Depuis 2001, le Programme de formation de l’école québécoise impose l’enseignement de la compétence « apprécier » dans les quatre disciplines artistiques. Ce mémoire s’intéresse à l’influence que peuvent avoir des activités intégrant les arts plastiques à la musique sur l’expérience d’appréciation musicale d’élèves de sixième année du primaire. Plus spécifiquement, elle vise à rendre compte des différentes dimensions présentes dans la description que font les élèves de leur expérience d’appréciation ainsi qu’à comprendre de quelle façon les activités d’appréciation intégrant les arts plastiques à la musique affectent la verbalisation que font les élèves de cette expérience. La recherche prend la forme d’études de cas réalisées auprès de cinq élèves de sixième année du primaire. Ces élèves, ainsi que tous les élèves de leur classe, ont participé à une activité d’appréciation musicale intradisciplinaire ainsi qu’à deux activités d’appréciation interdisciplinaires. Après chacune des activités, ces cinq élèves ont été rencontrés individuellement. Au cours d’entrevues semi-dirigées, il leur était demandé de rendre compte de leur expérience d’appréciation. Quatre grandes tendances ont émergé de l’analyse des propos des élèves, soit le sentiment de mieux s’approprier l’œuvre entendue, une verbalisation plus précise des éléments perçus, une verbalisation plus précise des sentiments ressentis et enfin, une forme de distraction par rapport à l’œuvre entendue. Au terme de cette étude, il semble que l’utilisation d’activité d’appréciation intégrant les arts plastiques à la musique, sans faire l’objet d’un usage systématique, pourrait constituer une forme de différenciation pédagogique qui serait utile à certains types d’apprenants. / Since 2001, the Quebec school program states that an « appreciation » competency has to be taught within all four artistic school disciplines. This study describes the influence of activities integrating visual arts and music on the appreciation experience of 6th grade students. More specifically, this study aims to relate the different dimensions that can be found in the students’ verbal account of their appreciation experience and to show how the interdisciplinary activities affect their verbalization of these dimensions. Five case studies conducted with 6th grade elementary school students are presented. These five students, along with the other students in their class, have participated in one intradisciplinary activity and two interdisciplinary activities integrating visual arts and music. Following each activity, the students were met for semi-structured interviews in which they were asked to share their appreciation experience. Four tendencies have emerged from qualitative data analysis: a more insightful listening, a more accurate description of perceptual elements, a more accurate description of the student’s feelings and finally a form of distraction from the music. It appears that appreciation activities which integrate visual arts and music could be, if not a systematic approach, a way to differentiate teaching in a way that could be helpful to some types of learners.

This ethnographic study describes the teaching and learning experiences of private music teachers, students, and students’ parents among the Taiwanese Canadian community in Greater Vancouver, British Columbia, Canada. The following elements are examined in this study: the context of private music lessons of Taiwanese Canadians; the private music teaching and learning experience of Taiwanese Canadians; the cultural beliefs underpinning Taiwanese Canadian private music lessons; and the valuing of private music lessons by Taiwanese Canadians. Five Taiwanese Canadian private music teachers and five of their students and the students’ parents living in Greater Vancouver, British Columbia participated in this research. Data were collected through formal and informal interviews and observations of video-recorded lesson. The findings indicate that the context of Taiwanese Canadian private music lessons is similar to that of the Western private music lessons, a consequence of the emphasis on the talented and Western teaching styles in private and school music education in Taiwan. Cultural values nevertheless have a strong but unacknowledged influence in the private music lessons of Taiwanese Canadians. The Confucian value of obedience to authority and a desire for Western independence are the two seemingly conflicting values that surfaced in the study. Taiwanese Canadians private music teachers teach to remove students’ doubts about music. The students, on the other hand, learn to put the skills and knowledge they have acquired during their private music lessons into practice. In addition, parents were involved in the private music lessons through various interactions associated with “pei.” Engaging their children in private music teaching and learning represents a status symbol for Taiwanese Canadians. Lastly, teaching privately is often a fall back job which provides financial security for private music teachers.

