O presente estudo tem o objetivo de fornecer pistas sobre o imaginário de dois períodos distintos de uma mesma instituição: a antiga Universidade Livre de Música Tom Jobim (ULM) e a atual Escola de Música do Estado de São Paulo Tom Jobim (EMESP). Pretende compreender e caracterizar os fundamentos pedagógicos de um projeto educacional de Música utilizando-se das teorias de Gilbert Durand, Edgar Morin e José Carlos de Paula Carvalho. O interesse se deve à mudança do modelo de ensino livre e acessível a todas as idades para o modelo de ensino oficial acompanhado da padronização do perfil dos estudantes. Por meio da teoria do Imaginário de Durand, pretende-se identificar os mitos relativos às duas propostas de ensino e situá-las no panorama político que as engendrou. A pesquisa se baseou no estudo dos documentos publicados pela gestão da Organização Social Santa Marcelina, Diário Oficial do Estado de São Paulo e nas observações feitas em campo. / The present research had as objective to investigate the imaginary of two distinct periods of one same institution: the former Universidade Livre de Música-TomJobim (ULM) and the current Escola de Música do Estado de São Paulo Tom Jobim(EMESP). The aim of this study is to understand and characterize the pedagogical principles of that Music-centered educational project through the theories of Gilbert Durand, Edgar Morinand José Carlos de Paula Carvalho. This interest was awakened by the change (undergone by the institution),from a free education model accessible to all ages, to an official teaching model followed by standardization of students profiles. Through Durands theory of the Imaginary this study seeks to identify miths regarding each of the two educational proposals, and to place them in the respective political scenes that engendered them. Research was based on the study of documents published by (the administration of)the Organização Social Santa Marcelina, study of the Diário Oficial do Estado de São Paulo, and field observations.

Im Kontext der Herausforderungen globalwirtschaftlich orientierter Entwicklungen in der Gesellschaft gestalten Schulen zunehmend ihren eigenen Handlungs- und Strukturrahmen. Dieser lässt sich auch im Bildungsbereich mit 'Profilbildung' umschreiben: Schulen geben sich eine eigene Identität, mit der sie sich - auch für Außenstehende erkennbar - von anderen Schulen abheben möchten. <br><br> Ziel der Untersuchung zur musikalisch-ästhetischen Profilierung soll die Beantwortung der Grundsatzfrage sein, wie der subjektive und objektive Handlungs- und Strukturrahmen einer musikalisch-ästhetischen Profilbildung beschaffen sein muss, damit sie von einer Schule erfolgreich betrieben werden kann. <br><br> Die Verfasserin hebt hervor, dass es keinen einheitlichen Weg für diese Profilbestrebung geben kann und wird. Rechtliche Wege eröffnen Chancen und Hilfen hinsichtlich einer musikalisch- ästhetischen Profilbildung. Sie ist nachhaltig und in ihrer Dimension sogar eine 'Selbsthilfe', damit Schule ihre eigene Rolle in der Bildungspolitik definiert. / In the context of the challenges of globaleconomically oriented developments in the society schools arrange their own action and structure framework increasing. This leaves itself also within the education range with 'profile formation' describe: Schools give themselves their own identity, with which they would like themselves to take off - also for outstanding ones recognizably - from other schools. <br><br> A goal of the investigation for musical-aesthetic shaping should be the answer of the matter of principle, how the subjective and objective action and structure framework of an musical-aesthetic profile formation must be constituted, so that it can successfully be operated by a school. <br><br> The author emphasizes that there can be no uniform way for this profile effort and will. Legal ways open chances and assistance regarding a musical aesthetic profile formation. It is lasting and in its dimension even one 'self-help', so that school defines its own role in the education politics.

