Dissertations / Theses on the topic 'Choir teaching'

Music Education<br>Ph.D.<br>Researchers agree that teachers are the single most influential school-related factor in a child's level of academic achievement. Teaching style may influence students' academic achievement as well as facilitate students' development of social skills and a sense-of-community within the classroom. The purpose of this study was to examine the relationship between high-school choir directors' (n = 42) teaching-style and their high-school choir students' (n =1,108) psychological sense-of-community. Student participants in grades 9-12 within a mid-Atlantic state were members of a 9th-Grade Chorus (n = 2), Men's Chorus (n = 1), Women's Chorus (n = 8), Select Ensemble (n = 7), or Concert Choir (n = 38). Results from students' scores on the Classroom Community Scale revealed that 9th-grade students reported lower levels of sense-of-community, connectedness, and learning than students in grades 10, 11, and 12. Students in Select Ensembles reported significantly higher levels of sense-of-community, connectedness, and learning than students in Concert Choirs, and students in choirs that performed five or more times per school year reported significantly higher levels of sense-of-community than students in choirs that performed four or less times per school year. Results revealed no main effect for gender, students' years-of-experience in high school choir, or choir-class length and frequency. Teachers' scores on the Music Teaching Style Inventory revealed that teachers preferred the Assertive Teaching (M = 3.80), Nonverbal Motivation (M = 3.75), Time Efficiency (M = 4.33), and Positive Learning Environment (M = 4.27) teaching-styles that focus on teacher-led activities. Music Concept Learning (M = 3.48), Artistic Music Performance (M = 3.46), Student Independence (M = 3.30), Group Dynamics (M = 2.84), teaching-styles with a focus on student-led activities were least preferred by the teachers in this study. Group Dynamics teaching style was a low or the lowest preferred teaching-style for 40 of the 42 participating teachers. Results revealed no main effect for teachers' gender or years-of-experience teaching. Teaching-style preference was not a significant predictor for students' levels of sense-of-community or connectedness. Time Efficiency and Student Independence teaching-styles positively correlated with students' perceived level of learning while the Artistic Music Performance teaching-style negatively correlated with students' perceived level learning. Within teachers' reports of observed student behaviors, teachers identified all four elements of sense-of-community: membership, influence, integration and fulfillment of needs, and shared emotional connection. Teachers also reported purposefully planning activities in order to facilitate their choir students' sense-of-community. Activities included teaching behaviors found within the Positive Learning Environment, Group Dynamics, Artistic Music Performance, and Student Independence teaching-styles. Teachers expressed that a sense-of-community has importance in that it effects students' musical expression; students' ability to achieve their potential for musical performance; students' retention within choir ensembles; teachers' advocacy for choir programs; and student's participation in musical ensembles beyond high school.<br>Temple University--Theses

Denna studie är gjord på ämnet learning tracks, dvs auditiva instuderingsfiler för vokalmusik. Det finns ingen historisk forskning eller annan tidigare forskning på ämnet men man vet att det har förekommit som fenomen inom genren barbershop lika länge som den portabla kassettbandspelaren, och på senare år utvecklats mycket i och med internet samt möjligheten att spela in och editera musik på en hemdator. Angränsande forskning om spegelneuroner, inlärning på gehör och körmetodik har studerats som forskningsgrund och det sociokulturella perspektivet samt variationsteori är studiens teoretiska perspektiv. Syftet med studien är att undersöka vilka variationer i musikaliskt resultat samt i elevernas upplevelse av instudering som kan urskiljas kopplat till notbaserad instudering av körmusik, respektive instudering med hjälp av instuderingsfiler som komplement. Två testgrupper, en som fick jobba med instuderingsfiler som komplement till noter och en som bara fick instudera med noter, jobbademed ett stycke musik under fyra lektionspass som observerades och ljud spelades in för att kunna följa progressionen i instuderingen. En enkät till samtliga elever som deltog som frågade om deras upplevelse av instuderingen fylldes i direkt efter studiens avslut. Resultatet var tydligt, både utifrån testgruppernas musikaliska prestation och ifrån deras egen upplevelse av instuderingen, instuderingsfiler var för dem bättre än enbart noter. Resultatet går även att tydligt knyta an till den angränsande tidigare forskningen på ämnet. Även om studien är tydlig behövs det mer forskning inom detta område.<br>This study is on the subject of music learning tracks for learning a capella music. While there is no specific research on the subject yet it has been known as a phenomenon in the genre of barbershop harmony for as long as the tape recorder has been around, and has grown into a well-established business because of the internet and the possibilities of editing music on home computers. Earlier research in surrounding areas such as choir methodology, ear training and mirror neurons have laid the research ground for the study, and the theoretical perspectives which the data was analyzed through are the sociocultural perspective and variation theory. The purpose of this study is to explore variations in musical results and the pupils experience of learning that can be detected between a group that studies with learning tracks and a group that studies without learning tracks. The two groups were followed learning the same piece of music during four classes through observation and recording of sound. Directly following the last class, the students answered a survey about their experience of the learning process. The results were clear, both from the difference in musical results and from the answers in the survey, learning tracks are better for learning new music than just using sheet music. The results also connect to earlier research in surrounding areas, but even though the results of this study are clear more research is needed in this specific area.

