Esta pesquisa aborda a pedagogia musical online de um curso de música a distância que utiliza como ambiente virtual de aprendizagem a plataforma moodle. A pesquisa tem como objetivo geral compreender como se constitui a pedagogia musical online que se configura no ambiente virtual de aprendizagem musical, tomando como locus o Curso de Licenciatura em Música da UAB-UnB, na modalidade a distância. A pedagogia musical online, neste estudo, inclui: as metodologias, os recursos e os materiais didáticos utilizados no moodle e o direcionamento desses aportes teórico-metodológicos no processo formativo do curso de música a distância, a partir da relação entre plataforma moodle, ferramentas, conteúdos e seus atores sociais. Participaram deste estudo vinte e três sujeitos inseridos na plataforma moodle do curso de música a distância, sendo dois coordenadores, uma gestora, uma professora autora/supervisora, seis tutores a distância e treze alunos virtuais. Como objetivos específicos, este estudo pretende contextualizar a escolha dos alunos pelo curso de música na modalidade a distância; investigar que mediações pedagógico-musicais são constituídas nesse ambiente virtual; verificar a organização das disciplinas observadas, identificar a interação que ocorre no interior dessas disciplinas, identificar como os sujeitos administram o tempo e o espaço no curso de música a distância e examinar a viabilidade do curso de música a distância. A fundamentação teórica está alicerçada no campo da sociologia da educação musical, sociologia da comunicação, sociologia da educação e da sociologia da educação a distância. A partir das ramificações desse campo sociológico, este estudo possui como base teórica autores que lapidaram um olhar sobre a vida cotidiana diante do contexto da cibercultura (LEMOS, 2008; FAINHOLC, 2007; HALABAN, 2010). A metodologia utilizada é Estudo de Caso com abordagem qualitativa (POUPART et al., 2008; DESLAURIERS e KÉRISIT, 2008; GODOI et al., 2007; YIN, 2005; BOGDAN e BIKLEN, 1994). As técnicas de coleta de dados utilizadas foram a observação não participante e participante, bem como a entrevista online, sendo essa uma adaptação da entrevista desenvolvida presencialmente (NICOLACI-DA-COSTA, 2007). Os resultados mostram que aprender música a distância é possível e que a procura por essa modalidade é crescente, tendo em vista a sua flexibilidade na organização do tempo e do espaço. A análise e a interpretação dos dados revelam que a pedagogia musical online tem que ser pensada a partir de suas demandas específicas em cada disciplina, vinculada à realidade de cada contexto inserido no processo de formação, além de ser adaptada e transformada para atender essas necessidades específicas. / This study discusses the online music pedagogy of a distance music course that uses Moodle, a software platform, as a virtual learning environment. It aims to understand how the online music pedagogy is created in the music virtual learning environment, assuming as a research locus, the Degree in Music at the UAB-UnB, as a distance learning mode. In this study, the online music pedagogy includes: Moodle methodologies, resources, and learning materials, and the application of such methodological-theoretical resources in the process of creating the music distance learning course from the relationship amongst its platform, tools, contents and social protagonists. Twenty three individuals , who were included in the moodle platform of the music distance learning course, participated in this study; two coordinators, one manager, one teacher author/supervisor, six distance learning tutors, and thirteen virtual students. The specific purposes of this study aim to contextualize the students’ choice for the music distance learning course; to investigate which musical-pedagogical mediations are created in this virtual environment; to analyze the discipline arrangement; to identify how these disciplines interact; to verify how the individuals manage time and space in this course; and to observe the music distance course viability. The theoretical foundation is based on the field of sociology of music education, sociology of communication, sociology of education and sociology of distance learning. From the branches of Sociology, the theoretical basis of this study is supported by authors who refined a look at everyday life with regard to the cyber culture context (LEMOS, 2008; FAINHOLC, 2007; HALABAN, 2010). This is a qualitative case study (POUPART et al., 2008; DESLAURIERS and KÉRISIT, 2008; GODOI et al., 2007; YIN, 2005; BOGDAN and BIKLEN, 1994). Data collection techniques used were non-participant and participant observations, as well as an online interview, which was an adaptation of a face-to-face interview (NICOLACI-DA-COSTA, 2007). The results showed that it is possible to learn music by taking online music courses. There is a growing demand for such alternative mode of learning as they provide greater flexibility in the organization of time and space. Data analysis and interpretation revealed that online music pedagogy should take into account its specific demands in each discipline, linked to the reality of each context inserted in the process of training, in addition to being adapted and transformed to meet these specific needs.

