Submitted by Maicon Juliano Schmidt (maicons) on 2015-04-16T19:19:32Z No. of bitstreams: 1 Daiana Felix Pereira.pdf: 18723332 bytes, checksum: 89418a1724c3f8df1ec40b4f29a83b26 (MD5) / Made available in DSpace on 2015-04-16T19:19:32Z (GMT). No. of bitstreams: 1 Daiana Felix Pereira.pdf: 18723332 bytes, checksum: 89418a1724c3f8df1ec40b4f29a83b26 (MD5) Previous issue date: 2012-01-31 / Nenhuma / Esse trabalho investiga o processo de educar a voz de bailarinos contemporâneos por meio da educação corporal e vocal. Problematiza a questão vocal e busca entender o ensino da dança e da música que, historicamente desmembrou o corpo de quem aprende. Relaciona a essa problematização à formação na dança contemporânea com todos os desafios relacionados à manutenção da dominação masculina. Reconstrói a trajetória histórica da dança, entrelaçando-a com questões de gênero que trazem alguns conceitos como: a educação do corpo como processo do movimento e as questões da sexualidade interpretadas na dança como sentimentos eróticos. Além desse estudo teórico, a dissertação compõe dois ensaios: o primeiro inaugura um entre-ato por meio de uma análise sobre o V capítulo da obra de Rousseau (1712- 1778), "Emílio ou Da Educação, propondo uma possível dança entre Emílio e Sofia. E o segundo ensaio diz respeito a gravação com bailarinas e cantores exercitando o uso do corpo e da voz simultaneamente a fim de perceber os processos implicados nessa articulação. A dissertação aponta para uma nova linguagem e uma pedagogia da união entre a dança e a voz: artes essencialmente do corpo. É possível uma união entre as duas artes, destacando a questão da voz, bem como as questões do corpo como um todo. / This work investigates the process of educating the voice of contemporary dancers through vocal and body movement education. It seeks to understand how teaching dance and music historically disassociate itself from the body of the learner. Related to this question of contemporary dance training methods is also the question of gender roles and in particular that of male dominance. This thesis examines the historical trajectory of dance, weaving in issues of gender in relation to concepts such as education of the body, and the process of movement, as well as the topic of sexuality and how dance is often interpreted in terns of erotic feelings. This theoretical study looks at two essays in depth: the first is an analysis of Rousseau’s Chapter V (1712 - 1778), "From Emile, or Education, proposing a possible dance between Emilio and Sofia. The second essay is concerned with recording dancers and singers who train to use their body and voice simultaneously and aim to understand the processes involved that connect these two forms. This paper points to a new language and pedagogy that highlights the relationship and union between dance and voice, and the body as an art.

<p>The dialogical plait in individual vocal education</p><p>Thesis in Music Education by Jannike Huss. Part of the work for the master´s degree. Studies from School of Music, Theatre, and Art, University of Örebro, 2010. Available from Örebro University, SE-701 82 Örebro, Sweden. Original in Swedish.</p><p>This thesis treats the value of communication for individual vocal education on a higher level. The purpose is to examine and illuminate what is happening in the interaction between teacher and student in individual vocal education, and how it in turn can affect learning. To get deeper knowledge and understanding of the subject, observations of singing lessons and openhearted interviews have been conducted with one teacher and two of her students. During the discussions the participants gave their own views on how an effective communication can occur in the interaction between teacher and student. In this study, only individual lessons in singing on tertiary music education have been studied. The students participating in the study are both prospective teachers with a major in vocals, and it turned out that they already were obvious carriers of two different roles, namely their student role and also their future occupational role. Due to this fact they could experience the interaction from both sides. The interviews with both students were directly connected to their lessons, and after the lessons the teacher was interviewed. All the interviews took shape as open conversations, and have since been transformed into a coherent narrative with a narrative approach in order to create meaning and context (Kvale, 2008; Georgii-Hemming, 2005). Data from the empirical material has been processed, and recounted to a theoretical conceptual framework (von Wright, 2003; Buber, 2004).</p><p>Keywords:</p><p>Vocal education, dialogue, interaction face-to-face, intersubjectivity, relationship, teacher training.</p>

The individual who lacks the use of his voice as a musical instrument lacks the natural, fundamental medium of musical expression. Not only does he lack the means for the closest and most direct relationship with music, but also there is a serious danger that, as a result, his whole range of musical appreciation will be impaired and finally obliterated. This is likely to occur because he does not have at his command and under his control this power which he so definitely needs. Children who are thus handicapped are often designated by the use of the word monotone.

The dialogical plait in individual vocal education Thesis in Music Education by Jannike Huss. Part of the work for the master´s degree. Studies from School of Music, Theatre, and Art, University of Örebro, 2010. Available from Örebro University, SE-701 82 Örebro, Sweden. Original in Swedish. This thesis treats the value of communication for individual vocal education on a higher level. The purpose is to examine and illuminate what is happening in the interaction between teacher and student in individual vocal education, and how it in turn can affect learning. To get deeper knowledge and understanding of the subject, observations of singing lessons and openhearted interviews have been conducted with one teacher and two of her students. During the discussions the participants gave their own views on how an effective communication can occur in the interaction between teacher and student. In this study, only individual lessons in singing on tertiary music education have been studied. The students participating in the study are both prospective teachers with a major in vocals, and it turned out that they already were obvious carriers of two different roles, namely their student role and also their future occupational role. Due to this fact they could experience the interaction from both sides. The interviews with both students were directly connected to their lessons, and after the lessons the teacher was interviewed. All the interviews took shape as open conversations, and have since been transformed into a coherent narrative with a narrative approach in order to create meaning and context (Kvale, 2008; Georgii-Hemming, 2005). Data from the empirical material has been processed, and recounted to a theoretical conceptual framework (von Wright, 2003; Buber, 2004). Keywords: Vocal education, dialogue, interaction face-to-face, intersubjectivity, relationship, teacher training.

