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1
Feichas, Heloisa Faria Braga. "Formal and informal music learning in Brazilian higher education". Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/10020512/.
Testo completo
2
Garibay, Oscar. "Towards a hybrid approach to mariachi education - Bridging the gap between formal and informal transmission of musical culture". Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10264114.
Testo completoAbstract (sommario):
Mariachi programs have gained interest and acceptance among music educators in most regions of the United States. Successful mariachi programs are energizing students and creating positive relationships between the schools and their communities. Mariachi programs are growing as more students identify and connect with this Mexican folkloric music. An example of a flourishing mariachi program can be found in the Las Vegas Clark County School District, which has seen its program grow from 250 students to over 3,000 since 2002. Considering that the Hispanic population is expected to reach about 106 million in 2050, about double what it is today, the potential for mariachi instruction in public schools will likely follow these growing population trends. However, due to the highly stylized idiomatic music that is mariachi, music educators not familiar with its innate teachings might hinder the art form at a pedagogical level. This research paper explores three current approaches to mariachi pedagogy in U.S. public education: informal, formal, and a hybrid approach between the two aesthetics. The hybrid approach will be the basis of rehearsal practice in preparing for “Señor Trompetas” in my graduate recital to test its efficacy to teaching authentic mariachi music.
3
Westrupp, Sérgio Luiz. "Representações sociais de música em processos de educação musical formal e não formal de uma escola de educação básica". Universidade do Estado de Santa Catarina, 2012. http://tede.udesc.br/handle/handle/1517.
Testo completoAbstract (sommario):
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Previous issue date: 2012-03-16Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation has as the general objective to understand how the social representations of music, that permeate the social relationships of a Basic Education city school in the interior of Santa Catarina state in Brazil, link with formal and non formal practices of music teaching developed. The specific objectives aimed at understanding how the identity processes of all the investigated subjects relate with the music teaching and learning processes in the context of that school, and identifying and analyzing the several social representations of music constituted and shared by subjects involved direct and indirectly in the musical practices. The qualitative methodology was adopted under the drawing of a case study with an ethnographic approach. The instruments of data collection were individual and focus-group semi-structured interviews with the several participants of the research, documental analysis and participant observation. The data were analyzed under the theoretical framework of the social representations in the perspective of the social psychology by the triangulation among the discursive analysis of the participant subjects, the analysis of the music class plans and the notes of the field diary. The outcomes evidence strong relationship among the music representations constituted and shared by all the participants of this research, their musical identities and the pedagogic practices of the music teaching promoted in the music classes and in the band rehearsal. This specific context of music education shares consensual and contradictory social representations of music promoting the dilution of the borders among the processes of formal and non formal education constituted through a strong complimentary relationship among both
Esta dissertação tem como objetivo geral compreender como as representações sociais de música que permeiam as relações sociais de uma escola de educação básica de um município do interior do Estado de Santa Catarina se relacionam com as práticas formais e não formais do ensino de música nela desenvolvidas. Os objetivos específicos buscaram compreender como os processos identitários de todos os sujeitos investigados se relacionam com os processos de ensino e aprendizagem da música desencadeados no contexto desta mesma escola e identificar e analisar as diversas representações sociais de música constituídas e compartilhadas por sujeitos envolvidos direta e indiretamente nas práticas musicais desta escola. Adotou-se a metodologia qualitativa sob o desenho de um estudo de caso do tipo etnográfico. Os instrumentos de coleta de dados foram entrevistas individuais e grupo-focal semiestruturadas com os vários participantes da pesquisa, análise documental e observação participante. Os dados foram analisados sob o referencial teórico das representações sociais na perspectiva da psicologia social mediante a triangulação entre a análise discursiva dos sujeitos participantes, análise dos planos de aula de música e as anotações do diário de campo das observações. Os resultados apontam para a forte relação entre as representações de música constituídas e compartilhadas por todos os participantes desta pesquisa, suas identidades musicais e as práticas pedagógicas do ensino de música promovidas nas aulas de música e no ensaio da banda. Este contexto específico de educação musical compartilha de representações sociais de música tanto consensuais como contraditórias de forma a promover a diluição das fronteiras entre os processos de educação formal e não formal ali constituídas por meio de uma forte relação de complementaridade entre ambas
4
Benedetti, Kátia Simone. "O processo de socialização musical primária : aprendizagem e conhecimentos musicais do cotidiano e a educação musical formal - uma abordagem sócio-histórica /". São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/95149.
Testo completoAbstract (sommario):
Orientador: Dorotéa Machado KerrBanca: Marisa Fonterrada
Banca: Luis Soares de Camargo
Resumo: Este trabalho pretende apresentar uma possível abordagem teórica para as questões que o conhecimento musical cotidiano impõe à Educação Musical Formal. A intenção é propor uma leitura interpretativa desse conhecimento, a partir dos fundamentos teóricos das obras de Agnes Heller, Berger & Luckmann e Lev Vigotski. A partir dessa fundamentação teórica, pretende-se analisar a natureza e as especificidades da esfera social cotidiana e do conhecimento musical cotidiano a ela pertencente, situando o lugar e o papel desse conhecimento no processo formal de ensino-aprendizagem de música. Utilizando alguns dos conceitos desses teóricos ligados ao materialismo histórico, discute-se como esse conhecimento musical informal/espontâneo pode ser abordado do ponto de vista teórico (filosófico e sociológico); qual a importância dele para as crianças; qual sua função e suas influências no aprendizado formal de música; e como tem sido tratado, ou considerado, nos currículos das escolas formais. Para delimitar o que é cotidiano e conhecimento cotidiano foram utilizados os conceitos de Heller das esferas cotidiana e não-cotidiana da vida social humana e formas de pensamento cotidianas; para problematizar a questão do aprendizado espontâneo cotidiano e sua importância para a formação do indivíduo foi utilizado o conceito de socialização primária de Berger & Luckmann; para discutir a questão da relação entre o conhecimento cotidiano, o desenvolvimento cognitivo e o aprendizado escolar, são utilizados os conceitos de apropriação, aprendizagem e desenvolvimento de Vigotski; para situar essas questões na área da educação e da pedagogia são utilizados alguns pressupostos da Pedagogia Histórico-Crítica, aqui representada pelas as idéias dos filósofos Dermeval Saviani e Newton Duarte.
Abstract: Abstract. This work intends to introduce a possible theorist approach for the questions that the everyday music knowledge imposes to Formal Music Education. The purpose is to propose an interpreting reading about this knowledge, using the theorist foundation of authors Agnes Heller, Berger & Luckmann and Lev Vigotski. From this theorist foundation, this works intends to analyze the particularizations of everyday life and its musical knowledge, situating the place and function of this knowledge to the formal music teaching-learning. Using some concepts of this authors related of the historic materialism, examines how this informal music knowledge can be approached by the theorist view (philosophical and sociological); what this importance to the children; what its influence and function to the formal music learning; and how it has approaching by the formal music education. The Heller's concepts of social everyday space and everyday forms of thoughts were used to situate what is everyday life and everyday knowledge; the Berger & Luckmann's concept of primary socializing was using to situate the importance of spontaneous everyday learning to the human formation; the Vigotski's concepts about learning and development were using to examines the relations between the everyday knowledge, cognitive development and formal education; at last, this work uses some concepts of the Critic-Historic Pedagogy, represented here by education philosophers Dermeval Saviani and Newton Duarte, to situate these questions in the educational area.
Mestre
5
Carvalho, Letícia Sandra Araújo. "O ensino informal e não-formal de música: metodologia e práticas pedagógicas para o ensino informal e não-formal de música percussiva". Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/28659.
