Apie 10 -13 metus vaikai peržengia paauglystės slenkstį. Šiame amžiaus tarpsnyje žmogaus vaizdavimas dvimatėje plokštumoje yra sudėtinga ir įgūdžių reikalaujanti užduotis mokiniams. Žmogaus piešimas dvimatėje plokštumoje dažnai tampa problema. Paaugliams įžengusiems į realizmo (pseudorealizmo) stadiją svarbus tampa darbo rezultatas, atsiranda poreikis daiktus vaizduoti “teisingai“, tačiau tuo pačiu mokinys susiduria su plastinės išraiškos galimybių ribotumu. Ši problema mažina mokinių motyvaciją, kūrybinę raišką dailės pamokose. Tyrimo objektas - 10 – 13 metų mokinių motyvacijos skatinimas, kūrybiškumo ir saviraiškos ugdymo galimybės, taikant tikslingus žmogaus figūros piešimo metodus dailės pamokose. Tyrimo tikslas – atskleisti metodus skatinančius kūrybišką žmogaus figūros ir portreto vaizdavimą dailės pamokose. Tyrimo uždaviniai: 1) išanalizuoti specialiąją literatūrą ir išryškinti vaikų vaizdinės plastinės raiškos raidos aspektus; 2) apžvelgti realizmo (pseudorealizmo) stadijos įtaką 10 – 13 metų vaikų vizualiniai raiškai; 3) atskleisti veiksnius ir metodus skatinančius 10 -13 metų mokinių kūrybiškumą ir motyvaciją vaizduojant žmogaus figūrą ar portretą dailės pamokose; 4) pateikti žmogaus kūrybiško vaizdavimo metodus ir taikymo praktikoje galimybes. Hipotezė – tinkamai parinkti metodai ir aktualios temos, atlikimo priemonių įvairovė, technikos, skatina vaikų kūrybiškumą vaizduojant žmogaus figūrą ir portretą piešiniuose. Tyrime dalyvavo 5 – 6 klasių mokiniai... [toliau žr. visą tekstą] / Children step over the threshold when they are 10 – 13 years old. The man painting task on the two – dimensional place is complicated and challenging student’s skills on this teen’s lifetime period. Drawing the man on the two dimensional place often is a problem. In result of the work becomes very important for teenager’s who are on the stage of realism (pseudo realism). They want to paint things “right”, but at the same time students run into limitation of the plastic expression. This problem lessens student’s motivation and creative expression in the lesions. Object of study: 10-13 years old students. 1. Stimulation their motivation. 2. Training pupils creative and self - expression through purposeful figure drawing methods in art lesions. Aim of study – to reveal methods which give an incentive to creative paintings of the man or portrait in the lesions. Tasks of study 1. To analyze special literature and expose students evolution aspects of the visual and plastical expressions. 2. To review the realism influence on the 10-13 teens visual expression. 3. To reveal factors and methods which stimulate 10-13 teens creation and motivation to paint the man or portrait in art lesions. 4. To present creative methods how to paint the man and to give recommendations how it could be aimed practically. Hypothesis – suitable methods and pressing themes, variety of supplies and techniques stimulate student’s creative skills when they draw portrait or paint the figure of the man in... [to full text]

Trata-se de um estudo teórico sobre vulnerabilidade que se desdobra numa contribuição prática. Concebe-se a vulnerabilidade como um contínuo a fim de se destacar sua relação com os diversos sentidos de realidade ao longo do amadurecimento humano. A partir disso, vinculamos as relações inter-humanas aos contextos sociais, partindo e retornando às relações de cuidado, já inseridas em contextos históricos e culturais (de respostas sociais e de re-avaliações responsivas intersubjetivas). O objetivo do projeto é discutir a relação entre cuidado e criatividade no contínuo da vulnerabilidade tendo como horizonte o fortalecimento das ações de cuidado no atendimento de saúde e mostrar a importância da criatividade como manifestação primária do homem, quando ele sente e significa seu estar no mundo. A partir de saberes filosóficos (fenomenológicos e hermenêuticos) e psicanalíticos (winnicottiano), defendemos que o cuidar é sustentar para a manifestação criativa. A seguir, revisamos o conceito de cuidado com a finalidade de produzir um roteiro para organização de sínteses dos encontros clínicos. Esse roteiro é inserido em uma prática que procura características pessoais a partir de experiências de vida. O roteiro tem uma lógica ou uma produtividade inerente (preocupada com a temporalização do existir humano) que sustenta a postura de escuta e que pode precipitar respostas aos desafios do contínuo da vulnerabilidade. O roteiro facilita a aproximação dos profissionais de saúde a diferentes modos de pensar