Made available in DSpace on 2016-12-08T17:06:44Z (GMT). No. of bitstreams: 1 115843.pdf: 1029698 bytes, checksum: b17c9ac17c774191d3c06f2d376414ae (MD5) Previous issue date: 2014-03-25<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This dissertation goal was to investigate teaching strategies used by conductors in three university choirs in the Vale do Itajaí region, in Santa Catarina state, Brazil. Specific objectives were: to discuss the choir practice from the perspective of music education; reflect on the musical education in the choir practice and more specifically in the university choir; identify the main teaching strategies adopted by the conductors for the development of choral practice and; verify musical content covered in the practice of university choirs participating in the research. The work is situated within the qualitative research on the design of a multi case study and the techniques of data collection used semi-structured interviews, systematic observations and interviews by stimulation of remembrance. Data were divided into six categories initial activities, studying a new piece, rehearsing old pieces, preparing a performance, organizing the time, space and use of material resources and analyzed in the light of the literature of the choir area and also in the field of didactics. The results indicate a number of didactic strategies used by conductors in the development of activities in the respective choirs, evidencing the uniqueness and richness of the investigated contexts.<br>Essa dissertação teve como objetivo geral investigar estratégias didáticas utilizadas pelos regentes em três coros universitários da região do Vale do Itajaí, no estado de Santa Catarina. Os objetivos específicos foram: discutir a prática coral em uma perspectiva de educação musical; refletir sobre o ensino musical na prática do canto coral e mais especificamente no canto coral universitário; identificar as principais estratégias didáticas adotadas pelos regentes para o desenvolvimento da prática musical dos corais e; verificar conteúdos musicais abordados na prática de corais universitários participantes da pesquisa. O trabalho situou-se no âmbito da pesquisa qualitativa sob o desenho de um estudo multicaso e as técnicas de coleta de dados utilizadas foram entrevistas semiestruturadas, observações sistemáticas e entrevista por estimulação de recordação. Os dados coletados foram divididos em seis categorias atividades iniciais, ensaio de música nova, ensaio de música conhecida, ensaio para apresentação, organização do tempo e do espaço e utilização de recursos materiais e foram analisados à luz da literatura específica da área do canto coral e também do campo da didática. Os resultados da pesquisa apontam uma série de estratégias didáticas utilizadas pelos regentes no desenvolvimento de suas atividades, evidenciando a singularidade e riqueza dos contextos investigados.

Cette thèse se veut une contribution à la recherche en éducation musicale en France. Elle est ancrée dans le domaine de l’enseignement spécialisé de la direction de chœur et aborde les pratiques de l’élève et de l’enseignant dans leur interdépendance, à travers l’analyse d’une situation réelle d’enseignement-apprentissage du geste de direction musicale. La recherche traite spécifiquement le travail de l’enseignant et tente de mettre en lumière le rôle de ce dernier dans la construction des savoir-faire liés à un élément technique particulier :« la levée ». Il s’agit de mettre en évidence la manière dont l’enseignant structure le cours, et les aménagements qu’il opère, en termes de « milieu » pour accompagner l’élève vers les connaissances visées<br>This thesis has the purpose investing in the research of musical education in France. It isfocused on specialised teaching for choir conductors and hence studies the practicesundertaken by both the student and the teacher interdependently, by analysing the conductinggestures in a real teaching-learning situation. The research specifically takes an interest in theteacher's work, and seeks to highlight the role of the latter in the building of knowledge linkedto a particular technical element: « the upbeat ». Of particular importance is the way in whichthe teacher structures the lessons, organises the layout, in terms of “the environment” in orderto direct the students towards targeted learning

Glasgow Dental School (GDS) offers a varied learning environment for well-motivated, high-achieving students. These students, along with institutional, professional and public stakeholders, demand high quality, efficient, effective and modern teaching practices. A new undergraduate curriculum was introduced at GDS; a more authentic learning experience was to be delivered with a move away from traditional teaching based solely within the dental hospital. Outreach teaching facilities were introduced and a cohort of NHS clinical tutors joined academic staff. Both new and old staff were required to develop their teaching skills. Some tutors expressed distress at the lack of availability of training to enhance teaching skills, and implementation of a Peer Observation of Teaching Scheme (POT) was considered as a way to address this issue. POT focuses on providing opportunities for staff to improve their teaching skills. It can be conducted successfully with inexperienced teaching staff and limited resources. It can help identify and eliminate poor teaching practice while enabling participants to develop their skills, self-identity and group identity as teachers. POT, in this study, is a reciprocal process whereby one peer observes another teaching and provides supportive and constructive feedback. Its underlying rationale is to encourage professional development in teaching and learning through critical reflection, by both the observer and the observed. In this thesis, I outline the implementation of the POT scheme across clinical sites at GDS. The study involved multiple stakeholders and therefore required approval, accommodation and support across six geographically diverse Scottish health board areas. The process and outcomes from the evaluation of the POT scheme are presented. The current body of published research offers little in relation to POT for the development of teaching chair-side clinical dentistry, a distinct area where students carry out multiple invasive procedures on patients during each teaching session. Appraisal of the scheme and its impact was conducted using evaluation methodology underpinned by constructivist epistemology. Ethical approval was sought and granted. Results describe motivations to teach and evaluation of the POT process in relation to its authenticity, acceptability and practicality. Analysis of who is truly considered a ‘peer’ as well as aspects of trust, honesty and respect are presented along with the perceived issues for colleagues sharing critical feedback. Impact of the POT scheme is explored in terms of teaching, reflection, increased self-awareness, and lessons learned about personal teaching practice. There is a strong focus on the role of POT for quality enhancement. Key issues highlighted by the findings include; the notable differences between participants from a range of academic backgrounds; study limitations; and feasible alternatives for the development of teaching staff. The POT scheme was successfully implemented and analysed. It was an authentic method for encouraging reflection and development of teaching practice. Recommendations for further progress are outlined. These include whether POT should be mandatory; how to facilitate wider group discussion; systems for implementation of shared good practice; and increasing access to teaching qualifications. Further research is required to directly measure the impact of POT on student learning and look at how the scheme has impacted on development of the wider community of practice.