This thesis was carried out following the research line Education and Arts of the Postgraduate Education Program at the Federal University of Santa Maria (UFSM), Brazil, and it is one of the works originated in the research group FAPEM (Qualification, Action and Research in Musical Education), registered at the Brazilian research support agency CNPq. This work aims at investigating music teaching development in the supervised pre-service teacher training of the Music Course Licentiate s degree at UFSM, from the point of view of a group of six trainees. In order to do so, we sought to understand the trainees conception of training and its relation to primary and secondary education. Besides taking into account the laws related to the theme, our theoretical references included authors from the fields of Education (such as ALARCÃO; TAVARES, 1987; GARCIA, 1999; PIMENTA; LIMA, 2004) and Musical Education (such as MATEIRO, 2002a, 2002b; MATTANA, 2005; BEINEKE; BELLOCHIO, 2007) whose research works focus on teachers professional development and supervised pre-service teacher training. The adopted methodological approach was qualitative, including semi-structured interviews, memory stimulus interviews and video recordings of the trainees classes. Criteria for selecting participants were the trainees interest and availability as well as the researcher s availability for going to the schools at the time the trainees were teaching in order to film them. Data were analyzed following their organization into two categories: (1) conceptions of training, including the supervisor s role, and (2) teaching practice at school, considering that the training was carried out in pairs, its relation to primary and secondary education and the trainees experiences. Based on our interpretation and dialogue with the references concerning teaching development in supervised pre-service teacher training, it was possible to reach some conclusions about music teachers professional development. Thus, we believe this research may contribute relevant data to the teaching profession. We pointed out the sharing of actions by the trainees and their supervisor s mediation, as well as problems and considerations regarding teaching development during training and its relation to music teachers professional development. / Esta dissertação foi desenvolvida na Linha de Pesquisa Educação e Artes, do Programa de Pós-Graduação em Educação da Universidade Federal de Santa Maria e está vinculada ao grupo CNPq/Fapem: Formação, Ação e Pesquisa em Educação Musical. O objetivo da pesquisa foi investigar a construção da docência em Música no estágio supervisionado do Curso de Música Licenciatura Plena da UFSM, a partir do ponto de vista de um grupo de seis estagiários. Para tanto procurou-se conhecer as concepções dos estagiários sobre o estágio supervisionado e entender sua relação com o ensino na Educação Básica. Além de considerar a legislação vigente sobre os temas, os referenciais teóricos estudados incluem autores dos campos da Educação (como ALARCÃO; TAVARES, 1987; GARCIA, 1999; PIMENTA; LIMA, 2004) e da Educação Musical (como MATEIRO, 2002a, 2002b; MATTANA, 2005; BEINEKE; BELLOCHIO, 2007), cujas pesquisas focalizam a formação inicial de professores e o estágio supervisionado. A abordagem metodológica adotada foi a qualitativa, com a realização de entrevistas semi-estruturadas e de estimulação de memória e gravações em vídeo de aulas dos estagiários. A seleção dos participantes ocorreu pelo critério de interesse e disponibilidade em participar da pesquisa e também pela possibilidade de a pesquisadora ir à escola de Educação Básica nos horários das aulas desses estagiários para realizar as filmagens. A análise dos dados foi realizada a partir da organização de duas categorias: (1) concepções de estágio, incluindo a função desempenhada pela orientação, e (2) a atividade docente na escola, destacando a realização do estágio em duplas e a relação com o ensino na Educação Básica com foco nas experiências dos estagiários. A partir da interpretação e diálogo com os referenciais sobre a construção da docência no estágio supervisionado foi possível tecer considerações sobre o processo formativo de professores de Música. Nesse viés, acredita-se que esta pesquisa possa contribuir com dados relevantes sobre o estágio na construção da docência, ressaltando-se o compartilhamento das ações dos estagiários e a mediação da orientação. Enfatizam-se também problematizações e reflexões sobre a construção da docência durante o estágio e sua relação com a formação de professores de Música.