Testo completoAbstract (sommario):
O tema desta dissertação versa sobre o ensino informal e não formal de música. Este
trabalho aborda o uso de metodologias informais e os ambientes não formais para o
ensino de música percussiva. Foi realizada uma reflexão crítica baseada na Revisão de
Literatura sobre o tema e uma abordagem metodológica qualitativa que permitiu a
identificação de autores que abordam as temáticas a cerca das metodologias e dos
materiais pedagógicos musicais, que tendem a contribuir no processo de ensinoaprendizagem
de música. O objetivo foi valorizar as práticas musicais e percussivas
transmitidas informalmente nos espaços não formais. A pertinência do tema justifica-se
devido à experiência da autora como professora de música em escolas públicas no Brasil
e em ONGs Brasil / Portugal. Conclui-se, ao fim da pesquisa, que são muitos os materiais
pedagógicos que podem ser adotados para o ensino de música, como sejam: objetos
alternativos; instrumentos tradicionais ou adaptados e até mesmo o corpo. Ressalta-se
ainda a importância dos ambientes não formais que promovem atividades pedagógicas
musicais; Informal and Non-Formal Teaching of Music: Methodology and Pedagogical Practices
for Informal and Non-Formal Teaching of Percussive Music
ABSTRACT:
The theme of this dissertation is about informal and non-formal music education. This
work addresses the use of informal methodologies and non-formal environments for
teaching percussive music. A critical reflection was carried out based on the Literature
Review on the topic and a qualitative methodological approach that allowed the
identification of authors who approach the themes around musical methodologies and
pedagogical materials, which tend to contribute to the music teaching-learning process.
The objective was to value musical and percussive practices transmitted informally in
non-formal spaces. The pertinence of the theme is justified due to the author's experience
as a music teacher in public schools in Brazil and in NGOs in Brazil / Portugal. It is
concluded, at the end of the research, that there are many pedagogical materials that can
be adopted for teaching music, such as: alternative objects; traditional or adapted
instruments and even the body itself. It is also emphasized the importance of non-formal
environments that promote musical pedagogical activities.
6
Msimango, Linda Nombuso Pearl. "An investigation into the relevance of formal training in music education to jazz teaching in South Africa". Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7974.
Testo completoAbstract (sommario):
Includes bibliographical references (leaves 90-99).The primary objective of the study was to investigate the necessity of equipping professional jazz teachers with general music educational principles. A sample was drawn from the students and lecturers at three selected tertiary institutions. The secondary objective was to determine who is deemed competent to teach jazz at tertiary institutions: professional players, professional players with a teacher-training qualification in jazz, or both. Three of the tertiary institutions in South Africa that offer jazz as part of their curricula were chosen: the University of Cape Town, the University of Natal, Durban, and the Technikon Natal. A questionnaire survey and interviews were utilised as the means of collecting information about issues concerning jazz education. A quantitative research design was used to analyse the results obtained from the questionnaires. The results were tabulated in basic descriptive statistical form and the interviews were qualitatively analysed. In addition, five hypotheses were formulated and tested using chi-square tests. A number of the interviewees supported the idea of equipping professional jazz teachers with general music educational principles; however, there were those who felt that their experience in the field was sufficient to enable them to be competent jazz teachers. The results from both the student questionnaire and lecturer interviews indicated that a combination of both professional players and professional players with a teacher- training qualification are needed. It was recommended that further research on jazz education should be undertaken to account for issues relating to teacher training in music education in South Africa. A curriculum that suits students and professional players who are interested in becoming competent jazz educators should be developed.
7
Murray, Eric A. "Tradition and Innovation in the Pedagogy of Brazilian Instrumental Choro". Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1365782281.
Testo completo
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Rotta, Daltro Cardoso. "O hip-hop (en) cena : problematicas acerca do corpo, da cultura e da formação". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253221.
Testo completoAbstract (sommario):
Orientador: Elisa Angotti KossovitchDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Esta dissertação que ora apresento tem como campo de problemáticas algumas práticas de socialização de bairros periféricos, e encontra no movimento hip-hop um grande campo de experimentação. De grande influência na cultura da Juventude contemporânea, o hip-hop engendra discursos carregados de preocupação com os cenários de segregação social e cultural vivenciadas pelas periferias urbanas, além de produzir por meio de seções exaustivas de treinamento, um corpo apto ao desenvolvimento de uma arte dotada de uma potência singular de encenar, por meio de gestos, composição corporal e movimento, um certo estilo de viver marcado por um cenário de falta, de precariedade e preconceito, porém não carente de inventividade. Diria que são corpos potentes que trazem consigo as marcas da exclusão social e uma certa ousadia de encenar, na forma de uma arte das ruas, uma estética da existência. Retraço, desta maneira, a trajetória de formação de dois grupos de hip-hop da cidade de Pelotas/RS: os Piratas de Rua Creew e a Banca C.N.R. Por meio de estratégias etnográficas como a observação participante, registro em diário de campo e depoimentos orais. Problematizo suas trajetórias, que vão da socialização como uma prática de lazer periférico, até uma organização que garante aos seus atores um importante dispositivo de formação e reinserção social
Abstract: This paper has as field of problems some practices of socialization of outlying neighborhoods, and it possesses the hip-hop culture as a great experimentation field. Of great influence in the contemporary Youth's culture, the hip-hop engenders speeches loaded of concern with the sceneries of social and cultural segregation lived by the urban peripheries, besides producing through exhausting sections of training, a capable body to the development of an art endowed with a singular potency of staging, through gestures, corporal composition and movement, a certain style of living marked by a lack scenery, of precariousness and prejudice, however no lacking of inventiveness. I would say that they are potent bodies that they bring the marks of the social exclusion and a certain daring of staging, in the form of an art of the streets, an aesthetics of the existence. I aim at, in this research, the path of formation of two groups of hip-hop of the city of Pelotas/RS: Street Pirates Crew and C.N.R. Rappers. Through ethnography strategies as the participant observation, registration in field diary and oral depositions. I problematize their paths, that space of the socialization as a practice of outlying leisure, until an organization that guarantees to their actors an important formation device and social insert
Mestrado
Educação, Sociedade, Politica e Cultura
Mestre em Educação
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Ferreira, Gabriel Nunes Lopes. "A influÃncia do Projeto Jardim de Gente na reinvenÃÃo do cotidiano dos jovens do Bom Jardim: um estudo de caso no curso de PrÃtica de Conjunto". Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=13868.
Testo completoAbstract (sommario):
CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel SuperiorO presente trabalho aborda a educaÃÃo musical em espaÃos nÃo formais de ensino e como esses espaÃos contribuem para a educaÃÃo musical na periferia de Fortaleza. A pesquisa tem como objetivo compreender, sob a perspectiva dos estudantes, a importÃncia dos cursos de MÃsica realizados pelo Projeto Jardim de Gente. O Projeto à desenvolvido no Bairro Bom Jardim, nas instalaÃÃes do Centro Cultural Bom Jardim. O referencial teÃrico principal da pesquisa està baseado em Bourdieu, com seus estudos sobre jogos de poder e classes sociais; Certeau, com sua pesquisa sobre cotidiano; e Koellreutter, com sua proposta de EducaÃÃo Musical. Como abordagem metodolÃgica, foi realizado um estudo de caso no curso de PrÃtica de Conjunto. Foram escolhidos e entrevistados dez estudantes que participaram do curso no perÃodo de 2010 a 2013. AlÃm dos relatos dos dez estudantes, foram utilizados como fontes de evidÃncias os planejamentos do curso e tambÃm o Projeto PolÃtico PedagÃgico do Jardim de Gente, este Ãltimo desenvolvido de maneira coletiva com participaÃÃo da comunidade, estudantes, professores e coordenaÃÃo do Projeto. Assim, o curso de PrÃtica de Conjunto assume o papel de um espaÃo de mudanÃas de percepÃÃes com relaÃÃo à prÃtica musical e tambÃm com relaÃÃo Ãs atividades cotidianas dos estudantes. De acordo com os resultados, o Projeto surge como um espaÃo de democratizaÃÃo do saber musical, reinventando o cotidiano de seus frequentadores.