Den här uppsatsen handlar om musiklärares syn på pojkar och flickor i den enskilda musikundervisningen, och hur musiklärare upplever det egna förhållningssättet till pojkar och flickor vid den kommunala musik och kulturskolan. Syftet med undersökningen är att ta reda på om musiklärarna upplever några skillnader i pojkar och flickors beteende, och hur musiklärarna upplever att de bemöter eleverna utifrån ett genusperspektiv i den enskilda undervisningen. Undersökningen bygger på intervjuer med fem yrkesverksamma musiklärare i västra Värmland och hur de utifrån sina upplevelser och uppfattningar har svarat på underökningens frågeställningar. Undersökningen visar att musiklärarna upplever vissa skillnader mellan pojkar och flickor. Vidare visar studien att musiklärarna även bemöter eleverna olika utifrån om eleven är en pojke eller flicka. / This essay is about the perspectives of music teachers regarding their views of boys and girls in individual music education, and how teachers perceive their own attitudes to boys and girls in the municipal music and culture school. The purpose of this study is to determine if music teachers experience any overall differences in boys 'and girls' behaviour, and how music teachers perceive that they treat pupils from a gender perspective in the individual music education. The study is based on interviews with five teachers working in the western part of Värmland, and how their answers to the questions in the study are affected by their experiences and perceptions. The study demonstrates that music teachers experience certain differences between boys and girls. The study also indicates that music teachers treat students differently based on whether the student is a boy or girl.

Studiens syfte är att undersöka om barn och föräldrar känner till instrumentet trumpet och vilka föreställningar de har om detta instrument.   Mina frågeställningar är:   Vad vet 6-7 åringar och deras föräldrar om instrumentet trumpet? Vilka föreställningar har de om instrumentet trumpet?   För att ta reda på dessa frågor har jag genomförd en enkätstudie i Arvika med barn i första klass och deras föräldrar. 33 vuxna och 34 barn från sammanlagt tre skolor deltog i undersökningen.   Resultaten visade att kunskapen om trumpet är ganska stor bland 6-7 åringarna och deras föräldrar. Alla respondenterna i denna undersökning vet vad trumpet är och över en tredjedel av de 67 respondenterna känner till någon som spelar trumpet. Bland barnen existerar ingen stor ”kändis” på trumpet, istället känner de till vänner eller bekanta som spelar. De vuxna angav till viss del vissa kända musiker ofta då jazztrumpetare av äldre slag. Vidare så verkar 6-7 åringarna ganska fördomsfria om trumpet, då de anser att unga som gamla och män som kvinnor spelar trumpet. Föräldrarna tror däremot att trumpetspel domineras av män, i övrigt verkade de vara ganska fördomsfria. Kommunala musikskolan verkar ha ett starkt varumärke i Arvika eftersom många av respondenterna uppgav att de visste att de kan kontakta musikskolan om de vill börja spela trumpet. Resultaten visade också att trumpet inte ses som tråkigt, de flesta tycker det verkar mittemellan eller roligt att spela trumpet.   Utifrån resultaten i denna studie klarar trumpeten sig bra. Samtidig tycks trumpeten vara ett stycke undan den status en kunde önskat sig. / The study's purpose is to investigate whether children and parents know the instrument trumpet and the beliefs they have about this instrument.     My questions are:   What do 6 and 7-year-olds and their parents know of the instrument trumpet?  What are their beliefs concerning the trumpet and what does the trumpet mean to them?    To find out about these questions, I have conducted a survey study in Arvika with children in first grade and their parents. 33 adults and 34 children from three schools took part in the survey.   The results showed that knowledge of the trumpet are quite good among 6 and 7-year-olds and their parents. All the respondents in this survey know what the trumpet is, and over one-third of the 67 respondents know about someone who plays the trumpet. Among the children exist no big "celebrity" trumpet player. Instead they mention friends or acquaintances that play the instrument. There were some well-known musicians among adults but it was often aging jazz trumpeters. 6 and 7-year-olds are pretty open-minded about trumpet. They seem to consider both that young, old, men and women could be playing the trumpet. The parents, however, think that men dominate playing the trumpet. Otherwise are the parents also pretty open-minded. The music school appears to have a strong name in Arvika. Many respondents stated that it´s possible to contact the music school if you want to start playing the trumpet. The results also showed that the trumpet is not considered as boring. Most people put it midway between boring and fun to play.   Based on the findings in this study, the trumpet seems to be a well-known and somewhat appreciated instrument among the respondents. At the same time it seems to be a bit out of range from a satisfying reputation.