Denna studie syftar till att utforska och jämföra violalärares tolkningar hur de motiverar elever att öva och spela. Detta görs med forskningsfrågorna: Vilka uppfattningar har violalärarna angående motivation? Vilken betydelse och roll har enligt violalärare motivation när det gäller violaelevernas övande och spelande? På vilka sätt upplever violalärare att de arbetar för att gynna elevers motivation att öva och spela? Studiens vetenskapsfilosofiska utgångspunkt är hermeneutik. Den forskningsmetod som används är semistrukturerad intervju och det är fem violalärare som har intervjuats. Intervjuerna har transkriberats och bearbetats med hjälp av tematisk analys utifrån lärarnas syn på violan som instrument, deras arbetssätt för att gynna övning och violaspel, vad rollen som violalärare innebär och syn på motivation. Violalärarnas arbetssätt har belysts var för sig och jämförts med varandra. Resultatet är uppdelat i fyra huvudteman: Violalärarnas tolkningar om instrumentet viola, Violalärare – arbetsroller och relationer, Violalärarnas tolkningar om motivation och Violalärarnas tolkningar om övning. Utifrån resultatet har jag tolkat lärarnas svar. Studien visar bland annat att respondenterna ser att motivation att spela och öva viola kommer ur varandet i musiken, samspel med andra liksom att prestera och därigenom uppleva framgångar. Vad gäller övning visar sig mål och övningssystem som viktiga faktorer, som gör elever mer självgående i sitt egna övande. Det fastställs även att relationen mellan lärare och elever är grundstenen i undervisningen. Underhålla och sköta om instrumenten påverkar elevens upplevelse positivt i det vardagliga övandet. Arbetsklimatet framträder som viktigt för att ge musikundervisningen status. För att elever och lärare ska kunna prestera behöver de ha grundläggande behov tillfredsställda. Rollen som lärare innebär att vara i god spelform och känna sig inspirerad, som vidare influerar eleverna. Läraren har en viktig roll att grunda för elevens självständighet inom musikens värld. Föräldrars inkludering i lärandet och miljön hemma påverkar övningen. / This study aims to explore and compare the ways viola teachers motivate their pupils to practice and playing. The study has three research questions: What opinions do the viola teachers have regarding motivation? What significance and role does the motivation have regarding the viola students’ practice? What’s the viola teachers’ experiences and roles to promote student motivation of practice and playing? The theoretical foundation is hermeneutics. The interviews have been transcribed and processed using thematic analysis based on views of the viola as an instrument, what the viola teacher’s role entails, viola teachers’ ways of working to promote exercise and viola playing and views of motivation. The viola teachers’ ways of working has been illuminated and compared separately, and then simultaneously. The result is divided into four main themes: Teachers’ interpretations of the instrument viola, The viola teacher - work role and relationships, Teachers’ interpretations of motivation and Teachers’ interpretations of exercise. Based on the results, I have interpreted the teachers’ answers. The study shows, among other things, that the respondents see that motivation of playing and practice viola comes from being in the music, interacting with others as well as performing and thereby experiencing success. As far as exercise is concerned, goals and training systems appear to be important factors that make students more self-sufficient in their own practice. It is also established that the relationship between teachers and students is the basic foundation of teaching. Maintaining the instruments positively affects students’ experiences in everyday practice. The working climate emerges as important in order to give the music education status. The role of the teacher is to be in good shape and feel inspired, which is affecting the students. The teacher has an important role to play for the student’s independence in the music world.

This study compared a task analytic versus a traditional approach to teaching a musical instrument to emotionally disturbed children. Students' musical performance and attitude toward the instruction were compared between conditions. Six severely emotionally disturbed boys, 8-11 years of age, participated in the study. Each student learned to play a one, two, and three chord song accompaniment on an omnichord under the two experimental conditions. At the end of each condition and two weeks following the termination of the study, each student was asked to perform the three-chord songs. Their performances were videotaped for future analyses by two independent observers. In addition to the performance ratings, the students completed a questionnaire concerning their attitudes toward the instruction. This questionnaire also served as a dependent measure. No statistically significant differences were found among the performance ratings and student attitudes between conditions. Implications for music therapy practice and future research are given.

