No description available.

Thesis (Ph. D.)--University of North Texas, 2002. / Includes bibliographical references (p. 302-314).

In this paper, the evocative nature of patina on stringed instruments is linked to the four agents of transformation that create it. These correspond to four nostalgic values: nostalgic reflection on the passage of time; nostalgia inspired by use; nostalgia for craftsmanship and pastoral nostalgia. Actors in the subfield of restricted cultural production of stringed instruments invoke one or more of these nostalgic values explicitly as a means to rationalize their actions to competing actors and to the broader public in their battle for status. Patina offers visible proof of their claims. Actors in the subfield of large-scale cultural production do not appeal to specific nostalgic values. Rather, they partake of the nostalgic aura surrounding antique instruments by "pasting" artificial patina onto their instruments. This serves to validate the idea of nostalgia. It also lays bare tensions existing in the broader field of cultural production over questions concerning the past and present.

The purpose of this study was to contribute research literature for readers interested in the exemplary curricular content and processes found in the beginning string classes of selected Indiana middle/junior high schools. Roots for this descriptive study were: (1) principles of Discipline-Based Music Education (DBME), (2) related literature written by expert music education theorists, (3) research data contributed by general education theorists, (4) data gathered from the business world supporting quality endeavors and (5) views of randomly- selected Indiana string education practitioners regarding their frequencies-of-use of the DBME components (in the Indiana 1994 Music Curriculum Guide) to guide students in attaining the eighteen proficiencies ( in the Indiana 1987 Music Curriculum Guide).The sample for the study consisted of sixty Indiana teachers of beginning middle/junior high school string classes (grades five through eight). Thirty-nine educators responded to the survey. The writer developed an original questionnaire to find which curriculum guide(s) the teachers had and how frequently they used the DBME components-criticism, history, aesthetics and production-to guide their students to attain the eighteen proficiencies listed in the 1987 Indiana curriculum guide.Circumstances proved favorable for the writer to formally visit and observe eight teachers working with classes at their schools. Qualitative observations controlled by three objective documents provided criteria to describe the processes apparent during the visits.This study indicated the following favored perspectives for teaching the eighteen proficiencies-in order: production, criticism, aesthetics and history. An in-service to describe the purpose and extensions of the plan might ease any apprehension of this new framework for teaching music as a core subject. The data suggested that fifty-four percent of the sample may be using the components of the DBME paradigm.Proficiency guidance was noted as lacking in attention regarding horizontal and vertical form, instrumental family sounds, basic interpretive skills, improvisation, composing and arranging, conducting, evaluation and developing an understanding of the role of music as an avocation and career. Perhaps, an approach stimulated by the framework of DBME will allow a stretch into these proficiencies and ignite new understandings. / School of Music

Thesis (Ph. D.)--Kent State University, 1988. / Includes bibliographical references (leaves 241-265).

Thesis (M.A.)--University of Wisconsin--Madison, 1948. / Typescript. Includes bibliographical references (leaf 68).

This study explored factors relating to participation in public school orchestra programs and the relationship and predictability of such factors in accordance with Maehr's theory of personal investment.

Thesis (D. Music)--Northwestern University, 2006. / Includes bibliographical references (leaves 132-136).

Thesis (Ph.D.)--Kent State University, 1988. / Director: Terry Miller. Includes bibliographical references.

Orientador: Leticia Bicalho Canedo / Dissertação (mestrado) - Universidade Estadudal de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-11T01:39:34Z (GMT). No. of bitstreams: 1 Santos_AnaRoseliPaesdos_M.pdf: 3872998 bytes, checksum: 69af0904077dc310d47caa9ccb529a72 (MD5) Previous issue date: 2008 / Resumo: O presente trabalho insere-se na temática da formação e prática do professor e tem como objeto o Professor de Música, especificamente o de instrumentos de cordas friccionadas. Diante das freqüentes transformações por que passam as sociedades, os ambientes de formação exigem também suas modificações no plano das diretrizes. Diante de tais fatos, nosso problema de pesquisa se estabeleceu por meio das seguintes indagações: ¿Como alguns indivíduos educados para ser músico assumem o ofício de professor¿, ¿Com constroem o conhecimento que colocam em prática?¿ e ¿Como se dá essa prática pedagógica?¿. Este estudo, portanto, foi guiado pelas hipóteses de que as formas de socialização são fatores importantes no desempenho futuro do professor e conseqüentemente na construção da sua prática; que o conjunto de valores e crenças acumuladas durante a trajetória de formação, dentre outros elementos, contribui para a perfomance servindo de base para seu desempenho. Assim, neste estudo procura-se demonstrar que a construção da prática pedagógica antecede a prática docente, pois tem suas raízes nas relações arcaicas, com ex-professores que marcaram o aprendizado quer de forma positiva ou não. Para amparar tal hipótese a pesquisa vem alicerçada pela teoria de ¿campo¿ e pela noção do habitus (BOURDIEU 1997). A metodologia privilegia o modelo exploratório com visão de etnografia por se tratar de estudo feito com pessoas. É de natureza qualitativa por explorar comportamentos e práticas sociais. Por tais características, foi possível constatar neste estudo que disposições incorporadas das diversas vivências ¿ escolares; familiares; de convívio social ¿ foram determinantes para a construção do conhecimento que o professor de cordas coloca em sala de aula / Abstract: The present work concerns the theme of teacher training and has the music teacher as its main object, specifically the string. Confronted with the frequent transformations by which societies go through, the training milieus also call for modifications as far as directives are concerned. Based on such facts, our research problem was established by means of the following inquiries: ¿How do some individuals educated to be musicians assume the role of a teacher?¿, ¿How do they build the knowledge they put into practice?¿ and ¿How does their pedagogical practice take place?¿. This study has, therefore, been oriented by the hypothesis that forms of socialization are important factors in the future accomplishments of the teacher and consequently in the construction of his or her practice; the set of values and beliefs accumulated during his or her training, among other elements, contribute to the accomplishment and give the basis for his or her performances. Therefore, the aim of this study was to demonstrate that the pedagogical practice precedes the teaching practice, for it has its roots in archaic relationships with former teachers who have positively or not marked his or her learning. To support such hypothesis, the research is backed by the ¿field¿ theory and by the notion of habitus (BOURDIEU 1997). The methodology favors the exploratory model with an ethnographic view, for it is a study carried out with people. It is qualitative in nature for it explores behaviors and social practices. For this reason, it was possible to evidence that these incorporated dispositions of the diverse life experiences ¿ school; family; social conviviality ¿ were determinant for the construction of the knowledge that the string teacher places in the classroom / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação