Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The study of room acoustics is linked to the importance of sound inside a room, so the architectural characteristics of the internal space determine the acoustic behavior. To get better acoustics of a room there are computational methods that simulate the acoustic behavior of a room before his execution, providing the prediction of the simulated environment behavior from the acoustic point of view. The acoustic parameters of the resulting acoustic simulations as Reverberation Time, Initial Decay Time, Clarity, Sharpness and Speech Transmission Index, are responsible for identifying the acoustic conditions of the geometric model of a classroom. This geometric model used as sample classrooms of different types of municipal schools in Santa Maria - RS, with the aim of developing a classroom typology for the music teaching from virtual acoustic models using computing simulation. Geometric models of classrooms for teaching music were developed using as input data, dimensions, shapes and elements usually used in these environments and developed representative virtual acoustic models these virtual classrooms, in which were measured acoustic parameters related to the reverberation time from the impulse response of the acoustic models of virtual rooms. We analyzed the experimental results and simulated with and without furniture for the acoustic parameters, and these comparisons were related to the values of JND (Just Noticeable Difference) near the standard tolerance according to ISO 3382/2009 with normalized values of 500 Hz to 1000 Hz. A geometric study was developed based on Bolt (1946) which defined the appropriate geometric measures of the room. Thus, a functional typology was originated which meets the architectural acoustic requirements and the initial proposal of presenting a music classroom typology providing an environment with acoustic quality, according to Law number 11.769/2008 that inserts education music in schools on a mandatory basis. / O estudo da acústica de salas está vinculado à importância do som dentro de um recinto, logo, as características arquitetônicas do espaço interno determinam seu comportamento acústico. Para buscar melhores condições acústicas de um recinto disponibilizam-se métodos computacionais que simulem o comportamento acústico de uma sala, antes de sua execução, proporcionando a previsão de comportamento do ambiente simulado do ponto de vista acústico. Os parâmetros acústicos resultantes das simulações acústicas, como: Tempo de Reverberação, Tempo de Decaimento Inicial, Clareza, Definição e o Índice de Transmissão da Fala são responsáveis pela identificação das condições acústicas do modelo geométrico de uma sala de aula. Este modelo geométrico utilizou como amostra as salas de aula das diferentes tipologias de escolas da rede estadual de educação de Santa Maria - RS, com o objetivo de desenvolver uma tipologia de sala de aula, para o ensino da música, a partir de modelos acústicos virtuais utilizando-se simulação computacional. Foram desenvolvidos modelos geométricos de salas de aula para o ensino da música utilizando-se como dados de entrada, dimensões, formatos e elementos, usualmente utilizados nestes ambientes, e desenvolvidos modelos acústicos virtuais representativos destas salas, aos quais foi feita uma avaliação dos parâmetros acústicos relacionados ao tempo de reverberação, partindo-se da resposta impulso dos modelos acústicos virtuais das salas. Foram analisados resultados experimentais e simulados na situação sem mobília e com mobília, para os parâmetros acústicos, e essas comparações foram relacionadas com os valores de JND (em inglês Just Noticeable Difference) padronizadas as margens de tolerância, de acordo com a ISO 3382/2009, com valores normalizados de 500 Hz a 1000 Hz. Também foi desenvolvido um estudo geométrico, a partir de Bolt (1946), que definiu as medidas geométricas adequadas da sala. Com isto, originou-se uma tipologia funcional, observando as exigências acústicas arquitetônicas, cumprindo a proposta inicial de apresentar uma tipologia de sala de aula, para a música, a fim de proporcionar um ambiente com qualidade acústica, atendendo a Lei nº 11.769/2008, que insere o ensino da música nas escolas, de forma obrigatória.

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.

Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T21:13:06Z (GMT). No. of bitstreams: 1 Rontani_Marcos_M.pdf: 28893868 bytes, checksum: 30960849baeba1e33d905e29c5907870 (MD5) Previous issue date: 2014 / Resumo: O primeiro capítulo deste trabalho trata da biografia dos três principais fundadores. As idéias musicais de Hans Joachim Koellreutter foi o que incentivou Ernst Mahle ¿ diretor artístico da instituição musical ¿ a inserir um ensino livre de música ; o Diretor e Maria Apparecida Romera Pinto por meio das atividades musicais, artísticas, educacionais, proporcionaram um desenvolvimento pedagógico para o ensino musical. No segundo capítulo, abordamos a história da Escola Livre de Música da Pró-Arte de São Paulo, a História da Sociedade de Cultura Artística de Piracicaba e seu fundador Fabiano Lozano, bem como as suas contribuições para o público piracicabano e o surgimento da idéia, levando à concretização da fundação da Escola de Música de Piracicaba, com os seus primeiros professores e os primeiros alunos. No terceiro capítulo, demonstramos a filosofia de vida, a metodologia e a pedagogia de ensino criada por Ernst Mahle favorecendo os alunos da sua escola, e também a experiência de Maria Apparecida Romera Pinto como professora de iniciação musical e diretora administrativa; o ensino musical que vivenciamos na escola nos anos sessenta do século XX; os corais para crianças e adultos, os concursos para jovens instrumentistas e as óperas escritas por Ernst Mahle que colaboraram para a sua metodologia e, finalizando, apresentamos o relato de alguns ex-alunos que seguiram a carreira musical. Sobre a parte do anexo, pensamos ser importante deixar como ponto de referência exemplos de algumas obras que foram utilizadas no processo de educação musical, inclusive os programas que foram executados em épocas diversas no decorrer da existência da Escola de Música. Como documentação adicional, incluímos também depoimentos e entrevistas no preparo desta dissertação / Abstract: The first chapter of this work deals with the biography of the three main founders of the School of Music of Piracicaba and their teaching methodology that was applied and refined over the years by faculty and students. The Hans Joachim Koellreutter methodology, the germinal ideia that encouraged Ernst Mahle ¿ Artistic Director of the musical institution ¿ to initiate a free music education process; Maria Apparecida Romera Pinto, its first Managing Director, who contributed to the pedagogical development of musical education thanks to her numerous musical, artistic and educacional activities. The second chapter discusses the history of the Pro - Arte Free School of Music of Sao Paulo, the history of the Society of Artistic Culture of Piracicaba, its founder Fabiano Lozano, their artistic contributions to the Piracicaba public and the emerging idea that led to the establishment of the School of Music of Piracicaba, its first teachers and the first students. In the third chapter we discuss the philosophy of live, the teaching principles and methodology created by Ernst Mahle that motivated students in the school, and the experience of Maria Apparecida Romera Pinto at the head of the school in the 1960¿s. It also examines the activities of children¿s and adult¿s choirs, competitions for young musicians and the performance of operas written by Ernst Mahle that helped reinforce his teaching methods and a final report of former students that were educated in this school and are now pursuing successful music careers. In the annex, because we believe in the importance of leaving as reference a few examples of musical works that were employed in the musical education process, including printed programs that document the many artistic School realizations throughout the years. We also thought it important to include interviews and testimonials given to this author during the preparation of this work / Mestrado / Fundamentos Teoricos / Mestre em Música

No description available.

Thesis abstract The aim of this thesis is to describe the role of school songs in the modernization of Chinese music. Since the establishment of modern Chinese education school songs have become an important part of Japanese-based teaching materials as well as a tool for introducing and transferring political ideology. The tunes of the early school songs were adapted from Western romantic songs and Japanese school songs, and as I argue, this have shaped the Chinese musical taste towards a greater popularity of music including western compositional elements and thus westernization of music in general. In addition to describing the musical specifics of Chinese school songs, the work focuses on more general questions about the modernization and westernization of Chinese music. Compositions written by Shen Xingong (1869-1947), Li Shutong (1880-1942) and Zeng Zhimin (1879-1929), prefaces to various editions of collected school songs, and articles on the relationship of these songs to the education system in China is the primary focus of the current study. Key words: modernization; Chinese music; school songs; early 20 century