L'objectif de cette thèse est d'étudier l'interdépendance des ressources scolaires et des ressources individuelles dans la production du capital humain. À travers trois cas d'études sur données françaises, différentes méthodes sont proposées pour analyser l'effet des politiques éducatives tout en tenant compte des comportements des individus. Le premier chapitre montre que les politiques d'éducation prioritaire sont susceptibles de conduire les familles, notamment les plus avantagées socialement, à contourner les établissements traités. Ces stratégies d'évitement sont de nature à contrebalancer les effets des moyens supplémentaires sur les résultats des élèves. Le deuxième chapitre cherche à savoir si les choix d'orientation des élèves sont contraints par J'offre scolaire locale. Nous montrons que l'ouverture d'un nouveau lycée augmente la proportion d'élèves qui poursuivent leurs études dans le second cycle, notamment en voie professionnelle. Enfin, le troisième chapitre montre que les étudiants tiennent compte de l'information contemporaine dont ils disposent sur leurs notes lorsqu'ils évaluent les qualités pédagogiques de leurs enseignants<br>The main objective of this thesis is to study the interdependence of school resources and individual resources in human capital production. In three empirical analyses using French data, various methods arc proposed to evaluate the impact of educational policies, taking individual behaviors into account. The first chapter shows that compensatory education policies may result in individual sorting. The fact that socially more advantaged families tend to avoid treated schools cancels out additional resources positive effects on academic achievement. The second chapter examines whether pupils are constrained by local school supply. We find that opening a new high school increases the proportion of pupils who continue in upper secondary education, particularly in a vocational track. Studying how students evaluate teaching, the third chapter shows that they take contemporaneous information about their grades into account when they evaluate teachers' pedagogical qualities

L'objet de notre recherche est d'étudier la dynamique subjective du parcours universitaire des enseignants en vue de la construction d'une identité professionnelle et de leur préparation à l'enseignement. Nous analysons les expériences, les représentations et les méthodes de travail des futurs professeurs de l'enseignement secondaire en milieu universitaire ainsi que la transition de l'expérience universitaire à la formation. Notre enquête porte sur un échantillon de 170étudiants (et professeurs stagiaires) préparant les concours de recrutement (CAPES, CAPEPS, Agrégation), futurs enseignants du second degré dans trois disciplines : Lettres, EPS et Sciences physiques. Nous avons utilisé pour le recueil des données un questionnaire qui nous a permis de collecter les données nécessaires (données quantitatives)puis nous avons conduit 35 entretiens complémentaires afin de collecter des données qualitatives. Nous dégageons ainsi sur la base des résultats obtenus les particularités de leurs représentations par rapport à leur discipline d'appartenance.Nous nous intéressons plus spécifiquement aux méthodes de travail des futurs enseignants selon certains concepts pédagogiques (l'efficacité des enseignants, l'évaluation des élèves, le comportement en classe et dans différents contextes, la préparation des cours, les connaissances relatives aux disciplines, les compétences pédagogiques). Il es tégalement intéressant d'examiner la question du choix du métier des enseignants candidats ainsi que d'étudier la position culturelle des nouveaux enseignants entre la culture académique-scolaire et la culture des jeunes. En outre,nous envisageons les modalités actuelles de la professionnalisation et des nouvelles contraintes du métier ainsi que les stratégies possibles en vue de la construction d'une culture professionnelle commune des enseignants du secondaire

碩士<br>國立臺中教育大學<br>音樂學系碩士班<br>99<br>Choral music plays an important role in music no matter from the viewpoints of history or education. In choral instruction, the teacher is a conductor, musician, and educator. The researcher majored in vocal music in her undergraduate program and involved in choral music deeply. She studies choir education in the master program and teaches in a private school as a choral teacher. With less than two-year teaching experiences, she is still an advanced beginner and her teaching skills need to be polished. This study hopes to establish teaching strategies to improve the teaching efficiency. The research employed case study, and the researcher was the case in the study. Through teaching video, after-class reflection, and discussion with an expert teacher and a choral professor, the researcher expected to facilitate the teaching effects. The results included: First, the teaching progress of the advanced beginner. A expert teacher and a choral professor offered and shared plenty of teaching experiences. The researcher also read a lot of related books and designed the teaching strategies. After discussed with the expert teacher and professor, the researcher took the suggestions, fixed the strategies, and practiced. Second, the choir changed the singing skills after the advanced beginner changed the teaching strategies. The choir members kept long breath, used belly muscle to support, had head (high) resonance and good oral space, and expressed emotional dynamics with new strategies. According to the results, this study recommended advanced beginner should learn experiences from the expert teachers and use self-learning to increase professional knowledge. Meanwhile, the choral teachers’ teaching strategies should fit the members’ physical development. For instance, the warm-up activities can be active and suitable for the students’ mental status. Regarding to the teaching skills, the teaching pace should be compact.

The typical high school choral director of today is expected to know a great deal about the various types of music that exist as well as the appropriate techniques to create those genres in such a way that their student’s performances are realistic and stylistically accurate. What most undergraduate students are taught in pursuit of a choral music education degree misses the mark in that the show choir genre is nearly ignored throughout the curriculum. Yet, the nation’s new teachers are expected to strike out into the world of teaching and often find themselves in very large, competitive programs with the show choir at the very center. This study begins by identifying a number of questions that a first year teacher with no show choir directing experiences might ask, identifying the “how and why” of the daunting task of creating an artistic product in this new American modern choral genre. These questions also served as a guide to formulate a profile of the ideal show choir director. Then utilizing the established profile of the ideal show choir director, several experts – those who have an established reputation for a high level of success – were interviewed and their responses were documented, studied, and organized into categories that correspond with those found in the profile of the ideal show choir director. The correlation of these elements provided an in-­‐depth look into the processes of these successful directors that have proven to be effective over the course of many years, giving the reader a revealing look into how to build a program from the beginning, and to see it through to the end with ultimate success. As young teachers attempt to create musical experiences that are appealing to their students, they often find themselves competing with an idea that singing in choir should be like what can be seen on television in shows such as GLEE or American Idol, and other similar programs. While this is not an entirely real reflection of what choral music education is about, there is some truth to what is shown, and to a degree, what can be done. The focus of this project is to provide our new teachers a knowledge base to draw from that can assist them in their own development toward becoming a truly well balanced musician and educator. This project can assist these young teachers in developing into those who have knowledge of the show choir art form, and know how to teach the various techniques necessary to engage students and keep them interested in singing choral music.<br>Access to dissertation permanently restricted to Ball State community only<br>School of Music