Public school principals who provide and sustain music in elementary programs are often confronted with budgetary cuts and reduced funding for music education. There is a dearth of research regarding music as an essential element in K-3 education in low-income rural schools. The purpose of this generic qualitative inquiry was to explore and describe leadership practices of principals, who despite fiscal challenges, include and sustain music in the K-3 curriculum in a low-income rural area of a small county in North Carolina. Elliott and Silverman’s concept of praxial music education and Leithwood and Riehl’s philosophy of instructional leadership practices were used for the conceptual framework. Through individual interviews with principals (n = 4) and 3 focus groups with parents (n = 8) from Parent Teacher Organizations of elementary public schools in a low-income rural district, data were collected from a total of 12 participants involved with music education. Participants described the importance of and the criteria for including music in the K-3 program regardless of economic challenges emphasizing the significance of school principals’ leadership practices. Data were analyzed using open coding to find emergent themes. Results suggested that commitment to sustaining music education in the K-3 program comes from evidence of children’s development of creative and critical thinking. Providing opportunities for an enhanced education may create perspectives that lead students to become engaged citizens for a more equitable society. The findings may also encourage educational leaders to find ways to sustain music in educational programs as a contribution to positive social change.

Syftet med studien är att, utifrån ett livsvärldsperspektiv, utforska högstadieelevers erfarande av mening i musikundervisningen i skolan. Vilka upplevelser av mening beskriver högstadieeleverna och vilken roll beskrivs läraren ha i dessa upplevelser? Undersökningen är kvalitativ och bygger på semistrukturerade intervjuer med tre högstadieelever. Tidigare forskning visar på att musik redan under antiken hade en terapeutisk avsikt och verkade som läkande kraft. Den kan också vara ett betydelsefullt och användbart material när identitet skapas och uttrycks som ung vuxen. Den svenska skolan ska främja alla elevers utveckling och lärande. Den avgörande faktorn för om kunskap bibehålls eller glöms bort är meningsfullheten i en undervisningsmiljö. Lärarens uppgift är att möjliggöra kunskapsinhämtning och organisera arbetet så att eleven får använda och utveckla hela sin förmåga. I resultatet presenteras huvudtemat varande i ett ”fritt rum” och strukturen byggs upp av meningsenheterna utveckling, gemenskap, skapande och läraren som förebild. Eleverna i den föreliggande studien upplever musikundervisningen som ett varande i ett fritt rum där det finns möjlighet att testa nya saker utan rädsla för att misslyckas. Eleverna upplever att de genom undervisningen utvecklas både som musiker och i sin identitet. I samspel med klasskamrater under musikaliska aktiviteter byggs en gemenskap som är viktig för eleverna. Mening skapas också när eleverna får utrymme för eget skapande och när de får stöttning och uppmuntran från en lärare. / The purpose of this study is to, from a lifeworld perspective, explore high school students’ experience of meaning in music teaching in school. What experiences of meaning do the high school students describe and what role is the teacher described to have in these experiences? The survey is qualitative and based on semi-structured interviews with three high school students. Previous research shows that music, already in the antiquity, had a therapeutic purpose and acted as a healing force. It can also be an important and useful material when identity is created and expressed as a young adult. The Swedish school shall promote the development and learning of all students. The decisive factor for whether knowledge is retained or forgotten is the meaningfulness of a teaching environment. The teacher’s task is to enable the acquisition of knowledge and organize the work so that the student can use and develop their entire ability. The result presents the main theme of being in a “free space” and the structure is built up by the units development, community, creation and the teacher as a role model. The students in the present study experience music teaching as being in a free space where there is an opportunity to try new things without fear of failure. The students experience that through the teaching they develop both as musicians and in their identity. In collaboration with classmates during musical activities, a community is built that is important to the students. Meaning is also created when students are given space for their own creativity and when they receive support and encouragement from a teacher.

