Denna studie har som syfte att undersöka musiklärares definitioner gällande musikalitetsbegreppet. Studien undersöker också hur musiklärare resonerar kring sin egen, samt sina elevers musikalitet. Tidigare forskning presenteras i studien där musikalitet utifrån denna kan ses utifrån tre olika perspektiv: absolut, relativ och relationell musikalitetsuppfattning. Det sociokulturella perspektivet, med fokus på det kulturella sammanhangets betydelse för användning av begreppet musikalitet, är denna studies teoretiska utgångspunkt. Den forskningsmetod som valts för att undersöka ämnet är kvalitativa intervjuer, vilka fördes med sex musiklärare uppdelade i tre olika musikgenrer: klassisk musik, afroamerikansk musik och folkmusik. I resultatet framkommer det att musikalitet är ett svårdefinierat begrepp, det vill säga att det kan tolkas på många olika sätt. De definitioner som dock framkommer är att en musikalisk person har gott gehör och goda förmågor att kommunicera i samspel med andra musiker. Dessa förmågor kan både vara förvärvade redan från födseln eller vara utvecklingsbara. Musikalitetsbegreppet kan dessutom definieras som en företeelse som skiftar i värde beroende på i vilken situation och miljö det används i. Vad gäller resonemang gällande elevens musikalitet menar musiklärarna att det finns en osäkerhet kring att använda musikalitetsbegreppet i undervisningen. Lärarnas resonemang kring sin egen musikalitet är att de alla ser sig själva som musikaliska om de får utgå från sin egen definition av begreppet. Slutligen förs en diskussion kring de olika definitionerna på musikalitet som behandlas i resultatet utifrån det sociokulturella perspektivet och tidigare presenterad litteratur. / This study focuses on exploring how music teachers define the term musicality. The study also explores how music teachers discuss their own musicality and the musicality of their students. Previous research is presented in the study where musicality can be seen from three different perspectives: Definite-, relative- and relational perception of musicality. The sociocultural perspective, focusing on the meaning of the cultural context using the term musicality, is the theoretical premise of this study. The chosen research method to explore this subject is interviews, which were executed with six music teachers from three different music genres: classical music, improvised music and traditional folk music. The result shows that musicality is difficult to define, meaning that there are many different ways to interpret the concept. The definitions that do appear are that a person with musicality has advanced hearing and is able to communicate in interplay with other musicians. These abilities can be both acquired at birth or developed through life. The term musicality can also be defined as a phenomenon that changes in value depending on in what situation and environment it is used. In arguments about musicality in students the teachers find that they are hesitant about using the term in educational situations. Based on their own definition of the term the music teachers view themselves as musically talented. In conclusion a discussion is formed around the different definitions of musicality processed in the result using the sociocultural learning perspective and previously presented literature.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-11-16T17:05:38Z No. of bitstreams: 1 Danton Guilherme Oestreich_.pdf: 658443 bytes, checksum: d5f5339cace57449e1ae2d5125e7c3d7 (MD5) / Made available in DSpace on 2016-11-16T17:05:38Z (GMT). No. of bitstreams: 1 Danton Guilherme Oestreich_.pdf: 658443 bytes, checksum: d5f5339cace57449e1ae2d5125e7c3d7 (MD5) Previous issue date: 2016-08-30 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Gadamer desenvolve sua ontologia da obra de arte recorrendo ao conceito de jogo para expressar o modo de ser obra da arte, salientando a importância de libertar o conceito do significado subjetivo que, desde a estética de Kant, prevaleceu para a abordagem da arte bela. A julgar pela natureza hermenêutica da sua investigação, ele parece ter em vista a intenção de contrapor a necessidade de uma mediação histórica do conteúdo da arte diante da noção estética que privilegia a simples distinção formal da arte. De fato, isto sugere um confronto com a noção de jogo livre das faculdades da imaginação e do entendimento de Kant que se refere ao estado ideal do ânimo quando este está inclinado a reconhecer algo como belo e que é autônomo de questões de conteúdo na perspectiva de uma distinção formal. Além disso, para Kant, no caso das obras de arte, a possibilidade de ajuizamento da beleza seria mediada pelo conceito de forma da arte em questão, onde a música acaba sendo definida como o “belo jogo das sensações do ouvido”. Cabe perceber, desta forma, que na música encontramos uma confluência das dimensões estética, hermenêutica e formal através do mesmo conceito de jogo, o que permite considerar a leitura gadameriana do juízo estético sob as peculiaridades da arte musical. Assim, o propósito deste estudo é averiguar a tensão existente entre uma consideração do belo musical enquanto dependente de uma autonomia estética ou enquanto dotado de questões de conteúdo para o qual a forma tem que ser referente. Esta situação problema será apresentada a partir da forma musical de um exemplo específico – a saber: o final da primeira sonata Royal Winter Music de Hans Werner Henze – para mostrar como aspectos da teoria kantiana e gadameriana podem ser significativos para a compreensão da experiência musical. / Gadamer develops its ontology of the artwork using the play concept to express the mode of being of the work of art, stressing the