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ABSTRACT “MUSIC IS WAITING FOR YOU:” THE LIVED EXPERIENCE OF CHILDREN’S MUSICAL IDENTITY by L. Michelle Mercier-De Shon This phenomenological study of lived experience (Van Manen, 1990) explored the perspectives of four 4th grade children as they live in and live through music to formulate their musical identities. Framed within perspectives of symbolic interaction theory (Blumer, 1969), communities of practice (Wenger, 1998), and figured worlds (Holland, et al., 1998), data were collected using methods consistent with qualitative inquiry. These included: observations of quasi-formal music learning settings, in musical playgroups and during professional musicians’ presentations; close observations of children’s daily school lives; and planned discussion group interviews (O’Reilly, 2005). Findings emerged from the data via a bricolage of existentialist (Morrisette, 1999; Holyroyd, 2001) and interpretative phenomenological analyses (Smith, 2003). Children in my study explored and expressed their musical identities through self-directed engagement across multiple modalities of singing, listening, performing on instruments, and creating music. They engaged with these modalities in individualized and shared ways. Singing was situated, by context and in concert with social and gender comparisons. Listening, performing, and creating encompassed a trajectory from experimentation to intentionality, with continually embedded exploration and musical play. Findings indicated that children in middle childhood may actively shape their musical identities within a dynamic nexus of individualized and social continuums of music experience and learning. These continuums may be understood along three dimensions: development; components, i.e., music participation and learning; and processes. The developmental spectrum of children in middle childhood provides a fluid context for understanding musical identity, revealed not as a fixed entity, but through interweaving elements of their past, present, and future musical lives. Self-directed music participation and learning may shape musical identity and provide a context for its expression through both musical and social roles, as children enact musical behaviors through social interaction. Finally, children’s musical identity may be understood as a process, in which personal dialogue meets external discourses, as children continuously negotiate self-conceptions of musicality within and among their musical worlds. Findings indicate that music teachers may offer opportunities for exploration and musical play as a basis for concurrently nurturing the development of musical identities and fostering musical understanding.

ABSTRACT “MUSIC IS WAITING FOR YOU:” THE LIVED EXPERIENCE OF CHILDREN’S MUSICAL IDENTITY by L. Michelle Mercier-De Shon This phenomenological study of lived experience (Van Manen, 1990) explored the perspectives of four 4th grade children as they live in and live through music to formulate their musical identities. Framed within perspectives of symbolic interaction theory (Blumer, 1969), communities of practice (Wenger, 1998), and figured worlds (Holland, et al., 1998), data were collected using methods consistent with qualitative inquiry. These included: observations of quasi-formal music learning settings, in musical playgroups and during professional musicians’ presentations; close observations of children’s daily school lives; and planned discussion group interviews (O’Reilly, 2005). Findings emerged from the data via a bricolage of existentialist (Morrisette, 1999; Holyroyd, 2001) and interpretative phenomenological analyses (Smith, 2003). Children in my study explored and expressed their musical identities through self-directed engagement across multiple modalities of singing, listening, performing on instruments, and creating music. They engaged with these modalities in individualized and shared ways. Singing was situated, by context and in concert with social and gender comparisons. Listening, performing, and creating encompassed a trajectory from experimentation to intentionality, with continually embedded exploration and musical play. Findings indicated that children in middle childhood may actively shape their musical identities within a dynamic nexus of individualized and social continuums of music experience and learning. These continuums may be understood along three dimensions: development; components, i.e., music participation and learning; and processes. The developmental spectrum of children in middle childhood provides a fluid context for understanding musical identity, revealed not as a fixed entity, but through interweaving elements of their past, present, and future musical lives. Self-directed music participation and learning may shape musical identity and provide a context for its expression through both musical and social roles, as children enact musical behaviors through social interaction. Finally, children’s musical identity may be understood as a process, in which personal dialogue meets external discourses, as children continuously negotiate self-conceptions of musicality within and among their musical worlds. Findings indicate that music teachers may offer opportunities for exploration and musical play as a basis for concurrently nurturing the development of musical identities and fostering musical understanding.

