Most previous research into cochlear implant (CI) mediated music listening deals with the mechanisms and efficacy of music perception and does not often account for the listeners real-world musical experience. Measurements of music perception ability are based on listening tasks such as pitch-discrimination, timbre-recognition and rhythmic-identification, and rarely (if ever) relate to the individual experience of the human subject. The exploration of musical experience, however, is based on a holistic view of the ways in which individual people experience music, which can be informed by the interaction of a multitude of factors. For the purposes of this thesis, three categories of experience are considered to coalesce to inform the general musical experience: sensory experience, cognitive experience and social/environmental experience. This thesis moves towards consideration of the real-world musical experiences of cochlear implant users (CIUs) with a view of developing strategies that can be implemented to improve those elements of the musical experience that may be problematic. The thesis comprises three main sections as follows: The first section investigates the musical experiences of CI users (CIUs) by means of a questionnaire study and the consideration of information gained from music focus groups and conversations with implant users. Results show a great deal of variability in the musical experiences of CIUs but many people report positive experiences of music despite suffering from what may be described as ‘poor’ music perception. The second section outlines the design, development and implementation of a multi-channel mixer application, which is used in a study exploring the way in which CIUs mix multi-channel music, to gain insight into their experience of musical elements. Analysing the user-generated mix data provides considerable insights into various elements of the musical experience of participants. Again, results show a large degree of variability on this issue amongst CIUs, and also that the average mixes of CIUs differ significantly from that of a control group of normal-hearing (NH) participants. The third section describes the composition, development and evaluation of a musical work specifically composed for CIUs but designed to be enjoyable for both CIUs and NH audience members alike. The aim of this composition is to promote a positive musical experience by addressing elements of the sensory, cognitive and social/environmental experience based on findings of this research. This thesis concludes by suggesting that the ideal approach for improving the musical experiences of CIUs should focus on the individual, due to the great deal of variability within this population, and presents some implications of this work and suggestions for future research in this area.

This dissertation investigated the meanings students from beginner jazz ensembles ascribe to learning jazz improvisation through Dalcroze-inspired activities. Over the course of ten weeks, students from three respective beginner jazz ensembles were exposed to Dalcroze-inspired activities as the medium for learning to improvise. The sessions were held on a weekly basis, facilitated by the researcher. Hermeneutic phenomenology guided the research procedures. In-depth interviews, personal reflections, participant reflection essays as well as video recordings were the methods of data collection. Through the use of Atlas.ti 7, the data were organized and analysed by means of coding and categorisation, which led to the identification of five themes. The five themes that emerged from the data analysis were: feeling the music in my body, supporting development as a jazz musician, building character, building relationships, and stimulating and motivating learning. This study provides an understanding of the connection between jazz improvisation and Dalcroze Eurhythmics as well as how students experience learning jazz improvisation through Dalcrozeinspired activities. Through this understanding this study proposes a more holistic approach to jazz improvisation teaching that can inform further research and application of Dalcroze Eurhythmics in jazz pedagogy. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

This dissertation investigated the meanings students from beginner jazz ensembles ascribe to learning jazz improvisation through Dalcroze-inspired activities. Over the course of ten weeks, students from three respective beginner jazz ensembles were exposed to Dalcroze-inspired activities as the medium for learning to improvise. The sessions were held on a weekly basis, facilitated by the researcher. Hermeneutic phenomenology guided the research procedures. In-depth interviews, personal reflections, participant reflection essays as well as video recordings were the methods of data collection. Through the use of Atlas.ti 7, the data were organized and analysed by means of coding and categorisation, which led to the identification of five themes. The five themes that emerged from the data analysis were: feeling the music in my body, supporting development as a jazz musician, building character, building relationships, and stimulating and motivating learning. This study provides an understanding of the connection between jazz improvisation and Dalcroze Eurhythmics as well as how students experience learning jazz improvisation through Dalcrozeinspired activities. Through this understanding this study proposes a more holistic approach to jazz improvisation teaching that can inform further research and application of Dalcroze Eurhythmics in jazz pedagogy. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

The purpose of this study is to test the hypothesis that there is a link between children's musical experiences and attitudes, and their musical skills and understandings. For the purpose of the research, experience and attitudes have been measured by the National Education Monitoring Projects (NEMP) 2000 Music Survey, whilst the NEMP 2000 Assessment Results have been used to provide levels of musical skills and understandings. The first part of this study focuses on the nature of NEMP music assessment in relation to different aptitude, ability and achievement tests, and compares NEMP with various national assessments, in particular the ones used by the United States of America and Wales. The second part of the study tests the hypothesis that whether a link is present between children's musical experiences and attitudes, and the extent of their musical skills and understandings, as revealed in their NEMP survey results and scores. The analysed results should be helpful in teacher education situations in determining the balance and relationship between teaching musical skills and understandings alongside student attitudes and previous experiences. Based on the sample used in this research, correlation analyses showed that attitudes toward music do not have a strong influence on students' musical abilities. A greater number of relationships was found between musical experiences and students' NEMP scores. This result is similar to a few other attitude researches which will be briefly discussed and compared.

