Dissertations / Theses on the topic 'Individual music teaching'

O propósito deste relatório reside na exposição de mecanismos que visam solucionar problemas relacionados com a falta de organização do estudo individual dos alunos em geral, com foco nos alunos do Ensino Básico de Música. A análise desta problemática é essencial não só para uma boa performance em palco, como também para a formação de um aluno como futuro músico profissional. Deste modo, serão apresentadas não só ferramentas que servirão de guia para a organização do estudo individual, como também estratégias para solucionar problemas relacionados com as várias dificuldades na prática do mesmo; Abstract: The Problematic of Individual Guitar Study at the Basic Music Level of Specialized Artistic Education. The purpose of this report is to expose mechanisms that aim to solve problems related to the lack of organization of the individual study of students in general, with a focus on students of Basic Music Education. The analysis of this problem is essential not only for a good performance on stage, but also for the formation of a student as a future professional musician. In this way, not only tools will be presented that will serve as a guide for the organization of the individual study, but also strategies to solve problems related to the various difficulties in its practice.

O presente relatório surge no âmbito da Prática de Ensino Supervisionada, realizada na Escola de Música do Conservatório Nacional durante o ano letivo 2015-2016, tendo como supervisores os professores Mário Marques (na qualidade de orientador interno) e Luís Gomes como orientador cooperante. Ao longo da primeira secção será apresentada a descrição histórica e orgânica da instituição supracitada. Posteriormente é concretizada a caracterização dos alunos, das aulas assistidas e lecionadas, assim como uma análise crítica das mesmas. A segunda secção deste relatório prevê a aferição da importância da música de câmara na aprendizagem individual do clarinete, abordando diferentes conceitos e componentes que atuam nesta sistema de ensino. Nesta secção figuram também resultados de um questionário que afere as perspetivas de professores do ensino vocacional da música neste âmbito. Pretende-se com a presente investigação reunir informação substancial para a formação do professor de instrumento; Abstract: Supervised Teaching Practice held at the Escola de Música do Conservatório Nacional. The importance of chamber music in individual clarinet learning. This report is part of the Supervised Teaching Practice, held at the Escola de Música do Conservatório Nacional during the academic year 2015-2016, having professors Mário Marques (as internal supervisor) and Luís Gomes as co-supervisor. Throughout the first section will be presented the historical and organic description of the aforementioned institution. Subsequently, is presented a characterization of the students, the assisted classes and the lectures is analyzed, as well as a critical analysis of the same. The second section of this report foresees the measurement of the importance of chamber music in the individual learning of the clarinet, addressing different concepts and components that work in this system of education. This section also shows the results of a questionnaire that assesses the perspectives of vocational music teachers in this field. It is intended with the present investigation to gather substantial information for the training of the instrument teacher.