Made available in DSpace on 2016-06-02T19:35:57Z (GMT). No. of bitstreams: 1 6159.pdf: 2638937 bytes, checksum: 063113e503be4de10d584b6cc327cc4b (MD5) Previous issue date: 2014-02-27 / This dissertation aims at investigating educational indicators of professional development in teaching through the participation of novice and experienced music teachers in the late years of elementary school in a continuing education distance program. The study is based on the notions of educational indicators and educational indicators of professional development in teaching proposed by Reali (2009) and Reali et al. (2004), in Shulman s theory on teachers professional knowledge base and the pedagogical reasoning process (1986; 1987; 2005) as well as on teachers professional experience based on Tardif (2012). In this qualitative study, the constructive-collaborative method of intervention-research was used, in which the teachers narratives concerning their education and professional practice were considered. Music teachers continuing distance education was developed from April to December 2011 on the UFSCar Teachers Portal. Tools of software packages Moodle and Skype were used for data collection in the study. After completing the program, thirteen (13) music teachers in the late years of elementary school were selected and constituted the study sample. In its results, the investigation found eleven (11) educational indicators of professional development in music teaching. As regards novice teachers, it was observed that they tend to not master all the necessary knowledge for teaching; show greater difficulties in planning activities and defining contents to be taught; tend to master and use some technologies applied to musical reproduction and practice in music teaching. Concerning the experienced teachers, it was observed that, in atypical situations of professional practice, they show difficulties in mastering music content, in choosing contents to be taught and in planning lessons; are concerned about getting to know students and their involvement with music better; seek for information on songs of students interest, even if their treatment does not exclusively take place in class; show to be more secure in defining the music contents to be taught; are concerned about students broader development and not only about their learning music content; show to have greater access to and greater knowledge of music teaching materials; tend to show tranquility when coping with situations that arise unexpectedly; and are constantly learning. / Esta tese objetiva investigar indicadores educacionais de desenvolvimento profissional da docência por meio da participação de professores de Música, iniciantes e experientes, dos anos finais do Ensino Fundamental em um curso de formação continuada a distância. A pesquisa se fundamenta nas noções de indicadores educacionais e indicadores educacionais de desenvolvimento profissional da docência propostas por Reali (2009) e Reali et al. (2004), na teoria sobre a base de conhecimento para o ensino e do processo de raciocínio pedagógico de Shulman (1986; 1987; 2005), e, ainda, no tempo de experiência profissional docente com base em Tardif (2012). Nesta pesquisa qualitativa, o método construtivo-colaborativo de pesquisa-intervenção foi empregado, no qual as narrativas de formação e atuação profissional dos docentes foram consideradas. A formação continuada à distância de professores de Música foi desenvolvida de abril a dezembro de 2011 junto ao Portal dos Professores da UFSCar. Para a coleta dos dados da pesquisa foram utilizadas as ferramentas dos softwares Moodle e do skype. Após a realização do curso, treze (13) professores de Música dos anos finais do Ensino Fundamental foram selecionados e constituíram a amostra da pesquisa. Em seus resultados, a investigação constatou onze (11) indicadores educacionais de desenvolvimento profissional da docência em Música. Com relação aos professores iniciantes a pesquisa verificou que esses: tendem a não dominar todos os conhecimentos necessários ao ensino; apresentam maiores dificuldades no planejamento das atividades e na definição dos conteúdos a serem ensinados; tendem a dominar e empregar algumas tecnologias aplicadas à reprodução e ao fazer musical no ensino de Música. Quanto aos professores experientes, a investigação averiguou que: em situações atípicas de atuação profissional, apresentam dificuldades no domínio de conteúdos da Música, na escolha de conteúdos a serem ensinados e no planejamento das atividades das aulas; preocupam-se em conhecer mais os alunos e seus envolvimentos com a música; procuram por informações sobre as músicas de interesse dos alunos, mesmo que o tratamento das mesmas não aconteça com exclusividade nas aulas; demonstram maior segurança na definição dos conteúdos de Música a serem ensinados; preocupam-se com o desenvolvimento mais amplo dos alunos e não apenas com as aprendizagens dos conteúdos de Música; demonstram possuir maior acesso e conhecimentos dos materiais didáticos da Música; tendem a apresentar maior tranquilidade no enfrentamento de situações que surgem inesperadamente; e, estão sempre aprendendo.