The opportunity of development of education at Music Schools is analyzed in the Master’s Paper. The main purpose is to achieve the improved education programs. The key questions and answers are presented in this paper: why do the students attend the music school, does the education organized by the music school reflect the requirements, interests of the students and a question of expressiveness. To solve this pedagogical problem, the hypothesis has been presented- the musical education of music school students is more effective if the offered programs and the achievements of the students are combined. Also the requests of the students are important and as a result, different types of learning and teaching methods have been chosen to improve the education process. The research subject- the means to organize the education process at music schools. The aim of the research work- to investigate and evaluate the possibility to develop the education process at music schools. To achieve the goal, the following research tasks have been presented: 1) to investigate the problems while organizing the education of music schools; 2) to clear out the efficiency of the proposed programs while meeting the needs and interests of the students; 3) to examine the position of the parents, teachers and students’ about the possibilities to organize the education of the music schools. The questionnaires and pedagogical observation, used during the research work, enabled to affect the analysis of... [to full text]

Tautinis tapatumas bei etninė kultūra - veiksniai, darantys labai didelį poveikį moksleivių ugdymui. Lietuvos švietimo dokumentuose akcentuojama etninės kultūros svarba ugdant jaunąją kartą, tačiau mokslinių tyrimų studijos rodo, jog tautiškumo stinga tiek visuomenėje tiek ir mokykloje. Turint omenyje etninės kultūros teikiamą naudą jaunosios kartos ugdymui, svarbu etninės kultūros elementus įtraukti į neformaliojo ugdymo procesą, o tame tarpe ir į muzikos mokyklų programas. Muzikos mokykla – neformaliojo ugdymo dalis, kur etninė kultūra galėtų būti plėtojama palankiausiai. Deja, šaltinių, kuriuose būtų nagrinėjami etninės kultūros ypatumai neformaliajame muzikiniame ugdyme trūksta, todėl svarbu išanalizuoti esamą etninės kultūros padėtį muzikos mokyklose. / National identity and ethnic culture are the factors which make a huge impact on students’ education. The importance of ethnic culture is stressed in Lithuanian Education documents, but the studies of science research show that there is a shortage of nationality both in society and school. Having in mind that ethnic culture brings advantages for the education of youth generation, it is very important to include ethnic culture elements in non-formal education process, at the same time in the programmes of a music school. The music school is a non-formal part of education, where ethnic culture could be developed mostly. Unfortunately, there are very few sources where ethnic culture is analysed in non-formal musical education, so it is very important to analyse the present situation of ethnical culture in music schools.