Denna studie bygger på en jämförelse mellan hur pianopedagoger förändrar sina didaktiska val beroende på undervisningsform, i detta fall enskild undervisning eller gruppundervisning. Tre pianopedagoger har intervjuats och sex observationer har genomförts. En då vardera pedagog undervisade i grupp och en då pedagogerna undervisade enskilda elever. Undersökningen har genomförts med hermeneutik och det sociokulturella perspektivet som teori med inslag från Lev. S. Vygotskijs tankar kring kamratlärande och den proximala utvecklingszonen. De visuella, auditiva och kinestetiska lärstilarna valdes ut som särskilt viktiga för undersökningen samt sången och rytmikmetoden som redskap i undervisningen. Dessa redskap valdes ut med grund i dess positiva påverkan på inlärning och kontinuerliga närvaro under min utbildning på Kungl. Musikhögskolan i Stockholm. En koncentration har funnits kring de redskap, enligt den sociokulturella teorin, som pedagogerna använt i sin undervisning och hur faktorer som samspel och kamratlärande har använts och speglats i undervisningen. Resultatet presenteras i två delar. Tre intervjuer med pianopedagoger visar att de inte anser sig göra någon skillnad i sina didaktiska val beroende på undervisningsform. Däremot motsäger resultatet från observationerna detta till viss del. Störst är skillnaden mellan hur informanterna ser på sångens roll i undervisningen och hur de använder den. Undersökningen visar att pedagogernas didaktiska val till större del beror på deras egna preferenser i kombination med individanpassad undervisning än beroende på undervisningsform. I resultatet kan man utläsa att fler moment och redskap användes under gruppundervisningen än under de enskilda lektionerna. Detta kan bero på att pedagogerna behöver anpassa materialet efter fler individers preferenser och möjligheter för inlärning i gruppundervisningen, under de enskilda lektionerna har pedagogerna större möjlighet att individanpassa efter den aktuella eleven.
This study is based on a comparison between how piano teachers change their didactics depending on the teaching method, particularly individual teaching or group teaching. Three piano teachers have been interviewed and six observations have been conducted. One where the teacher taught an individual student and one where the teacher taught a group. The study has been conducted with the sociocultural perspective as overarching theory with elements of Lev. S. Vygotsky’s thoughts about cooperative learning and the Zone of Proximal Development, and with hermeneutics as a method of analysis. Focus was maintained on the tools the teachers use during the lessons and how the cooperative learning is visual during the lessons. Some tools and methods were selected as particularly relevant. These where the three learning styles as tools. That is, visual, auditory and kinesthetic learning. In addition, singing as a tool were chosen as well as the Dalcroze-method. These were chosen because of their continuous presence during my education at the Royal College of Music in Stockholm and their recognition withing the particular scientific field. The results are presented in two parts. The interviews show that the teachers claims to not change their didactics depending on the teaching method, that is individual or group lessons. This is partly contradicted by the result from the observations. The most significant and striking differences is between the teacher’s thoughts about using singing as a tool and how they actually uses it. The study shows that the teacher’s didactic choices largely depend on their own preferences in combinations with the particular needs and abilities of the student. The number of methods and tools used during the group lessons are greater than the ones used during the individual lessons. This could be caused by the fact that the teachers need considerate every students preferences in learning during a group lesson whereas the teacher can concentrate on just one student during a individual lesson.

No âmbito da unidade curricular Prática de Ensino Supervisionada do Mestrado em Ensino de Música da Universidade de Évora, a primeira secção deste trabalho refere-se ao relatório de estágio realizado na Escola Artística de Música do Conservatório Nacional. Esta primeira secção, além do contexto histórico da escola e da descrição de todos os agentes escolares nela envolvidos, relata os processos de ensino/aprendizagem da classe de violino onde o mestrando desenvolveu o seu trabalho ao longo do ano lectivo 2018/2019. A segunda secção contém uma investigação naturalista, de abordagem mista (qualitativa e quantitativa), cujo objectivo é identificar a importância de determinada comunicação não-verbal específica, em contexto de aula individual de violino. Além da consulta e análise de bibliografia especializada, esta investigação foi realizada através de ficha de observação directa da acção do orientador cooperante, bloco de notas e entrevista semi-estruturada realizada ao mesmo; Supervised Teaching Report held at Escola Artística de Música do Conservatório Nacional: Nonverbal Communication in Individual Violin Lessons Abstract: Inserted in the curricular unit of Supervised Teaching Practice in Master’s Degree in Music Teaching at Évora University, the first section of this essay reports the training practice in Escola Artística de Música do Conservatório Nacional. Besides the historical background of the School, this first sections describes all the teaching agents and the violin class teaching/learning methods, where the Master’s Degree student developed his teaching during the 2018/2019 schoolyear. The second section highlights a naturalistic both qualitative and quantitative survey research, whose aim is to identify the importance a nonverbal specific communication in an individual violin lesson. Besides the research and analysis of specific bibliography, this essay includes the conclusions of direct observation and a semi-structured interview to the Master Degree’s supervisor

