Thesis (M.S.)--University of Wisconsin--Madison, 1937. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [84-86])

The music teacher, who works at school, tries to implement the program of musical education and the content of the music textbook so that his students would advance the higher level of musical skills. If he wants to work successfully in the modern school, the music teacher has to select the material suitably according to the students’ skills and knowledge. The Master’s work analyzes how the content of the textbooks of musical training is implemented in the general schools of grade 8-10. The scientific- theoretical literature and methodology about musical education are studied in the Lithuanian secondary schools. The research was implemented, which analyzed how the content of the textbooks of grade 8-10 is implemented in Radviliškis secondary schools the first time and which is the students’ level of those grades. The data of this research has shown the position in the schools of the district.. This training experiment, which was done in Radviliškis Gražinos secondary school 8a class in 2004-2005, has shown that the content of the music textbook can be implemented by practicing the individual program of musical education and learning what students are able to do and to advance the students to the higher level of musical level.

Music education and pronunciation teaching within second language education would seem to be two entirely separate fields. Yet, there are undeniable links between learning to play an instrument, such as the violin, and learning to speak in a second language. This Report attempts to bridge the divide between both disciplines by highlighting the similarities between musical features and pronunciation features, and by applying principles for practicing music to pronunciation practice. It is hoped that this comparison will motivate second language learners to practice pronunciation and increase the quality of their home practice, which has been found to play an important role in determining the degree of students’ pronunciation improvement (Sardegna, 2011). This Report begins with a review of pronunciation teaching trends and how they have shaped pronunciation teaching today. It then provides an overview of three important pronunciation learning models, followed by a discussion of a principled approach to teaching pronunciation. This principled approach may help bridge the gap between theory and classroom practice. Then, grounded on evidence suggesting strong links between teaching pronunciation and teaching violin, the Report concludes with a rationale for applying the proposed principles to a musical teaching context and suggests adopting a musical approach to practice in order to effect change in students’ English pronunciation. / text

Orientador: Aci Taveira Meyer / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T15:38:16Z (GMT). No. of bitstreams: 1 Penteado_SilviaReginaBeraldo_M.pdf: 4795542 bytes, checksum: badb171d32c9f8c0966b3c8b6d4e8e98 (MD5) Previous issue date: 2007 / Resumo: O presente projeto teve como objetivo principal trabalhar a flauta doce como elemento musicalizador nas séries iniciais do ensino fundamental. Objetivou também elaborar repertório didático de flauta doce com partituras cifradas para orientação dos professores bem como outro direcionado para as crianças acompanharem as canções. A partir dos laboratórios e vivências nas aulas de música, sentiu-se a necessidade de criar um repertório próprio para esse fim. O repertório foi composto pela pesquisadora, contendo 68 canções favorecendo o aprendizado de uma forma variada e progressiva. A pesquisadora testou a eficiência dessa metodologia com as crianças das 28s. séries numa escola particular de Campinas onde atua há sete anos. Primeiramente pela palavra cantada, pelo ritmo e com a exploração dos ostinatos no próprio corpo. Nessa pesquisa apresenta também como foi o funcionamento dessas aulas, ou seja, como elas aconteceram. Procura mostrar o quanto as crianças se motivaram e a felicidade em tocar uma pequena melodia, mesmo quando envolvendo apenas uma nota musical. A flauta doce foi escolhida pela pesquisadora porque é um instrumento que tem uma vocaçãp natural para a musicalização. Seu som é suave e de fácil emissão, e a digitação segue uma lógica simples e natural proporcionando resultados rápidos e progressivos num curto período, além de ser um instrumento de 'baixo custo e acessível a grande parte da população. O objetivo do projeto é capacitar crianças a utilizar o instrumento e estimular o gosto pela música, desmistificando os tabus de que apenas os bem dotados conseguem tocar um instrumento. Adota também a concepção da cultura integral, colaborando na formação da criança, desenvolvendo a concentração, disciplina, desembaraço, autoconfiança, criatividade, sensibilidade, memória e raciocínio. Foi baseado nos educadores Carl Orff e Shinichi Suzuki ambos favoráveis ao ensino de música em conjunto / Abstract: The following project had as its major objective, working with the recorder as an element of musicalization in the first years of Elementary School. Nevertheless, it involved elaborating a repertoire for the recorder with music scores to guide teachers and also for the children to follow the music. By means of experiments during music classes, a necessity of creating a specific repertoire to attend them was identified. The repertoire was composed by the researcher, containing 68 songs encouraging learning in a varied and progressive way. The researcher tested the efficiency of this methodology with 2nd grade children in a private school in Campinas (SP), where she has worked for seven years. This was accomplished primarily through singing, clapping, rhythm and by exploring ostinatos on our body. This research also presents the functioning of the music classes and how they were conducted in arder to show how much the children were motivated and their happiness in playing a simple melody, even when it involved only one musical note. The recorder was chosen by the researcher because it is an instrument that presents a natural vocation towards musicalization. Its sound is smooth and of easy production, following logical patterns and naturally fast and progressive results in a short periof of time; besides this it is a low cost instrument and it is accessible to great part of the population. The objective was to capacitate children to use the instrument and to encourage enjoying music, demystifying the misconception that only talented people are able to play. The conception of integral culture is adopted, collaborating to the child's development, developing concentration, discipline, disembarrassment, self-confidence, creativity, sensibility, memory and reasoning. This methodology was based upon the ideas and theories of Carl Orff and Shinichi Suzuki, both in favor of musical teaching in groups / Mestrado / Mestre em Música

