<p>Istraživanja su predstavljena u pet poglavlja. U prvom poglavlju Muzičko obrazovanje u ni&scaron;koj regiji pod Otomanskom vla&scaron;ću, prikazano je &scaron;kolstvo u okviru Otomanske carevine, dolazak prvog srpskog učitelja Spiridona Jovanovića u Ni&scaron; (1927), osnivanje srpske &scaron;kole i razvoj muzičkog obrazovanja u njoj. Drugo poglavlje Muzičko obrazovanje u Kneževini i Kraljevini Srbiji (1878-1914), donosi razvoj muzičkog obrazovanja i opismenjavanja u osnovnim &scaron;kolama, gimnazijama i učiteljskim &scaron;kolama, i doprinos &scaron;kolskih ansambala&nbsp; muzičkom životu grada Ni&scaron;a. U trećem poglavlju Muzičko obrazovanje za vreme bugarske opkupacije (1914-1918), govori se o ukidanju srpskih &scaron;kola, formiranju bugarske osnovne &scaron;kole i gimnazije i izvođenju muzičke nastave u njima. Čevrto poglavlje Kulturni uspon u Kraljevini Jugoslaviji (1918-1940), sadrži planove i programe za osnovne &scaron;kole, gimnazije i učiteljske &scaron;kole, govori o muzičkom obrazovanju učitelja, sadržaju i značaju muzičkih predmeta, formiranju horova i orkestara i izvođenju javnih koncerata. U petom poglavlju Nastavne metode i metodičari (1870-1940), prikazani su elementi nastavnog rada: obrada pesme po sluhu, notalno pevanje, primena intervalske i asocijativne metode. Govori se o prvim metodičarima nastave pevanja, Vladimiru R. Đorđeviću &ndash; poborniku notnog pevanja, prvim muzičkim udžbenicima i njihovim autorima.</p> / <p>The research work is presented in five chapters. The first chapter, Music education in lower region under the control of the Ottomans, is about the educational system as a part of the Ottoman Empire, the arrival of the first Serbian teacher Spiridon Jovanovic at Nish (1927), the founding of the Serbian school and development of musical education. The second chapter, Musical education in Principality and Kingdom of Serbia (1878-1914), is about the development of musical education and teaching in elementary schools, grammar schools and teachers&rsquo; academies and the contribution of the school ensembles to music life of the town of Nish. The third chapter, Musical education during the Bulgarian occupation (1914-1918), talks about the abolishing of Serbian schools, founding of Bulgarian elementary schools and grammar schools, as well as&nbsp; the teaching music in them. The fourth chapter, The cultural rise in The Kingdom of Yugoslavia (1918-1940), contains the curriculums of the elementary schools, grammar schools and teachers&rsquo; academies, facts about the musical education of the teachers, subject matter and the significance of the music subjects, forming of the choirs and orchestras and public performances. In the fifth chapter, Teaching methods and methodologists (1870-1940), some elements of the teaching process are shown: musical arrangement of a song by hearing ( perception by sound), singing from notes, the application of the interval and associational method. It is about the first methodologists of teaching singing, about Vladimir R. Djordjevic-a supporter of singing from notes, about the first textbooks and their authors.</p> / <p>The research work is presented in five chapters.<br />The first chapter, Music education in lower<br />region under the control of the Ottomans, is<br />about the educational system as a part of the<br />Ottoman Empire, the arrival of the first Serbian<br />teacher Spiridon Jovanovic at Nish (1927), the<br />founding of the Serbian school and development<br />of musical education. The second chapter,<br />Musical education in Principality and Kingdom<br />of Serbia (1878-1914), is about the development<br />of musical education and teaching in elementary<br />schools, grammar schools and teachers<br />academies and the contribution of the school<br />ensembles to music life of the town of Nish.<br />The third chapter, Musical education during the<br />Bulgarian occupation (1914-1918), talks about<br />the abolishing of Serbian schools, founding of<br />Bulgarian elementary schools and grammar<br />schools, as well as the teaching music in them.<br />The fourth chapter, The cultural rise in The<br />Kingdom of Yugoslavia (1918-1940), contains<br />the curriculums of the elementary schools,<br />grammar schools and teachers academies, facts<br />about the musical education of the teachers,<br />subject matter and the significance of the music<br />subjects, forming of the choirs and orchestrasand public performances. In the fifth chapter, Teaching methods and methodologists (1870-<br />1940), some elements of the teaching process<br />are shown: musical arrangement of a song by<br />hearing ( perception by sound), singing from<br />notes, the application of the interval and<br />associational method. It is about the first<br />methodologists of teaching singing, about<br />Vladimir R. Djordjevic-a supporter of singing<br />from notes, about the first textbooks and their<br />authors.</p>