The purpose of the present study was to determine whether expert evaluators' assessments of teachers vary between observations of rehearsal frames that demonstrate effective student behavior change and observations of full rehearsals. Ten experienced evaluators rated 12 music teachers on 10 criteria. The evaluators first observed brief video recordings of two rehearsal frames (RF) of each teacher and then a recording of a full rehearsal (FV) taught by the same teacher. The evaluators rated the teachers on all 10 criteria following each observation. Evaluators in the present study tended to rate teachers more highly and express greater confidence in their ratings in the FV condition than in the RF condition. These differences indicate that observing brief video episodes of teaching does not lead to the same ratings of teacher effectiveness as does observing video recordings of full rehearsals. The differences between the two conditions were larger in terms of evaluator confidence (29% higher confidence ratings in the FV condition) than in terms of ratings of teacher effectiveness (7% higher ratings in the FV condition). Although all teachers were rated more highly overall in the FV condition than in the RF condition, the differences between the two conditions were small and varied considerably among teachers and among evaluators.<br>text

碩士<br>國立臺灣師範大學<br>音樂學系<br>106<br>The purpose of the study was to explore the senior high school choral instructor’s teaching belief and practice. This study utilized a case study design. The research data were collected by interviewing and observing the choral rehearsals directed by the case teacher. After analyzing the collected data, the conclusions in this study were as follows: 1) The teaching belief of the senior high school choral instructor 1. The case teacher had enthusiastic about professional development and offered students multiple performance opportunities. 2. The case teacher used many learning strategies to build student’s ability and confidence in singing. 3. The case teacher put emphasis on the subjectivity of the cadres, and tried to foster team cohesion. 4. Through the diverse ways of performing form and programme arrangement in the concert, the case teacher promoted the musical atmosphere of the community. Also, through the music curriculum designed by the case teacher, students had experienced a cappella and choral music. 5. The case teacher put emphasis on coworker and parent-teacher communication. 2) The teaching practice of the senior high school choral instructor 1. The case teacher organized the choir at the beginning of the semester, and planned the learning goal and management details of the choir in advance, and executed effective teaching strategies. 2. The case teacher used vocal modeling, concrete and multisensory teaching strategies to develope students’ singing ability.The case teacher especially paid attention to choir warm-up activities for training breathing, resonance and vocalizing techniques. The case teacher based the choral repertoire selection on students’ ability, instrutor’s factors and the purpose of performance. The case teacher also attended more workshops and seminars, joined choirs herselves, or used the internet resources to expand her source of repertoire selection.The case teacher put emphasis on the singing diction and musical interpretation.

abstract: The purpose of this study was to investigate the attitudes, preferences, and practices of Arizona high school choral directors towards sight-singing skills, and student success in group sight-singing evaluations, the teaching of sight singing including preference for a specific sight-singing system, and the instructional practices employed in daily rehearsals. High school choral directors from the state of Arizona (N = 86) completed an online researcher-designed questionnaire that gathered demographic information as well as information regarding directors' attitudes towards sight-singing instruction, which exercises are used for sight-singing instruction, and directors' self-perceived ability not only to sight sing but also to teach sight singing. Independent variables such as teaching experience, level of education, the system they were trained to use as a student, the system they currently use in the classroom, their self-perceived ability to sight sing, their self-perceived ability to teach sight singing, their choir's sight-singing rating at festival, and their daily instructional practices (as measured by minutes per week of sight-singing instruction) were used to investigate potential differences in attitudinal responses. Multivariate analyses of variance were conducted to investigate potential differences in responses according to various independent variables. Significant differences were found in responses to statements of the importance of sight-singing instruction according to level of teaching experience and time spent on sight-singing instruction in the classroom. No significant differences were found for statements of directors' attitudes toward sight-singing instruction according to level of education or prior training. Results indicate that Arizona high school directors are a seasoned and highly education group of professionals who understand and believe strongly that sight-singing instruction should be a part of their choral music rehearsals. These directors use a variety of systems and resources to teach sight-singing and all dedicate time to sight-singing each week in their rehearsals. Despite the overwhelming support for teaching sight-singing in daily choral rehearsals, there is a lack of participation in choral adjudication festivals where group sight singing is assessed. Further research is suggested to investigate the lack of participation of Arizona high school choral teachers in the group sight-singing component of the state choral adjudication festivals.<br>Dissertation/Thesis<br>D.M.A. Music Education 2013