as necessidades de saúde. É um convite a ir ao encontro do outro como um existente via um processo intuitivo, imediatamente aplicado e potencialmente aberto para revisões sobre a qualidade de nosso trabalho e interação com pacientes, equipes, instituições, comunidades e sociedades. / This is a theoretical study on the concept of vulnerability aiming at practical contributions. Vulnerability is taken here as a continuum, in order to highlight its relations with the diverse senses of reality that emerges from the processes of human maturing. Based on this, approach human relationships and care are examined within a to and fro analysis, contextualizing agency and social responses in their historical and cultural roots. The project\'s goal is to discuss the role of creativity in care practices in the horizon of the continuum of vulnerability and, by doing so, to demonstrate the importance of creativity as a primary manifestation of the human being, as long as creation express how he/she feel and mean his/her \"being in the world\". Based on a philosophical (phenomenology and hermeneutics) and psichoanalitical (Winnicott) knowledge, it is argued that care is the holding for creative expression. Then, the current concept of health care is revisited and a script for the organization of clinical summaries for the clinical meetings is suggested. This script seeks to aprehend personal features by means of life experiences. It has an inherent logic, or productivity (concerned about the temporality of human existence), that maintains an actitude of listening which can stimulate creative responses to the challenges brought about by the diverse needs configured on the vulnerability continuum. The script is therefore thought to facilitate health professionals to approach health care needs by new ways. It is a call to meet the other as an \"existent\" by means of an intuitive process, immediately applied and potentially open to revisions on the quality of our work and interaction with patients, others professionals, institutions, communities and societies.

Pagrindiis baigiamojo darbo tikslas buvo išsiaiškinti ar emocijų ir intelekto valdymas kasdienybėje glaudžiai sisijęs su menininko veiklos rezultatais. Emocijos daro didžiulę įtaką menininkui. Patiriami jausmai kasdienybėje sužadina įkvėpimą ir skatina kurti. Jos prisideda prie idėjų generavimo, mąstymo ir vaizduotės. Vykstant tolesnėms kūrybinio darbo fazėms, pirminis-jausminis impulsas išgaruoja. Jo neužtenka pirminim sumanymui įgyvendinti. Bloga nuotaika, buitis slopina norą kurti. Tokiais atvejais menininką gelbsti savo jausmų atpažinimas, jų valdymas, kūrybingos aplinkos susikūrimas, bei asmeninės kūrėjo savybės. Visi kolekcijos „Emocijos ir kasdienybė“ darbai vertikalūs, atspaudai vienodų matmenų 30,5x47,5 cm. Atspaudams naudotas baltas, nefaktūrinis vatmano popieriaus lakštas 45x64 cm. Atlikimo technika – mišri.Atspaudai vienetiniai ir skirtingi, turinys savo pavadinimus. Vyrauja dinamiska, kintanti nuotaika. Kompozicija daugiausiai centrinė, sudaryta iš monochrominių dėmių, kurias papildo skaidrus, švelnus fonas, spalvinės kaligrafijos bei dėmių sintezė. Tinkami eksplotuoti nedidelese visuomeninese ar privačiose erdvėse, kur būtų galimybė žiūrovui prieiti ir iš arti psižiūrėti. / The main purpose of the work was to get clear did control of emotions and intellect in daily life closely linked to outcome of activity an artist. Emotions do huge influence to an artist. Emotions which are experienced in daily life awake inspiration and stimulate to create. Its have part in generation of ideas, thought and imagination. An initial-emotional impulse goes away in process of further stages of creative work. It doesn't enough the impulse to implement an initial idea. Bad mood, routine supresses a wish to create. An artist is saved by recognition of his emotions, their control, making of an creative atmosphere and characteristics of a creator at these cases. All works of the collection „Emotions and Daily Life“ are vertical, prints are one dimension 30,5x47,5 cm. To do the prints was used a white none-facture paper sheet 45x64 cm. The technique of the accomplishment is composite. The prints unique and divers have the own names. A dinamic, changeable tone dominate. The main design in most cases is centric made out of monochromatic blurs whose are complemented by clear, light background, coloured calligraphy's and blurs synthesis. The works are proper to demonstrate at small public or private spaces, where people could get a close view.

