Made available in DSpace on 2014-07-29T16:25:15Z (GMT). No. of bitstreams: 1 capa e pre-textos.pdf: 426395 bytes, checksum: 6cc69742da352d7bc46dd152ec643984 (MD5) Previous issue date: 2009-03-31 / This research work has a relation with the theme of the pianistic teaching programs. Its focus is the dissatisfaction and conflicts produced between teachers and students in the piano learning process. According to the situation, this investigation is directed to the study of none correspondence between scheduled subjects required at the Cora Pavan Capparelli state music school s piano technical course (located in Uberlândia MG) and student s reality that are put in this teaching program. With intention of ponder such conflicts, the research objective is analyze subject and historic, social, cultural configurations of graduate program in pianistic performance of this institution, beside investigate built experiences by some former students. The discussion topics focus constitution of the first European music schools and, under its influence, the rise of the first Brazilian music school; draw the creation way of Minas Gerais state music schools and, above, the creation and enclosing over Minas Gerais state of Uberlândia s Music School; and still, organize in systems and details information existent inside Uberlândia s Music School pianistic teaching program. Theory discussion molten and statements gathered from institution s former students, we can analyze the existent relation of force and facing inside the music school responsible by clang, mainly, the opposition: scholar music versus popular music. Some commentaries and suggestions are also showed referent changing actions necessities and possibilities to the pianistic teaching in this music school. The research consolidates basics affirmatives of pianistic teaching performance about student s musical life multiplicity that are put into it, showing why this teaching must have like standard a dialogue between subjects broached and ethnic, cultural, social diversity of the people who support it / O presente trabalho de pesquisa relaciona-se com o tema dos programas de ensino pianístico. Tem como foco a insatisfação e os conflitos gerados entre professores e alunos no processo de aprendizagem do piano. Sendo assim, esta investigação está direcionada para o estudo da não correspondência entre os conteúdos programáticos exigidos no curso técnico de piano do Conservatório Estadual de Música Cora Pavan Capparelli (situado em Uberlândia- MG) e a realidade dos alunos inseridos neste ensino. A fim de ponderar tais conflitos, a pesquisa objetiva analisar o conteúdo e as configurações históricas, sociais e culturais do programa de formação em performance pianística desta instituição, além de investigar as experiências construídas por alguns dos seus ex-alunos. Os tópicos de discussão enfocam a constituição dos primeiros conservatórios europeus e, sob a influência desses, o surgimento do primeiro conservatório brasileiro; traçam o caminho de criação dos conservatórios mineiros e, sobretudo, a criação e encampação pelo Estado de Minas Gerais do conservatório uberlandense; e ainda, sistematizam e detalham as informações contidas no programa de ensino pianístico do conservatório de Uberlândia. Fundidas discussões teóricas e depoimentos colhidos de ex-alunos da instituição, chega-se a análise das relações de força e os enfrentamentos existentes dentro do conservatório nas quais tangem, principalmente, a oposição: música erudita versus música popular. São também apresentados comentários e sugestões sobre necessidades e possibilidades de ações modificadoras para o ensino pianístico nesta escola de música. A pesquisa consolida assertivas básicas do ensino da performance pianística quanto à multiplicidade da vida musical dos alunos inseridos nele, mostrando que este ensino deve ter como base um diálogo entre os conteúdos abordados e a diversidade étnica, cultural e social dos indivíduos que o sustentam

In a joint dissertation project, 11 brass instrument and guitar lessons, with 4 teachers and 21 students aged 9-35 years, were videotaped, transcribed and ana­lyzed. Two were group lessons and 9 were private lessons. The object of the pro­ject was to study how music teaching and learning can be under­stood from an institutional perspective by describing, analyzing and in­terpreting musical in­strument lessons. The lessons were viewed as social encounters in which the action of participants creates and re-creates social orders at different institutional levels, by means of communication rou­tines using speech, music and gesture. Data were derived from micro-ethnographic transcriptions of speech, gesture and music of a total of five hours of videotape, supplemented by text analyses of 14 method-books. The transcripts were analyzed as text from the perspective of critical discourse analysis. At the analytical level the study applied the cognitive concepts of experiencing and learning music, as well as those of educational gen­res of speech and music use. The analyzed data were interpreted and discussed from the per­spectives of interaction-theory and institution-theory. The results show how the music during the lessons was broken down into sepa­rate notes, as read from the score. Music was not addressed as phrases, rhythms, or melodies. Expressive qualities of music performance were not ad­dressed. The characteristics of the interaction were found to be asymmetric, with the teacher being the one controlling the definition of the situation. Student at­tempts to take initiative were ignored by teachers. This asymmetric pattern of interaction had negative consequences for students’ as well as teachers’ opportu­nities to learn. The organization of the teaching situation as well as teaching methods is discussed from the perspective of institution-theory. A major conclu­sion is that the way instrument teaching is organized leaves little room for stu­dents and teachers to discuss and reflect on the teaching process.