importance of freeing the concept from the subjective meaning that, since Kant's aesthetics, prevailed in the approach the beautiful art. Judging by the hermeneutic nature of his research, he seems to have in mind the intention of counteracting the need for a art content's historical mediation on the aesthetic notion that favors simple formal distinction of art. In fact, this suggests a confrontation with Kant's notion of free play of the faculties of imagination and understanding, referred to the ideal state of mind when it is inclined to recognize something as beautiful and autonomous from content issues in a perspective of formal distinction. Moreover, for Kant, in the case of works of art, the possibility of beauty judgment would be mediated by the concept of art form in question, where the music ends up being defined as the "beautiful play of ear sensations”. In this way, it should be noted that in music we find a confluence of aesthetic, hermeneutics and formal's dimensions through the same play concept, what allowing the consideration of Gadamer's reading of aesthetic judgment under the peculiarities of musical art. Thus, the purpose of this study is to ascertain the tension between a consideration of the musical beautiful as dependent on an aesthetic autonomy or as endowed with content issues for which the musical form has to be related. This problem situation is presented from the musical form of a specific example – namely: the end of the Hans Werner Henze's Royal Winter Music first sonata – to show how aspects of the theories of Kant and Gadamer can be significant for understanding the musical experience.

Syftet är att undersöka sånglärares uppfattningar om och kommunikation av betygskriterier i sång på gymnasieskolans estetiska program. I bakgrundskapitlet presenteras litteratur och forskning kring begrepp som är centrala för studien. Det har ännu inte publicerats någon forskning om de betygskriterier som i föreliggande studie utgörs av de subjektiva skrivningarna ”personligt uttryck” och ”tillfredsställande musikaliskt resultat”. I arbetet har kvalitativa intervjuer använts som forskningsmetod. Intervjuer gjordes med tre sånglärare som har betygsatt elever enligt de betygskriterier som står i fokus för denna studie. Resultatet pekar på att personligt uttryck kan vara individens personliga uttryck, det uttryck vi har genom att bara vara människa, men i en förhöjd form. Det kan också handla om interpretation. Vidare visar resultatet på att musikaliskt tillfredsställande resultat nås genom grundläggande gehör och formkänsla. Sånglärarna förmedlar betygskriterierna och de kvalitetskrav som följer framförallt genom betygssamtal med eleven. Alla sånglärare betonar även  elevens självständighet och egen drivkraft som förtsättningar för att nå högsta betyg. I diskussionskapitlet jämförs studiens resultat med de teorier och den tidigare forskning som presenterats i bakgrundskapitlet. Avslutningsvis förs diskussioner kring arbetets betydelse och fortsatt forskning inom området. / The purpose is to investigate vocal teachers’ perceptions and communication of the assessment criteria in singing at aesthetic programs in high school. The background chapter presents concepts that are central to the study. It has not yet been published any research on the rating criteria which in the present study consists of the subjective wordings "self-expression" and "musically satisfying results". Qualitative interviews are used as a research method. Interviews were conducted with three singing teachers who rated students according to the rating criteria which are the focus of this study. The results indicate that self-expression may be the individual's personal expression, the expression we have just by being human, but in an enhanced form. It may also involve interpretation. Furthermore, the result shows that musically satisfying results is reached by basic hearing and sense of form. The singing teachers convey rating criteria and the quality mostly by grading conversation with the student. All singing teacher also emphasizes the student's autonomy and its own momentum continuations to achieve the highest rating. The discussion section compares the results of the study of the theories and previous research presented in the background section. Finally, discussions are underway about the importance of the study and continued research in the area

This thesis deals with social environment, especially its influence on out-of-school musical education of children. The thesis also examines factors, that influence out-of- school education of children. The thesis contains theoretical and practical part. In theoretical part the term of social environment and its possible influence on out-of- school musical education of children are defined and clarified. Different social groups, that children usually walks through in their lives, are described in individual chapters. Big attention is given to these social groups. In thesis problematics of influence of massmedia on children's musical development is delineate. The thesis also offer detailed list of institutions in which children have opportunity to musically educate themselves. The practical part consists of research of influence of social environment on out-of-school musical education of children and maps factors, that decide where children musically educate themselves, which musical instrument children play and also delineates problematics outlines of commuting to out-of-school music instititions. The research was realized in the form of questionnaire for parents of children, who study on three elementary art schools in cities, which significantly differ in size. It was ZUŠ Vimperk, ZUŠ Bohumila...