Asian, Black, Indigenous, Latine, and Pacific Islander students have increased their enrollment in private schools (2012–-2020) (NCES, 2021a) and have become the majority population in American public schools (NCES, 2021b), yet many educators are not adequately prepared to teach students from diverse backgrounds (Ladson-Billings, 2017; Paris & Alim, 2017). Within the field of choral music education, preservice choral educators are mostly prepared to teach Western European classical repertoire and bel canto vocal technique, both based on a Eurocentric paradigm (Good-Perkins, 2021b). This paradigm, however, is unlikely to be appropriate for students who are versed in diverse musical cultures (Carlow, 2006; Gustafson, 2008). The resulting cultural rift between students and choral educators can lead to student exclusion, cultural assimilation, and silencing (Bradley, 2015). Culturally sustaining pedagogy (CSP) is a theoretical construct focused on cultural and linguistic plurality in the classroom. CSP can address the potential cultural rift between educators using Eurocentric teaching paradigms and students’ unique cultures and ways of knowing music, sustaining students’ cultures and thereby preventing student silencing and assimilation (Good-Perkins, 2021b). Therefore, the purpose of this study was to discover the ways, if any, in which three high school choral educators—with multiple musical-cultural proficiencies—enacted culturally sustaining pedagogy in the choral classroom and student perceptions of their teaching. To address the purpose of this study, a multiple case study research method (Stake, 2013) was used. The themes that emerged upon completion of within case and cross-case data analysis included: musical-cultural alignment, importance of cultural dexterity, code-switching, and style shifting, interstitial space between styles, and developing connections. The implications of this research pertain to proposed changes in music teacher preparation and in-service music educator professional development. These changes could positively impact the skills and interests of the future pool of music education program applicants. The potential result of such changes at the K-12 and tertiary levels could be an increase in the diversity of music educators.

Dėmesys individualiojo vokalinio ugdymo problematikai tampa aktualus, kalbant apie būsimuosius muzikos mokytojus, kurie, siekdami užtikrinti visavertį savo ugdytinių tobulėjimą, turi įgyti tvirtą vokalinių žinių, gebėjimų ir įgūdžių pagrindą, plėtoti ne tik savo dalykines, bet ir bendrąsias kompetencijas, pasiruošti naujų pedagoginių vaidmenų atlikimui. Disertacijos tyrimo tikslas – parengti būsimųjų muzikos mokytojų individualiojo vokalinio ugdymo strategiją. Ginamieji disertacijos teiginiai: 1. Vokalinis ugdymas yra vienas iš pagrindinių muzikinio ugdymo komponentų, todėl būsimiesiems muzikos mokytojams būtini išugdyti vokaliniai gebėjimai ir įgūdžiai. 2. Individualusis vokalinis ugdymas sudaro palankias sąlygas individualizuoti ugdymo turinį ir technologijas, prisitaikyti prie konkretaus būsimojo muzikos mokytojo poreikių ir galimybių. 3. Holistiniu požiūriu ir ugdomų vokalinių gebėjimų bei įgūdžių psichinio ir fizinio aspektų derme pagrįsta individualiojo vokalinio ugdymo strategija yra svarbi, plėtojant muzikos mokytojo vaidmenis ir ugdant kompetencijas. Remiantis mokslinės literatūros, dokumentų analize ir empirinio tyrimo, grįsto kiekybinio ir kokybinio metodų derinimu, rezultatais sukurta būsimųjų muzikos mokytojų individualiojo vokalinio ugdymo strategiją, kuri suprantama kaip organizuotas, tikslingas veiksmų planas, skirtas numatytam ilgalaikiam tikslui pasiekti – optimizuoti būsimųjų muzikos mokytojų rengimą, įvardijant pagrindinius principus, strategijos... [toliau žr. visą tekstą] / Attention granted to problems of individual vocal education becomes urgent having in mind future music teachers who have to acquire vocal knowledge, master fundamentals of vocal abilities and skills, develop their both subject–specific and generic competences, prepare for new teachers’ educational roles to ensure their learners’ overall improvement. The aim of the research – to work out strategy of future music teachers’ individual vocal education. The following theses are to be defended: 1. Vocal education is one of the main components of musical education, therefore it is essential for future music teachers to acquire vocal abilities and skills. 2. Individual vocal education creates favourable conditions for individualizing education content and technologies with regard to the needs and potentialities of a particular future music teacher. 3. Strategy of individual vocal education grounded on a holistic approach and harmony of psychic and physical aspects of vocal abilities and skills, is crucial in increasing music teachers’ roles and competence development. Drawing on the results of the research dissertation, strategy of future music teachers’ individual vocal education was developed. Strategy here is understood as an organized, expedient plan of activities to achieve a long-term effect – to optimize future music teachers’ training, indicating its main principles, strategy objectives and defining strategy components – education content and education technologies.

The aim of the diploma thesis is to research the contribution of a prominent music educationalist PaedDr. Alena Tichá, PhD., who specialized in primary school children with lower music aptitude in her music education metodology. The thesis is focused to gathering basic information about biographical, bibliographical, theoretical and psychological-pedagogical characters which will not only lead to clarification of Alena Ticha's contribution and her methodology of vocal education and working with non-singers, but also to formation of a theoretical scope of our own research into this branch. The theoretical scope is focused on Czech musical and pedagogical fellowship and its awarness of Alena Tichá's singing methodology as well as on possible practical experience of respondents with this methodology when working with non-singers. Keywords Music education, didactics of music, Alena Tichá, children with lower music aptitude, non-singers, amusia, vocal education, primary school children.