It is often challenging for early advanced piano students to move from intermediate level repertoire to standard repertoire because the techniques and difficulties present in the new repertoire are simply too overwhelming for them. "A Holy Night: 10 Arrangements of Timeless Carols" can help bridge the gap between the two repertoire categories by introducing several advanced techniques and combinations of techniques to early advanced students in a non-overwhelming way. Several standard techniques that were widely used by composers of different styles are addressed in the arrangements: legato and chord playing, orientation in different keys, pedaling, dynamics and octave playing. The topic of fingerings is also covered since using correct fingerings is a key for any technique to work. The arrangements help to prepare early advanced students for standard repertoire by allowing them to learn, practice, and perform a variety of standard repertoire techniques in short and engaging pieces. This dissertation is intended to demonstrate to private piano teachers ways in which this arrangement of mostly well-known seasonal tunes can be used to assist in the transition to more advanced repertoire.

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Even with increasing availability of alternative educational systems, individual learning plans, and vocational schools, the high school dropout rate among males is still rising. High school dropouts have a negative effect on a community because their chances of being employed and contributing to the community are reduced. The theoretical frameworks of multiple intelligences, self-efficacy, and developmental constructivism were used to conduct a hermeneutical phenomenological study of the lived experiences of a specific population of male youth in rural Ohio who decided to return to school and complete the requirements for a high school diploma or GED after being exposed to music education. The specific focus of inquiry was on the role that their musical education or exposure to music, as a means of developing and accessing an alternative way of learning, might have played in their decisions. A purposive sample of seven males ages 18-22 years who had dropped out of school and subsequently returned to complete their GED participated in the study. Data were collected in semi-structured interviews and analyzed using hermeneutical phenomenological content analysis, validated by independent peer review. Findings from the study indicated that music played a key role in participants' lives as a stress reducer, and music education escalated feelings of self-worth, contributing to ability to focus on their GED completion. This study impacts social change by identifying previously undervalued strategies to support young men returning to complete high school or GED education.

The quality of piano education in international schools in China has been affected by an increasing number of piano students and piano teachers experiencing heavy teaching loads. The research questions in this qualitative case study included both teachers' and parents' perceptions of the quality of teaching and learning in piano classes at multicultural international schools in a suburban district of Beijing. The 4 principles of the Suzuki method provided the conceptual framework for the study. Data were collected through interviews with 10 experienced piano teachers, 10 selected parents of K-12 piano students, and observations of 3 group piano classes, 8 individual lessons, and 3 student recitals. All data were coded and analyzed using the Suzuki principles of character, use of the mother tongue, parental involvement, and positive environment. Findings indicated that school leaders, teachers, parents, and students need to understand each party's expectations to build and maintain a healthy relationship and positive learning environment as promoted by the principles of the Suzuki method. A professional development program, Piano Teaching in a Beijing Suburb: 21st Century Effective Piano Teaching, was created to engage and support local piano teachers' needs and to improve their understanding of various eastern and western teaching approaches, traditional and functional piano teaching, and effective teaching strategies to better prepare them for teaching in diverse classrooms. Implementation of the project might affect social change and benefit the local international community by providing a professional development model for all piano teachers to help international piano students during their transitional years in China.

A state college in the mid-Atlantic United States requires a music theory course for 4 of its undergraduate music programs. In the 6 years prior to this study, students had difficulty with the course, with many failing or withdrawing. Tinto's theory of student retention served as the foundation of the conceptual framework for this study, the purpose of which was to identify challenges to successfully completing the course. This purpose was reflected in the study's driving research question focused on students' experiences regarding challenges to success. In this instrumental case study, 12 students and 2 instructors participated in individual interviews, and 7 students participated in a focus group. Initial coding was used for the 1st-cycle coding phase. Axial coding was used for the 2nd cycle. Seven themes emerged through an iterative categorization protocol: 3 student-related themes, 3 college-related themes, and 1 theme relating to solutions for overcoming challenges to success in Music Theory I. Although data indicated that students experienced diverse challenges to success, the need for additional help was most evident. Thus, a logical project for this study was a music theory lab designed using best practices for course redesign and adult learning found in the literature and developed to support student learning of the concepts presented in Music Theory I. This study may contribute to positive social change by providing an opportunity for students at the college to receive academic support structured to meet their learning needs and improve their performance in Music Theory I, which may prevent students from withdrawing from or failing the course.