Det här examensarbetet handlar om orkestermusiker tillika instrumentallärare, och hur de ser på samspelet mellan yrkena. Arbetet har två vinklingar; hur musikern påverkas av läraren, och hur läraren påverkas av musikern. Jag har använt mig av kvalitativa intervjuer med sex informanter som alla jobbar både som stråkmusiker och pedagoger. De har olika bakgrund, och olika erfarenhet av undervisning. Som teoretisk bakgrund använder jag ett förhållningssätt där mästarläran, och läraren som coach står i centrum. Mitt resultat är bland annat att musikern blir mer medveten och analytisk till sitt eget och andras spel och att läraren blir en utövande mästare som håller hög spelnivå. Jag diskuterar vilka olika roller mina informanter kan ha, hur deras svar kan relateras till mästarläran kontra coachning samt förmedlad kontra konstruerad kunskap. Det jag kommit fram till är att mina informanter ser jobbkombinationen som värdefull och berikande för båda yrkena, men att tiden ofta inte räcker till.
This study focuses on orchestral musicians who also are instrumental teachers, and how they approach the interrelationship between the two professions. The study presents two views: how the teacher influences the musician, and how the musician influences the teacher. I have based the study on qualitative interviews with six interviewees, all of whom work as string players and pedagogues. They all have different backgrounds, with various experiences of teaching. As a theoretical background, I have used an approach where master teaching, or the teacher as a coach, is central. Among my findings, I have discovered that the musician becomes more conscious and analytic toward his/her own style of playing, but also towards others as well. The teachers are masters and they possess a high technical level in their playing. Further, I discuss what roles the interviewees may have, and how I can relate their answers to my theoretical background. The interviewees make clear that working as both a teacher and a musician is valuable, but the issue of time can be a problem.

Visual supports, which provide information presented in a visual format to enhance achievement toward specific goals, can be very helpful for individuals who have autism spectrum disorder (ASD). Music therapists often use visual supports in their practice; however, research exploring how they do so is limited. In the present study, the researcher used a mixed-methods research design to explore music therapists’ use of visual supports for individuals who have ASD. The researcher e-mailed a survey to board-certified music therapists who opted to receive e-mails from the Certification Board for Music Therapists (CBMT), 525 of whom completed the entire survey. Approximately 70% of participants reported using visual supports “always” or “very often.” Participants most frequently reported using pictures with written words and visual schedules. Visual supports are most often used by music therapists in children’s facilities/schools and to address communication skills when working with individuals who have ASD. Participants most frequently reported using visual supports to generally enhance the session/interventions, using them to provide routine, predictability, and clear expectations for individuals who have ASD. Resources and recommendations provided by participants are also summarized. Open-ended responses were coded into themes, and most participants recommended specific software or applications and encouraged others to use certain visual supports, such as visual schedules and “real” pictures. Future researchers should examine the effectiveness of visual supports when used in music therapy sessions for individuals who have ASD.

The aim of this study is to explore criteria characterizing music teacher’s strategies when trying to adapt their teaching to individual students. The interaction of three music teachers with their students was explored in case studies in different parts of Sweden (a pre-study, and the main study consisting of two parallel studies). The research interest especially concerns teaching class ensemble addressing teenagers in the tuition provided under the curriculum of Swedish secondary and upper secondary school.  This study adopts the perspective of cultural psychology according to which learning is understood as being relational, taking place in a cultural context, depending on available cultural resources and affected by it. Cultural tools are considered mediators of meaning and crucial for learning. Of special interest to the present study are the ways in which teachers distribute knowledge to their students. Many-sided data were collected in all case studies: series of lessons were observed and video-documented; preliminary results were followed up in semi-structured interviews with the teachers, respectively. The results show similarities in the use of general strategies; e.g. peer-teaching and -learning in the classroom and flexibility in using and developing cultural tools. Results also show three diverging practices; rehearsal-room practice, supervisor-practice and ensemble-leading-practice. The results are discussed from a societal perspective, in light of Swedish School history. Issues concerning the government of the School and equivalence are addressed.  An unexpected result is that the concept “individually adapted ensemble teaching” may be understood very differently among music teachers actively involved in teachers’ education. The need for development of professional concepts is further underlined by the findings that teachers develop new cultural tools within different practices. This is discussed related to the framing of the central curricula.