It‘s much more difficult for hearing impaired students to understand the world surrounding them. The problem is that hearing impairment and lack of sounds slows down or suspends normal development and thinking of the deaf, though it doesn’t have a significant influence on their intellect. Hearing impaired students receive support from teachers for the deaf as well as from the other professionals and they are able to study at regular schools or schools for the deaf or hard of hearing successfully. Deaf people receive information mainly in visual way, so visual expression has a very important role in deaf education. During the art classes deaf students may express their emotions, ideas and learn to understand the world. Object of the work is creative activities of deaf students at the art classes. The first part of the Master’s paper reveals problems concerning deafness and ways of communication of the deaf. The second part of the paper presents a history, methods and principles of deaf education. The third part ascertains art abilities of deaf students, compares their achievements in changing techniques of performance, genres, presenting interesting subjects for them. A research study reveals the ways how deaf students meet and learn new concepts. The research corroborated the hypothesis that more diverse means of performance and diversity of techniques stimulate creation of deaf students. The research has also shown poor results of how deaf students remember a rich... [to full text]

Orientador: Suzi Frankl Sperber / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T04:21:41Z (GMT). No. of bitstreams: 1 Andrade_LuizFernandoNothlichde_D.pdf: 9207665 bytes, checksum: 3317abd633ff912c8ad9791ec270736f (MD5) Previous issue date: 2010 / Resumo : "Utilizando e desenvolvendo o conceito de "liminaridade" e"communitas" de Victor Turner, estuda-se o processo pelo qual um ator se afasta da sua personalidade social cotidiana e descobre, nele mesmo, novas perspectivas e qualidades de ser e estar até então desconhecidas ou esquecidas, que o capacitam ao processo criativo. Procura na filosofia e na religião (oriental e ocidental) e em algumas tradições esotéricas (em Gurdjieff e na Yoga, por exemplo) registros que possivelmente sejam precursores deste processo que, não sendo propriamente do teatro, chegou ao teatro em alguns momentos da sua história. Investiga-se sobre a existência e a importância desse processo dentro da pesquisa artística desenvolvida pelo LUME - Unicamp, a qual foi vivenciada na prática e na teoria. Luís Otávio Burnier - fundador do LUME - em sua tese, por exemplo, fala em acordar a 'pessoa' do ator e dinamizar suas 'energias potenciais' mais profundas utilizando o 'treinamento energético'. Procurando estudar o processo psicofísico que está por detrás dotrabalho com a exaustão física promovido por este 'treinamento energético' investiga-se a razão pela qual ele poderia ser chamado de uma espécie de técnica psicofísica vertical. Estudando os contextos e experiências através dos quais essa técnica foi transmitida aBurnier, investiga-se também como este interesse por técnicas verticais, que promovem a dimensão criativa do ator, esteve presente em diversas pesquisas cênicas do século XX. Nesse sentido, também é feito um breve estudo das trajetórias de Stanislavski, Grotowski e Peter Brook que, a seus modos, aproximaram a arte teatral de um trabalho sistemático de busca por uma qualidade humana no momento da realização do evento artístico" / Abstract: "Using and developing the concept of "liminality" and "communitas" by Victor Turner, this studies the process by which an actor departs from his daily and social personality, discovering in himself new perspectives and qualities of being, unknown or forgotten, that enable him in the creative process. Looking to philosophy and religion (Eastern and Western) and some esoteric traditions (Gurdjieff and Yoga, for example) we look for records that could be precursors of this process, which were not quite theater, but became theater in a few moments of its history Then, we investigate the existence and importance of this process within the art research developed by LUME - Unicamp, which was experienced both practically and theoretically. Luís Otávio Burnier - the LUME founder - in his thesis, for example, talks about how to awaken the 'person' of the actor and how to activate