Made available in DSpace on 2016-12-08T17:06:49Z (GMT). No. of bitstreams: 1 DissertacaoVanilda.pdf: 1366118 bytes, checksum: 35d8e5389410d247a7cbbdb2fc8e568e (MD5) Previous issue date: 2009-03-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research studies the musical-pedagogical practice of a music teacher that has been teaching in two public schools in Florianópolis (SC, Brazil) for ten years. The theoretical references used in this study were Perrenoud, Tardiff and Gauthier, whose studies deal with teaching knowledge and skills. The main object of this work is to study the factors that constitute the musical-pedagogical practice of this teacher. This study also aims at: understanding how the conceptions and actions of this teacher were constructed throughout her experience and how they contribute to her classes; understanding part of the reality of music teaching in this context; studying what the students and other members of the pedagogical staff think about the work developed; and recognizing the teaching knowledge and skills demonstrated in this practice. The methodology used was case studies with a qualitative approach. Collection of data was made through observations, semistructured interviews and a questionnaire. The results point to the plurality of elements that compose the musical-pedagogical practice of this teacher, in regarding her formation and experience. The final considerations highlight the importance of knowing and sharing the musical-pedagogical practice of music teachers, which could contribute to broadening the reflection of music educators and of music students about the musical-pedagogical practice. Further research is suggested in order to enable a deeper study about musical-pedagogical practice and also about teaching knowledge and skills / Esta pesquisa estuda a prática pedagógico-musical de uma professora de música atuante há dez anos em duas escolas públicas da rede municipal de ensino de Florianópolis. O referencial teórico deste trabalho é Perrenoud, Tardif e Gauthier, que tratam dos estudos sobre saberes e competências docentes. O objetivo principal desta pesquisa é investigar o que constitui a prática pedagógico-musical da professora estudada. Outros objetivos são: compreender como as concepções e ações da professora foram construídas ao longo de sua trajetória e como contribuem para a educação musical que realiza; compreender parte da realidade do ensino de música curricular daquele contexto; investigar o que os alunos e a equipe pedagógica escolar pensam sobre o ensino de música realizado; e reconhecer os saberes e competências docentes manifestados nessa prática. A metodologia utilizada foi o estudo de caso com abordagem qualitativa. A coleta de dados foi feita através de observações, entrevistas semi-estruturadas e um questionário. Os resultados apontam para a pluralidade de elementos que compõem a prática pedagógico-musical da professora de música estudada, em sua formação e sua experiência. As considerações finais destacam a importância de serem conhecidas e divulgadas as práticas pedagógico-musicais de professores de música, o que poderia contribuir para ampliar a reflexão dos educadores musicais e estudantes de licenciatura em música sobre as práticas pedagógico-musicais. Outras pesquisas são sugeridas de forma que seja aprofundado o estudo sobre práticas pedagógico-musicais e também sobre os saberes e competências docentes

Made available in DSpace on 2016-12-08T17:06:52Z (GMT). No. of bitstreams: 1 Josiane.pdf: 732153 bytes, checksum: 6b79cebc35f7363f0fbafc307b5ba4b4 (MD5) Previous issue date: 2010-12-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research studies the musical education and action of two music teachers in municipal teaching system in Vera Cruz do Oeste Paraná, Brasil. The theoretical framework of the study is based on Tardif and researchers in musical education field who deal with the teaching knowledge of generalist teachers and music teachers. The main purpose of the study is to understand the action of the generalist teachers who teach music in primary school. Specifically, the study attempts to understand where they are being graduated and find out about music, that purposes they believe the music must take on at school, what are the necessities while teachers of this subject and how are these classes in the primary school. The specific purposes were: understanding the conception of the Education General Office and of the education coordinator of each school about it in the school curriculum; investigating the initial and continuous education of these teachers. The methodology adopted a multi-cases study with qualitative approach. A semi-structured interview and structured observation was used for data collection. The results showed the complexity in the construction and mobilization of educational and musical acquirements during the action of generalists teachers. The final considerations emphasize the necessity of investment in courses of continuous musical education for generalist teachers being able to develop meaningful musical activities in musical