Studiens syfte är att belysa några yrkesverksamma elbasisters syn på egen utveckling och dess samband med övning. Som metod har halvstrukturerade intervjuer använts. Informanterna utgörs av tre yrkesverksamma elbasister som berättar om sin syn på övning och utveckling samt vad de anser vara viktigt för att utvecklas som elbasist. Den teoretiska utgångspunkten för denna studie är ett hermeneutiskt perspektiv då målet är att göra en djupare analys och tolkning av de intervjuades livsvärld. Resultatet visar att informanterna tycker att viktiga byggstenar i utvecklingen är att spela tillsammans med andra och lyssna på musik. De beskriver också sin syn på övning, tonbildning och sound samt sina upplevelser av att spela musik. Förhoppningen är att studien ska kunna bidra till mer instrumentspecifik forskning om övning samt inspirera utövare till att diskutera och dela med sig av sina varierade erfarenheter av övning.
The study aims to highlight some professional bass players approach to self-development and its connection with the exercise. The method that has been used is semi-structured interviews. The informants consist of three professional bass players who tell us about their views on practicing and development and what they consider to be important to develop as a bass player. The theoretical basis for this study is a hermeneutic perspective when the goal is to do a deeper analysis and interpretation of the interviewed life-world. The result shows that the interviewees think that the important building blocks in the development are to play with others and listen to music. They also describe their view of exercise, voice production and sound as well as their experiences of playing music. It is hoped that the study will contribute to more instrument-specific research on exercise and inspire practitioners to discuss and share their varied experiences of exercise.

碩士
中原大學
教育研究所
107
The purpose of this study is to understand individual teaching experience of music teachers when guiding children with autism spectrum disorder (ASD). Qualitative research is based on purposive sampling of interviews with four music teachers. Using one-on-one, semi-structured in-depth interviews, recording verbatim manuscript is based on Lieblic, Tuval-Mashiac & Zilber and their "whole-content" data analysis method. Presenting four teaching experiences of research participants when they teach children with autism spectrum disorder. The research results show three major themes: 1. Teaching dilemmas includes (1) autistic children''s emotional control (2) parental intervention (3) physical adjustment and conversion of teaching mode in teaching. 2. Embracing teaching beliefs includes (1) positive teaching, inclusive acceptance (2) respect for differences, practice diversity (3) always accompany, never give up. 3. Practice of teaching includes (1) building a positive partnership, cooperating with parents (2) obtaining the identity or attention from autistic children (3) making appropriate use of teaching strategies (4) reflecting and correcting teaching practices. The results of this study show: the teaching attitude, teaching philosophy, teaching behavior, teaching reflection and teaching stress response strategies of individual music teachers are positive. There are positive impacts on the growth of music teachers and the learning outcomes of students with autism spectrum disorder. The results of this study help the learning and teaching experiences of students with autism spectrum disorder’s music teachers to improve and related factors of their teaching experience, on the whole. They not only provide references learning for music teachers for children with autism, but also apply for the educators and parents that are in contact with autism children.