Esta pesquisa enfoca a aprendizagem na experiência musical narrada por crianças. Tem por objetivo compreender os significados atribuídos por crianças às suas aprendizagens musicais. Os participantes do presente estudo são três crianças, com idade entre 10 e 11 anos, que têm aula de música como uma das disciplinas obrigatórias que compõem o currículo escolar. A pesquisa acredita que as narrativas são fonte de conhecimento; que ao narrar uma história a pessoa organiza suas experiências, dando novos sentidos e significados ao que vivencia (BRUNER, 1997); e que a organização do pensamento em fala é um processo educativo (LARROSA, 1994). Com base nos estudos da Sociologia da Infância, a pesquisa entende as crianças como agentes sociais capazes de produzir conhecimentos que podem ajudar a compreender o mundo em que vivem (SARMENTO, 2009, 2005; SOARES, 2006; e CRUZ, 2008). Os principais autores que ajudaram a traçar os caminhos teórico-metodológicos foram Jean Clandinin e Michael Connelly (2011 e 1995b) e, no que se refere à Pesquisa Narrativa em Educação Musical, Margaret Barrett e Sandra Stauffer (2009). Foram realizadas três Entrevistas Narrativas com cada participante, a partir das quais elaborou-se esta Dissertação que retrata o modo como as crianças atribuem significado às suas aprendizagens musicais. Os resultados respondem às questões: Com quem, onde e como as crianças se relacionam com a música? O que é saber música? Por que ter aula de música na escola? Além da escola ou espaços de ensino de música sistematizados e o papel do professor, as crianças reconhecem suas próprias estratégias para aprender, como: ouvir música, prestar atenção em aula, estudar em casa, descobrir o que não é ensinado e não confiar sem crítica em tudo que os professores afirmam. As narrativas mostram que as crianças estão acompanhadas da família e da mídia em suas experiências musicais. A música pode ser observada nas narrativas das crianças nos três lugares comuns apresentados por Clandinin e Connelly (2011) e Clandinin, Puschor e Murray Orr (2007): Lugar, Temporalidade e Socialidade. Ao conhecer as experiências das crianças, pode-se avaliar o quanto a música faz parte de seu cotidiano. O conhecimento musical é reconhecido pelas crianças, principalmente, nas atividades de tocar um instrumento musical, ler partitura e dominar repertório. As crianças desta pesquisa, que têm aula de música na escola, deixaram claro o quanto as experiências escolares são prazerosas e servem de inspiração para estudos, desafios, questionamentos e planos futuros. / This research focuses on learning in musical experience narrated by children. It aims to understand the meanings assigned by children about their musical learnings. The participants of this study are three children aged between 10 and 11 years old who have music classes at school as one of the compulsory subjects that make up the curriculum. This research believes that narratives are a source of knowledge, that by telling a story a person organizes their experiences, giving new senses and meanings to what they experience (BRUNER, 1997), and that the organization of thought in speech is an educational process (LARROSA, 1994). Based on studies from Childhood Sociology, this research considers children as social agents capable of producing knowledge that can help understand the world in which they live in (SARMENTO, 2009, 2005; SOARES, 2006, and CRUZ, 2008). The main authors who helped outline the theoretical-methodological basis of this research were Jean Clandinin and Michael Connelly (2011 and 1995b), and, when it comes to Narrative Inquiry in Music Education, Margaret Barrett and Sandra Stauffer (2009). Three Narrative Interviews were conducted with each participant, from which the final reports that depict how they attribute meaning to their musical learnings were produced. The results answer the questions: With who, where and how children relate to music? What is know music? Why have music class in school? Apart from school or systematized music teaching spaces and the role of the teacher, children recognize their own strategies for learning, such as listening to music, paying attention in class, studying at home, finding out what is not taught, and not rely uncritically on everything teachers say. The narratives show that children are accompanied by family and media in their musical experiences. Music can be observed in the children’s narratives in the three commonplaces presented by Clandinin and Connelly (2011) and Clandinin, Puschor and Murray Orr (2007): Place, Temporality and Sociality. By knowing the children’s experiences, we can assess how music is part of their daily lives. Musical knowledge is especially recognized by children in activities where they play a musical instrument, read music and master repertoire. The children from this research, who have music classes at school, made it clear how pleasurable school experiences are and serve as an inspiration for studies, challenges, questionings and future plans.