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-07-19T16:07:07Z No. of bitstreams: 1 arquivototal.pdf: 3174752 bytes, checksum: 88f111405b72edbce525df7192bf1b41 (MD5) / Made available in DSpace on 2016-07-19T16:07:07Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3174752 bytes, checksum: 88f111405b72edbce525df7192bf1b41 (MD5) Previous issue date: 2016-03-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The Christian Congregation in Brazil is an Evangelical Pentecostal Church, founded in 1910, in São Paulo. Today it is present throughout Brazil and in other countries. There are several reasons why this church has a significant place in teaching and learning music, among which may be mentioned: a division of labor between men and women in the execution of hymns during services, the presence of a set curriculum for training musicians in the Church and the way in which the institution is committed to maintaining a music ministry. This study investigated the music education of the organists of the Christian Congregation in Brazil, using case study as a methodological approach. The interviews with the ten organists who participated in the survey were conducted according to the procedures of collection and analysis of data in comprehensive interviews (KAUFFMANN, 2013). Procedures of documentary research (SA-SILVA; ALMEIDA; GUINDANI, 2009) were also adopted to better understand the Constitution of the Christian Congregation and the teaching materials adopted in their music education. Based on Berger and Luckmann's (1983) ideas of daily life, of primary and secondary socialization, of institutionalization and of social role, this study had the general objective to understand the process of learning music of the organists of the Christian Congregation in Brazil in the city of Juazeiro do Norte, Ceará. The specific objectives were to become acquainted with the music education in the Christian Congregation in Brazil and the relationship it has with the music learning of the organists, as well as reflect on the social role of the organists in the Church and the influence this has on the music learning being studied. As a result of this study, it was noted that the music learning process of the organists can be described as familial, religious and institutional. Most of the organists interviewed start learning music at home; these musical experiences play a big part in their memories: their parents' demands regarding practice of the instrument and the times when the family would gather to play. The experience of learning music in the Church is interlaced with the religion professed by the organists, so that learning music is interpreted in terms of the Christian faith. Admission into the Church's music lessons through a vocational direction, the guidance of the instructors for a life "more dedicated to God" and coping with learning difficulties from the perspective of a "dependence on God" are examples of this learning method influenced by religion. In addition, the music learning of the organists is institutional in the sense of being directed by a "minimum program" stipulated by the Church, and the internalization of a social role that is well-defined by the group. These aspects of the organists' music education are interconnected and form a complex phenomenon, considering the social and subjective dynamics of this context. / A Congregação Cristã no Brasil é uma Igreja Evangélica Pentecostal, fundada em 1910, na cidade de São Paulo. Hoje ela está presente em todo Brasil e em outros países. Algumas razões fazem com que essa Igreja possua um significativo espaço de ensino e de aprendizagem de música, dentre as quais podem ser citadas: uma divisão de tarefas entre homens e mulheres na execução dos hinos durante os cultos, a presença de um currículo definido para formação dos músicos na Igreja e o modo como a instituição está comprometida na manutenção de um ministério de música. Nesse contexto, foi realizada uma pesquisa que investigou a aprendizagem de música das organistas da Congregação Cristã no Brasil, tendo o estudo de caso como abordagem metodológica. Foram utilizados procedimentos de coleta e de análise de dados da entrevista compreensiva (KAUFFMANN, 2013) nas entrevistas com as dez organistas participantes da pesquisa. Foram adotados também procedimentos da pesquisa documental (SÁ-SILVA; ALMEIDA; GUINDANI, 2009), para conhecer melhor o Estatuto da Congregação Cristã e os materiais didáticos por ela adotados no ensino de música. Com base nas ideias de cotidiano, socialização primária, socialização secundária, institucionalização e papel social, de Berger e Luckmann (1983), a pesquisa teve como objetivo geral compreender como se dá a aprendizagem de música das organistas da Congregação Cristã no Brasil na cidade de Juazeiro do Norte, Estado do Ceará. Os objetivos específicos foram conhecer o ensino de música na Congregação Cristã no Brasil e a relação que o mesmo tem com a aprendizagem de música das organistas, bem como refletir sobre o papel social exercido pelas organistas na Igreja e a influência desse papel sobre a aprendizagem de música em questão. Como resultados da investigação, notou-se que a aprendizagem de música das organistas pode ser descrita como familiar, religiosa e institucional. A maioria das organistas entrevistadas começa a aprender música em casa, fazendo parte da memória das organistas as experiências musicais vivenciadas nesse contexto, a cobrança dos pais no estudo do instrumento e as ocasiões em que a família se reunia para tocar. A aprendizagem de música na Igreja é vivenciada de modo entrelaçado com a religião que as organistas professam, de modo que o aprendizado de música é interpretado nos termos da fé cristã. O ingresso nas aulas de música da Igreja por uma direção vocacional, as orientações das instrutoras para uma vida “mais dedicada a Deus” e o enfrentamento das dificuldades de aprendizagem na perspectiva de uma “dependência de Deus” são exemplos dessa aprendizagem influenciada pela religião. Além disso, a aprendizagem de música das organistas é institucional no sentido de ser direcionada por um “programa mínimo” estipulado pela Igreja e na interiorização de um papel social bem definido pelo grupo. Esses aspectos da aprendizagem de música das organistas são encontrados interligados e formam um fenômeno complexo, considerando as dinâmicas sociais e subjetivas desse contexto.