Este trabalho, intitulado “Novas Perspetivas de Abordagem ao Ensino do Trompete” consiste numa investigação de natureza qualitativa, assente numa estratégia metodológica de estudo de caso. O objetivo geral desta dissertação é perceber qual a importância do desenvolvimento das competências técnicas e físicas na aprendizagem do Trompete, nos 1º e 2º graus do ensino especializado da Música em regime articulado. Paralelamente procura-se verificar a existência de uma transversalidade no que diz respeito ao desenvolvimento dessas competências, tendo como pontos de referência o ensino individual e o ensino em grupo. O enquadramento teórico é realizado de forma a contextualizar o desenvolvimento do ensino da Música em Portugal desde o séc. XIX, centrado nas alterações implementadas pela legislação e na introdução do ensino em grupo em Portugal. A revisão bibliográfica procura também enquadrar o ensino instrumental em grupo não só no que concerne ao seu aparecimento e desenvolvimento, mas também no que diz respeito às suas vantagens e desvantagens. O tema referente ao Trompete pretende abordar o seu desenvolvimento assim como as questões técnicas e físicas específicas da sua aprendizagem e execução. A recolha de dados foi realizada sob duas perspetivas, a dos professores e a dos alunos. Num primeiro momento foi realizado um inquérito aos professores, disponibilizado online, com o objetivo de perceber qual a realidade em que se insere o ensino de Trompete nos conservatórios públicos, qual a opinião dos professores no que diz respeito às competências técnicas e físicas e qual a sua perspetiva no que concerne ao ensino em grupo. Numa segunda fase, foi realizado um inquérito aos alunos de Trompete do 1º e 2º graus do Centro de Cultura Musical e que frequentam aulas em grupo. O objetivo foi obter uma perspetiva, sob o prisma dos alunos, daquilo que são as suas expectativas relativamente ao ensino da Música e qual a sua postura no que concerne à dinâmica de aula que frequentam, com enfoque no desenvolvimento das suas competências técnicas e físicas. Como contributo desta dissertação existe a pretensão de partilha de um conjunto de possibilidades criadas por uma aula em grupo e a proposta de um conjunto de exercícios centrados na abordagem das competências técnicas e físicas específicas da aprendizagem do Trompete, enquadrados com o ensino em grupo.
This paper, entitled "New Perspectives in the Approach to Teaching Trumpet" is a qualitative research, based on a methodological strategy case study. The overall objective of this dissertation is to realize how important the development of technical and physical skills are in learning Trumpet, in the 1st and 2nd degrees of specialized teaching in an articulated Music regime. At the same time it seeks to verify the existence of a transversal with respect to the development of these skills, taking as reference points both individual and group teaching. The theoretical framework is carried out in order to contextualize the development of the teaching of music in Portugal since the nineteenth century, focused on changes implemented by legislation and the introduction of group teaching in Portugal. The bibliographic review also seeks to frame instrumental group teaching, not only with regard to its appearance and development, but also with regard to its advantages and disadvantages. The issue concerning the trumpet aims to address its development as well as technical and physical issues specific to the learning and playing of the instrument itself. Data collection was conducted from two perspectives; the teachers and the students. Initially a survey was conducted for teachers, available online, in order to understand the reality in which trumpet teaching operates in public conservatories, to hear the opinion of teachers with regard to technical and physical skills, and to find out the general perspective regarding group teaching. In a second phase, a survey was conducted of trumpet students from the 1st and 2nd degrees of the Centre of Culture and Music (that attended group classes). The objective was to get a perspective through the eyes of the students - their expectations with regard to the teaching of music, their stance regarding the dynamics of the school they attend - focusing on the development of their technical and physical skills. A contributing factor of this dissertation is the intention to share a set of possibilities created by a class group, and the proposal of a set of exercises focused on addressing the specific technical and physical skills of trumpet learning, framed within group teaching.

This study was prompted by the need the author experienced for the rethinking of many practices in music teaching and her interest in achieving transformation in individual music teaching and learning. An eclectic approach was adopted for the research. Despite much existing ‘fuzzy’ terminology, ‘broader’ or ‘less fixed’ meanings were sought of terms including Holism, intelligence, learning, Modernism, perception, personality, Postmodernism, teaching, temperament and whole-brain learning. The reader is presented with a palette of ideas, open for further exploration, in order to stimulate creativity and different viewpoints in music teaching and learning. The study has a student-centred approach, taking into account different types of learners and how to adapt teaching styles to connect with students in their learning environment. Challenges teachers may encounter are how the meanings of many terms relate with music teaching practice, themselves and their pupils. The research explores the interaction and relation of terms with one another in order to reconsider and expand teaching methods. Inter, intra and multidisciplinary aspects of teaching are touched upon as being valuable in cutting across several traditional fields of study and also referring to knowledge seen as a coherent whole within one subject area. Experiences of ‘flow’ and transformative learning are explored in order to challenge students’ and teachers’ ‘fixed’ thinking methods. The whole-brain model is considered where the brain is seen in four quadrants, each quadrant displaying distinctive strengths of value in music teaching. The importance of Emotional Intelligence in developing other intelligences is investigated and its link with Inter and Intrapersonal Intelligences in order to equip teachers to connect effectively with pupils in a learning context. There is no “one size fits all” teaching strategy, learning style or framework that can apply to the myriad needs of individual music teachers and pupils. The research, however, demonstrates the importance for music teachers to be receptive in enlarging their thinking patterns. In so doing a path can be set for shifting focus in teaching strategies to a ‘moving forward’ ideal in perception and understanding of teaching and learning in the 21st century.
Thesis (DMus)--University of Pretoria, 2010.
Music
unrestricted