classes in the Primary School and to emphasize the importance to understand the action of generalists teachers as specialist part. Others research are suggested to deepen the study about generalists teachers and alternatives to establish music as curricular subject in the Primary School / Esta pesquisa estuda a atuação e a formação musical de duas professoras de música do sistema municipal de ensino de Vera Cruz do Oeste/PR. O referencial teórico deste estudo é Tardif e pesquisadores da área de Educação Musical que tratam dos saberes docentes de professores, professores generalistas e de professores de música. O objetivo principal desta pesquisa é entender a atuação de professoras generalistas que ministram a disciplina específica de música nos anos iniciais do Ensino Fundamental, tentando compreender onde buscam formar-se ou informar sobre música, que objetivos acreditam que a música deve assumir na escola, quais são suas necessidades enquanto professoras desta disciplina específica e como se configuram as aulas de música nos anos iniciais no contexto pesquisado. Os objetivos específicos foram: compreender as concepções da Secretaria de Educação e dos coordenadores pedagógicos de cada escola sobre a música no currículo escolar dos anos iniciais; investigar a formação inicial e continuada das professoras que ministram a disciplina de música. A metodologia utilizada foi o estudo multicasos com abordagem qualitativa. A coleta de dados foi feita através de entrevistas semi-estruturadas e observações estruturadas não-participantes. Os resultados apontam para a complexidade na construção e mobilização dos conhecimentos pedagógicos e musicais durante a atuação das professoras generalistas. As considerações finais enfatizam a necessidade de investir em cursos de formação musical para professores generalistas a fim de que possam desenvolver propostas significativas de aulas de música nos anos iniciais do Ensino Fundamental e destacam a importância de compreender a atuação de professores generalistas no papel de especialistas. Além disso, a implantação das aulas de música no currículo escolar dos anos iniciais do município de Vera Cruz do Oeste se constitui como um exemplo positivo para outras localidades. Outras pesquisas são sugeridas para aprofundamento do estudo sobre a atuação de professoras generalistas e sobre alternativas para implantar a música como disciplina curricular nos anos iniciais do Ensino Fundamental

Made available in DSpace on 2016-12-08T17:06:53Z (GMT). No. of bitstreams: 1 maira.pdf: 1402315 bytes, checksum: eb2f3c1265322b4f23da3bb5929c9bd4 (MD5) Previous issue date: 2011-05-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research focuses on the musicalization processes performed at the wind bands of mid-west Santa Catarina. In order to help elucidating such processes, it was necessary to set a context for the object of study, bringing data referring to the history of these groups, repertoire, performances, new members admission criteria and institutional bond. The research presents data concerning the conductors and other related professionals involved in the process of musicalization and also the profile of the wind band members. The theoretical reference that guided this study is based on the concept of musicalization developed by Penna (1990) and on Pierre Bourdieu‟s concept of habitus (1994, 2001, 2005, 2007). The survey method associated with the qualitative approach describes the methodology used in this study. The data collection was carried out through semi-structured interviews with the main conductors of the alluded bands. The data analysis demonstrated that these wind bands share certain characteristics with each other and with other Brazilian bands. Similarities among the bands were found in relation to the events where the groups perform, the criteria used to select and accept students to musical education, the musical education and background of the conductors and the criteria adopted by the conductors regarding the repertoire selection. The processes of musicalization developed at the participant groups of this study also present similarities, pointing towards music initiation through theoretical study, showing emphasis on the comprehension of musical codes and on the performance of musical instruments. The final considerations present reflections concerning the methods of research, the collected data; stress the importance of the musical education of the conductors when conducting and teaching music to the wind bands and also presenting suggestions for future studies / Esta pesquisa investiga os processos de musicalização realizados nas bandas de música do meio oeste catarinense. Para auxiliar na compreensão dos processos de musicalização desenvolvidos, considerou-se necessário contextualizar o objeto de estudo, trazendo informações referentes à história desses grupos, repertório, apresentações, critérios de admissão de novos integrantes e vínculo institucional. A pesquisa apresenta dados referentes aos maestros e outros profissionais que estão envolvidos no processo de musicalização e também