Esta pesquisa busca investigar o sujeito cantante, tecendo reflexões sobre o canto coral em uma abordagem psicanalítica. Para tanto, foram estudados alguns aspectos da música, da educação musical, do canto coral e da Psicanálise, relacionando as áreas e suas possíveis articulações. Após um breve levantamento conceitual e bibliográfico, foi escolhido o Coral Universidade de São Paulo (CoralUSP) para a pesquisa de campo, do qual, foram entrevistados cinco de seus regentes e três cantores. Essa pesquisa abriu reflexões sobre o canto coral por um viés psicanalítico, depois de acompanhar ensaios de dois dos doze grupos que constituem o CoralUSP e de abrir a discussão sobre a educação musical atual, mediante entrevista com uma educadora musical que atua pela via do canto coral. Os motivos que originaram o projeto desta dissertação remetem à promulgação da Lei Federal nº 11.769/08, que institui a obrigatoriedade do ensino de música nas escolas, embora não em caráter exclusivo. Essa nova legislação reacendeu algumas reflexões: por que a música é importante para a formação do sujeito? De que maneira ela pode ser trabalhada? Como o canto coral pode se articular às novas práticas? De que forma o canto se inscreve no sujeito? E, por fim, quem é o sujeito que canta? A discussão deste estudo é voltada tanto para coralistas ou ex-coralistas que compreendem a importância do canto coral em sua formação, mas que gostariam de se aprofundar nessa investigação sob um enfoque psicanalítico, quanto para educadores (formais, informais, polivalentes ou de formação musical específica), a fim de que percebam o impacto das influências musicais e, mais precisamente, corais no campo da educação e da constituição do sujeito. Pedagoga, coralista de longa data e atual professora de canto coral, motivada pela musicalização da escola e seus impactos, esta autora estabeleceu o compromisso com sua dissertação e com a pesquisa educacional, aceitando o desafio de uma leitura psicanalítica da educação musical por meio do canto coral. Em suma, o que se pretende com esse estudo é investigar as marcas deixadas pela voz, pelo canto coral, na formação do sujeito cantante, o que está menos ligado a métodos do que às paixões que movem o desejo e que constitui um novo semblante para o sujeito psicanalítico. / This research aims to investigate the singing subject, weaving thoughts on choral singing in a psychoanalytic approach. For this, some aspects of music, musical education, choral singing and psychoanalysis were studied by relating the areas and their possible connections. After a brief conceptual and bibliographical survey, the University of São Paulo Choir (CoralUSP) was chosen for the field research, from which five of its regents and three singers were interviewed. This research opened reflections on choral singing by a psychoanalytical view, after accompanying rehearsals from two of the twelve groups that constitute the CoralUSP and opening discussion about the current musical education, during an interview with a music educator who operates by means of choral singing. The reasons that led to the project of this dissertation refer to the enactment of Federal Law No. 11,769/08, establishing the compulsory teaching of music in schools, although not on an exclusive basis. This new legislation has rekindled some thoughts: why music is important to the formation of the subject? How can it be worked on? How the choir can be linked to new practices? How the song fits the subject? And finally, who is the subject who sings? The discussion of this study is turned for both choristers or former choristers who understand the importance of choral singing in their training, but would like to go deeper in this research under a psychoanalytic approach, as for educators (formal, informal, polyvalent or from specific musical training) in order to realize the impact of musical influences - and, more precisely, choral - in the field of education and formation of the subject. Pedagogue, longtime choir member and current teacher of choral singing, motivated by school musicalization and its impacts, this author established the commitment to her dissertation and to educational research, accepting the challenge of a psychoanalytic reading of musical education through choral singing. In short, the intention with this study is to investigate the \"marks\" left by voice, by choral singing, in the formation of the singing subject, which is less connected to methods than to passions that move the desire and which constitutes a new semblant to the psychoanalytic subject.