碩士
國立中央大學
網路學習科技研究所
107
In recent years, based on the development of information technology, the use of information technology in the teaching of music composition has become more and more important. Many studies have found that using information technology as a medium can help learners on music composition. However, the preferences, needs and prior experiences of each learner in music composition are obviously different. Therefore, it is necessary to explore the applicability of information technology to each learner, so it needs to be explored from the perspective of individual differences. In terms of individual differences, this study has explored the impact of gender and prior experiences on learners' motivation and performance in learning music composition. In addition, in the process of teaching music composition, worked-out example teaching and collaborative composition mode are also common methods. The provision of examples or demonstrations helps learners understand the appearance of music composition, while collaborative composition can stimulate diverse creative ideas through the interaction of learners. Therefore, this study aims to explore the impact of composition medium (paper and pen or computer), individual differences (gender and prior experience), worked-out example teaching (with or without), and composition mode (individual or collaborative) on motivation and performance of music composition learning. In this study, the quasi-experimental research method for factor design was conducted for the ninth grade students (N=237). The independent variables included composition medium (paper and pen or computer), individual differences (gender and prior experience), worked-out example teaching (with or without), and composition mode (individual or collaborative). The dependent variables were motivations (intrinsic motivation, extrinsic motivation, work value, control beliefs, self-efficacy and success expectations) and performance (aesthetics, creativity and skills). Composition media, worked-out example teaching and composition mode were randomly assigned to different groups by class basis. The prior experience is grouped according to whether students have extracurricular music learning experience. The experimental teaching lasted for two weeks and the total time was 105 minutes. In the first week, the extracurricular music learning experience questionnaire and the music composition learning motivation scale were first tested. Then, learners began to compose music after the introduction of the composition medium and the composition task. In the second week, learners continued to compose music, and after the completion of the composition, the music composition learning motivation scale was measured. The composition work completed by learners was regarded as the learner's learning performance. The results of this study indicated that, in the part of learning motivation, the use of computer music editing software as a medium of composition had a significant impact on the progress scores of self-efficacy for learners with or without prior experience. More specifically, compared to those who had prior experienced, those who had no prior experience have improved their self-efficacy dimension after completing the music composition through computer music editing software. Moreover, there was no significant differences in the progress scores of other motivational degrees. For the part of learning performance, when using computer music editing software as the medium of composition, learners' overall performance and skill aspect were better than paper and pen group. Similar results can be found in the group with worked-out example teaching. The overall performance and skill of the learners were also better than those who were not accepted worked-out example teaching. However, the significant difference between the groups with or without prior experience was that there was a significant difference in aesthetics. More specifically, those who have prior experience were significantly better than those who have no prior experience. In terms of the results of the interaction among those independent variables, this study only found that the worked-out example teaching and the composition mode had significant interactions in the motivation of music composition learning. For the collaborative composition group, when learners did not accept the worked-out example teaching, the composition can be completed based on the discussion and exchange between the group members, and the learning motivation was high. On the other hand, when learners had accepted the worked-out example teaching, the individual can exert his or her own ideas with the help of the example, and the motivation for learning was high. Regarding the relationship between learning motivation and learning performance, when learners used computer music editing software as composition media, female learners, worked-out example teaching, and individual composition, their intrinsic motivation were positively correlated to both aesthetics and creativity. In addition, the extrinsic motivation and success expectation of female learners were positively correlated with overall performance and skill aspect. Despite this, in addition to the positive correlation between learning motivation and performance in this study, negative correlations were found. When learners used computers as media, male learners, and composition mode for collaborative composition, their control beliefs were negatively correlated with overall performance. Among them, the use of computers as a medium and the control beliefs of male learners were also negatively correlated with skill aspect. Moreover, the group of collaborative composition was negatively related to the aesthetic aspect of control belief. The results presented in this study will help to understand the impact of using computer music editing software as a composition medium on the motivation and performance of music composition learning in different situations such as composition media, individual differences, worked-example teaching and composition mode. These findings can provide research scholars and educators to develop teaching and learning methods that meet the needs of each learner. In this way, the results of effective learning can be achieved, and the development of teaching and learning of music composition can be promoted.