Studien syftar till att få en djupare insikt i hur sociala och kulturella faktorer påverkar barn och ungdomar i deras val av instrument för studier på en kulturskola. I bakgrundskapitlet presenteras tidigare forskning och annan relevant litteratur inom studiens ämnesområde. Studiens teoretiska utgångspunkter utgörs av det sociokulturella perspektivet. Studiens metod utgörs av den kvalitativa intervjun. Sex nybörjare, tre flickor och tre pojkar i åldrarna 8-10 deltog i studien. I resultatet framkommer att omgivningen, media, musikskolan och barnet själv är faktorer som på olika sätt har påverkat barnen i deras val av instrument. Framförallt visas på att förebilder har haft en inspirerande påverkan och att informanterna bildade sig en egen uppfattning av vilka instrument de gillade och ogillade om de hade fått prova på att spela dessa. Även diskussionen lägger tonvikt på förebilder och barns egen uppfattning om val av instrument. Detta diskuteras i relation till tidigare forskning samt det sociokulturella perspektivet. / The study aims to gain a deeper understanding of how social and cultural factors influence children and young people in their choice of instruments for studies at a music school. In the background chapter, previous research and other relevant literature in the study subject are presented. The study's theoretical point is the socio-cultural perspective. The study's method is the qualitative interview. Six novices, three girls and three boys between the ages of 8-10 participated in the study. The result shows that the environment, media, music school and the child itself are factors that in different ways have influenced the children in their choice of instruments. The result highlights that role models have had an inspiring effect and that informants formed their own opinion of what instruments they liked and disliked if they had the chance to play them. The discussion chapter also puts emphasis on role models and children’s own perception in the matter of choice of instruments. This is discussed in relation to previous research, and the socio-cultural perspective.

Mokinio veiklos, kaip asmens komponento tobulinimas meno (muzikos) mokykloje. Skaitant asmens kultūros raidą atskleidžia muzikinio ugdymo reikmė. Ugdymo praktikoje asmens kultūros raidos įgyjamų vertybių ir jų paskirties suvokimas priklauso nuo to, kaip jos pateikiamos ir perimamos. Demokratinėje visuomenėje vyrauja asmens interesai, kūrybinė veikla. Ugdytiniui svarbu pažinti kultūros vertybes, orientuojantis į jas pratintis kurti ir taip tobulinti individualią kultūrą, suvokiant veiklos prasmę vertinti asmeninių poreikių tenkinimo reikšmingumą. Muzikinis ugdymas remiamas kūrybine veikla, įtirtindamas kūrybos poreikį, vertinimo nuostatas, gebėjimus. Mokinio veikla- ne tik savitas individualios kult��ros pasireiškimo būdas, bet ir komponentas. Ugdymo procese tobulinant mokinio veiklą keičiasi ir asmens kultūra. Todėl mokinio veiklos, kaip jo kultūros komponento, tobulinimas meno (muzikos) mokykloje yra aktuali pedagoginė problema Tyrimo objektas yra mokinio veikla ir jos tobulinimas meno (muzikos) mokykloje. Tyrimo tikslas yra atskleisti mokinio veiklos, kaip kultūros komponento, tobulinimo prielaidas, meno (muzikos) mokykloje. Darbe apibūdinta mokyklos ugdymo samprata mokinio veiklos aspektu, aptartas mokinio veiklos modelis meno (muzikos) mokyklos pamokose, ištirtos pedagogų nuostatos, susijusios su mokinio veikla, pateikti mokino veiklos, kai kultūros komponento, vertinimo ir tobulinimo orientyrai. Atliktas tyrimas parodė, kad mokinio veiklos, kaip ir kultūros komponento... [toliau žr. visą tekstą] / The significance of musical training reveals in stimulating the person‘s cultural development. In the upbringing practice, the understanding of person’s culture process obtained values and their purpose depends on the way how they are shared and adapted. Personal interests and creative work dominate in the democratic society. It is important to the learner to know the cultural values, orient to them, try to create and in this way to improve individual culture, understanding the activity’s essence to evaluate the significance of the personal requirements. Musical training is supported by the creative work, consolidation of the cultural needs, evaluation guidelines and abilities. The learner’s activity is not only a distinctive method of individual culture expression but also a component. In the training process, the person’s culture changes together with the learner’s improved activity. Therefore, the improvement of the learner’s, as the cultural component’s, activity in the art (music) school is an actual educational problem. The research object is the learner’s activity and its improvement in the art (music) school. The research aim is to reveal the learner’s activity development premises in the art (music) school. The tasks of the research: to describe the musical training concept through the learner’s activity aspect, to discuss the model of the learner’s activity in the art (music) lessons, to analyze the educators’ attitude towards the learner’s activity and to propose... [to full text]

