials to serve each Minister in their portfolios were provided by the career Public Service, the long-serving body of officials who were there to advise and manage the system for successive governments. The Minister did not choose his departmental head, nor did that departmental head choose his minister. There were many assumptions inherited from the past which helped to make the relationship work. Policy decisions were shaped by the Minister representing the political side of the equation. Execution and management was carried out by the head official, responsible for the operation of the bureaucratic machine he headed. In explaining my thesis message - "Managing Change as a Minister of the Crown" - a very strong autobiographical dimension to my experience and comments is inevitable. In the political setting, the relationship between Minister and Head of Department, though a key factor, is but one of many. All change affects many people - some positively and beneficially, and some the reverse. The effects of change can be anticipated rather than actually felt. Perceptions can sometimes become bigger problems to manage than realised consequences. Change in politics invariably reaches out far beyond those obviously and directly affected. Handling change therefore involves making plans for how one can best point the change in a forward-looking and constructive way, and put a socially positive spin on one's efforts and the outcome. If one's efforts are done openly, and one's arguments are well founded, real progress can be made. One of life's constants is change itself. It affects us all in some measure. In communities categorized as "developed", it can be particularly fast and sweeping. This means, inevitably, that the forms of its infrastructures - from public services to business enterprises - which enable society and the economy to function effectively must adapt, and constructively, to those changes. From my experience, in facing a variety of problems calling for change in handling portfolio responsibilities, I have found every case is different from the others, and each solution had to be shaped to meet the characteristics of that particular case. The only common denominator I would call the "people factor". Compounding the challenge, that "people factor" had to be fashioned as appropriate for the personalities with whom I was working, and the characteristics of the problem being addressed. I did, however, find that there were some common fundamentals in the "people factor" which I address in my conclusion. They helped facilitate co-operation in managing change.

Made available in DSpace on 2016-08-03T16:15:33Z (GMT). No. of bitstreams: 1 Marcia maria da Silva.pdf: 4886093 bytes, checksum: 88bd815f1039ad9bccc9b088e77f1192 (MD5) Previous issue date: 2012-07-22 / The objective of this work is to promote the discussion about the pedagogical practice and analyze it by means of the record of a reading and writing project developed in a group of the 4th year (current 5th year) in the Elementary School, carried out at the São Paulo State Public School, Iracema de Barros Bertolaso, in the city of Mauá. It is also intended to make teachers aware of the importance of the work shared with the students, the respect to the childhood ideas and the certainty of how critical it is to connect teaching and learning to pleasure. The project resulted in the book Histórias hilárias de uma 4a série (e outros resgates), published by SCORTECCI and released in 2008. In order to reconstruct this story, we recovered the records of the teaching work experience I carried out in 2006, as well as a survey of documents, such as pictures, reports, productions of students and articles published in newspapers in which they took part. The research led me to make a new contact with some former-students to compose, also by means of interviews, this picture aimed at dimensioning the reach of the work carried out. Portraying our own practice and making it available for research formed the valuable tool to reconstruct the meaning of our actions as these provided us with significant data and reflection. Binding this analysis to the study of the personal formation course, made by means of a biographical approach, allowed us to amplify our understanding how much we brought the personal living influence to the teaching exercise. We believe that the personal formation path, as well as a living experience with a group of students, is justified in this research as they contribute to enlarge the studies on this subject-matter. / Este estudo tem por finalidade promover a reflexão sobre a prática pedagógica, analisando-a por meio do registro de um projeto de leitura e escrita, desenvolvido junto a uma turma de 4ª série (atual 5º ano) do Ensino Fundamental, realizado em uma Escola da Rede Pública Estadual de SP, Iracema de Barros Bertolaso, no município de Mauá. Tem também, a intenção de sensibilizar educadores sobre a importância do trabalho compartilhado com os alunos, do respeito às ideias infantis e da convicção do quanto se faz necessário atrelar o ensino e a aprendizagem ao prazer. O projeto em questão deu origem ao livro Histórias hilárias de uma 4ª série (e outros resgates), editado pela SCORTECCI e lançado no ano de 2008. Para reconstruir essa história, foram recuperados os registros de percurso do trabalho docente realizado por mim no ano de 2006 e realizado o levantamento de documentos como fotos, relatos, produções de alunos e matérias publicadas em jornais das quais os mesmos participaram. A pesquisa me levou a uma reaproximação com alguns ex alunos para compor, também por meio de entrevistas, este quadro onde o intento é dimensionar o alcance do trabalho realizado. Retratar a própria prática e coloca-la em situação de pesquisa configurou-se em ferramenta valiosa para a reconstrução do sentido de nossas ações à medida que nos ofereceu dados significativos a reflexão. Vincular esta análise ao estudo da trajetória formativa pessoal, feita por meio da abordagem biográfica, permitiu-nos ampliar nossa compreensão do quanto, e em que medida, trazemos para o exercício docente as influência do vivido. Acreditamos que a análise da trajetória formativa pessoal e da experiência vivida junto a um grupo de alunos, nesta pesquisa, justifica-se à medida que contribui para os estudos que se ocupam desta questão.

Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2017-10-04T11:41:14Z No. of bitstreams: 1 DEISE CRISTINA CARVALHO DE JESUS.pdf: 9189468 bytes, checksum: 8832b0dac087556a4ce440426b7d479a (MD5) / Made available in DSpace on 2017-10-04T11:41:14Z (GMT). No. of bitstreams: 1 DEISE CRISTINA CARVALHO DE JESUS.pdf: 9189468 bytes, checksum: 8832b0dac087556a4ce440426b7d479a (MD5) Previous issue date: 2017-02-15 / This research aims to understand my reflective process as a movement that enhances my personal and professional development, through the remembrances I made / do from my participation in an in-service training program for literacy teachers. I am a teacher of the 1st year of elementary school and have taken the continuing education courses proposed by the PNAIC (National Pact for Literacy in the Right Age). The methodology of this research is the autobiographical, based on the historical-cultural approach. For the production of the empirical material, I started from my memories during my participation in the ongoing training course of literacy teachers, proposed by the PNAIC of Portuguese-language, in 2013. The memories had resources that were memory triggers:The guidelines of the meetings held at the time,the reading books for enjoyment held at each meeting; The official training books of the course, the games boxes of PNAIC, the course videos that was available online and the activities developed with the students of the researcher during the course.These memory triggers enabled me (self)revisit the formative space of the course, favoring the writing of reports that have become the raw empirical material of this research. Faced with these reports, I reflect on what knowledge was appropriated by me during the training course and that is present until today in my pedagogical work.I identified in this process of search and reflection that the proposal to organize the activities by didactic sequences was quite significant in my teaching work. In this research, I recalled the didactic sequences that I developed with my students,both during and after the training course, materializing them in a narrative writing. Difficult task, of (self)exposure, of (self)evaluation, of reflection, of strangeness, of confronting myself, with my resistances, beliefs and (un)certainties. The research through autobiographical narratives proved to be a powerful resource for teacher reflexivity, promoting personal and professional development.Writing about lived experience made me understand in better way the difference between being a literacy teacher and becoming, with each experience, a literacy teacher. / Esta pesquisa tem como objetivo compreender o meu processo reflexivo como movimento potencializador do meu desenvolvimento pessoal e profissional docente, por meio das rememora??es que fiz/fa?o a partir da minha participa??o em um programa de forma??o em servi?o de professores alfabetizadores. Sou professorado 1? ano do ensino fundamental e fiz os cursos de forma??o continuada propostos pelo PNAIC (Pacto Nacional pela Alfabetiza??o na Idade Certa). A metodologia desta pesquisa ? a autobiogr?fica, fundamentada na abordagem hist?rico-cultural. Para a produ??o do material emp?rico, parti das minhas lembran?as durante a minha participa??o no curso de forma??o continuada de professores alfabetizadores, proposto pelo PNAIC de l?ngua portuguesa, no ano de 2013. As lembran?as contaram com recursos que foram disparadores de mem?ria: as pautas dos encontros realizados na ?poca, os livros de leitura para deleite realizada em cada encontro; os cadernos de forma??o oficiais do curso, as caixas de jogos do PNAIC, os v?deos do curso dispon?veis on-line e as atividades desenvolvidas com os alunos da pesquisadora durante o curso. Esses disparadores de mem?ria possibilitaram-me (auto)revisitar o espa?o formativo do curso, favorecendo a escrita de relatos que se tornaram o material emp?rico bruto desta pesquisa. Frente a esses relatos, coloco-me a refletir sobre qual conhecimento foi apropriado por mim durante o curso de forma??o e que se encontra presente at? hoje no meu fazer pedag?gico. Identifiquei nesse processo de busca e reflex?o que a proposta de organizar as atividades por sequ?ncias did?ticas foi bastante significativa em meu trabalho docente. Assim, nesta pesquisa, rememorei as sequ?ncias did?ticas que desenvolvi com meus estudantes, tanto durante como ap?s o curso de forma??o, materializando-as em uma escrita narrativa. Tarefa dif?cil, de (auto)exposi??o, de (auto)avalia??o, de reflex?o, de estranhamento, de enfrentamento de mim, com minhas resist?ncias, cren?as e (in)certezas. A pesquisa por meio de narrativas autobiogr?ficas mostrou-se um recurso potente para a reflexividade docente, promovendo o desenvolvimento pessoal e profissional. Escrever sobre o vivido fez-me compreender melhor a diferen?a entre ser professora alfabetizadora e torna-se, a cada experi?ncia, uma professora alfabetizadora.