Studien bygger på kvalitativa intervjuer med tre sånglärare från två olika gymnasieskolor. Som teoretisk utgångspunkt används ett sociokulturellt perspektiv, vilket innebär att studien undersöker vilka sångtekniska kunskaper som används av sånglärarna och hur dessa medieras genom olika redskap. I resultatet framkommer att det finns skillnader angående vilka sångtekniska kunskaper sånglärarna utgår från, vilket följs av skillnader angående den terminologi som används i undervisningen. En variation finns också på andra sätt när det gäller medierande redskap. Slutligen belyser diskussionen resultatet i relation till den forskning som presenteras i bakgrundskapitlet, med de intressanta skillnader som kommit fram i resultatet angående sångtekniska aspekter och språkbruk, hur de anpassar undervisningen efter individen, vidare också sånglärarnas syn på möjligheterna att undervisa i olika genrer. Diskussionen avslutas med en reflektion över studiens genomförande och metod, och arbetets betydelse med tankar och idéer om eventuell framtida forskning. / This study is built upon three interviews with three singing teachers from two different schools. The theoretical foundation is a sociocultural perspective, which means that the study examines what knowledge in singing techniques the singing teachers use, and how they mediate that knowledge with different tools. The result shows that there are differences in the knowledge in singing techniques they use, as well as in terminology. They also vary in other ways in communicating their teaching. Finally, the result is related and compared in the discussion chapter to research in the background presented in chapter two, with the interesting differences revealed in the result when it comes to singing techniques and terminology. How the teaching is adjusted to the individual is also discussed, as well as the singing teachers views on teaching in different styles of music. The discussion ends with reflections on the method and way of performing this study, with thoughts and ideas on the significance of this study as well as possible future research.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-01-18T14:17:36Z No. of bitstreams: 2 Dissertação - Wanderson Moura Costa - 2017.pdf: 2338004 bytes, checksum: e0d180e0f539a054565a5d9eae4ba7dc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-01-18T14:18:14Z (GMT) No. of bitstreams: 2 Dissertação - Wanderson Moura Costa - 2017.pdf: 2338004 bytes, checksum: e0d180e0f539a054565a5d9eae4ba7dc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-01-18T14:18:14Z (GMT). No. of bitstreams: 2 Dissertação - Wanderson Moura Costa - 2017.pdf: 2338004 bytes, checksum: e0d180e0f539a054565a5d9eae4ba7dc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The study of singing, for a long time, has been compartmentalized in several areas of knowledge. Since voice is a complex phenomenon, an approach that prioritizes the phenomena complexity becomes necessary. This work, through a bibliographical review, discusses the inherent complexity of singing, from the point of view of transdisciplinarity, proposed by Barasab Nicolescu, and Edgar Morin's Theory of Complexity. The aim of this study was to study the singing voice in a complex and transdisciplinary way. Based on the methodological assumptions of transdisciplinarity - level of reality, principle of the third included term and theory of complexity - we attempted to establish correlations between transcomplex theory and its effective contribution to the pedagogical practices of singing teachers. Despite the complexity of the singing voice, it was evident that the mere awareness of singing as a complex phenomenon is not sufficient for a resignification of teaching practices. Such a resignification will only occur if the teacher proposes to adopt a new posture in his teaching practice, a position that is followed by a transdisciplinary attitude. / O estudo do canto, por muito tempo, esteve compartimentado em diversas áreas do conhecimento. Uma vez que a voz é um fenômeno complexo, uma abordagem que priorize a complexidade dos fenômenos se faz necessária. Este trabalho, mediante uma revisão bibliográfica, discute a complexidade inerente ao canto, sob a ótica da transdisciplinaridade, proposta por Barasab Nicolescu, e da Teoria da Complexidade, de Edgar Morin. Objetivou-se realizar um estudo sobre a voz cantada de maneira complexa e transdisciplinar. Baseado nos pressupostos metodológicos da transdisciplinaridade - nível de realidade, princípio do terceiro termo incluso e teoria da complexidade - buscou-se estabelecer correlações entre a teoria transcomplexa e sua efetiva contribuição às práticas pedagógicas dos professores de canto. Apesar da constatação da complexidade inerente à voz cantada, evidenciou-se o fato de que a mera conscientização do canto como um fenômeno complexo não é suficiente para que uma ressignificação das práticas docentes aconteça. Tal ressignificação somente ocorrerá caso o professor se proponha a adotar uma nova postura em sua prática docente, postura essa que perpasse por uma atitude transdisciplinar.