Syftet med studien är att utifrån ett fenomenologiskt perspektiv undersöka hur några elever inom kulturskolan upplever förhållandet mellan motivation och övning. Bakgrundskapitlet belyser tidigare forskning och litteratur inom området motivation till att vilja öva. Studiens kunskapsteoretiska perspektiv är interpretativism och semistrukturerade intervjuer användes som metod där sex stycken elever intervjuades enskilt. Eventuella skillnader mellan begreppen spela och öva berörs och eleverna har sina egna uppfattningar om vad det innebär men också att det är svårt att hålla isär begreppen. Ibland samverkar begreppen och merparten av eleverna tycker att spela är det roligaste medan de övar mest hemma. Att kunna prata fritt om sin upplevda motivation till att öva ses av respondenterna inte som en självklarhet. När motivation kopplas till krav, prestation och tvång upplever eleverna att de inte finner det lika lustfyllt att öva eller att spela. Studien visar även att merparten av eleverna inte själva sätter upp egna mål med sin övning eller musicerande i sin helhet. Efter gymnasietiden vill respondenterna gärna studera vidare fast inte inom musik. De naturvetenskapliga ämnena lockar mer så som läkare, matematiker eller barnmorska. Resultatet diskuteras avslutningsvis med tidigare forskning och litteratur inom området för vad som gör elever motiverade till att öva. / The purpose of this study is through a phenomenological approach explore how some pupils in a music school experience the relationship between motivation and practice. The background chapter illustrates previous research and literature in the area of motivation to practice. The theoretical foundation of the study is interpretativism and semi-structured interviews were used as a method where six pupils were interviewed individually. The terms play and practice and how they differ from each other is discussed, as well as the pupil’s own perceptions about what they mean and the difficult in keeping them apart. Most of the pupils enjoy playing over practice, while it’s most common to practice at home. To have the ability to talk freely about their motivation to practice is for the pupils not that obvious. When motivation is connected to performance and constraints the pupils experienced that they do not feel it’s enjoyable to practice or to play. The study also shows that most of the pupils do not set their own goals for their practice or playing in general. After graduating from the high school the pupils are looking to get a higher education, however occupations such as doctor, mathematician or midwife are more attractive than job related to music. Lastly the result is discussed together with precious research and literature within the field.

Hackman and Oldham's Job Characteristic Model was applied to study of perceptions community music school faculty hold towards their job. The research questions addressed core job characteristics of skill variety, task identity, task significance, autonomy, and feedback, critical psychological states (experienced meaningfulness, experienced responsibility, and knowledge of results); personal and work outcomes of satisfaction and motivation; need for professional growth. The results were compared to the national norms for nine different job families provided by Oldham, Hackman, and Stepina. Thirty-three schools, all members of the National Guild of Community Schools of the Arts, located in every geographical region of the United States, yielded 437 faculty responses (64% return rate). Of the core job characteristics, dealing with others and autonomy received the highest ratings; feedback and task significance received the lowest ratings. Of the psychological states, experienced responsibility yielded the highest rating and experienced meaningfulness yielded the lowest ratings. Of the personal/work outcomes, personal development and colleague relations received the highest ratings; pay satisfaction and overall general satisfaction received the lowest ratings. A comparison to the professional job family norms, using a one-sample ttest, found significant differences in 16 out of the 18 variables measured by the Job Characteristic Model. Strong positive feelings for growth combined with less than strong feelings for the core job dimensions yielded a low motivating potential score of 96.18.