Die theoretische Fundierung rhythmischer Kompetenz wird an den Kompetenzbegriff Weinerts (2001) sowie das Pyramidenmodell Janks (20135) angelehnt. Zur Messung rhythmischer Kompetenz wird ein kriteriumsorientierter Leistungstest entwickelt, der sechs Subtests enthält. Nach dem Zweigruppen-Pretest-Posttest-Forschungsdesign (Bortz & Döring, 20064) wird mit 82 Probanden in der Untersuchungs- sowie 67 Probanden in der Kontrollgruppe (Alter acht bis neun Jahre) aus insgesamt 12 Schulklassen in Klassenstufe 3 gearbeitet. Die Untersuchungsgruppe erhält ein Treatment über 20 Unterrichtswochen hinweg, welches in den regulären Musikunterricht integriert wird. Es enthält Elemente der Music Learning Theory Gordons (20128), des Konzeptes der natürlichen Differenzierung nach Krauthausen & Scherer (2010), der Hinzunahme einer ikonischen Ebene nach Bruner (1974) sowie des Arbeitens in Stamm- und Expertengruppen nach Bovet & Huwendiek (2008). Die Klassen der Kontrollgruppe erhalten regulären Musikunterricht. Der Entwicklungsstand rhythmischer Kompetenz wird zu Beginn sowie am Ende der Klassenstufe 3 gemessen. Die Leistungsunterschiede der beiden Gruppen im Nachtest dokumentieren in vier der sechs Subtests kleine, mittlere und große Effekte. Die Probanden der Untersuchungsgruppe erzielen beim Lesen von Rhythmen einen bedeutend höheren Anteil an korrekten Lösungen. Das Aufschreiben von Rhythmen erfolgt zu einem hohen Anteil im metrischen Typus.:1 Einleitung 1 2 Theorie und Fragestellungen 4 2.1 Zum Begriff rhythmische Kompetenz 4 2.2 Lern- und Lehrvoraussetzungen zum Erwerb rhythmischer Kompetenz 13 2.3 Didaktische Analyse des Lerngegenstandes Rhythmusnotation 29 2.4 Eignung vorgefundener Treatments 32 2.5 Tests zur Messung rhythmischer Kompetenz 33 2.6 Fragestellungen und Hypothesen 39 3 Material und Methoden 41 3.1 Forschungsdesign 41 3.2 Geplante Stichprobe 42 3.3 Das Treatment 42 3.4 Der Test 53 3.5 Testgütesicherung 68 3.6 Statistische Verfahren 77 4 Ergebnisse 78 4.1 Dokumentation der Stichprobe und des Untersuchungszeitraums 78 4.2 Ergebnisse im Vortest und Nachtest 84 4.3 Ergebnisse in den Subtests A bis F 86 4.4 Ergebnisse in der Gesamtpunktwertung des Testes 123 4.5 Ergebnisse aus der zweiten Erhebung 129 4.6 Ergebnisse in den zusätzlichen Subtests 130 4.7 Ergebnisse in Bezug auf das Testmodell 136 4.8 Ergebnisse zur Testgütesicherung 138 4.9 Ergebnisse in Bezug auf das Treatment 141 5 Diskussion und Schlussfolgerungen 144 5.1 Abweichungen vom Untersuchungsdesign 144 5.2 Diskussion der Testergebnisse 145 5.3 Beurteilung von Testentwicklung, Testmodell und Testgüte 158 5.4 Beurteilung der Treatmententwicklung 163 5.5 Schlussfolgerungen 166 6 Literaturverzeichnis 171 7 Anlagen 180 Anlage A Forschungsstand und Curricula 181 Anlage B Material und Methoden der Testgestaltung 191 Anlage C Testerhebung 201 Anlage D zur Treatmentgestaltung und - durchführung 210 Anlage E Vorgegebene und gespielte Rhythmen im Test 218 / The theoretical foundation of rhythmical competence draws on Weinert’s concept of competence (2001) as well as Jank’s pyramid model (20135). A criterion-oriented proficiency test containing six sub-tests is developed in order to measure rhythmical competence. Following the two-group pre-test-post-test research design (Bortz & Döring, 20064), the work is focused on 82 subjects in the test group and 67 subjects in the control group (age eight to nine years), taken from a total of 12 classes. The test group receives coaching over 20 teaching weeks which is integrated into the regular music lessons. This coaching consists of elements of Gordon’s music learning theory (20128), Krauthausen & Scherer’s concept of natural differentiation (2010), the addition of an iconic stage according to Bruner’s stages of representation (1974), as well as working in base groups and expert groups following the pedagogical guidelines of Bovet & Huwendiek (2008). The classes in the control group have the regular music lessons. The stage of development of rhythmical competence is measured both