A partir do conceito de formação do romantismo alemão, este trabalho pretende discutir as relações da música com a formação do indivíduo, levando em consideração fenômenos sociais e técnicos, como a mediação pelos meios de comunicação e a situação da música dentro da sociedade. Quatro ensaios escritos de modo independente e constelatório, em forma de pequenos livros separados, porém interligados pelo tema central, analisam alguns momentos em que os dois elementos principais, música e formação, podem ser relacionados. O ensaio Formação procura entender o conceito de Bildung e como este pode ser relacionado com a música. Escuta e Educação musical discutem como esses dois fenômenos fazem a mediação entre a música e o indivíduo. Já Canção brasileira tenta articular como as configurações formais desse gênero podem contribuir com a formação mesmo que as origens e tradições de ambos sejam tão distantes. / Based on the German Romanticism concept of formation, this work intends to discuss the relations between music and formation of the individual, considering social and technical phenomena, as the mediation of media and the situation of music inside society. Four independent essays written in a constellatory mode, in form of small separated books, although interconnected by the central theme, analyze some moments when the two main elements, music and formation, may be connected. The essay Formation pursues to understand the concept of Bildung and how it may be related to music. Hearing and Musical education discuss how these two phenomena make the mediation between music and the individual. Brazilian song tries to articulate how the formal configurations of this genre may contribute to the formation even with different origins and traditions.

nÃo hà / Esta pesquisa busca construir uma leitura socioantropolÃgica acerca do choro na cidade de Fortaleza, realizando um trabalho de campo etnogrÃfico com os praticantes deste gÃnero musical, enfatizando a problematizaÃÃo dos modos como os mÃsicos aprendem, executam e repassam tÃcnicas, repertÃrios, recursos, informaÃÃes e, fundamentalmente, relaÃÃes sociais. Ou seja, as questÃes que orientam o esforÃo desta pesquisa giram em torno dos tipos, formas e processos de conhecimento sociocultural mobilizados pelo universo destes praticantes, desde as concepÃÃes simbÃlicas sobre o que seja o choro, como suas vertentes interpretativas, por vezes, divergentes do lugar que ocupa a tradiÃÃo do choro na mÃsica popular brasileira. Pretendo realizar esta pesquisa explorando as consequÃncias de me situar diante deste universo simbÃlico dos praticantes de choro como um antropÃlogo nativo, uma vez sendo mÃsico de formaÃÃo. Assim, a pesquisa etnogrÃfica se centrarà na observaÃÃo e interlocuÃÃo com meus pares, com o universo do qual tambÃm sou praticante. / This research seeks to build a socioanthropological reading about the choro in the city of Fortaleza, performing an ethnographic fieldwork with the practitioners of this musical genre, emphasizing the problematization of the ways in which musicians learn, execute and pass on techniques, repertoires, resources, Fundamentally, social relations. That is, the questions that guide the effort of this research revolve around the types, forms and processes of socio-cultural knowledge mobilized by the universe of these practitioners, from the symbolic conceptions on what is the cry, as their interpretative, sometimes divergent, aspects of the Place that occupies the tradition of choro in Brazilian popular music. I intend to carry out this research exploring the consequences of placing myself before this symbolic universe of the practitioners of choro as a native anthropologist, once being a musician of formation. Thus, ethnographic research will focus on observation and interlocution with my peers, with the universe of which I am also a practitioner.

A partir do conceito de formação do romantismo alemão, este trabalho pretende discutir as relações da música com a formação do indivíduo, levando em consideração fenômenos sociais e técnicos, como a mediação pelos meios de comunicação e a situação da música dentro da sociedade. Quatro ensaios escritos de modo independente e constelatório, em forma de pequenos livros separados, porém interligados pelo tema central, analisam alguns momentos em que os dois elementos principais, música e formação, podem ser relacionados. O ensaio Formação procura entender o conceito de Bildung e como este pode ser relacionado com a música. Escuta e Educação musical discutem como esses dois fenômenos fazem a mediação entre a música e o indivíduo. Já Canção brasileira tenta articular como as configurações formais desse gênero podem contribuir com a formação mesmo que as origens e tradições de ambos sejam tão distantes. / Based on the German Romanticism concept of formation, this work intends to discuss the relations between music and formation of the individual, considering social and technical phenomena, as the mediation of media and the situation of music inside society. Four independent essays written in a constellatory mode, in form of small separated books, although interconnected by the central theme, analyze some moments when the two main elements, music and formation, may be connected. The essay Formation pursues to understand the concept of Bildung and how it may be related to music. Hearing and Musical education discuss how these two phenomena make the mediation between music and the individual. Brazilian song tries to articulate how the formal configurations of this genre may contribute to the formation even with different origins and traditions.