Syftet med föreliggande studie är att undersöka lärares arbete med rekrytering av bleckblåselever på svenska musik- och kulturskolor. Studien behandlar verksamma bleckblåslärares skildringar av strategier som används för att rekrytera elever och vilka utmaningar som de intervjuade bleckblåslärarna beskriver gällande rekryteringrelaterat arbete. Metoden som använts är fokusgruppsamtal där totalt nio lärare intervjuades i grupper à tre. Bearbetning och analys av det insamlade datamaterialet genomfördes med utgångspunkt i det sociokulturella perspektivet. Resultatet synliggör strategier som handlar om att bjuda in barn och föräldrar till musik- och kulturskolan för att prova instrument, vilket också beskrivs som en form av marknadsföring. Samtliga fokusgrupper beskriver också social gemenskap i form av förberedande bleckblåsgrupper, till vilka barn rekryteras för att senare rekryteras vidare till musik- och kulturskolans instrumentalundervisning. Samtidigt beskrivs utmaningar gällande inkludering av föräldrar i musik- och kulturskolans verksamhet. Avslutningsvis diskuteras musik- och kulturskolans marknadsföring och föräldrars förståelse för verksamheten i relation till det sociokulturella perspektivet. / The purpose of the present study is to examine the teachers’ work on recruitment of brass students at Swedish music and cultural schools. The study processes active brass teachers’ depictions of strategies used to recruit students as well as what challenges the interviewed brass teachers describe about recruitment-related work. The method used in the present study is focus group interviews where a total of nine teachers were interviewed in groups of three. Processing and analysis of the collected data material was carried out on the basis of the sociocultural perspective. The result highlights strategies that involve inviting children and parents to the music- and cultural school to try out instruments are described, which is also described as a form of marketing. All focus groups also describe social community of preparatory brass groups, to which children are recruited and later recruited to the instrumental teaching of the music- and cultural school. At the same time, challenges regarding the inclusion of parents in music and cultural school activities are described. Finally, the marketing and parents’ understanding of the activities in relation to the sociocultural perspective.

Thesis looks at parallel pensum of high school and musical education from the perspective of the teachers and students of Gymnasium and Musical School of Capital City Prague. Apart from the history and the foundation of musical classes, the paper mainly focuses on the research part which brings the teachers' views on for example the cooperation with their colleagues, their opinions on the appropriate school equipment, or what they themselves gained from teaching at the school. The thesis also looks at the school students and graduates. Using a survey, it attempts to find their opinions on the time demands of their studies, what they learnt at the school and how they retrospectively see their experience with it. Furthermore, the paper provides interviews with graduates, teachers and headmasters.

Wird Arbeit heute als anstrengend und belastend bezeichnet, so sind damit weniger körperlich schwere Arbeiten, sondern zunehmend psychische Anforderungen gemeint, die den Einzelnen fordern bzw. überfordern. Seit 2013 besteht laut Arbeitsschutzgesetz die gesetzliche Pflicht des Arbeitgebers, psychische Belastungen am Arbeitsplatz für Beschäftigte im Rahmen einer Gefährdungsbeurteilung zu erfassen. Auch am Arbeitsplatz von Musikschullehrkräften treffen eine Vielzahl psychischer Belastungen zu, die zu einem erhöhten Gesundheitsrisiko führen. Allein die Definition desselben stellt schon die erste Herausforderung dar, denn in der Regel gibt es mehrere. Mangelnde Wertschätzung durch Gesellschaft, Politik, Vorgesetzte, durch Schüler und Eltern, mangelnde Sichtbarkeit in der Öffentlichkeit, mangelnde Anerkennung des Berufsstandes belasten einen Großteil stark. Hinzu kommt die mangelhafte finanzielle Ausstattung von Musikschulen. Personalmangel im pädagogischen Bereich, in der Verwaltung und im technischen Bereich, eine unzufriedenstellende Vergütungssituation für Angestellte, prekäre Beschäftigungsverhältnisse für freie Mitarbeiter und eine mangelhafte Ausstattung mit benötigten Arbeitsmitteln sind das Ergebnis. Arbeitsplatzalternativen sind kaum vorhanden, Entwicklungsmöglichkeiten rar. Viele finden letztere eher außerhalb der Musikschule. Eine wesentliche Eigenschaft von Musikschularbeit besteht darin, dass die Verteilung der Arbeitszeit extremen Schwankungen unterliegt und besonders in Stoßzeiten die zur Verfügung stehende Regenerationszeit nicht ausreicht. Überdies wird nur ein Teil der Arbeitszeit, i.d.R. die Unterrichtstätigkeit erfasst, jedoch nicht oder nur teilweise Tätigkeiten, die damit im Zusammenhang stehen. Die Grenzen zwischen Arbeits- und Freizeit verschwimmen zunehmend. Die Lage der Arbeitszeit erschwert eine Vereinbarkeit von Familien- und Berufsleben überdies. Zunehmende Digitalisierung im Musikschulbereich führen zu Arbeitsverdichtung, Beschleunigung, hohem Erwartungs- und Flexibilitätsdruck, Aktualitätszwang sowie einer beständig wachsenden Fülle an zu verarbeitenden Informationen. Zusätzlich findet eine weitere Entgrenzung der Arbeitszeit statt. Aufgrund schwieriger Rahmenbedingungen wird die Tätigkeit in Kooperationen mit Schulen und Kindertagesstätten als besonders belastend erlebt, zumal eine Ausweitung in Anbetracht des gesetzliches Anspruchs auf Ganztagesbetreuung ab 2026 zu erwarten ist. An keiner der Musikschulen, an der die Befragten arbeiten, wurde eine Gefährdungsbeurteilung zur psychischen Belastung erstellt. Unterweisungen dazu fanden ebenfalls nicht statt. In 23 leitfadenbasierten Experteninterviews habe ich zum einen die jeweiligen psychischen Belastungen in den verschiedenen Merkmalsbereichen nach GDA-Checkliste“ sowie zusätzliche Belastungen ermittelt, die bisher noch keine Berücksichtigung finden. Zum anderen wurde erforscht, wie Fragestellungen formuliert sein müssen, um das Tätigkeitsfeld von Musikschullehrkräften umfassend abzubilden und vom Großteil der Zielgruppe beantwortet werden zu können. Die Auswertung der Interviews erfolgte nach der Methode der qualitativen Inhaltsanalyse von Experteninterviews nach Gläser und Laudel. Im Ergebnis meiner Vorstudie habe ich Fragebogenitems für die einzelnen Merkmalsbereiche konstruiert, die in jeweils adaptierter Form für Musikschulen bei der Erstellung einer passgenauen Gefährdungsbeurteilung hilfreich sein können. Die Aufgabe der einzelnen Institutionen besteht nun darin, im Anschluss Maßnahmen gezielter betrieblicher Gesundheitsförderung abzuleiten und dabei besonders interne und externe Ressourcen in den Blick zu nehmen.