Relatório de estágio de mestrado em Ensino de Música
Este relatório descreve o estágio profissional do Mestrado em Ensino da Universidade do Minho realizado na Conservatório de Guimarães – Sociedade Musical de Guimarães e na Academia de Música de Castelo de Paiva e tem como tema “A importância da embocadura no ensino/aprendizagem da Tuba”. Depois de uma primeira fase de observação em que foram identificadas as principais dificuldades dos alunos, relacionadas com a embocadura, e depois de revista a literatura sobre o assunto, foram elaboradas as planificações. A segunda fase deste estágio profissional consistiu na implementação de exercícios específicos para o desenvolvimento da embocadura, assim como, uma maior sensibilização para a importância do trabalho da embocadura na performance musical, conciliando-os com o programa definido para cada aluno interveniente, de forma clara e atrativa. A Intervenção Pedagógica, com caráter metodológico de investigação-ação, foi avaliada com recurso à observação participante e não-participante, questionários realizados aos alunos intervenientes e ainda ao professor orientador cooperante. Constatou-se que os alunos apresentaram algumas melhorias no que respeita à embocadura, mas o curto período de tempo em que decorreu a fase da intervenção pedagógica não permitiu explorar com profundidade todas as vertentes da embocadura para assim se poder obter uma maior veracidade nos resultados obtidos.
This report describes the professional internship of the Master in Teaching at the University of Minho held at the Conservatório de Guimarães – Sociedade Musical de Guimarães (Conservatory of Guimarães - Musical Society of Guimarães) and at the Academia de Música de Castelo de Paiva (Academy of Music of Castelo de Paiva) and has as its theme "The importance of the embouchure in the teaching / learning of the Tuba”. After a first phase of observation in which the students' main difficulties related to the embouchure were identified, and after reviewing the literature on the subject, the planning was elaborated. The second phase of this professional stage consisted in the implementation of specific exercises for the development of the embouchure, as well as a greater awareness of the importance of embouchure work in the musical performance, reconciling them with the program defined for each intervening student, clearly and attractive. The Pedagogical Intervention, with methodological nature of action research, was evaluated using participant and non-participant observation, questionnaires made to the intervening students and also to the cooperating tutor. It was observed that the students presented some improvements regarding the embouchure, but the short period of time during which the pedagogical intervention took place did not allow to explore in depth all the aspects of the embouchure in order to obtain a greater veracity in the obtained results.