This paper discusses music education in non-formal spaces of education and how these spaces contribute to the musical education on the outskirts of Fortaleza. The project aims the understanding of the importance of music courses held by the Project Jardim de Gente (Garden of People) through the studentsâ perspective. The project is developed in the neighborhood of Bom Jardim, the premises of the Bom Jardim Cultural Center. The main theoretical framework of the research is based on Bourdieu, with his studies on power games and social classes; Certeau, with his research on everyday life; and Koellreutter, with its proposal for Music Education. As a methodological approach, a case study in the course of Joint Practice was made. Ten students who participated in the course in the period 2010 to 2013 were chosen and interviewed. In addition to this, course planning and the Pedagogical Political Project of Garden of People (Projeto PolÃtico PedagÃgico do Jardim de Gente) were used as sources of evidence, the latter was developed collectively with the participation of the community, students, teachers and coordination of the Project. Thus, the Practice course comes as perceptions of space changes with respect to musical practice and also in relation to daily students activities. According to the results, the project appears as a democratization of musical knowledge, reinventing the daily lives of its attendees.
10
Chen, Hong. "Preference of Chinese Undergraduate Music Majors for Chinese Xi-Qu and Western Opera". Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5922.
Testo completoAbstract (sommario):
The purposes of this study were to explore the preference of the Chinese undergraduate music majors (N = 27) for Chinese Xi-Qu and Western opera audiovisual examples, the reasons for preference, influence of familiarity on preference, and the relationship between preference ratings and the emotions as detected by FaceReader. The mixed research method, convergent parallel design, was used to explore this topic in depth. As Xi-Qu and opera integrate multiple art forms, eight audiovisual examples (Xi-Qu, n = 4, opera, n = 4) were selected as the stimuli to show the characteristics of the two genres. The participants watched the audiovisual examples individually and responded to a questionnaire meanwhile their facial expressions were recorded for FaceReader analysis. The semi-structured interviews were administered to collect qualitative data pertaining to participants’ general opinions about the musical examples, familiarity, reasons for preference, and the emotions encompassing when watching the musical examples. Descriptive and inferential statistics were used to analyze the data obtained from the questionnaire. The facial expressions video files were analyzed by FaceReader. The qualitative data obtained from interviews were coded to find themes.
The quantitative findings suggested that the operatic examples received higher mean preference ratings than the Xi-Qu examples. The top three preferred examples were all operatic pieces while the three least preferred examples were Xi-Qu pieces. Results of one-way ANOVA showed that the difference among the preference mean ratings showed the statistical significance, F (7, 208) = 14.15, p < .01. The operatic examples also received higher familiarity ratings than Xi-Qu examples. The difference among the familiarity mean ratings also showed the statistical significance, F (7, 208) = 2.99, p < .01. The preference and familiarity ratings showed a modest but statistically significant relationship (r = .45, p < .01). A statistically significant relationship was found between the preference ratings and tempo (r =. 23, < . 01). Furthermore, singing was always among the top three most liked elements in the operatic examples, but singing was always among the top three most disliked elements in the four Xi-Qu examples despite that singing was also among the top three liked elements in two Xi-Qu examples.
Numerical FaceReader results showed a strong negative relationship between “angry” and preference (rho = -.976, p < .01). The moderate relationship was found between “sums of negative emotions” and preference (rho = .741, p < .05). No statistically significant relationship was found between valence and preference and between arousal and preference. The results of temporal FaceReader analysis showed that the participants’ emotional response to the audiovisual examples changed with the unfolding visual and audio information.
The qualitative analysis revealed a model of Xi-Qu and opera preference. The model contained the factors influencing preference for Xi-Qu and opera, including personal factors, cultural and environmental factors, visual factors, musical factors, and musical response. Formal voice training was the most reliable indicator of preference for operatic examples. Familiarity gained through guided listening instead of random repetition was positively related preference for Xi-Qu examples. The unexpected findings were the influence of religion and static perspective on preference for music. Implications and recommendations were discussed, and the suggestions for future research were included.
11
Cordovio, Fernando Costa 1969. "Música, educação e sociedade : uma história de jovens instrumentistas em Campinas (SP)". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253946.
Testo completoAbstract (sommario):
Orientador: Dirce Djanira Pacheco e ZanDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: O presente trabalho versa sobre sentidos e significados relativos aos processos educativos experenciados por jovens músicos instrumentistas na trajetória do Instituto Anelo, na cidade de Campinas, São Paulo. Articula as possibilidades da perspectiva da música instrumental como construção contra hegemônica e as relações com o campo da Educação Não Formal. A metodologia utilizada na pesquisa foi a História Oral. Fundamentou-se nas narrativas de quatorze jovens que participaram em diferentes momentos do projeto aqui estudado. Buscou-se a compreensão daqueles significados a partir das narrativas (co)construídas com os colaboradores durante a pesquisa. As conclusões apontam para uma multiplicidade de sentidos relacionados tanto ao gênero música instrumental, quanto aquele campo educativo. Destacam-se: a constante atuação dos jovens pela garantia de acesso a bens culturais e simbólicos; o sentido de uma construção coletiva, bem como as contradições presentes nos significados expressos por eles em seu intento de combate à exclusão social imposta pela hegemonia neoliberal e a existência e circunscrição das ONGs como parte dessa ideologia
Abstract: The present work deals with meanings related to educational processes experiment by young musicians instrumentalists in the trajectory of Anelo Institute in Campinas city, São Paulo. Articulates the possibilities from the perspective of instrumental music as against hegemonic construction and relations with the field of education not formal. The methodology used in this research was the oral history. It was based on the narratives of fourteen young people who participated at different times of the project studied here. We sought to understand those meanings from the narratives built between us with employees during the search. The findings point to a multiplicity of meanings related to both the genre instrumental music, as that field of education. Among them: the constant action of the youth by ensuring access to cultural and symbolic, the meaning of a collective, as well as the contradictions present in the meanings expressed by them in their attempt to combat social exclusion imposed by neoliberal hegemony and existence and constituency of NGOs as part of this ideology
Mestrado
Ensino e Práticas Culturais
Mestre em Educação
12
Benedetti, Kátia Simone [UNESP]. "O processo de socialização musical primária: aprendizagem e conhecimentos musicais do cotidiano e a educação musical formal - uma abordagem sócio-histórica". Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/95149.
Testo completoAbstract (sommario):
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benedetti_ks_me_ia.pdf: 1164886 bytes, checksum: 7b76aafcb0c80e82cd065de7b2603612 (MD5)Universidade Estadual Paulista (UNESP)
Este trabalho pretende apresentar uma possível abordagem teórica para as questões que o conhecimento musical cotidiano impõe à Educação Musical Formal. A intenção é propor uma leitura interpretativa desse conhecimento, a partir dos fundamentos teóricos das obras de Agnes Heller, Berger & Luckmann e Lev Vigotski. A partir dessa fundamentação teórica, pretende-se analisar a natureza e as especificidades da esfera social cotidiana e do conhecimento musical cotidiano a ela pertencente, situando o lugar e o papel desse conhecimento no processo formal de ensino-aprendizagem de música. Utilizando alguns dos conceitos desses teóricos ligados ao materialismo histórico, discute-se como esse conhecimento musical informal/espontâneo pode ser abordado do ponto de vista teórico (filosófico e sociológico); qual a importância dele para as crianças; qual sua função e suas influências no aprendizado formal de música; e como tem sido tratado, ou considerado, nos currículos das escolas formais. Para delimitar o que é cotidiano e conhecimento cotidiano foram utilizados os conceitos de Heller das esferas cotidiana e não-cotidiana da vida social humana e formas de pensamento cotidianas; para problematizar a questão do aprendizado espontâneo cotidiano e sua importância para a formação do indivíduo foi utilizado o conceito de socialização primária de Berger & Luckmann; para discutir a questão da relação entre o conhecimento cotidiano, o desenvolvimento cognitivo e o aprendizado escolar, são utilizados os conceitos de apropriação, aprendizagem e desenvolvimento de Vigotski; para situar essas questões na área da educação e da pedagogia são utilizados alguns pressupostos da Pedagogia Histórico-Crítica, aqui representada pelas as idéias dos filósofos Dermeval Saviani e Newton Duarte.