at the beginning and at the end of year 3. In four of the six sub-tests, small, medium and large effect sizes indicate the differences in proficiency between the two groups in the post-test. The subjects in the test group achieve a significantly higher proportion of correct answers in their reading of rhythms. A high proportion of rhythms are written in metrical type.:1 Einleitung 1 2 Theorie und Fragestellungen 4 2.1 Zum Begriff rhythmische Kompetenz 4 2.2 Lern- und Lehrvoraussetzungen zum Erwerb rhythmischer Kompetenz 13 2.3 Didaktische Analyse des Lerngegenstandes Rhythmusnotation 29 2.4 Eignung vorgefundener Treatments 32 2.5 Tests zur Messung rhythmischer Kompetenz 33 2.6 Fragestellungen und Hypothesen 39 3 Material und Methoden 41 3.1 Forschungsdesign 41 3.2 Geplante Stichprobe 42 3.3 Das Treatment 42 3.4 Der Test 53 3.5 Testgütesicherung 68 3.6 Statistische Verfahren 77 4 Ergebnisse 78 4.1 Dokumentation der Stichprobe und des Untersuchungszeitraums 78 4.2 Ergebnisse im Vortest und Nachtest 84 4.3 Ergebnisse in den Subtests A bis F 86 4.4 Ergebnisse in der Gesamtpunktwertung des Testes 123 4.5 Ergebnisse aus der zweiten Erhebung 129 4.6 Ergebnisse in den zusätzlichen Subtests 130 4.7 Ergebnisse in Bezug auf das Testmodell 136 4.8 Ergebnisse zur Testgütesicherung 138 4.9 Ergebnisse in Bezug auf das Treatment 141 5 Diskussion und Schlussfolgerungen 144 5.1 Abweichungen vom Untersuchungsdesign 144 5.2 Diskussion der Testergebnisse 145 5.3 Beurteilung von Testentwicklung, Testmodell und Testgüte 158 5.4 Beurteilung der Treatmententwicklung 163 5.5 Schlussfolgerungen 166 6 Literaturverzeichnis 171 7 Anlagen 180 Anlage A Forschungsstand und Curricula 181 Anlage B Material und Methoden der Testgestaltung 191 Anlage C Testerhebung 201 Anlage D zur Treatmentgestaltung und - durchführung 210 Anlage E Vorgegebene und gespielte Rhythmen im Test 218

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Beginning band directors appear to prioritize notation-based practices in their programs and rehearsals despite cognitive research indicating the necessity of audiation for musical comprehension and success. During rehearsals, directors oversee musical success and cognition suggesting the potentiality to improve upon traditional forms of teaching in order to prioritize audiation and encourage its systematic improvement. Using Edwin Gordon’s work on audiation and applications from cognitive research as my theoretical framework, I surveyed, observed, and interviewed beginning band directors regarding their prioritization of audiation during rehearsals. In this mixed methods study in which I used an explanatory sequential, multiple case study design, beginning band directors from select institutions and Gordon Institute of Music Learning certificate holders (N = 20) were asked to complete an online survey answering Likert-scaled and open-ended questions regarding rehearsal activities and students’ musical success. After survey completion, each volunteer director (n = 4) was observed twice, interviewed individually, and interviewed collectively in a focus group. Following the transcription of observations and interviews, open-ended survey responses, observations, and interviews were coded and major themes generated. Three implications for band directors and music educators included, first, valuing an unlimited pedagogy with a de-emphasis on decoding and repertoire and a reemphasis on ear playing and informal learning. Second, preparatory experiences are important for comprehensive success in beginning instrumental study. Third, a beginning band curriculum that is intentionally seeking to create comprehensive musicianship among beginners may be best achieved by balancing traditional pedagogy, Music Learning Theory, and informal music learning approaches. Future research might examine directors’ teaching inclusions and pedagogy over a more extensive period of time or as a single case study. Future research could also document audiation instruction from the student perspective.