his deeper 'potential of energy' using a kind of 'energetic training'. By studying the psychophysical process that lies behind the work and the physical exhaustion entailed by this 'training', we realize why it could be called a kind of vertical psychophysical technique. Studying the context and the experiences through which this technique was passed on to Burnier, we see how this interest in vertical techniques, that promote the creative dimension of the actor, can be found in several studies of the performing arts in the twentieth century. A brief study is also made of the trajectories of Stanislavski, Grotowski and Peter Brook who, in their own ways, brought theatrical art to a systematic search for a human quality in the moment of the artistic event / Doutorado / Artes / Doutor em Artes

Trata-se de um estudo teórico sobre vulnerabilidade que se desdobra numa contribuição prática. Concebe-se a vulnerabilidade como um contínuo a fim de se destacar sua relação com os diversos sentidos de realidade ao longo do amadurecimento humano. A partir disso, vinculamos as relações inter-humanas aos contextos sociais, partindo e retornando às relações de cuidado, já inseridas em contextos históricos e culturais (de respostas sociais e de re-avaliações responsivas intersubjetivas). O objetivo do projeto é discutir a relação entre cuidado e criatividade no contínuo da vulnerabilidade tendo como horizonte o fortalecimento das ações de cuidado no atendimento de saúde e mostrar a importância da criatividade como manifestação primária do homem, quando ele sente e significa seu estar no mundo. A partir de saberes filosóficos (fenomenológicos e hermenêuticos) e psicanalíticos (winnicottiano), defendemos que o cuidar é sustentar para a manifestação criativa. A seguir, revisamos o conceito de cuidado com a finalidade de produzir um roteiro para organização de sínteses dos encontros clínicos. Esse roteiro é inserido em uma prática que procura características pessoais a partir de experiências de vida. O roteiro tem uma lógica ou uma produtividade inerente (preocupada com a temporalização do existir humano) que sustenta a postura de escuta e que pode precipitar respostas aos desafios do contínuo da vulnerabilidade. O roteiro facilita a aproximação dos profissionais de saúde a diferentes modos de pensar as necessidades de saúde. É um convite a ir ao encontro do outro como um existente via um processo intuitivo, imediatamente aplicado e potencialmente aberto para revisões sobre a qualidade de nosso trabalho e interação com pacientes, equipes, instituições, comunidades e sociedades. / This is a theoretical study on the concept of vulnerability aiming at practical contributions. Vulnerability is taken here as a continuum, in order to highlight its relations with the diverse senses of reality that emerges from the processes of human maturing. Based on this, approach human relationships and care are examined within a to and fro analysis, contextualizing agency and social responses in their historical and cultural roots. The project\'s goal is to discuss the role of creativity in care practices in the horizon of the continuum of vulnerability and, by doing so, to demonstrate the importance of creativity as a primary manifestation of the human being, as long as creation express how he/she feel and mean his/her \"being in the world\". Based on a philosophical (phenomenology and hermeneutics) and psichoanalitical (Winnicott) knowledge, it is argued that care is the holding for creative expression. Then, the current concept of health care is revisited and a script for the organization of clinical summaries for the clinical meetings is suggested. This script seeks to aprehend personal features by means of life experiences. It has an inherent logic, or productivity (concerned about the temporality of human existence), that maintains an actitude of listening which can stimulate creative responses to the challenges brought about by the diverse needs configured on the vulnerability continuum. The script is therefore thought to facilitate health professionals to approach health care needs by new ways. It is a call to meet the other as an \"existent\" by means of an intuitive process, immediately applied and potentially open to revisions on the quality of our work and interaction with patients, others professionals, institutions, communities and societies.