碩士<br>國立臺南大學<br>音樂學系教學碩士班<br>99<br>This research is to inquire into the motives, learning experience and teaching application of teachers participate in recorder choir. With qualitative research methods, through interviewing with three teachers who are now in the Kaohsiung County Recorder Ensemble to understand the motives of their participation, the important learning experiences and harvest, and the application of practical work and ascending personal learning process; also by qualitative data analysis codes, it sums up the conclusion relative to the participation of teachers’ recorder choir: 1. Individual case teacher&apos;&apos;s motive of participating in the teacher recorder choir is multiple factor and includes: the teaching need, personal interest, knowledge pursuing and personal skills’ upgrading etc. 2. The former academic background and teaching experience affected individual case teachers’ intention to participate in the recorder choir. 3. The learning process of participating in the recorder ensemble triggered learning interest; furthermore, continuing individual case teachers’ future learning motivation. 4. The learning process of participating in the teacher recorder ensemble enhances individual case teacher’s expertise, ability and teaching attitude. 5. The learning process of participating teacher recorder ensemble led to individual case teacher to do teaching reflection. 6. Individual case teacher explores self-potential, enhances self-confidence and carries out self-ego through participating in teacher recorder ensemble. 7. Participating in the teacher recorder ensemble keeps individual case teacher learning continuously, and it has close interaction in the recorder teaching in the elementary. 8. Applying the acquirement from participating in the teacher recorder ensemble led teachers to enhance their teaching and students’ learning effects. In the end, it is a reference offering recommendations to relevant academic units, schools, teachers and any research in the future according to this research results.

碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>103<br>Abstract This study aimed to investigate the case of elementary school choir conductor’s teaching beliefs as well as organization and training. The qualitative-oriented descriptive case study was adopted to study one high-performance elementary school choir conductor. Using single-case holistic design as analysis unit, through classroom observations, interviews and documents for data collection and analysis, this descriptive case study drew the following conclusions based on the research results: First, the teaching philosophies of the subject teacher in this case study are as follows: 1). The teacher is glad to promote choir education, and is willing to pass on the wonderful choral experience. Through guidance, and through the process of building tradition, she believes that every teacher is able to attend to every student without exclusion. 2). The teacher makes a point of utilizing various repertoire to strengthen students’ basic music training without increasing the need of extra practice, as well as building up a selection of unique competition repertoire through thoughtful design and transcription. 3). The teacher believes in adopting the methods of diverse teaching and peer learning to help students interpret music, which also improves the precision of learning progress and efficiency. 4). The teacher holds that besides the individual learning situation and choral skills, choir directors should emphasize on compliance, gregariousness, and concentration in the students’ evaluation. 5). The teacher shows the compassion for both learning and teaching, who is not only very active in further studies, but also constantly reviewing the direction of one’s teaching approaches. Second, the methods of the subject teacher in this case study on organizing an elementary-school children’s choir are as follows: 1). To provide diverse teaching approaches. Not only take into account of students’ timbre, intonation, but also focus on students’ learning inclination. 2). Admit more choir members than as required in the competition. Adjust choir members’ ratio among all voices according to the repertoire in order to reach the balance of both volume and timbre, especially emphasize on the lower voices as the base configuration of the choir. 3). Through diligent practice, gradually build up choir members’ ability. The aim would be to organically and naturally guide them to use their body as their own instruments. 4). Through competitions, performances, and school activities, along with the assistance from the school administration, to encourage and inspire the choir members, and to establish a harmonious relationship between teacher and students. 5). During every morning rehearsals, the practice drill should start from outward to inward, which means from body, vocal core, to sound sequence. These practice drills will help along the following repertoire learning. 6). Draw nutrients from the music. Lead the choir in cappella to reach a better understanding of “listening.” Through the training in “listening,” the choir members will realize the skills and connation in chorus. 7). Emphasize on the individual basis and then extend to the group learning. Use the methods of leading and imitation, from easy to complexity, gradually improving choir members’ perceptive sensibility 8). Work on the correct vocalizing, diction and music interpretation. Establish mutual understanding personally and musically. Based on the research findings, this thesis provides fellow teachers and school-related personnel several proposed recommendations, and serves as a reference for further studies.

Relatório de estágio de mestrado em Ensino da Música<br>O presente relatório de estágio reporta-se ao Estágio Profissional do Mestrado em Ensino de Música da Universidade do Minho, realizado no ano letivo 2016-2017 no Conservatório de Música Calouste Gulbenkian de Braga, nos grupos disciplinares M28 – Formação Musical; Educação Musical, e M32 – Conjuntos Vocais e ou Instrumentais; Orquestra. O Projeto de Intervenção foi aplicado no coro de 65 alunos de 9º ano e Secundário do Conservatório. O seu objetivo principal foi desenvolver competências de leitura à primeira vista, e aferir as vantagens desta na prossecução dos objetivos da disciplina. Na prossecução desse objetivo, a leitura à primeira vista foi implementada em todas as aulas em corais, com base nos quais se procurou desenvolver competências como a afinação, bem como na preparação do reportório a interpretar em concerto, preparado em conjunto, a capella. No âmbito da intervenção pedagógica foi também realizado o workshop “Método Kodály e Música Coral”, que teve como público-alvo não só os alunos como também os professores. Neste workshop, foram abordadas e desenvolvidas competências de leitura musical e de leitura à primeira vista através do método Dó-Fixo, Dó-Móvel e da linguagem gestual Curwen-Kodály, tratando de modo interdisciplinar tais competências nas disciplinas de Formação Musical e Coro. A avaliação da intervenção foi realizada com recurso à observação participante, inquéritos diagnósticos e finais aos alunos, entrevistas às professoras cooperantes e gravações individuais de duas provas orais – uma inicial e outra final a sete alunos do coro. A partir dos resultados obtidos é possível verificar que o desenvolvimento da leitura à primeira vista reforçou competências nos alunos a nível da fluência e do fraseado musical, da melhoria da afinação e das relações intervalares, contribuindo para a eficiência na aprendizagem de reportório novo. No geral, os alunos melhoraram esta competência e afirmaram gostar mais de ler à primeira vista.<br>This internship report concerns the Professional Internship for the Master Degree in Music Education, carried out during the school year 2016-2017 at Braga’s Calouste Gulbenkian Music Conservatory, in the classes M28- Music Education; Musicianship training and M32- Vocal and Instrumental Ensembles; Orchestra. The Intervention Project was applied on the 65 high school choir students of the Conservatory. The main goal was the development of sight-singing skills and the assessment of the advantages of sight-singing on the achievement of the subject’s goals. During the pursuit of such goal, sight-singing was taught every class with chorales that intended to develop pitch and the performance repertoire preparation, prepared with an a capella ensemble. In the pedagogical intervention context, it was also developed the “Kodály Method and Choral Music” workshop, which had not only the students but also the teachers as target audience. In this workshop, musical reading and sight-singing skills were addressed and developed by Fixed Do system, Moveable Do system, Curwen- Kodály hand gestures, treating interdisciplarily that skills at Musicianship Training and Choir. The intervention assessment was made by participant observation, diagnostic and final inquiries to the students, interviews of the cooperating teachers and individual recordings of two oral evaluations- an initial and a final one with seven choir students. We can verify from the results obtained that the development of sightsinging reinforced the student’s skills of fluency and musical phrasing, pitch and intervallic relationships, contributing to more efficiency when learning new repertoire. In general, the students developed this skill and claimed to like sight-singing better.