Ausgangspunkt sind Video-Aufzeichnungen von drei Unterrichtsstunden im Fach Musik. Sie werden zunächst in einen musikdidaktischen Rahmen eingeordnet, der es erlaubt, eine Stunde primär der „Handlungsorientierung“ im Sinn der 1980er Jahre zuzuordnen, die zweite Stunde primär dem musikdidaktischen Modell eines „Aufbauenden Musikunterrichts“ und die dritte Stunde „offenen“ Unterrichtskonzeptionen. Der zweite Abschnitt fragt nach dem Verhältnis von Lernen und Lehren und mündet in die These, dass „natürliches“, informelles Lernen und das Lernen in der Institution Schule in einem unauflösbaren Spannungsverhältnis zueinander stehen. Diese These wird dann an einigen Teilaspekten der aufgezeichneten Schulstunden konkretisiert. Im abschließenden Abschnitt wird die These auf das Spannungsverhältnis zwischen den schulischen Leistungserwartungen und der individuellen Leistungsbereitschaft der Schüler bezogen. Der Beitrag mündet in einem Plädoyer für die Anerkennung und Förderung der grundlegenden Leistungsbereitschaft der Schüler sowie der Selbstwahrnehmung ihrer individuellen Leistungen und ihres individuellen Erfolgs im Sinn einer zunehmenden Leistungsbewusstheit. / The point of departure consists of video recordings of three music lessons. These are first of all localised within a music-didactic framework, allowing one lesson to be classified primarily along the lines of “action-oriented” processes in the 1980s sense of the term, the second to be classed primarily with the music-didactic model of “progressive music learning” and the third lesson with “open” teaching concepts. The second section is an enquiry into the relationship between teaching and learning, resulting in the thesis that there is an irresolvable tension between “natural” informal learning and learning within the school institution. In the following section this thesis is concretised along various partial aspects of the recorded lessons. The thesis is then applied in the final section to the tension between the school’s performance expectations and the pupils’ individual willingness to perform. The piece ends by arguing for the recognition and promotion of the pupils’ fundamental willingness to perform as well as of their self-awareness of their individual performance and individual success in the sense of an increasing awareness of performance.

Ausgangspunkt sind Video-Aufzeichnungen von drei Unterrichtsstunden im Fach Musik. Sie werden zunächst in einen musikdidaktischen Rahmen eingeordnet, der es erlaubt, eine Stunde primär der „Handlungsorientierung“ im Sinn der 1980er Jahre zuzuordnen, die zweite Stunde primär dem musikdidaktischen Modell eines „Aufbauenden Musikunterrichts“ und die dritte Stunde „offenen“ Unterrichtskonzeptionen. Der zweite Abschnitt fragt nach dem Verhältnis von Lernen und Lehren und mündet in die These, dass „natürliches“, informelles Lernen und das Lernen in der Institution Schule in einem unauflösbaren Spannungsverhältnis zueinander stehen. Diese These wird dann an einigen Teilaspekten der aufgezeichneten Schulstunden konkretisiert. Im abschließenden Abschnitt wird die These auf das Spannungsverhältnis zwischen den schulischen Leistungserwartungen und der individuellen Leistungsbereitschaft der Schüler bezogen. Der Beitrag mündet in einem Plädoyer für die Anerkennung und Förderung der grundlegenden Leistungsbereitschaft der Schüler sowie der Selbstwahrnehmung ihrer individuellen Leistungen und ihres individuellen Erfolgs im Sinn einer zunehmenden Leistungsbewusstheit. / The point of departure consists of video recordings of three music lessons. These are first of all localised within a music-didactic framework, allowing one lesson to be classified primarily along the lines of “action-oriented” processes in the 1980s sense of the term, the second to be classed primarily with the music-didactic model of “progressive music learning” and the third lesson with “open” teaching concepts. The second section is an enquiry into the relationship between teaching and learning, resulting in the thesis that there is an irresolvable tension between “natural” informal learning and learning within the school institution. In the following section this thesis is concretised along various partial aspects of the recorded lessons. The thesis is then applied in the final section to the tension between the school’s performance expectations and the pupils’ individual willingness to perform. The piece ends by arguing for the recognition and promotion of the pupils’ fundamental willingness to perform as well as of their self-awareness of their individual performance and individual success in the sense of an increasing awareness of performance.

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.