La phénoménologie se consacre à l’apparaître de ce qui n’apparaît pas, enjeu de son application à la psychopathologie, préalable de toute thérapie, dans la perspective du Comprendre de ses précurseurs. La psychotraumatologie, domaine de la présente recherche, ne peut se contenter des explications et des représentations a priori, et pose la question de la rencontre, en raison de l’identité de situation de la possibilité victimaire. Cette rencontre ne peut se saisir, sans perdre de vue sa dimension d’énigme, qui est la garantie de son renouvellement nécessaire à la relation thérapeutique. Cette énigme, l’autre y participe, avec ce qu’il vit, sa chair, son style, son langage, et ne saurait être substituée par une dynamique de la pulsion, une recognition pure d’un corps-machine à information, un assemblage d’objets tout faits, avant d’en replacer la signification dans le courant de l’existence. Les victimes présentent en commun, cette paralysie de la vie, cette sècheresse des terres arides où se produit un commerce exclusif avec soi-même ; ce travail en évoque les parcours, dans la clinique quotidienne et ses rapports à la créativité. C’est là, la pertinence de la phénoménologie qui est philosophie, pour promouvoir le retour à l’être plus qu’au sujet, et se détacher des pensées dualistes, en peine dans leurs prolongements théoriques et pédagogiques. La victime, par le possible surgissement de sa chair, de son altérité, de son récit, au sens de Merleau-Ponty, Levinas et Ricoeur, recèle une phénoménalité en attente, contre les apparences, loin de toute complétude d’explications qui n’en sont pas. / Phenomenology studies the process of appearing of what does not appear, stake in applying to psychopathology, precondition to any therapy, according to the methods of understanding, elaborated by the figures of phenomenological thinking. Psychotraumatology, here the proper field of research, cannot manage only with a priorical representations and explanations, and must settle the issue of encounter, because falling as a victim remains everybody’s identical possibility, and refers to everyone’s situation in front of this possibility. This encounter cannot be apprehended as a mere matter of fact, without loosing sight of its essentially enigmatical dimension, in order to renew and forward the relation with the therapist. Part of this enigma are the other living experiences, flesh, style, linguistic expressions, and creativity, and they could be replaced neither by pulsionary dynamics, nor by a cognitive theorization based on the conception of body as a mere information-machine : i.e., by a system of ready-made objects and objective events – instead of setting back their meaning within the stream of the person’s lived-through existence. There is the point of appealing to phenomenology : to come back to being rather than to subjectivity ; and so, to leave aside all the dualistic schemes of thought, that cannot manage properly on theoretical and pedagogical ground. The suffering person, through the eventual coming forth of its flesh, of its alterity, and of its told story – as these concepts occur in the context of Merleau-Ponty’s, Levinas’ and Ricoeur’s phenomenological analyses – is full of a phenomenality, waiting for its manifestation, against every expectation, and very far from being sufficiently clarified by the so-called causal « explanations ».