Relatório de estágio de mestrado em Ensino de Música<br>O trabalho que se apresenta insere-se na unidade curricular Estágio Profissional do Mestrado em Ensino da Música da Universidade do Minho e foi realizado no âmbito da prática pedagógica no Conservatório de Música de Barcelos (CMB), no ano letivo 2016/2017, através de protocolos celebrados entre o CMB e o Instituto de Educação da Universidade do Minho. O objeto de estudo, o movimento corporal como ferramenta pedagógica aplicado nas Classes de Conjunto – Coro, foi aplicado numa turma de iniciação III e IV do 1º Ciclo do ensino Básico com alunos em regime integrado e supletivo. Com este estudo, procura-se verificar a aplicabilidade e as potencialidades desta ferramenta pedagógica no que concerne à motivação do aluno, à postura, à concentração, à memorização, e avaliar se de facto o movimento influencia ou não a sonoridade do coro no geral e do individuo em particular, intensificando as vivências musicais e tornando a sua formação mais completa e significativa. Este estudo encontra-se organizado em três partes. A primeira parte aborda a temática “O movimento corporal como ferramenta pedagógica”, na qual se apresentam pedagogos e músicos de destaque no processo de ensino-aprendizagem da música. Estes autores promoveram a interação do movimento corporal com a música, designadamente a perceção e aprendizagem musical no plano do canto coral. Na segunda parte expõe-se a metodologia utilizada, seguindo-se a terceira fase que apresenta a caracterização do contexto escolar e respetivo projeto desenvolvido no domínio da Prática Pedagógica Supervisionada. Neste ponto, apresentam-se as peças corais estudadas com a turma de estágio, bem como os movimentos corporais desenvolvidos para cada uma delas e alguns exercícios efetuados com movimento corporal. A implementação do projeto permite concluir que o movimento corporal é uma ferramenta pedagógica muito útil no auxílio das aprendizagens nas Classes de Conjunto, apesar de nem sempre ser utilizada nas aulas de Coro pelos professores da disciplina. Faz-se ainda a reflexão de que, para obter dados mais relevantes e objetivos, se tornará necessário realizar um estudo transversal aos diferentes ciclos de ensino e com um prazo mais alargado.<br>The work that follows is part of the curricular unit Professional Internship of a Master’s degree in Music Teaching from the University of Minho and was carried out within the framework of pedagogic practice at the Music Conservatory of Barcelos (CMB), in the academic year of 2016/2017, through protocols concluded between CMB and the Institute of Education at the University of Minho. The object of study, the body as a pedagogical tool applied in Ensemble Classes - Choir, was applied in the initiation class III and IV of the first cycle of basic education with students in integrated and supplementary regime. This study aims at verifying the applicability and potential of this educational tool in terms of students’ motivation, posture, concentration, and memorization, and evaluating if in fact movement influences the overall sonority of the choir and of the individual in particular, intensifying musical experiences and making their training more meaningful and complete. This study is organized in three parts. The first part deals with the theme "Body movement as a pedagogical tool", which features educators and prominent musicians in the teaching-learning process of music. These authors promoted the interaction between body movement and music, with a particular emphasis on perception and learning at the level of choral singing. The second part sets out the methodology used, followed by the third stage which features the characterization of the school context and respective project developed in the field of Supervised Pedagogical Practice. At this point, the choral pieces studied with the students are presented, as well as the body movements designed for each one and some exercises carried out with body movement. Through the implementation of the project, we can conclude that body movement is a very useful pedagogical learning tool in Ensemble Classes, although teachers of this subject do not always use it in Choir lessons. We realised that in order to get more relevant and objective data, it is necessary to conduct a cross-sectional study of the different cycles of teaching and with an extended term.

