The diploma thesis deals with the topic of using musical teaching aids in the study of piano playing at music schools up to the 5th year of study. First, it presents individual areas of children's psychological and psychomotor development, in which the author demonstrates the link between children's development and the positive effects of the use of musical teaching aids in teaching. The subsequent focus of the work is an introduction of and a proposal for the use of specific musical didactic aids for the study of piano playing, i.e. in the subjects Piano and Music Theory, in the framework of education at music schools. Attention is paid to individual aspects influencing the functionality of these aids. The results of a questionnaire created and sent to piano teachers are also presented, on the basis of which, among other things, a selection of the described musical didactic aids is based. The thesis was created with the intention of acquainting beginning teachers with a wide range of musical teaching aids. It can help with better orientation in the available materials for pedagogical practice and with a more effective conception of teaching. Keywords Musical didactic aids, piano lessons, music theory, pedagogy

This present study is a qualitative observative study. The aim with the study was to iden-tify the potential or possibility applying musical activities in preschool through a music didactic perspective. The collection of the empirical research took place at the time for the meal in the preschool. The most important observations were the meetings between children and background music. The main thesis of this study was that background music at preschool’s pedagogic meals can contribute to make teachers notice what, when and where musical education could be applied for either a prepared or spontaneous educa-tional situation. To test the thesis, the meeting between children in preschool and back-ground music through a musical didactic perspective was observed. The main concepts used in the study were as follows: didactic, musical didactic, pedagogic meals and back-ground music. The observations showed that in the meeting of background music not only did the children interact with each other, but also shows interaction with the music as well. The children showed interaction by moving their bodies, both in the same rhythm and not in the same rhythm as the background music. There was an example of a child who moved along with the music and then paused to eat the food. To conclude adding background music to the pedagogic meals within the preschool environment could help preschool teachers exploring the possibilities combining pedagogic meals together with pedagogic musical activities. Hopefully, this study could start discussions about children, background music and esthetic education.

Cette recherche vise la compréhension des processus d’enseignement-apprentissage de la clarinette en groupe restreint, dans une perspective évolutive des situations individuelles légitimées à travers l’histoire de la pédagogie instrumentale en France. Le travail en groupe viendrait enrichir les modalités d’apprentissage développées dans les situations individuelles et changerait la place de l’élève dans la construction des différents savoirs (techniques, cognitifs, esthétiques, expressifs, déclaratifs, etc.) imbriqués dans le savoir instrumental. Dans un cadre où la relation asymétrique enseignant-élève place souvent l’enseignant en seul détenteur du savoir, le groupe apparait comme une possibilité méthodologique d’équilibration des contrats didactiques. C’est à travers le développement d’activités de collaboration et la résolution des conflits sociocognitifs, créés dans une grande variété d’interactions, que le groupe permet une co-construction des savoirs musicaux. Les analyses des situations d’enseignement-apprentissage individuelles et en groupe, sont fondées sur des pratiques enseignantes instrumentales réelles et étayées d’une théorisation des travaux socioconstructivistes dans le cadre scolaire. Cette démarche s’inscrit dans un lien étroit entre la pratique et la recherche, qui semble fondamental dans l’évolution de la pédagogie et de la didactique instrumentale. / The purpose of this research is to better understand the impact of teaching/learning clarinet-playing in small groups in the perspective of individual progress situations validated by the history of instrument pedagogy in French “conservatoires”. It would seem however that group work would better serve the development of learning modes as it expands the learning processes involved in the traditional one-to-one approach. Group work would change the learner’s position as he/she acquires the various (technical, cognitive, esthetic, expressive, declarative, etc.), skills involved in playing a musical instrument. In a context in which the asymmetrical teacher/student relationship often sets the teacher as the sole expert, the group appears as a pedagogical means to establish some balance and better define each person’s role. An array of activities requiring all forms of interaction will encourage collaboration and develop an aptitude to resolve socio-cognitive conflicts, the group thus becomes the place where musical skills are mutually acquired and structured. This analysis is based on authentic teaching of musical instruments and is supported by the analysis of socio-constructivist work carried out in schools. This study therefore combines both the theoretical field of research and the practical experience of teaching, which is fundamental when dealing with the evolution of both pedagogy and the teaching of musical instruments.