Arnaldo Antunes, atuante no cenário musical nacional, devotou-se também à produção no campo literário. Sua obra apresenta traços em estilo neoconcreto centrados em experimentações da materialidade visual e sonora da palavra e alia-se ao estilo neobarroco dos excessos de adornos e repetições sonoras e semânticas com efeito de opacidade de sentidos. Um outro aspecto relevante é o diálogo com o estilo neobarroco artístico de certas obras resultante do processo de convergência entre literatura e artes visuais e plásticas. Este trabalho tem como objetivo central analisar as criações expressivas de palavras - neologismos - e as metáforas em obras que apresentam os estilos neobarroco e neoconcreto, verificando como o artista faz escolhas lexicais para manifestar toda a sua criatividade. Estudamos processos de formação tais como a derivação, composição e o cruzamento lexical e a analisamos a criatividade metafórica resultante das combinações de unidades lexicais realizadas de forma expressiva. Os sentidos foram mapeados segundo transformações no campo semântico, observando-se a quebra da isotopia ou da coesão, das metáforas e das mesclagens conceituais. A recolha dos neologismos foi realizada de forma manual, passando pelo critério de exclusão segundo a consulta no Dicionário Houaiss e Villar (2009), ao passo que a seleção das metáforas se pautou na novidade expressiva. O estudo foi organizado segundo os critérios de aspectos de gêneros observados: a primeira dedicada ao estudo das metáforas e mesclagens conceituais em obras que apresentaram o efeito de genericidade de versos livres recolhidas nas obras Psia, Tudos, 2 ou + corpos no mesmo espaço, n.d.a., Agora aqui ninguém precisa de si; a segunda, dedicada às criações lexicais formais e metáforas das obras em gêneros intermidiáticos nas exposições Luzescrita e Palavra em movimento; e a terceira, centrada nas criações lexicais e metáforas em gêneros intermidiáticos impressos nos livros Palavra desordem, As Coisas e Et Eu Tu, resultantes da convergência entre mídias cartazes e poesia, poesia e ilustrações e poesia e fotografia. / Arnaldo Antunes, an active artist in the national music scenery, devoted himself to the production on the literary field. His oeuvre presents traces of neoconcrete style centered in the experimentations on visual and audible materiality of the word, allied with the literary neobarroquism of the excess and repetitions of sounds and meanings with the effect of opacity of meaning. Another relevant aspect is the dialogue with the artistic neobarroque style, in certain works resulted from the process of convergence between literature and visual arts. This research has as main objective to analyse the expressive creation of words or neologism and the metaphors in works that presented the neobarroque and neoconcrete styles verifying how the artist makes lexical choices to express his own creativeness. We studied the processes of word formations as derivation, composition and blends and analyzed the metaphoric creativity result from the combination of lexical units made in an expressive way. The meanings were mapped according to the transformations on the semantic field, observing the break of isotopia and cohesions, the conceptual metaphors, and conceptual blends. The neologisms were collected manually, through the criteria of exclusion based on the dictionary Houaiss and Villar (2009), whereas the selection of metaphors was based on the expressive novelty. This study was organized in chapters following the criteria of the genre aspects observed: the first one specifically devoted to the study of the conceptual metaphors and blends found in works that presented the effect of genericity of new free verse collected from his works Psia, Tudos, 2 ou + corpos no mesmo espaço, n.d.a., Agora aqui ninguém precisa de si, ; the second one dedicated to the formal lexical creations and metaphors in the intermedial genres in the expositions Luzescrita and Palavra em movimento; and the final one directed to the lexical creations and metaphors in printed intermedial genre, in the books Palavra desordem, As Coisas and Et Eu Tu resulting respectively from the converging media, banners and poetry, poetry and images, and poetry and photograph.