Esta pesquisa enfoca a aprendizagem na experiência musical narrada por crianças. Tem por objetivo compreender os significados atribuídos por crianças às suas aprendizagens musicais. Os participantes do presente estudo são três crianças, com idade entre 10 e 11 anos, que têm aula de música como uma das disciplinas obrigatórias que compõem o currículo escolar. A pesquisa acredita que as narrativas são fonte de conhecimento; que ao narrar uma história a pessoa organiza suas experiências, dando novos sentidos e significados ao que vivencia (BRUNER, 1997); e que a organização do pensamento em fala é um processo educativo (LARROSA, 1994). Com base nos estudos da Sociologia da Infância, a pesquisa entende as crianças como agentes sociais capazes de produzir conhecimentos que podem ajudar a compreender o mundo em que vivem (SARMENTO, 2009, 2005; SOARES, 2006; e CRUZ, 2008). Os principais autores que ajudaram a traçar os caminhos teórico-metodológicos foram Jean Clandinin e Michael Connelly (2011 e 1995b) e, no que se refere à Pesquisa Narrativa em Educação Musical, Margaret Barrett e Sandra Stauffer (2009). Foram realizadas três Entrevistas Narrativas com cada participante, a partir das quais elaborou-se esta Dissertação que retrata o modo como as crianças atribuem significado às suas aprendizagens musicais. Os resultados respondem às questões: Com quem, onde e como as crianças se relacionam com a música? O que é saber música? Por que ter aula de música na escola? Além da escola ou espaços de ensino de música sistematizados e o papel do professor, as crianças reconhecem suas próprias estratégias para aprender, como: ouvir música, prestar atenção em aula, estudar em casa, descobrir o que não é ensinado e não confiar sem crítica em tudo que os professores afirmam. As narrativas mostram que as crianças estão acompanhadas da família e da mídia em suas experiências musicais. A música pode ser observada nas narrativas das crianças nos três lugares comuns apresentados por Clandinin e Connelly (2011) e Clandinin, Puschor e Murray Orr (2007): Lugar, Temporalidade e Socialidade. Ao conhecer as experiências das crianças, pode-se avaliar o quanto a música faz parte de seu cotidiano. O conhecimento musical é reconhecido pelas crianças, principalmente, nas atividades de tocar um instrumento musical, ler partitura e dominar repertório. As crianças desta pesquisa, que têm aula de música na escola, deixaram claro o quanto as experiências escolares são prazerosas e servem de inspiração para estudos, desafios, questionamentos e planos futuros. / This research focuses on learning in musical experience narrated by children. It aims to understand the meanings assigned by children about their musical learnings. The participants of this study are three children aged between 10 and 11 years old who have music classes at school as one of the compulsory subjects that make up the curriculum. This research believes that narratives are a source of knowledge, that by telling a story a person organizes their experiences, giving new senses and meanings to what they experience (BRUNER, 1997), and that the organization of thought in speech is an educational process (LARROSA, 1994). Based on studies from Childhood Sociology, this research considers children as social agents capable of producing knowledge that can help understand the world in which they live in (SARMENTO, 2009, 2005; SOARES, 2006, and CRUZ, 2008). The main authors who helped outline the theoretical-methodological basis of this research were Jean Clandinin and Michael Connelly (2011 and 1995b), and, when it comes to Narrative Inquiry in Music Education, Margaret Barrett and Sandra Stauffer (2009). Three Narrative Interviews were conducted with each participant, from which the final reports that depict how they attribute meaning to their musical learnings were produced. The results answer the questions: With who, where and how children relate to music? What is know music? Why have music class in school? Apart from school or systematized music teaching spaces and the role of the teacher, children recognize their own strategies for learning, such as listening to music, paying attention in class, studying at home, finding out what is not taught, and not rely uncritically on everything teachers say. The narratives show that children are accompanied by family and media in their musical experiences. Music can be observed in the children’s narratives in the three commonplaces presented by Clandinin and Connelly (2011) and Clandinin, Puschor and Murray Orr (2007): Place, Temporality and Sociality. By knowing the children’s experiences, we can assess how music is part of their daily lives. Musical knowledge is especially recognized by children in activities where they play a musical instrument, read music and master repertoire. The children from this research, who have music classes at school, made it clear how pleasurable school experiences are and serve as an inspiration for studies, challenges, questionings and future plans.