Abstract. This work intends to introduce a possible theorist approach for the questions that the everyday music knowledge imposes to Formal Music Education. The purpose is to propose an interpreting reading about this knowledge, using the theorist foundation of authors Agnes Heller, Berger & Luckmann and Lev Vigotski. From this theorist foundation, this works intends to analyze the particularizations of everyday life and its musical knowledge, situating the place and function of this knowledge to the formal music teaching-learning. Using some concepts of this authors related of the historic materialism, examines how this informal music knowledge can be approached by the theorist view (philosophical and sociological); what this importance to the children; what its influence and function to the formal music learning; and how it has approaching by the formal music education. The Heller’s concepts of social everyday space and everyday forms of thoughts were used to situate what is everyday life and everyday knowledge; the Berger & Luckmann’s concept of primary socializing was using to situate the importance of spontaneous everyday learning to the human formation; the Vigotski’s concepts about learning and development were using to examines the relations between the everyday knowledge, cognitive development and formal education; at last, this work uses some concepts of the Critic-Historic Pedagogy, represented here by education philosophers Dermeval Saviani and Newton Duarte, to situate these questions in the educational area.
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GARFUNKEL, TEO CARLOS. "ESTÉTICA MUSICAL EMANCIPATÓRIA: A EXPERIÊNCIA DO CHORO EM SÃO PAULO". Universidade Metodista de Sao Paulo, 2016. http://tede.metodista.br/jspui/handle/tede/1591.
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Teo Carlos Garfunkel.pdf: 1835020 bytes, checksum: 3c20e4839d3340e9783621b91438ee66 (MD5)Made available in DSpace on 2017-01-20T17:21:50Z (GMT). No. of bitstreams: 1 Teo Carlos Garfunkel.pdf: 1835020 bytes, checksum: 3c20e4839d3340e9783621b91438ee66 (MD5) Previous issue date: 2016-09-14
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This study highlights the potential of non-formal Education as a resource to complement formal Education and an emancipation catalyst when the matter is identity building (individual or collective). Our approach includes theoretical premises from Philosophy, Sociology, Anthropology and Pedagogy and refers to two main authors: Josef Pieper and Theodor Adorno. With a wide epistemological proposal, this study focuses on Choro, urban genre of Brazilian popular instrumental music, and its influence on the cultural formation of a family of Japanese immigrants in São Paulo. It also discusses the concept of Tradition in dialogue with Education and Art, investigating Brazilian culture and its strategies for resistance and emancipation. By putting these elements together, we intend to reinforce the importance of artistic practices in the formation process not only for its relevance in the political sphere, but as a vehicle capable of transcending cultural horizons and everyday’s materialistic pettiness.
Esta dissertação destaca a potência transformadora da Educação não-formal como um recurso complementar à Educação formal fundamental para catalisar processos de emancipação, constituição da identidade coletiva e da subjetividade. Para isso, recorremos a ferramentas teóricas do pensamento filosófico, sociológico, antropológico e pedagógico a partir da perspectiva de dois autores principais: Josef Pieper e Theodor Adorno. Com uma proposta epistemológica abrangente, este estudo se debruça sobre o Choro, gênero urbano da musica popular brasileira predominantemente instrumental executado em roda, e sua influência na formação cultural de uma família de imigrantes japoneses em São Paulo. Discute ainda o conceito de Tradição em diálogo com a Educação e a Arte, investigando a Cultura Brasileira e suas estratégias para a resistência e a emancipação. Conjugando estes elementos, pretendemos reforçar a importância da prática artística no processo de formação não só por sua relevância na esfera política, mas como um veículo capaz de transcender horizontes culturais e a mesquinhez materialista do cotidiano.
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Krutkevičiūtė, Ona. "Muzikinės improvizacijos naudojimo ypatumai 5 - 8 progimnacijos klasių neformaliajame švietime". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130802_105644-20383.
Testo completoAbstract (sommario):
Vienos svarbiausių šių dienų švietimo kaitos sąlygų – kūrybiškas tinkamų užduočių pateikimas mokykloje, naujų mokymo(si) santykių ir pedagoginės veiklos formų paieška bei ugdytinių kompetencijų ugdymas(is) ir plėtojimas. Improvizacija būdinga liaudies kūrybai bei kai kurioms profesionalioms meno šakoms: muzikai, poezijai, teatrui. Muzikos improvizacija gali būti fiksuojama garso įrašu, bet negali būti pakartota.
Magistro darbo „Muzikinės improvizacijos naudojimo ypatumai 5–8 progimnazijos klasių neformaliajame švietime“ tikslas – ištirti 5–8 progimnazijos klasių muzikinės improvizacijos naudojimo neformaliajame švietime ypatumus. Šiam tikslui pasiekti buvo iškelti šie uždaviniai: atskleisti muzikinės improvizacijos ir neformaliojo švietimo sintezės problematiką; išsiaiškinti mokinių ir mokytojų požiūrį į muzikinę improvizaciją; ištirti muzikinės improvizacijos naudojimo ypatumus neformaliojo švietimo veikloje; nustatyti moderniųjų technologijų naudojimą improvizuojant. Tyrimo objekas – muzikinės improvizacijos naudojimas neformaliajame švietime.
Tyrimas buvo vykdytas III etapais: I etapas – anketinė mokytojų ir mokinių apklausa. Anketa muzikos mokytojams buvo siekiama išsiaiškinti mokytojų požiūrį į muzikinės improvizacijos naudojimą neformaliajame švietime. Mokytojų apklausoje dalyvavo 17 Vilniaus mieto progimnazijose neformaliajai veiklai vadovaujančių mokytojų. Anketa, skirta neformaliąja muzikine veikla užimtiems mokiniams, buvo siekta surinkti informaciją, kurią... [toliau žr. visą tekstą]Some of the most important conditions of nowadays education change are creative presentation of the appropriate tasks in school, discovery of new learning relations and pedagogic forms and development and cultivation of students’ competencies. Improvisation is a characteristic of folk art, as well as of some professional arts industries: music, poetry and theater. Musical improvisation can be recorded by audio, but can not be repeated. The purpose of master thesis “Features of Musical Improvisation Application in non-formal Education of 5 – 8 Progymnasium Grades” is to explore the features of musical improvisation use in non-formal education of 5 – 8 progymnasium grades. To achieve this goal the following objectives have been set: identify problems of musical improvisation and non-formal education synthesis, ascertain students’ and teachers’ attitude towards musical improvisation, examine the features of musical improvisation use in non-formal education activities, and determine the use of high-tech while improvising. Research object – use of musical improvisation in non-formal education. The study was carried out in III phases. Phase I – Questionnaire survey for teachers and students. Questionnaire for teachers was used to ascertain teachers' attitude towards the use of musical improvisation in non-formal education. 17 teachers, who are leading non-formal education activities in Vilnius city progymnasiums, participated in this questionnaire. Questionnaire for students was... [to full text]
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Dargevičius, Justas. "Paauglių socialinių poreikių įgyvendinimas neformaliame muzikiniame ugdyme". Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140717_104855-27734.
Testo completoAbstract (sommario):
Darbe analizuojamas paauglių socialinių poreikių įgyvendinimas neformaliame muzikiniame ugdyme. Baigiamojo darbo tikslas – atskleisti paauglių socialinių poreikių įgyvendinimą neformaliame muzikiniame ugdyme. Tikslui pasiekti iškelti uždaviniai: išanalizuoti paauglystės amžiaus tarpsnio ypatumus; pateikti neformaliojo ugdymo apibrėžtį; išryškinti neformaliojo ugdymo specifiką paauglių socialinių poreikių kontekste; ištirti paauglių socialinių poreikių įgyvendinimo sąlygas neformaliame muzikiniame ugdyme. Tyrimo objektas – paauglių socialinių poreikių įgyvendinimas neformaliame muzikiniame ugdyme. Tyrimas atliktas Raseinių rajono kultūros centruose, naudojant anketinės apklausos metodą.