碩士<br>臺北市立教育大學<br>音樂學系教學碩士學位班<br>99<br>This study aimed to investigate elementary choir educators’ opinions on constructing choral teaching rubrics. Individual and school backgrounds were the variables to examine the differences of opinions. Related documents and information were collected and analyzed on the basis of the research purpose to the “Questionnaire of Constructing Choral Teaching Rubrics for Elementary School Choirs.” The research participants were choir instructors from elementary schools who were participated in national music competition in 98 and 99 academic year. Schools in Northern Taiwan were purposively sampled for the study. Questionnaires were sent to 206 elementary choir educators re while 163 were returned. Data analysis was processed with the following methods: descriptive statistics, t-test, and one-way ANOVA. The results revealed from this study and the conclusions were as below: 1. Nine aspects of choral teaching rubrics included Breath Support, Posture and Relaxation, Tone Quality, Pitch Accuracy or Intonation, Rhythmic Accuracy, Diction the Balance, Interpretation and Musicianship, and Stage Presentation. 2. A consensus on the nine aspects indexes of Constructing Choral Teaching Rubrics for Elementary School Choirs had been reached by experts. 3. The findings revealed that among the nine aspects indexes, the Stage Presentation property was mostly highlighted.Choir educators thought that Constructing Choral Teaching Rubrics for Elementary School Choirs highly matched the criteria developed in the study. 4. The opinions of modeling during choral teaching rubrics, the significant differences appeared in school size, sex, and choral related courses. 5. County, age, degree obtained, major, service seniority in school and in choir did not show significant influence in opinions toward Constructing Choral Teaching Rubrics. According to the research results, the researcher made several recommendations in the curriculum of choral teaching, choral directors and future study. The findings could be references for popularizing the choral education and realizing multidimensional choral teaching.

Este relatório, elaborado no âmbito das unidades curriculares de Prática Profissional (PP) I e II, reflete o percurso realizado na instituição de acolhimento, Escola de Música de Perosinho (EMP) sob a supervisão científica e pedagógica das Professoras Doutora Luísa Orvalho e Drª Sílvia Dias. Evidencia também, a pesquisa do tipo intervenção pedagógica que envolveu planeamento e implementação de mudanças e inovações pedagógicas, destinadas a produzir melhorias nos processos de ensino e aprendizagem dos alunos de Formação Musical (FM) Iniciação, níveis III e IV e a posterior avaliação dos efeitos e impactos no sucesso e desempenho escolares dos sujeitos participantes. O Projeto de Intervenção Pedagógica (PIP) foi concebido, calendarizado e implementado nas unidades curriculares de Seminário de Intervenção Pedagógica e Projeto de Intervenção Pedagógica, do plano de estudos do 2º ano, 1º e 2º semestres respetivamente, do curso de Mestrado em Ensino de Música, da Escola das Artes e Faculdade de Educação e Psicologia, da Universidade Católica Portuguesa, Católica Porto. Na PARTE I, faz-se a descrição do percurso realizado durante a PP, efetuada durante o ano letivo de 2020/2021, com as turmas das disciplinas de FM- Iniciação, dos níveis III e IV, e Classe de Conjunto (CC) Coro, do Curso Básico de Iniciação em Música, em regime supletivo. Depois de um enquadramento do contexto, é apresentada uma descrição detalhada das componentes da prática supervisionada e termina-se com uma reflexão crítica sobre o desenvolvimento profissional e organizacional vivenciada nesta fase de formação. Na PARTE II, apresenta-se, no formato de artigo científico, a investigação qualitativa que foi realizada na PP, durante os meses de fevereiro a maio de 2021, em vinte aulas, com as turmas de FM Iniciação, para aplicar o PIP designado “Contributos para a Construção de um e-Referencial de Práticas Pedagógicas para o Ensino da Formação Musical Iniciação” numa amostra de vinte e um alunos, que frequentavam o Curso de Iniciação em Música, dos níveis III e IV, em regime supletivo, com idades compreendidas entre os 8 e os 9 anos de idade, com recurso à utilização de métodos ativos dos pedagogos musicais Émile Jaques-Dalcroze, Edgar Willems, George Self e Murray Schafer. Como produto desta pesquisa, foi construído um e-Referencial de Práticas Pedagógicas para o Ensino da Iniciação Musical, selecionando as Aprendizagens Essenciais interiorização dos elementos musicais (timbre, intensidade, articulação, andamento, duração, altura, densidade, modos e forma), entoação, improvisação, leitura e descoberta de novos sons, criação de notações musicais e escrita de partituras com avaliação muito positiva no desenvolvimento curricular concretizado.<br>This report, prepared within the scope of the Professional Practice (PP) curricular unit, reflects the path taken at the host institution, Escola de Música de Perosinho (EMP) under the scientific and pedagogical supervision of Professors Doctor Luísa Orvalho and Sílvia Dias. Evidence, also a research the type pedagogical intervention that involved support and implementation of changes and pedagogical innovations, destined the production production changes in the teaching and learning of students in Musical Education (FM) – Initiation, Level III and IV and the subsequent evaluation of effects and impact in success and school performance of the participants. The Pedagogical Intervention Project (PIP) was conceived, scheduled and implemented in the curricular units of Pedagogical Intervention Seminar and Pedagogical Intervention Project, of the 2nd year, 1st and 2nd semester study plan, respectively, of the Master's course in Music Education, of the Escola das Artes and Faculdade de Educação e Psicologia of the Universidade Católica Portuguesa, Católica Porto. In PART I, the description of the route taken during the PP, made during the academic year 2020/2021, is made with the classes of the disciplines of FM Initiation, of levels III and IV, and Class of Ensemble (CC) Choir, from the Basic Music Initiation Course, on a supplementary basis. After framing the context, a detailed description of the components of the supervised practice is presented and ends with a critical reflection on the professional and organizational development experienced in this stage of training. PART II presents, in the format of a scientific article, the qualitative research that was carried out at PP, from February to May 2021, in twenty classes with the FM Initiation classes, to apply the intervention project (PIP) called “Contributions for the Construction of an e-Referencial for Pedagogical Practices to the Teaching of Musical Education Initiation” levels III and IV”, in a sample of twenty-one students, who attended the Music Initiation Course, of levels III and IV, on a supplementary basis, aged between 8 and 9 years old, using the active methods of the musical educators Émile Jaques-Dalcroze, Edgar Willems, George Self e Murray Schafer. As a product of this research, an E-Referential of Pedagogical Practices for the Teaching of Musical Initiation was built, selecting the strategic teaching actions interiorization of the musical elements (timbre, intensity, articulation, tempo, duration, height, density, modes and form), intonation, improvisation, reading and discovering new sounds, creating musical notations and writing scores with a very positive evaluation in the actual curriculum development.