Esta pesquisa enfoca a aprendizagem na experiência musical narrada por crianças. Tem por objetivo compreender os significados atribuídos por crianças às suas aprendizagens musicais. Os participantes do presente estudo são três crianças, com idade entre 10 e 11 anos, que têm aula de música como uma das disciplinas obrigatórias que compõem o currículo escolar. A pesquisa acredita que as narrativas são fonte de conhecimento; que ao narrar uma história a pessoa organiza suas experiências, dando novos sentidos e significados ao que vivencia (BRUNER, 1997); e que a organização do pensamento em fala é um processo educativo (LARROSA, 1994). Com base nos estudos da Sociologia da Infância, a pesquisa entende as crianças como agentes sociais capazes de produzir conhecimentos que podem ajudar a compreender o mundo em que vivem (SARMENTO, 2009, 2005; SOARES, 2006; e CRUZ, 2008). Os principais autores que ajudaram a traçar os caminhos teórico-metodológicos foram Jean Clandinin e Michael Connelly (2011 e 1995b) e, no que se refere à Pesquisa Narrativa em Educação Musical, Margaret Barrett e Sandra Stauffer (2009). Foram realizadas três Entrevistas Narrativas com cada participante, a partir das quais elaborou-se esta Dissertação que retrata o modo como as crianças atribuem significado às suas aprendizagens musicais. Os resultados respondem às questões: Com quem, onde e como as crianças se relacionam com a música? O que é saber música? Por que ter aula de música na escola? Além da escola ou espaços de ensino de música sistematizados e o papel do professor, as crianças reconhecem suas próprias estratégias para aprender, como: ouvir música, prestar atenção em aula, estudar em casa, descobrir o que não é ensinado e não confiar sem crítica em tudo que os professores afirmam. As narrativas mostram que as crianças estão acompanhadas da família e da mídia em suas experiências musicais. A música pode ser observada nas narrativas das crianças nos três lugares comuns apresentados por Clandinin e Connelly (2011) e Clandinin, Puschor e Murray Orr (2007): Lugar, Temporalidade e Socialidade. Ao conhecer as experiências das crianças, pode-se avaliar o quanto a música faz parte de seu cotidiano. O conhecimento musical é reconhecido pelas crianças, principalmente, nas atividades de tocar um instrumento musical, ler partitura e dominar repertório. As crianças desta pesquisa, que têm aula de música na escola, deixaram claro o quanto as experiências escolares são prazerosas e servem de inspiração para estudos, desafios, questionamentos e planos futuros. / This research focuses on learning in musical experience narrated by children. It aims to understand the meanings assigned by children about their musical learnings. The participants of this study are three children aged between 10 and 11 years old who have music classes at school as one of the compulsory subjects that make up the curriculum. This research believes that narratives are a source of knowledge, that by telling a story a person organizes their experiences, giving new senses and meanings to what they experience (BRUNER, 1997), and that the organization of thought in speech is an educational process (LARROSA, 1994). Based on studies from Childhood Sociology, this research considers children as social agents capable of producing knowledge that can help understand the world in which they live in (SARMENTO, 2009, 2005; SOARES, 2006, and CRUZ, 2008). The main authors who helped outline the theoretical-methodological basis of this research were Jean Clandinin and Michael Connelly (2011 and 1995b), and, when it comes to Narrative Inquiry in Music Education, Margaret Barrett and Sandra Stauffer (2009). Three Narrative Interviews were conducted with each participant, from which the final reports that depict how they attribute meaning to their musical learnings were produced. The results answer the questions: With who, where and how children relate to music? What is know music? Why have music class in school? Apart from school or systematized music teaching spaces and the role of the teacher, children recognize their own strategies for learning, such as listening to music, paying attention in class, studying at home, finding out what is not taught, and not rely uncritically on everything teachers say. The narratives show that children are accompanied by family and media in their musical experiences. Music can be observed in the children’s narratives in the three commonplaces presented by Clandinin and Connelly (2011) and Clandinin, Puschor and Murray Orr (2007): Place, Temporality and Sociality. By knowing the children’s experiences, we can assess how music is part of their daily lives. Musical knowledge is especially recognized by children in activities where they play a musical instrument, read music and master repertoire. The children from this research, who have music classes at school, made it clear how pleasurable school experiences are and serve as an inspiration for studies, challenges, questionings and future plans.