The basis of nice singing is correct intonation. It is important to develop intonation in Primary School since musical abilities form until the age of ten. For the purpose of improving the intonation of Primary school children it is essential to organize the process of intonation education properly, to compose an effective system of tasks for intonation training which could contribute good vocal skills. The purpose of this research is to estimate training intonation peculiarities of children. The subject of research is the intonation education of 3rd grade school children. Research hypothesis is formulated that if in educating process the exercises for improving musical hearing (intervals), practicing singing a cappela, canons and exercises are prepared properly and used, the quality of Primary school children intonation can be improved. Tasks of research are raised: 1) according to philosophic, psycological, pedagogical, literary analysis to reveal intonation conception and importance of intonation in misic development system; 2)to find out the reason of bad children`s intonation and the right specification of intonation; 3) to distinguish the peculiarities of Primary school children intonation development; 4) to form the system of exercises improving intonation training. In this research theoretical (classified system of literature), empirical (single alternative experiment, analysis of quality and quantity of received data and mathematical methods (percentage... [to full text]

Nūdienos švietimo sistemoje vis labiau įsigali informacinės ir komunikacinės technologijos (toliau — IKT). Jų įdiegimas mokykloje yra svarbi pertvarkos dalis, nuo kurios sėkmės priklausys švietimo reformos sėkmė, krašto socialinė bei ūkinė pažanga. Tyrimo tikslas – ištirti informacinių ir komunikacinių technologijų taikymą mokant muzikos bei atskleisti jų vaidmenį teigiamos mokymosi motyvacijos formavimuisi. Tyrimo uždaviniai: 1. Išanalizuoti mokslinę bei metodinę literatūrą, nagrinėjamos temos aspektu. 2. Atskleisti mokinių požiūrį IKT naudojimą muzikos pamokose. 3. Atskleisti muzikos mokytojų požiūrį į IKT naudojimą muzikiniame ugdyme. 4. Pagrįsti, kad IKT naudojimas muzikos pamokose padeda formuoti teigiamą 7- 8 klasių mokinių požiūrį į muzikos mokymąsi. Tyrimo metodai: mokslinės metodinės literatūros analizė, Q tipo duomenų rinkimas (anketinė apklausa), lyginamoji analize, kokybinė ir statistinė duomenų analizė. Anketos parengtos dviem respondentų grupėms: 7 – 8 klasių mokiniams (300 mokinių) ir muzikos mokytojams (50 mokytojų). Respondentų nuomone IKT muzikiniame ugdyme yra nepakankamai dažnai naudojamos mokymo tikslams ir uždaviniams pasiekti. Populiariausia technologija lieka magnetofonas su CD/Mp3 grotuvu. Tyrimo metu paaiškėjo, kad techninių priemonių naudojimas pamokose skatina mokytis net 90% mokinių, 78% mokinių mano, jog IKT naudojimas muzikiniame ugdyme turi įtakos jų mokymosi rezultatams. Tad mokytojai turėtų kuo dažniau naudoti ne tik magnetofoną ar... [toliau žr. visą tekstą] / In today's education system are becoming increasingly information and communication technologies (hereinafter - ICT). Their introduction in school is very important part of the transformation from which success will depend the success of education reform, edge of social and economic progress. The aim of the research - to examine information and communication technologies application in teaching music and reveal their role in the formation of a positive learning motivation. Challenges of the research: 1. Analyze the scientific and methodological literature, in case of theme aspect. 2. Disclosure of students approach to the use of ICT in music lessons. 3. Disclosure of music teachers approach to the use of ICT in music education. 4. Justify that the use of ICT in music lessons helps to shape 7 - 8 classes’ students approach to music learning. Research methods: Scientific and methodological literature analysis, Q - type of data collection (questionnaire survey), comparative analysis, qualitative and statistical data analysis. Questionnaires are prepared for two respondents groups: 7 - 8 classes students ( 300 pupils ) and music teachers ( 50 teachers ). In respondents opinion ICT in musical education is not sufficiently used for the purposes of training and challenges. The most popular technology is still a tape recorder with CD/MP3 player. The investigation revealed that the technical measures to encourage the use of classroom learning, even 90% of the students, 78% of... [to full text]