Esta dissertação analisa as trajetórias individuais de carreira de um conjunto de dez jovens que frequentaram o ensino articulado de música, no Conservatório de Música e Artes do Dão, no segundo e terceiro ciclos, entre os anos 2007 e 2015. Através das entrevistas, de carácter biográfico, foi possível construir dez "retratos sociológicos", onde se analisaram os percursos dos antigos alunos, os tempos e os momentos da formação profissional, as desilusões e os sucessos, a importância da família, a influência dos professores e da escola do ensino articulado de música como um dos momentos cruciais de socialização destes jovens alunos. Nos seus discursos, os jovens destacam a qualidade de ensino do Conservatório de Música e Artes do Dão (CMAD), tendo este sido a sua "rampa de lançamento" para o "mundo das artes" da música. Aqueles que seguiram uma profissão artística mencionam a importância das atividades desenvolvidas no Conservatório para o enriquecimento dos seus interesses artísticos, despertando e desenvolvendo a sua criatividade. Por fim, os jovens que deixaram de lado a sua formação artística salientam a importância das ferramentas adquiridas durante a sua formação no ensino articulado de música, não só ao nível artístico, como também ao nível cognitivo e enquanto meio de socialização. Foi possível concluir que, independentemente da área profissional que estes jovens escolheram seguir, o ensino articulado de música teve um impacto positivo na sua trajetória de carreira académica e pessoal.
This thesis analyzes the individual career paths of a group of ten young students who attended the articulated teaching of music at the Conservatório de Música e Artes do Dão (Conservatory of Music and Arts of Dão), between the years 2007 and 2015. Through the interviews, of a biographical nature, it was possible to construct ten "sociological portraits", where the career paths trajectories of the former students were analyzed, the times and moments of professional formation, the disappointments and successes, the importance of the family, the influence of the teachers and the school of the articulated teaching of music, as one of the crucial moments of socialization for these young students. In their speeches, the young students emphasized the quality of teaching at the Conservatório de Música e Artes do Dão (CMAD), which was their "beginning of the path" in the "art world" of music. Those who followed the artistic profession mention the importance of the activities developed at the Conservatory to enrich their artistic interests, awakening and developing their creativity. Finally, the young students who left their artistic training aside mention the importance of the tools acquired during their training in the articulated teaching of music, not only at the artistic level, but also at the cognitive and socialization level. It was possible to conclude that regardless of the professional domain they chose to pursue, the articulated teaching of music had a positive impact on their academic and personal trajectory of career.

The diploma thesis explores activating methods in music education at elementary music schools. The theoretical part of the thesis deals with the description and the issue of activating methods and also focuses on methods suitable for teaching music subjects at elementary music school in the classes of collective and individual lessons. The practical part deals with the purposefulness of the use of activating methods with emphasis to the support of creativity and coordination in lessons of music education. The diploma thesis uses the questionnaire method in various modifications and the method of observation. The aim of the presented diploma work is to describe the activating teaching methods and to focus on these suitable for teaching music subjects at elementary music schools in the classes of collective and individual lessons. The aim of the practical part of the diploma thesis is to find out whether the activating teaching methods are used in education at elementary music schools and how they are evaluated and accepted by teachers and pupils.

碩士
國立彰化師範大學
特殊教育系所
105
The purpose of this study was to explore the teaching process of music teachers with visual impairments. The participants were four in-service teachers with visual impairments who teach music in general education environment. The qualitative research methods of inter-view, interview observation and teaching observation were adopted to collect the data. The conclusions were presented with thematic analysis. The major findings were as follows: 1. Experience of music learning: The way of learning requires multiple sensory integrations. The visual impairment special needs and music professional requirements need to be balanced so that the learning effects can achieve the best in their learning processes. The learning feelings were insistance based on learning from both the inner, self-independence and acceptance, and the external, encouragement and support. 2. Decision of teaching moment: Personal attitude and ability were the keys transforming passivity into initiative. Support and encouragement from parents, teachers, and peers can also push these decisions to move. The social and employers’ supports were the important Factors engaging in music teaching. 3. Experience of music teaching: Focus on the preparation and prevention to overcome the limitation which they can’t deal with current situation immediately was due to visual impairment. For the teachers with visual impairments, there are more advantages of teaching music because music subjects focus on the ways of listening training and presentation comparing with other kinds of subjects. The support before, during, and after the teaching were resources, assistance, and profession respectively. The transformation relationships between teachers and students were four stages, including suspicion, curiosity, affirmation and respect. 4. Expectation of teaching: Compared to other teachers, similarity was the identity as a teacher, differences were the situations that due to visual impairment which made their life process unique. The translation from books into text files was expected to be more unimpeded. According to the results, the researcher proposed recommendations for the individuals with visual impairments in learning music, engaging in music teaching, and future researches.