<p dir="ltr">The s<i>patial-musical association of response code</i><i> </i>(SMARC) effect is the name given to a phenomenon for which responses to low and high pitch tones are faster when they correspond with lower and upper response locations, or left and right response locations, respectively, than when they do not. The SMARC effect was observed consistently when responses were located at lower or higher locations on the vertical dimension (the vertical SMARC effect). However, when the responses were located on the left or right to the center of the body on the horizontal dimension, the horizontal SMARC effect was observed among musicians consistently, but for nonmusicians, the horizontal SMARC effect was only observed under certain conditions (e.g., in pitch-height judgment tasks, or in color judgment tasks with a reference tone). Two theories, the direct mapping theory and intermediate mapping theory, can account for the horizontal SMARC effect. These theories indicate that musicians automatically code pitch to horizontal locations based on a direct mapping established through their musical training. In contrast, the horizontal SMARC effect for nonmusicians is based on an indirect mapping, which needs to be established via extra reference cues to associate the pitch height with the horizontal response locations.</p><p dir="ltr">The current study consists of four experiments designed to investigate the differences in conditions where the horizontal SMARC effect occurs for musicians versus nonmusicians, and how to elicit the horizontal SMARC effect among nonmusicians. Experiments 1 and 2 examined two factors that have been previously shown to influence the horizontal SMARC effect, tone laterality and musical experience, when properties of the tones were task irrelevant. It was found that only musicians showed horizontal SMARC effect when tones were presented binaurally, but both musicians and nonmusicians showed horizontal SMARC effect when tones were presented monaurally on all trials. The horizontal SMARC effect was eliminated among nonmusicians by diluting monaural tone’s lateral information by intermixing monaural and binaural trials. However, with monaural cue presentation, the auditory Simon effect was present regardless of whether the binaural trials were intermixed. Experiment 3 examined if the pitch-height was made a relevant stimulus dimension, would it evoke the horizontal SMARC effect among nonmusicians and decrease the differences in SMARC effect sizes between musicians and nonmusicians. No significant horizontal SMARC effect was found among nonmusicians in Experiment 3, which may have been attributed to other spatial congruity effects, such as the Simon effect, being present. Experiment 4 showed that 600 trials of practice with compatible mapping of low pitch to left location and high pitch to right location was sufficient to elicit the horizontal SMARC effect in a transfer session among nonmusicians.</p><p dir="ltr">The results of this study confirmed that musicians are able to associate the pitch height and the left-right locations on the horizontal dimension directly but nonmusicians do not have this ability. For nonmusicians, a horizontal reference frame, provided via tone laterality or extensive training to associate pitch to left-right responses is needed for the horizontal SMARC effect to emerge.</p>

This present work was developed in the Line of Research Education and Arts (LP4) of the Post Graduation in Education Program of the Federal University of Santa Maria (UFSM) and binds to the group of studies and researches FAPEM - Training, Action and Research in Music Education of UFSM. The research had as a general purpose to investigate the repercussions of the CUICA Association in the lives of four young percussionists participants in the percussion group CUICA, through their narratives. As the specific objectives it sought to understand how to learn music in CUICA Association through the practice of percussion as the axis of the work. It also sought to understand how the musical experiences in CUICA affects and have repercussion to the lives of its participants and reflect how these musical experiences enter and go through to their lives. For this, literature review was consisted of authors who discuss about social education and social projects such as OLIVEIRA (2003); KATER (2004); KLEBER (2003, 2006, 2008); PAIVA (2004); GUAZINA (2011); among others. The research also was supported by theoretical studies on experiences of DEWEY (1959, 2003, 2011); LARROSA BONÍA (2002), JOSSO (2010), that allowed to reflect on the experiences. Methodologically the research developed by the qualitative method, through narrative interviews KVALE, 1994; (BAUER and GASKELL, 2002; FLICK, 2009; CRESWEL, 2010). In this process of investigation