碩士<br>國立臺灣師範大學<br>音樂學系<br>99<br>The purpose of the study was to explore two junior high school music teachers’ choral teaching philosophy and approaches in training the adolescent boy choir. This study utilized a case study design. The research data were collected by interviewing and observing the choral rehearsals directed by the two case teachers. After analyzing the collected data, the major findings of this study were as follows: 1. The school choral tradition and the supports from school administration had positive impact on teachers’ choral teaching philosophy. 2. The two case teachers pointed out the purposes of managing the adolescent boys’ choirs in the junior high school were to provide a variety of choral learning opportunities for developing students’ singing ability, and to build a performance stage for cultivating their confidence in singing. 3. According to adolescent boy’ singing range and tessitura, the two case teachers selected part-songs to teach them. In order to let adolescent boy to sing comfortably, teachers had to transpose the melody or draw new melodic lines within the parts to accommodate ranges that are comfortable for each singer. 4. Both of the two case teachers had put emphasis on choir warm-up activities, especially for training breathing, resonance and vocalizing techniques. 5. The differences in gender and singing range of the two case teachers would affect their strategy of vocal modeling. 6. The two case study teachers frequently used solo or group ensemble for formative assessment, to understand the students’ learning situation in intonation, rhythm, and diction. According to the research results, the researcher made suggestions for school administration, music teacher, choral educators, and future researches for the choral teaching.

My personal experience as an elementary music teacher had afforded me the opportunity to build a thriving choral program in my school, but I had reached a stale mate in my ability to facilitate maximum progress for my students to achieve a sound that my administrators, colleagues, and audience would recognize as masterful. The purpose of this study was to ascertain how master teachers of elementary children’s choirs approach teaching in order to emulate their results. By observing and interviewing masterful choral educators and reviewing the literature on the pedagogical approaches recommended for successful choral programs, it was hoped that I could apply this knowledge to inform and transform my practice. The review of the literature is discussed according to themes that emerged from my reading. These themes included: 1) Planning and Organizing Rehearsals; 2) Repertoire Selection; 3) Teaching Vocal Technique; 4) Seating Arrangement; 5) Audition Versus Non-Audition; and 6) Effective Choral Teaching. An action research methodology was employed in this study and involved collecting data from three sources: a pre- and post-observation of my practice by a jury; observations of master teachers; and interviews with master teachers. Observations and interviews were conducted with the same group of master teachers. Data were analysed using a qualitative approach (Bogdan & Biklen, 2003; Mills, 2007). Data from the observations and transcribed interview data were reviewed and coded according to key findings that emerged on a repeated basis (Stringer, 2008). The findings of the study revealed several themes that dominated the pedagogical approaches of master choral teachers. These themes included: planned and organized rehearsals with flexibility to address learning needs that arise unexpectedly; choosing high quality repertoire with inspirational text and good musical construction, and considerations to appropriateness of range with a preference to up-tempo selections; vocal techniques that encompassed strong listening skills and their appropriate application, good posture, proper breath control, face and jaw alignment, use of kinesthetics and imagery, attention to unified vowel and consonant production; seating arrangements that considered non-musical criteria such as height, behaviour, and grade level; and teaching demeanour that was positive and nurturing, with a penchant for a quick pace, delivered in a lively, animated manner, punctuated by good eye contact and supported by significant score knowledge. Master choral teachers were found to have personal experiences that contributed to their success and were found to be passionate about their teaching. Recommendations for further research and personal study are given.

Evaluation is itself often perceived as threatening the interests of those involved in the object of evaluation. Hence, evaluation tends to be neglected. However, Argentinian policies on education are currently giving increasing importance to improving the quality of education at university level. Consequently, the evaluation of such processes is especially relevant for the universities, inasmuch as it helps to define efficient plans to guaranteee quality. Evaluation of the teaching and learning processes involves collecting evidence, from all the participants involved in such processes, for the purpose of improving the effectiveness of the methodology implemented. A successful evaluation generates outcomes that are valid, reliable and indicate directions and actions for improvement. In this context, its main objective is to collect facts the course developer can and will use to do a better job, and facts from which a deeper understanding of the educational process will emerge. We all agree that teaching is a multidimensional activity, in which one of the most powerful dimensions is that of “teacher as researcher”. As a result, not only do teachers need to use research in their practice but also to participate “in action”. In this investigation, our main objective was to judge the quality and effectiveness of a course of study, more particularly, the Chair of English Grammar I in the Faculty of Languages of the National University of Córdoba, to improve an optimize the didactic and pedagogic classroom practices. The findings are based on the responses from a population of 250 students who took the subject in the academic year 2010 and 4 teachers who were in charge of conducting the teaching and learning processes during the same academic year. To fulfil our objective, a number of aspects concerning the teaching and learning processes were evaluated. Among such aspects, we can mention the course objectives and its contents, the instructional design, the study materials, the assessment practices, the student achievements. The instruments employed for the study include records, documents and questionnaire-surveys. The investigation was a mixed study, since it was about a process in which the researcher gathered, analysed, and linked quantitative and qualitative data into one single study in order to answer one problem. It is worth pointing out that practically no studies on evaluation of a course of study at university level are available in the public domain, and let alone in our institution. Hence, we hope that this study will help us, teachers, continue focusing on the value of teaching and learning as the fundamental mission of education, as the enhancement of quality in teaching and learning must be a continuous effort within an educational institution.