Syftet med föreliggande arbete är att undersöka hur stråklärare designar användningen av musikteoretiska moment i enskild stråkundervisning. För att undersöka detta har ett antal lektioner med lärare i stråk videoinspelats som datainsamlingsmetod. Dessa videoinspelningar har sedan analyserats med en socialsemiotisk utgångspunkt och med hjälp av multimodal analysmetod. Studien har en kvalitativ forskningsansats med socialkonstruktionistisk ontologisk och epistemologisk utgångspunkt. I resultatet framkommer lärares multimodalitet i undervisningen, stråklärare designade användningen av musikteoretiska moment genom att integrera olika semiotiska resurser för att tillämpa musikteori. I resultatet lyfts även lärares representationer av olika musikteoretiska moment samt vilka semiotiska resurser lärarna använder och vilken funktion de fyller i samspel med elever. Dessa resurser inkluderade visuell representation av noter, muntlig kommunikation och kroppslig gestaltning av musikaliska begrepp. Resultatet diskuteras i relation till tidigare nämnd litteratur om musikteori och musikundervisning, i resultatet beskrivs också vilka möjligheter eller begränsningar som kan finnas i lärarnas representationer av olika musikteoretiska moment samt meningserbjudande. Genom att betrakta musikteorin ur ett socialsemiotiskt perspektiv kan stråklärare bli medvetna om hur de designar musikteoretiska moment med eleverna och anpassa sin undervisning för att främja en djupare förståelse av stråkinstrumentet och musikens språk. / The purpose of this study is to investigate how string teachers design the use of music theoretical moments in individual string education. To examine this, several lessons with string teachers were video recorded as data collection method. The video recordings were then analysed using a social semiotic approach and the multi-modal analysis method. The study adopts a qualitative research approach with a social constructionist ontological and epistemological perspective. The results show the teachers' multimodality in their teaching, as string teachers designed the use of music theory concepts by integrating different semiotic resources to apply music theory. The result also highlights teachers' representations of various music theoretical moments and the semiotic resources they use as well as the function these resources serve in interaction with students. These resources included visual representation of notation, verbal communication, and bodily embodiment of musical concepts. The results are discussed in relation to previously mentioned literature on music theory and music education. The findings also describe the possibilities or limitations that may exist in teachers' representations of various music theory concepts and their offering of meanings. By considering music theory from a social semiotic