Išanalizavus mokslinę literatūrą, švietimo dokumentus ir atlikto tyrimo rezultatus gautos tokios išvados: paauglystė – tai tarpsnis, kuris itin reikšmingas kiekvienai augančiai, bręstančiai asmenybei. Vaikas, tampa suaugusiu žmogumi, fiziškai stipriu, subręsta psichologiškai, formuojasi jo charakteris, socialiniai ryšiai, išryškėja asmenybės polinkiai ir interesai, keičiasi įprastiniai žmogaus vaidmenys, visuomenės lūkesčiai, atsiranda naujų galimybių išreikšti save poreikis. Šio virsmo metu labai svarbu paaugliui padėti sėkmingai visą tai išgyventi. Jaunimo neformalus ugdymas yra kryptinga veikla, kuria plėtojamos jauno žmogaus asmeninės, socialinės ir edukacinės kompetencijos, siekiama ugdyti sąmoningą asmenybę, sugebančią atsakingai ir kūrybingai spręsti savo problemas ir aktyviai dalyvauti... [toliau žr. visą tekstą]Paper analyses the implementation of the adolescent social needs in the non-formal musical education. The aim of research - to reveal the implementation of the juvenile social needs in the non-formal musical education. Objectives to achieve the aim: to analyze the pecularities of the stages of adolescence; to present the definition of non-formal education; to highlight the specificity of non-formal education in the context of adolescent social needs; to analyze the conditions of implementation of adolescent social needs in non-formal musical education. The object of reasearch – the implementation of juvenile social needs in the non-formal musical education. The research was conducted in the Culture Houses of Raseiniai area using the questionnaire method. Analysis of the scientific literature, educational documents and the results of conducted research, has recieved such conclusions: adolescence – it is a phase which is particularly meaningful for every growing, maturing personality. The child becomes an adult man, physically strong, mentally mature, form his character, social relations, reveal the personality turns and interests, change the conventional man roles, society‘s expectations, comes the need of new opportunities to express themselves. During this transformation is very important to help teenagers succesfully survive it. Non-formal education is purposeful work which developing young man personal, social and educational competencies, trying to raise conscious... [to full text]
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Goodman, Ronald David McLeod. "Onda de ritmo: aprendizagem não-formal no contexto de educação em música popular". Doctoral thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/26163.
Testo completoAbstract (sommario):
Non-formal music learning has burgeoned over the last ten years particularly in UK secondary schools and in the Netherlands, where professional performers and community musicians have brought musical leadership skills into the formal education environment. The rationale for this PhD thesis came from the lack of research into non-formal learning of musical rhythm in a formal education context. As its main aim, this study situated in the context of popular music courses at a Scottish college, investigated the benefits of non-formal learning of rhythm for enhancing formal instrumental learning. Data collection involved an ethnographic study of student, staff and alumni engagement with rhythm learning in an extra-curricular percussion ensemble, utilising an interpretive case study based on participant observation, and interviews that elicited key aspects of the participants’ non-formal learning. The ensemble researched has been in existence for twenty-five years and runs in parallel to the formal instrumental curricula. It has adopted and adapted a Brazilian model of peer teaching and learning that has sustained as a community of participation. Findings suggest that participation in the non-formal ensemble has clearly enhanced students’ learning, regarding the formal context of their instrumental learning that is both assessed and certificated, whilst by contrast the non-formal ensemble’s activities are not. Instead, it features shared musical and extra-musical learning goals that involve performances, workshops in the community and active participation in non-formal learning practices. Further to this, findings show that active participation has engendered highly effective peer teaching and learning, as central to sustaining the ensemble’s effectiveness for rhythm learners; Resumo: O aprendizado musical não-formal tem crescido nos últimos dez anos, particularmente nas escolas secundárias do Reino Unido e na Holanda, onde músicos profissionais e músicos comunitários trouxeram habilidades de liderança musical para o ambiente educacional formal. A justificativa para esta tese de doutoramento veio da falta de pesquisa sobre a aprendizagem não formal do ritmo musical em um contexto de educação formal. Como objetivo principal, este estudo, situado no contexto dos cursos de música popular de um colégio escocês, investigou os benefícios da aprendizagem não formal de ritmo para melhorar a aprendizagem instrumental formal. A coleta de dados envolveu um estudo etnográfico do envolvimento de alunos, docentes e ex-alunos com a aprendizagem de ritmo em um grupo de percussão extracurricular, utilizando um estudo de caso interpretativo baseado na observação do participante e em entrevistas que eliciaram aspetos-chave da aprendizagem não formal dos participantes. O grupo pesquisado existe há vinte e cinco anos e funciona paralelamente aos currículos instrumentais formais, e adotou e adaptou um modelo brasileiro de ensino e aprendizagem entre pares que se sustentou como uma comunidade de participação. Os resultados sugerem que a participação no conjunto não formal melhorou claramente a aprendizagem dos alunos, considerando o contexto formal da sua aprendizagem instrumental que é avaliada e certificada, enquanto que, em contraste, as atividades do conjunto não formal não são. Em vez disso, o conjunto não formal apresenta objetivos de aprendizagem musical e extra-musical partilhados que envolvem espetáculos, palestras na comunidade e participação ativa em práticas de aprendizagem não formal. Além disso, as descobertas mostram que a participação ativa gerou ensino e aprendizado de pares altamente eficazes, o que foi central para sustentar sua eficácia para os aprendentes rítmicos.
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Lučinskaitė, Kristina. "Etninės kultūros ugdymo raiška muzikos mokykloje". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130801_160241-89128.
Testo completoAbstract (sommario):
Tautinis tapatumas bei etninė kultūra - veiksniai, darantys labai didelį poveikį moksleivių ugdymui. Lietuvos švietimo dokumentuose akcentuojama etninės kultūros svarba ugdant jaunąją kartą, tačiau mokslinių tyrimų studijos rodo, jog tautiškumo stinga tiek visuomenėje tiek ir mokykloje. Turint omenyje etninės kultūros teikiamą naudą jaunosios kartos ugdymui, svarbu etninės kultūros elementus įtraukti į neformaliojo ugdymo procesą, o tame tarpe ir į muzikos mokyklų programas. Muzikos mokykla – neformaliojo ugdymo dalis, kur etninė kultūra galėtų būti plėtojama palankiausiai. Deja, šaltinių, kuriuose būtų nagrinėjami etninės kultūros ypatumai neformaliajame muzikiniame ugdyme trūksta, todėl svarbu išanalizuoti esamą etninės kultūros padėtį muzikos mokyklose.National identity and ethnic culture are the factors which make a huge impact on students’ education. The importance of ethnic culture is stressed in Lithuanian Education documents, but the studies of science research show that there is a shortage of nationality both in society and school. Having in mind that ethnic culture brings advantages for the education of youth generation, it is very important to include ethnic culture elements in non-formal education process, at the same time in the programmes of a music school. The music school is a non-formal part of education, where ethnic culture could be developed mostly. Unfortunately, there are very few sources where ethnic culture is analysed in non-formal musical education, so it is very important to analyse the present situation of ethnical culture in music schools.
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Calderón, Garrido Diego. "Colonias musicales en España. Historia y dimensiones formativas". Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/287055.