Die zunehmende Digitalisierung der akademischen Bildungslandschaft findet auch in der Musikerziehung ihre Anwendungen. Musiziert wird traditionell in Wissensgemeinschaften (communities of practice, CoPs), wo das Zusammenspiel von Reifizierung des Wissens und Nutzung der so entstehenden kulturellen Artefakte die Hauptaspekte des Lernens darstellen (Wenger, 1999). Vor diesem Hintergrund wird angenommen, dass kulturelle Artefakte im Mittelpunkt der Praxis einer virtuellen Musikschule stehen. Allerdings liegen in der Forschungsliteratur noch zu wenig Erkenntnisse über den Umgang mit Artefakten und den darauf bezogenen Medieneinfluss vor, deshalb behandelt die vorliegende Studie folgende Fragestellungen: (1) Wie gehen Musiker mit kulturellen Artefakten (hier: gedrucktes Notenmaterial) in der sozialen Praxis der Wissensgemeinschaft um? (2) Welchen Einfluss hat die mediierende Kommunikationstechnologie darauf? Eine empirische, qualitative Untersuchung umfasst mehrere Fallstudien, in denen Musiker die Interpretation eines gregorianischen Chorals untereinander abstimmen. Dabei werden die Expertise und der Bekanntschaftsgrad der Beteiligten sowie das Kommunikationsmedium variiert. Die Ergebnisse weisen auf einen erhöhten Aufwand hin, der für die Aushandlung des gemeinsamen Wissenshintergrunds im Umgang mit dem kulturellen Artefakt notwendig ist. Dieser kann allerdings von der Expertise und Medienkompetenz der Beteiligten kompensiert werden. Dies deutet auf die Machbarkeit einer virtuellen Musikschule hin, in der das Lernen durch gemeinsame Praxis in Wissensgemeinschaften stattfindet.

Väg 225 skär genom landskapet strax söder om Ösmo, Nynäshamn kommun. Det resulterar i att hela naturområdet kring sjöarna Västra och Östra Styran blir svårtillgängligt. Jag har velat utnyttja det svårtillgängliga genom att planera för en plats som vänder sig mot sig själv, och bort från omgivningen, för att skapa en eskapism. En engelsk park utgör den första verklighetsflykten och leder besökaren fram till huset för folket, parkens slott. Mötet med byggnaden blir den andra flykten, där portalen leder från parken in till innergården. Precis som parken, vänder sig huset mot sig självt, bort från parken. Brytpunkten mellan parken och huset utgörs av den östra portalen och förstärks av ett skifte i fasadmaterial. På utsidan är fasaden i kolmårdsmarmor och röd ölandssten, och på insidan i sandsten. Den tredje och sista flykten är aktiviteterna som utförs i huset: musicerande, dansande, framträdande och kulturåskådning. Byggnaden huserar en filial till kulturskolans musikverksamhet, nya lokaler till Ösmos dansskola, offentliga mötesrum och en stor teater i scenstorlekskategori blå enligt Riksteaterns krav. / Road 225 cuts through the landscape just south of Ösmo, Nynäshamn. As a consequence the nature area around the two lakes Västra and Östra Styran become difficult to access. My aim has been to embrace the situation. Instead of trying to connect Ösmo with the nature area, I wanted to reinforce the isolated location, to create a space of escapism. The visitor first escapes into the English garden which leads to the house of the people, the garden’s castle. The second escape unfolds when entering the east portal, which is emphasised by a change in façade material, from green Kolmårdsmarmor and red Ölandssten to white sandstone. The third escape is constituted by the activities performed in the building: dancing, playing music, performing and engaging in culture. In terms of facilities, the building accommodates new premises for the Dance Studio of Ösmo, a subsidiary to the municipal Music School, public co-working spaces and a theatre with blue classification according to the requirements of Riksteatern.