Magister Educationis - MEd / This thesis is concerned with discussing music education as an aspect of aesthetic education, with special reference to the general music (Class music) curriculum at the secondary schools. Class music, or general music education, is being neglected at secondary schools in South Africa. A strong need for reform is necessary to revitalize the neglected state of class music in schools. Chapter One explains and discusses what is meant by the concept of aesthetic education and its relationship with the arts and especially music education. Chapter Two critically analyses and discusses music as aesthetic education as laid down by Charles Leonhard and Robert House. The soundness of their view comes under severe scrutiny, by the highlighting of contrasting viewpoints. Present criteria operant in music education are critically viewed and the soundness of these criteria as theory are evaluated. Chapter Three discusses Popular music and Classical music in aesthetic education. While the merits of these types of music are of importance, they culminate in a view which propagates the peaceful coexistence of both Popular and Classical music as an aim in aesthetic education. Chapter Four is a critical discussion of the general music education curricula in South Africa. This discussion is based mainly on the C LAS P - model, that is , Composition, Literature, Audition, Skills, and Performance. Chapter Five makes some recommendations towards a music curriculum for the general school music curriculum, based on the C.L.A.S.P - model, and aesthetic principles.

Vienos svarbiausių šių dienų švietimo kaitos sąlygų – kūrybiškas tinkamų užduočių pateikimas mokykloje, naujų mokymo(si) santykių ir pedagoginės veiklos formų paieška bei ugdytinių kompetencijų ugdymas(is) ir plėtojimas. Improvizacija būdinga liaudies kūrybai bei kai kurioms profesionalioms meno šakoms: muzikai, poezijai, teatrui. Muzikos improvizacija gali būti fiksuojama garso įrašu, bet negali būti pakartota. Magistro darbo „Muzikinės improvizacijos naudojimo ypatumai 5–8 progimnazijos klasių neformaliajame švietime“ tikslas – ištirti 5–8 progimnazijos klasių muzikinės improvizacijos naudojimo neformaliajame švietime ypatumus. Šiam tikslui pasiekti buvo iškelti šie uždaviniai: atskleisti muzikinės improvizacijos ir neformaliojo švietimo sintezės problematiką; išsiaiškinti mokinių ir mokytojų požiūrį į muzikinę improvizaciją; ištirti muzikinės improvizacijos naudojimo ypatumus neformaliojo švietimo veikloje; nustatyti moderniųjų technologijų naudojimą improvizuojant. Tyrimo objekas – muzikinės improvizacijos naudojimas neformaliajame švietime. Tyrimas buvo vykdytas III etapais: I etapas – anketinė mokytojų ir mokinių apklausa. Anketa muzikos mokytojams buvo siekiama išsiaiškinti mokytojų požiūrį į muzikinės improvizacijos naudojimą neformaliajame švietime. Mokytojų apklausoje dalyvavo 17 Vilniaus mieto progimnazijose neformaliajai veiklai vadovaujančių mokytojų. Anketa, skirta neformaliąja muzikine veikla užimtiems mokiniams, buvo siekta surinkti informaciją, kurią... [toliau žr. visą tekstą] / Some of the most important conditions of nowadays education change are creative presentation of the appropriate tasks in school, discovery of new learning relations and pedagogic forms and development and cultivation of students’ competencies. Improvisation is a characteristic of folk art, as well as of some professional arts industries: music, poetry and theater. Musical improvisation can be recorded by audio, but can not be repeated. The purpose of master thesis “Features of Musical Improvisation Application in non-formal Education of 5 – 8 Progymnasium Grades” is to explore the features of musical improvisation use in non-formal education of 5 – 8 progymnasium grades. To achieve this goal the following objectives have been set: identify problems of musical improvisation and non-formal education synthesis, ascertain students’ and teachers’ attitude towards musical improvisation, examine the features of musical improvisation use in non-formal education activities, and determine the use of high-tech while improvising. Research object – use of musical improvisation in non-formal education. The study was carried out in III phases. Phase I – Questionnaire survey for teachers and students. Questionnaire for teachers was used to ascertain teachers' attitude towards the use of musical improvisation in non-formal education. 17 teachers, who are leading non-formal education activities in Vilnius city progymnasiums, participated in this questionnaire. Questionnaire for students was... [to full text]