características dos integrantes das bandas. O referencial teórico que norteou o trabalho está baseado no conceito de musicalização desenvolvido por Penna (1990) e no conceito de habitus de Pierre Bourdieu (1994, 2001, 2005, 2007). A metodologia utilizada foi o survey aliado à abordagem qualitativa. A coleta de dados foi realizada através de entrevistas semiestruturadas com os maestros titulares das bandas investigadas. A análise dos dados demonstra que as bandas investigadas apresentam características semelhantes entre si e também com outras bandas existentes no Brasil. Semelhanças entre as bandas foram encontradas em relação aos eventos onde os grupos se apresentam, aos critérios estipulados para o ingresso de alunos no aprendizado musical, à formação musical dos maestros e aos critérios adotados pelos regentes para a escolha do repertório. Os processos de musicalização desenvolvidos nos grupos participantes deste estudo também apresentam similaridades, apontando para a iniciação musical através do estudo teórico, a ênfase na compreensão dos códigos musicais e na execução do instrumento. As considerações finais trazem reflexões acerca do processo de pesquisa, dos dados recolhidos, destacam a importância da formação musical dos maestros para atuarem na regência e no ensino de música nas bandas e também apresentam sugestões para pesquisas futuras

The thesis called "Extended musical teaching in primary school" addresses the ini­tial idea of the author, professor Ladislav Daniel, since itś creation till its development in the last 45 elapsed years of its continuation in the Czech Republic. Based on this method this experimental research has taken place. This research will focus specifically on The 2nd primary school in Jindřichův Hradec where extended musical teaching has been in progress. The purpose of this activity is to find out how this school has dealt with extended teaching (the reason for its foundation, difficult situations during teaching, where is the musical education leading) and if this way of educating is comparable to professor Danielś method.

An important and unending responsibility of the music teacher is the competent evaluation of available basic text-series. It seems obvious that before any text-series, or any single book, is adopted for use in the public school music classes, a process of assessing the available series or single volumes should precede the final decision and purchase. Since a thorough search in music education literature has failed to reveal any set of formal rules of analysis, the writer has thought it possible to use those general principles recommended by two authoritative sources, The Psychology of School Music Teaching by Mursell and Glenn, and Music in the Grade Schools by Gehrkens in collaboration with personal ideas obtained from professional study of music teaching and experience as a music teacher.

Föreliggande uppsats syftar till att undersöka vad fyra musiklärare på högstadiet har för musikalisk bakgrund och hur de använder sig av traditionell västerländsk notskrift i undervisningen. Tidigare forskning tar upp noters likhet med skriftspråk, noters roll i musikundervisning och identitet och förebilder i musik. Som teoretisk utgångspunkt har sociokulturellt perspektiv använts. Halvstrukturerade intervjuer genomfördes med fyra musiklärare i högstadiet och analyserades med tematisk analys. Resultaten visade att noter främst användes i undervisning i trumspel och melodispel på piano och mer sällan i undervisning i sång, gitarr och ackordspel på piano. Det framkom även att de musiklärare som hade en mer populärmusikalisk bakgrund tenderade att använda noter mindre i undervisningen än de med en klassisk bakgrund. Vidare diskuteras ur vilka perspektiv sambandet mellan musikalisk bakgrund och notanvändning kan förstås, praktiska aspekter av att undervisa med eller utan noter och hur musikundervisning speglar noters samhällsstatus. / This study aims to examine the musical background of four music teachers in lower secondary school and how they use traditional Western musical notation in their teaching. Previous research addresses the similarities of musical notation with written language, the role of musical notation in music teaching and identity and role models in music. Socio- cultural perspective has been used as a theoretical starting point. Semi-structured interviews were conducted with four music teachers in lower secondary school and analyzed using thematic analysis. The results showed that musical notation is mainly used in teaching drums and melody playing on piano but rarely when teaching singing, guitar and chord playing on piano. The study also showed that the music teachers who had a more pop musical background tended to use musical notation less in their teaching than those with a classical background. Furthermore, it is discussed from which perspectives the connection between musical background and the use of musical notation can be understood, practical aspects of teaching with or without musical notation and how music teaching reflects the social status of musical notation.