Syftet med denna studie är att beskriva relevansen av och eventuella samband mellan utvalda faktorers inverkan på trumpetelevers val av instrument och på deras fortsatta spelande i musik- och kulturskolor. Detta görs genom att beskriva både vad som påverkat eleverna i deras instrumentval och vad som varit viktigt för deras fortsatta spelande och intresse. Därefter undersöks om det finns några samband mellan dessa viktiga faktorer. Studien undersöker också föräldrars upplevda stöttning och om den har något samband med elevernas övningsfrekvens. Studien försöker dessutom också belysa hur elevernas intresse för sitt instrument ser ut genom att undersöka vissa faktorers relevans i relation till intresset, men också i jämförelse med andra instrument som brukar erbjudas på musik- och kulturskolor. Detta görs genom att både undersöka var intresset kommer ifrån samt hur de upplever att intressegraden ser ut idag jämfört med när de började spela. Tidigare forskning i området har ofta varit inriktad på lärarens perspektiv eller en allmän syn på undervisning. Avsikten med denna studie är dock att undersökningen görs ur elevernas synvinkel. Studien genomfördes utifrån ett positivistiskt kvantitativt förhållningssätt och urvalet består av trumpetelever samt deras föräldrar. Resultatet visar att både trumpetens egenskaper som ljud och klang samt läraren är viktiga faktorer för att elever ska börja spela. Musik- och kulturskolors instrumentprovardagar är också en bidragande faktor. Resultatet visar även att det inte finns några idoler som skapat intresset hos någon av eleverna, utan intresset har snarare kommit från lärare, familj och kompisar. Att ha provat spela trumpet tidigare är också en viktig faktor. En reflektion är att studien kan antyda på att föräldrar kanske underskattar sin egen inverkan på eleverna, både i valet av instrument, men även för det fortsatta intresset. / The purpose of this study is to describe the relevance of the influence and possible correlations of selected factors on trumpet students choice of instrument and their continuous playing at community music schools. This is done by describing both what influenced the students in their choice of instruments, and what was important for their continued interest. Thereafter, any possible correlations between these important factors are examined. The study also examines parents estimated support and whether it has any connection with the students' practice rates. The study also examines students interest in instruments at community music schools by examining the relevance of the impact of certain factors on the interest, but also in comparison with other musical instruments. This is pursued by both uncovering where the interest came from and how they perceive their own interest at present compared to when they started playing. Previous research in this field has often been focused on the teacher's perspective or on a general view of teaching. In contrast, this study should be able to show trumpet students point of view. The study was conducted on the basis of a positivist quantitative approach and the selection consists of trumpet students and their parents. Results show that both the characteristics of the trumpet, for example the sound colour, as well as the teacher, are important factors for students to start playing this instrument. Testing days on music schools are also a contributing factor. Results also provides fact to that there are no idols that created the interest of any of the students, instead the interest has mostly come from teachers, family and friends. Having tried to play the trumpet in the past is also an important factor. A reflection that this study may suggest is that parents may underestimate their own influence on students, both in the choice of instruments, but also for the continued interest.