it was possible to identify the main musical experiences and some of these repercussions in the lives of participants. It was found that the four young people surveyed have an intense life in CUICA and, consequently, several experiences that result from their participation in the percussion group and go through their lives. Today, the four young people are working with music professionally and express their desire to continue studying music. / A presente dissertação foi desenvolvida na Linha de Pesquisa Educação e Artes (LP4) do Programa de Pós-Graduação em Educação da Universidade Federal de Santa Maria (UFSM) e vincula-se ao grupo de estudos e pesquisas FAPEM Formação, Ação, e Pesquisas em Educação Musical da UFSM. A pesquisa teve como objetivo geral, investigar as repercussões da Associação CUICA na vida de quatro jovens percussionistas participantes do grupo de percussão, através de suas narrativas. Como objetivos específicos, buscou-se compreender como se aprende música na Associação CUICA mediante a prática da percussão como eixo do trabalho. Buscou-se também entender como as experiências musicais na CUICA percutem e repercutem na vida dos seus participantes e refletir como essas experiências entram e atravessam suas vidas. Para tanto a revisão de literatura foi constituída de autores que discutem sobre educação musical e projetos sociais tais como OLIVEIRA (2003); KATER (2004); KLEBER (2003, 2006, 2008); PAIVA (2004); GUAZINA (2011); entre outros. A pesquisa também contou com apoio teórico de estudos sobre experiências de DEWEY (1959, 2003, 2011); LARROSA BONDÍA (2002); JOSSO (2010), os quais possibilitaram refletir sobre as experiências. Metodologicamente a pesquisa desenvolveu-se pelo método qualitativo, através de entrevistas narrativas KVALE, 1994; (BAUER E GASKELL, 2002; FLICK, 2009; CRESWEL, 2010). Neste processo de investigação foi possível identificar as principais experiências musicais e algumas repercussões destas nas vidas dos participantes. Constatou-se que os quatro jovens pesquisados tem uma vida intensa na CUICA e, em decorrência, experiências diversas que derivam de suas participações no grupo de percussão e atravessam suas vidas. Hoje, os quatro jovens estão trabalhando com música profissionalmente e manifestam o desejo de continuar estudando música.

This dissertation focuses on retirement as a moment of musical learning. This work has as main objective to understand the retirement as a moment of life to seek to learn music, and as specific objectives intend to understand how the musical experiences are lived and shared with/by these retired people in areas of teaching/learning, collective or not, as in the cases of choir practice, or learning an instrument, individually or collectively. In a qualitative approach, the research method adopted was the case study, using such procedures for data collection interview. The music education as a social practice (SOUZA, 2004), the thought of retirement associated to leisure (DUMAZEDIER, 1994, 1999), and leisure associate to the potential of education in retirement (MARCELLINO, 1987, 1995, 2000, 2002, 2007) were the theoretical basis for the reflection on all the collected material from the interviews. The final considerations of this research are associated with the process on which people that retire experience, the way that musical learning becomes important in their lives, and also how these people experience music in their lives and share in spaces of teaching / learning collective or individual. / Esta dissertação tem como foco a aposentadoria como um momento de aprendizagem musical. Os objetivos deste estudo são compreender a aprendizagem musical no momento da aposentadoria, bem como entender de que maneira as experiências musicais são vividas e compartilhadas com/por essas pessoas aposentadas em espaços de ensino/aprendizagem, coletivos ou não, como nos casos da prática coral, ou a aprendizagem de um instrumento, individual ou coletivamente. Em uma abordagem qualitativa, o método de pesquisa adotado foi o estudo de caso, utilizando como procedimento de coleta de dados a entrevista. A educação musical como prática social (SOUZA, 2004), o pensamento da aposentadoria associada ao lazer (DUMAZEDIER, 1994; 1999), e um lazer relacionado com as potencialidades da educação na aposentadoria (MARCELLINO, 1987; 1995; 2000; 2002; 2007) foram o suporte teórico para a reflexão sobre todo o material levantado a partir das entrevistas. As considerações finais desta pesquisa estão associadas ao processo pelo qual as pessoas que se aposentam vivenciam, à forma com que a aprendizagem musical passa a ser importante na vida dessas pessoas, e também como essas pessoas experienciam música em suas vidas e as compartilham em espaços de ensino/aprendizagem coletivos ou individuais. / Mestre em Artes