Testo completoAbstract (sommario):
La presente investigación tiene como objetivo general conocer los orígenes y el desarrollo de las colonias musicales en España, así como los ámbitos y dimensiones formativas presentes en las mismas. De esta forma, y a través de una metodología fundamentada en el paradigma interpretativo, de carácter descriptivo y exploratorio, combinando datos cualitativos y cuantitativos, implicando la recolección, análisis y vinculación de dichos datos, podemos afirmar que las colonias musicales son una evolución de las actividades artísticas, en concreto musicales, que siempre han acompañado, desde sus inicios, a las colonias escolares.
Respecto al origen de las colonias musicales, éste se sitúa en Cataluña, propiciado por una asentada red de Orfeones además de una reconocida tradición excursionista. De esta forma, y a causa de la influencia ejercida por el movimiento coral internacional A Coeur Joie, se organizaron en 1968 las primeras colonias musicales en España de manos de l’Orfeó Lleidatà y su director Lluís Virgili, con la intención de recuperar y transmitir, a través de las actividades corales, las costumbres y la lengua catalana. Posteriormente, el desarrollo de las colonias musicales fue desigual en el resto del estado, manteniendo Cataluña la hegemonía sobre la organización de éstas, a pesar de que en los últimos 20 años se ha observado una propagación por el resto de España y en especial por la mitad norte.
A través de un pormenorizado estudio de campo, presentamos las características de las mismas en la actualidad, tanto a nivel técnico como lo referenciado a las dimensiones artísticas presentes. Dicho estudio nos muestra las colonias como una actividad formativa complementaria a la que el alumnado participante recibe durante el curso lectivo, con unas características intrínsecas que la diferencian de cualquier otra tipología educativa centrada en el desarrollo artístico. Dicha diferenciación se debe, principalmente, a la convivencia entre los diferentes agentes implicados. Por otro lado, y a través de la aplicación de una serie instrumentos de recogida de datos, ofrecemos el perfil competencial de los asistentes a unas colonias de música.This research aims to understand the origins and development of musical camps in Spain, as well as areas and educational dimensions in them. In this way, and through a methodology based on the interpretive paradigm, descriptive and exploratory, combining qualitative and quantitative data, involving the collection, analysis and linkage of these data, we can say that musical camps are an evolution of the art's activities, music in particular have always accompanied, from the beginning, to school camps. Regarding the origin of musical camps, that is in Catalonia, led by an established network of choruses along with a recognized hiking tradition. Thus, because of the influence exerted by the international choral movement A Coeur Joie, the first music camps in Spain are the camps of l'Orfeó Lleidetà and his director Lluís Virgili, organized in 1968, with the intention of retrieving and transmitting, through choral activities, customs and language of Catalonia. Subsequently, the development of musical colonies was uneven in the rest of the state, maintaining Catalonia the hegemony over the organization of these, although in the last 20 years have seen a spreading through the rest of Spain and in particular by the northern half. Through a detailed field study, we present the characteristics of them today, both technically as referenced to the artistic dimensions present. This study shows the colonies as a complementary training activity to which the participating students receive during the school year, with intrinsic characteristics that differentiate it from any other educational typology focused on artistic development. Such differentiation is mainly due to the coexistence of different stakeholders. On the other hand, and through the implementation of a number of data collection instruments, we offer the skills profile of the persons of a music camps.
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FERREIRA, Gabriel Nunes Lopes. "A influência do Projeto Jardim de Gente na reinvenção do cotidiano dos jovens do Bom Jardim: um estudo de caso no curso de Prática de Conjunto". www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/11349.
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FERREIRA, Gabriel Nunes Lopes. A influência do Projeto Jardim de Gente na reinvenção do cotidiano dos jovens do Bom Jardim: um estudo de caso no curso de Prática de Conjunto. 2015. 177f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2015.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-04-14T11:18:58Z No. of bitstreams: 1 2015_dis_gnlferreira.pdf: 1340684 bytes, checksum: 8dd320a042fbff0f47703c3ed896b4ae (MD5)
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This paper discusses music education in non-formal spaces of education and how these spaces contribute to the musical education on the outskirts of Fortaleza. The project aims the understanding of the importance of music courses held by the Project Jardim de Gente (Garden of People) through the students’ perspective. The project is developed in the neighborhood of Bom Jardim, the premises of the Bom Jardim Cultural Center. The main theoretical framework of the research is based on Bourdieu, with his studies on power games and social classes; Certeau, with his research on everyday life; and Koellreutter, with its proposal for Music Education. As a methodological approach, a case study in the course of Joint Practice was made. Ten students who participated in the course in the period 2010 to 2013 were chosen and interviewed. In addition to this, course planning and the Pedagogical Political Project of Garden of People (Projeto Político Pedagógico do Jardim de Gente) were used as sources of evidence, the latter was developed collectively with the participation of the community, students, teachers and coordination of the Project. Thus, the Practice course comes as perceptions of space changes with respect to musical practice and also in relation to daily students activities. According to the results, the project appears as a democratization of musical knowledge, reinventing the daily lives of its attendees.
O presente trabalho aborda a educação musical em espaços não formais de ensino e como esses espaços contribuem para a educação musical na periferia de Fortaleza. A pesquisa tem como objetivo compreender, sob a perspectiva dos estudantes, a importância dos cursos de Música realizados pelo Projeto Jardim de Gente. O Projeto é desenvolvido no Bairro Bom Jardim, nas instalações do Centro Cultural Bom Jardim. O referencial teórico principal da pesquisa está baseado em Bourdieu, com seus estudos sobre jogos de poder e classes sociais; Certeau, com sua pesquisa sobre cotidiano; e Koellreutter, com sua proposta de Educação Musical. Como abordagem metodológica, foi realizado um estudo de caso no curso de Prática de Conjunto. Foram escolhidos e entrevistados dez estudantes que participaram do curso no período de 2010 a 2013. Além dos relatos dos dez estudantes, foram utilizados como fontes de evidências os planejamentos do curso e também o Projeto Político Pedagógico do Jardim de Gente, este último desenvolvido de maneira coletiva com participação da comunidade, estudantes, professores e coordenação do Projeto. Assim, o curso de Prática de Conjunto assume o papel de um espaço de mudanças de percepções com relação à prática musical e também com relação às atividades cotidianas dos estudantes. De acordo com os resultados, o Projeto surge como um espaço de democratização do saber musical, reinventando o cotidiano de seus frequentadores.
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Quant, Robert Scott, e Robert Scott Quant. "The effects of computer software format on the musical composition process of adolescents". Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/289070.
Testo completoAbstract (sommario):
The purpose of this study was to determine whether differing composition software formats, personality, and gender affect the psychological approach that middle school students employed in their compositions. The subjects (N = 77) were seventh and eighth grade band students enrolled in a Western middle school. The subjects were administered the Murphy-Meisgeier Type Indicator for Children (MMTIC) to determine their dominant personality function. Upon the completion of the personality inventory, subjects were given a 30 minute exploratory period using the iconic and standard notation composition software formats. Two compositions were created by the subjects in subsequent class periods using Making Music, the iconic format, and Making More Music, the standard notation composition format. Upon the completion of each composition the subjects were administered the Measure of Psychological Approach toward Composition to determine which dominant psychological approach was used to create their composition. Descriptive statistics and the chi-square statistical test were used to determine the relationship between the independent variables and the psychological approaches used by the subjects. The findings of the study indicate that middle school students employ one of the four psychological approaches observed by Carbon (1986) as their dominant approach toward composition. Most often the intuitive approach was utilized by the subjects, followed by feeling, thinking, and sensing. Furthermore, the relationship between the psychological approach employed by the subjects and the computer software format used during the composition process were found to be significant This finding suggests that middle school subjects are likely to employ the same psychological approach toward composition when using either an iconic or standard notation software format. As indexed by Cramer's statistic, the strength of the relationship was .41 with a .90 level of power of as determined by the Population Fourfold Point Correlation Coefficient. Additional findings indicate that personality and gender were not related to the psychological approaches employed in the subject's compositions.