Detta arbete baseras på en kvalitativ intervjustudie med tre musiklärare som arbetar i en kulturskola. Syftet med studien är att undersöka hur dessa lärare ser på olika lektionsformers betydelse för elevers motivation. Den teoretiska utgångspunkten för arbetet utgörs av ett sociokulturellt perspektiv. I intervjuerna ombads lärarna att besvara ett antal öppet ställda frågor, utifrån vilka de beskriver sin syn på ämnet. Resultatet visar att musiklärarna uppfattar en tradition bland kommunala musik- och kulturskolor där individuella 20-minuterslektioner är den vanligast förekommande lektionsformen, dock anser de att olika typer av gruppundervisning blir allt vanligare. Anledningen till att individuella lektioner fortfarande utgör normen anses ha att göra med att det är bekvämare jämfört med grupp- och ensembleundervisning som innebär större arbetsbörda för läraren, men som enligt informanterna i regel gagnar elevernas motivation i större utsträckning. Informanterna var överens om att det bästa kursupplägget ur såväl kunskapsmässig som motivationsmässig aspekt vore att eleverna får både individuella lektioner och lektioner i grupp, då dessa anses komplettera varandra på ett gynnsamt sätt. De tre var överens om att när det kommer till unga nybörjare är dock någon form av gruppundervisning att föredra. I unga åldrar har inte det inre belöningssystemet utvecklats och därför behövs en högre grad av direkt belöning, vilket underlättas i sociala sammanhang, menar informanterna. Uppsatsen avslutas med en diskussion där resultatet diskuteras i förhållande till tidigare forskning. / This study is based on qualitative interviews with three teachers in a Swedish municipal school of music. The purpose of the study is to examine these teachers’ views on various types of lessons and the impact they have in terms of motivating students. The theoretical basis of this work is the social cultural perspective. In the interviews the teachers were asked to answer a couple of open questions, from which they described their views. The teachers’ experiences show a traditional and most common way of education on musical instruments in Sweden that is, 20 minute individual lessons. The practises of teaching in groups are however considered to have increased in popularity over past years. The reason why individual lessons still are norm is because of the larger workload for the teachers regarding group lessons. Nevertheless, group lessons are considered to motivate students to a greater extent than individual lessons. The three teachers agreed upon that the best alternative is to give students opportunity to receive both individual and group lessons, since these complement each other in a favourable manner. When it comes to young beginners, some form of group activity is though preferable. This is because young students do not have the internal reward system developed and therefore requires a higher degree of direct confirmation, which is supposed to be more facilitated by group settings than by individual lessons. The study ends with a chapter where results to previous research are discussed.

Flera av de pianostuderande jag mött, inklusive mig själv, spelade aldrig kammarmusik innan gymnasiet eller musikhögskolan. Det har fått mig fundera över i vilken omfattning klaverstu-derande elever vid kultur- respektive musikskolor deltar i musikaliska samspel. Studien har som syfte att kartlägga i vilken utsträckning lärare i klaverinstrument på kultur- respektive musikskolor i Stockholms län arbetar med musikaliskt samspel med sina elever och vilka faktorer som påverkar vilka elever som samspelar med andra elever. Datainsamling gjordes med hjälp av e-postade enkäter till klaverlärare på kultur- respektive musikskolor. Sedan analyserades svaren univariat, bivariat, tematiskt och samband prövades på sin statistiska signifikans. Resultatet visar dels på att de flesta hade tillfällen då deras elever spelade med någon under deras lektioner, dels att det skilde sig mellan hur lärare arbetade med samspel beroende på om de undervisade individuellt eller som gruppundervisning. Det framgick också att det fanns fyra olika områden som respondenterna menade påverkade vilka elever som fick spela med andra. Dessa var logistiska faktorer, intressen och kompisar hos såväl elev som lärare, elevernas kunskap och ambitioner samt speciella behov hos eleven. I diskussionen problematiseras konsekvenser av individuell undervisning och gruppundervisning samt vad elever lär sig av musikaliskt samspel. / Many piano students I´ve meet, including myself, never played chamber music until they went to gymnasium or university. This made me wonder how many opportunities piano students studying at culture and music schools had to play with others. The purpose of the study is to find out to what extent pianoteachers in these schools in the Stockholm Province work with interaction in music with their students and which factors affects which students interact with others. Data was collected by e-mailing questionnaires to which pianoteachers at the music and cultur schools had to answer. The answers were analyzed univariate, bivariate, tematic and correlations were tested on their statistical significance. The result showes that most teachers occasionally let their students play with someone, during their lessons. The results also showes that it differed between how teachers worked with interaction depending on whether they taught individually or in groups. It also is found that four different types of factors affected the respondents choices of which students who would get the opportunity to play with others. These were logistical factors, interests and friends of both pupil and teacher, the students' knowledge and ambitions, and special needs of the student. In the discussion the consequences of individuell lessons and group lessons are problematized. What the student learn from musical interaction is also discussed.