Magistro darbe analizuojama mokyklos organizacinės kultūros samprata ir tipologija, identifikuojami muzikos mokyklos organizacinę kultūrą įtakojantys veiksniai. Taip pat išanalizuota Klaipėdos regiono muzikos mokyklų veikla, atliktas kokybinis tyrimas, kuriuo įvertinta Klaipėdos regiono muzikos mokyklų organizacinė kultūra. Tyrimu nustatyta, kad Klaipėdos regiono muzikos mokyklų darbuotojai teigiamai vertina muzikos mokyklos narių bendravimą ir bendradarbiavimą. Tai padeda pasiekti geresnių darbo rezultatų, laimėjimų, stiprina narių tarpusavio ryšius, gerina mikroklimatą. Tačiau analizuojamose mokyklose ne visada bendraujama ir bendradarbiaujama, be to, į šį procesą ne visada leidžiama įsijungti jauniems specialistams. Nustatyti šie trūkumai, neigiamai veikiantys bendravimo ir bendradarbiavimo procesą: muzikos mokykloje vyrauja didelė konkurencija tarp darbuotojų (dėl apmokėjimo, darbo valandų skyrimo); nepakanka klasių; ne visi darbuotojai motyvuoti siekti naujovių, imtis projektų vykdymo; trūksta jaunų specialistų įsitraukimo, idėjų, kurios skatintų pokyčius; nepakankamai dirbama komandose; vadovybė nesuteikia darbuotojams pakankamai žinių tobulinimosi klausimais. / The master thesis focuses on the conception and typology of organizational culture within a musical school and identifies factors that influence the organizational culture in such educational institutions. In addition to this, the activity of musical schools in Klaipėda region is examined and the qualitative research was carried out in order to assess the organizational culture of musical schools in the region mentioned above. The qualitative research indicated the fact that employees of musical schools evaluate communication and collaboration of members positively. This provides a possibility to achieve better results and achievements at work as well as sustains better relationship among members and improves microclimate. However, when analyzing the organizational culture within the schools, socializing was not always observed and new members were not always accepted. Thus the following disadvantages that have a negative impact on communication and collaboration were identified. They include: a big competition among employees in the musical schools related to salaried and the work load; a lack of classrooms and facilities; not all employees are motivated to employ innovations and take part in project works; young employees are not inclined to take part in activities and share their ideas that would involve some changes; and the management of the schools does not provide possibilities to improve personal knowledge when training.

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 334-340). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 334-340). Also available on the Internet.

Syftet med denna studie är att undersöka hur instrumentallärare i kulturskolan uppfattar och tolkar begreppet förväntningar. I bakgrundskapitlet tas tidigare forskning och litteratur som berör området förväntningar upp.  Som metod användes enskilda semistrukturerade fenomenografiska intervjuer med fem informanter. Studiens teoretiska utgångspunkt är fenomenografi.  Resultatet visar att begreppet förväntningar uppfattas på olika sätt men att det också finns likheter mellan informanternas synsätt. Förmågan att anpassa förväntningarna efter elevens ambition och mål är något som samtliga informanter beskriver. Eftersom uppfattningarna är formade utifrån informanternas levda erfarenhet finns det även variationer i deras sätt att beskriva förväntningarnas påverkan. Erfarenhet ses av informanterna som en viktig del i att lära sig att ha rimliga förväntningar på eleverna. Studien visar även att förmågan att anpassa förväntningarna efter situationen är viktigt för att undanröja hinder i undervisningen. Att inspirera eleverna att själva ta kontrollen över sin utveckling ses också som viktigt och kan påverkas av lärarnas förväntningar enligt informanterna. Avslutningsvis diskuteras delar av resultatet i förhållande till tidigare forskning och litteratur inom området förväntningar. / The purpose of this study is to through the lens of phenomenography explore how instrumental teachers in the Swedish music school perceive the concept of expectations. The background chapter describes previous research and literature in the field of expectations. Semi-structured qualitative interviews were used as the method of analysis and five informants were interviewed. Phenomenography was applied as both the theoretical foundation and analytical tool. The result reveals that the concept of expectations is perceived differently, however with certain similarities as well. The ability to adapt the expectations to the student's ambitions and goals turned out to be pertained by all informants. The informants have different ways of describing the impact of expectations, since they are formed based on the informed experience of the informant. According to the informants, experience is seen as an important and part of learning in terms of having reasonable expectations for the students. Furthermore, the study shows that the ability to adapt expectations to the situation is important in eliminating obstacles in teaching. Inspiring students to take control of their development themselves is also seen as paramount. This can be influenced by the teachers' expectations, according to the informants. In conclusion, key-findings are discussed in relation to previous research and psychological literature on expectations.