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Hille, Adrian [Verfasser]. "Developing skills through non-formal learning activities : Four essays in the economics of education / Adrian Hille". Berlin : Freie Universität Berlin, 2016. http://d-nb.info/1109790511/34.
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Oliveira, Renato Alves de. "Projeto TIM música nas escolas e a educação musical não-formal". Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2059.
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Previous issue date: 2010-02-12This work is a research of TIM Música nas Escolas developed with students of periphery of Sao Paulo. After selected 120 childrens of 5 thousand that participated of music workshops, was divided in 4 groups of 30 students, what I had the opportunity to teach music during the period of 2003 through 2005 to a class of EMEF General De Gaulle located at Jardim Sao Luis, south of the city. In the begining of 2006 the class was tranfered to an auditorium of Ibirapuera School and guided to a deeper study of singing and musical instruments with a goal to build a symphonic band. A research of this work with the students of this project was done with the results until the end of 2008. This research had the ambition to help on the studies of social projects with kids that is in a risc situation and that uses the music as an instrument to a social inclusion.
Este trabalho trata-se de um estudo de caso sobre o projeto Tim Música nas Escolas, desenvolvido com alunos da periferia de São Paulo. Após selecionadas 120 crianças das 5 mil que participaram de oficinas musicais, foram divididas em 4 turmas de 30 alunos, das quais tive a oportunidade de ministrar aulas de musicalização durante o período de 2003 a 2005 a uma turma da EMEF General De Gaulle situada no Jardim São Luiz, Zona Sul. No inicio de 2006 as aulas foram transferidas para a Escola do Auditório Ibirapuera e direcionadas para o aprendizado mais aprofundado do canto e de instrumentos musicais com o intuito primeiro de formarem uma Banda Sinfônica. Foi realizado um levantamento e uma análise dos trabalhos realizados com os participantes do projeto, assim como os resultados alcançados até o final de 2008. Essa pesquisa tem a ambição de auxiliar nos estudos sobre as práticas realizadas em projetos sociais com crianças que se encontram em situação de risco e que se utilizam da música como instrumento facilitador das suas ações em busca de uma inclusão social.
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MACIEL, M?rcia Regina de Sant' Ana. "Pacto Nacional pela Alfabetiza??o na Idade Certa (PNAIC): An?lise sobre a Forma??o continuada no munic?pio de Belford Roxo, RJ". Universidade Federal Rural do Rio de Janeiro, 2017. https://tede.ufrrj.br/jspui/handle/jspui/1900.
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The present study analises the educational policy named National Pact for Literacy in the Right Age - PNAIC, regardingit?s contributions to the continued formation, the improvement of quality of alphabetization process and the teaching practices in the city of Belford Roxo, located in the State of Rio de Janeiro. The PNAIC is a course of continued formation of literacy teachers and the sistematic monitoring of its execution, by an organization structure suggested by MEC. The subject of this research was defined from the need of understanding if this continued formation has been important for the teacher, and which contributions can be considered significant in terms of their pedagogical praxis. For this we take as a reference the general principles proposed in this formation, which focus on the practice of reflexivity, mobilization of teaching knowledge, the constitution of professional identity, the socialization, the engagement and the collaboration. It was aimed in this research to contemplate,beyond the results measured through exams applied to the students, the qualitative results of the continued formation focusing the teacher. For so, different contexts of production and operationalization of the referred policy, compared with the speech of those involved directly with the continued formation: the coordinators, the advisors, and the local teachers. The basic theoretical reference is the analytical approach of the educational policies cycle, proposed by Stephen Ball. Therefore, we accomplished an study about the context of text production that informs about the referred educational policy, the context of its influence and the context of the continued formation practices of PNAIC. The present work consists of qualitative field research. We used as research methods the participant observationand bibliographical research, using the following resources for collecting data: interview and semi-structured questionnaire, logbook, and documental analysis. We concluded that, in the studied reality, the PNAIC continued formation, in the short period that happened, brought contributions to the improvement of the teaching quality through changes in the teaching practices, and these changes resulted in higher motivation, attention and participation from the students, bringing with it, advances in their learning. The continued formation follows problematizing characteristics, in which by way of exchanges of experiences and knowledges, the students are encouraged to think over the problem situation and to construct intervention strategies. However, some obstacles caused by external and internal factors were identified, requiring attention, mainly by the political authorities and the central PNAIC team, for the success of this policy in the network.
O presente estudo analisa a pol?tica educacional denominada Pacto Nacional pela Alfabetiza??o na Idade Certa - PNAIC, no que tange ?s suas contribui??es para a forma??o continuada, a melhoria da qualidade do processo de alfabetiza??o e as pr?ticas docentes no munic?pio de Belford Roxo, localizado na regi?o metropolitana da Baixada Fluminense do Estado do Rio de Janeiro. O PNAIC se desdobra em um curso de Forma??o Continuada de Professores Alfabetizadores e no acompanhamento sistem?tico de sua execu??o, por meio de uma estrutura organizacional sugerida pelo MEC. A tem?tica da pesquisa foi definida a partir da necessidade de compreender se esta forma??o tem sido importante para o professor e quais contribui??es podem ser consideradas significativas em termos de sua pr?xis pedag?gica. Para tanto tomamos como refer?ncia os princ?pios gerais propostos nessa forma??o, que incidem sobre a pr?tica da reflexividade, mobiliza??o dos saberes docentes, a constitui??o da identidade profissional, a socializa??o, o engajamento e a colabora??o. Objetivou-se nesta pesquisa contemplar, al?m dos resultados mensurados a partir das provas aplicadas aos alunos, os resultados qualitativos da forma??o com foco no professor. Para isso, foram analisados os diferentes contextos de produ??o e de operacionaliza??o da referida pol?tica, cotejada com os discursos dos envolvidos diretamente nesta forma??o: Coordenadora local, os Orientadores de estudo e os Professores locais. Seu referencial te?rico b?sico ? a abordagem anal?tica do ciclo de pol?ticas educacionais, proposta Stephen Ball. Portanto, realizamos um estudo sobre o contexto de produ??o do texto que informa a referida pol?tica educacional, o contexto da influ?ncia e o contexto da pr?tica da forma??o continuada do PNAIC. Este trabalho se constitui de pesquisa de campo do tipo qualitativa. Utilizamos como procedimentos de pesquisa a observa??o participante e a pesquisa bibliogr?fica, tendo por m?todos de coleta de dados: entrevista e question?rio semi-estruturado, di?rio de bordo e an?lise documental. Conclu?mos que, na realidade estudada, a forma??o continuada do PNAIC, mesmo no pouco tempo em que se sucedeu, trouxe contribui??es ? melhoria da qualidade do ensino atrav?s de mudan?as nas pr?ticas docentes. Estas mudan?as repercutiram em melhor motiva??o, participa??o e aten??o dos alunos trazendo com isso, avan?os nas suas aprendizagens. A forma??o segue caracter?stica problematizadora, onde por meio das trocas de experi?ncias e saberes, os cursistas s?o incentivados a refletir sobre as situa??es problemas e a construir estrat?gias de interven??o. Por?m alguns entraves causados por fatores externos e internos foram identificados, merecendo aten??o, principalmente por parte das autoridades pol?ticas e da equipe central municipal do PNAIC, para o sucesso dessa pol?tica na rede.
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Mascarenhas, Milena de Lima. "Educa??o do campo no ?mbito do programa escola ativa: rela??es/implica??es na forma??o continuada de professores(as) no munic?pio de Feira de Santana". Universidade Estadual de Feira de Santana, 2018. http://tede2.uefs.br:8080/handle/tede/714.
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This research thematizes the Active School Program and was guided by the following question: What are the implications of the Active School Program in the organization and operation of the rural schools and its repercussion in the continuous training of teachers in the municipality of Feira de Santana? In dialogue with this question, the general objective was to analyze the implications of the Program in the organization and functioning of the rural schools and its repercussion in the training of teachers in the municipality. Two central categories were constituted as references of analyzes: education of the field and formation of teachers, especially the continuous formation. Field Education was assumed as a resistance movement to the relations of domination that emanate from the ruralist vision and, therefore, it emphasizes a conception of education that apprehends the relation between the social space and the directives that aim at the emancipation of the working class. From the conception of teacher training, we agree with N?voa (1992) when he states that the territory of formation is inhabited by individual and collective actors, in a human and social construction, in which the different stakeholders have autonomy in the conduct of their own projects. In this sense, we sought to explore their continuing education dimension, based on the idea of Rodrigues and Esteves (1993) when they point out that training is not exhausted in initial training and must be pursued throughout the career in a coherent and integrated way , responding to the felt training needs. The methodology adopted was of a qualitative nature, assumed by the understanding that this type of approach allows the analysis of the object investigated in its complexity and multiplicity of forms of manifestation, including the exploration of the interfaces between the objective and subjective dimensions that give them conformity in the tension between the prescribed and the effected in contexts and relations of dispute. The instruments selected to assist in data collection were documental research and semi-structured interviews. Through the data collected and the analysis developed, it was concluded that the obstacles to the implementation of a Public Education Policy in the Field are great, considering that the movements that make up this construction are sometimes discontinuous movements, marked by tensions and disputes between political forces. Regarding the Field Education policy in the municipality of Feira de Santana, there are no effective actions for its implementation. Regarding teacher training, it was observed that there was no training policy for teachers in the field in Feira de Santana, and that the actions carried out did not characterize the design of an own understanding of training by the network. The implementation of the Escola Activa Program in the municipality was inserted as part of the attempt of differentiated attention to the field, focusing on the multisite classes, but subordinated to the external orientations of the sectors that constituted themselves as managers of the Program. However, this in itself did not characterize the existence of a Field Education policy in the municipality
Esta pesquisa tematiza o Programa Escola Ativa e foi orientada pela seguinte quest?o: Quais as implica??es do Programa Escola Ativa na organiza??o e funcionamento das escolas do campo e sua repercuss?o na forma??o continuada de professores no munic?pio de Feira de Santana? Em di?logo com esta quest?o, o objetivo geral foi analisar as implica??es do Programa na organiza??o e funcionamento das escolas do campo e sua repercuss?o na forma??o de professores no munic?pio. Constitu?ram-se como refer?ncias de an?lises duas categorias centrais: educa??o do campo e forma??o de professores, notadamente a forma??o continuada.A Educa??o do Campo foi assumida como um movimento de resist?ncia ?s rela??es de domina??o que emanam da vis?o ruralista e, portanto, p?e em relevo uma concep??o de educa??o que apreenda a rela??o entre o espa?o social e os direcionamentos que visam a emancipa??o da classe trabalhadora.Da concep??o de forma??o de professores coadunamos da mesma ideia de N?voa (1992) quando afirma que o territ?rio da forma??o ? habitado por atores individuais e coletivos, numa constru??o humana e social, na qual os diferentes envolvidos possuem autonomia na condu??o dos seus projetos pr?prios. Neste sentido, procurou-se explorar a sua dimens?o de forma??o continuada,a partir da ideia de, Rodrigues e Esteves (1993) quando apontam que a forma??o n?o se esgota na forma??o inicial, devendo prosseguir ao longo da carreira, de forma coerente e integrada, respondendo ?s necessidades de forma??o sentidas. A metodologia adotada foi de natureza qualitativa, assumida em raz?o do entendimento de que este tipo de abordagem possibilita a an?lise do objeto investigado na sua complexidade e multiplicidade de formas de manifesta??o, incluindo a explora??o das interfaces entre as dimens?es objetivas e subjetivas que lhes d?o conformidade na tens?o entre o prescrito e o efetivado em contextos e rela??es de disputa.Os instrumentos selecionados para auxiliar na coleta dos dados foram a pesquisa documental e a entrevista semiestrurada. Por meio dos dados coletados e das an?lises desenvolvidas concluiu-se que grandes s?o os entraves para efetiva??o de uma pol?tica p?blica de Educa??o do Campo, considerando que os movimentos que comp?e essa constru??o s?o, por vezes, movimentos descont?nuos, marcados por tens?es e disputas entre for?as pol?ticas. No que concerne ? pol?tica de Educa??o do Campo no munic?pio de Feira de Santana, n?o existem a??es efetivas para sua implementa??o. Quanto a forma??o de professores, observou-se a inexist?ncia de uma pol?tica de forma??o de professores do campo em Feira de Santana e que as a??es realizadas n?o caracterizaram o delineamento de uma compreens?o pr?pria de forma??o pela rede. A implementa??o do Programa Escola Ativano munic?pio se inseriu como parte da tentativa de aten??o diferenciada para o campo, com foco nas classes multisseriadas, mas subordinadas ?s orienta??es externas dos setores que se constitu?ram como gestores do Programa.Todavia, isto por si s? n?o caracterizoua exist?ncia de uma pol?tica de Educa??o do Campo no munic?pio
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SANTORO, Julia Oliveira Barros. "Diagn?stico das agroind?strias familiares rurais do munic?pio de Pinheiral-RJ: um instrumento para a forma??o do t?cnico em agropecu?ria do Campus Pinheiral do Instituto Federal do Rio de Janeiro". Universidade Federal Rural do Rio de Janeiro, 2012. https://tede.ufrrj.br/jspui/handle/jspui/1653.
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The agricultural education should allow students to develop their ability to knowledge from interactive practice according to the reality of environment, thus enabling the effective application of theoretical knowledge in practice. Thus, this research aimed to lead students into the field to diagnose the locals rural family?s agribusiness, and use it as an instrument for the graduation of the Farming Technician CANP / IFRJ. The research was conducted at the Nile Pe?anha Campus - Pinheiral Federal Institute of Rio de Janeiro - CANP / IFRJ with 25 students attending third-grade Farming Technician, class 311/2011 and also at a country-side of Pinheiral - RJ with 34 farmers. In this context, the development in the field work made the students have contact with the reality of farmers, the knowledge of agricultural and processed products in the city, also to evidence the absence of CANP/IFRJ with the rural community and the many possibilities the institution might have along the rural producers, through the promotion of rural extension activities and technical assistance with the effective participation of the students, which in their opinion will make theory work with the practice, it is extremely important for your professional graduation. The method adopted to develop the research with the students were the application of questionnaires, prepared based on scripts using open and close questions, within the beginning of 2011 school year, and also, conducting focus group dynamics to recognize the perceptions, feelings, attitudes and students ideas after working at a proposed field. According to participation of rural producers in the research, they were interviewed by the students followed the scripts containing open and close questions, and also they had their properties visited. The research results showed the necessity on stimulating development interdisciplinary activities, using the rural properties participatory trial. it was shown the that, through these activities the students could experience and how to apply, and practice theoretical knowledge, getting ready for the work field. In short, the realization of activities provide the approximation of CANP/IFRJ to locals rural producers, and together they can strategize and seek for alternatives for the development local productive arrangement.
O Ensino Agr?cola deve permitir ao estudante desenvolver sua capacidade de constru??o de conhecimento a partir da pr?tica interativa com a realidade do seu meio, possibilitando, assim, a efetiva aplica??o dos conhecimentos te?ricos na pr?tica. Dessa forma, esta pesquisa teve como principal objetivo conduzir os estudantes a campo para realizar o diagn?stico das agroind?strias familiares rurais locais e, utiliz?-lo como um instrumento para a forma??o do T?cnico em Agropecu?ria do CANP/IFRJ. A pesquisa foi realizada no Campus Nilo Pe?anha - Pinheiral do Instituto Federal do Rio de Janeiro ? CANP/IFRJ com 25 estudantes da terceira s?rie do curso T?cnico em Agropecu?ria da turma 311/2011 e, tamb?m, na ?rea rural do munic?pio de Pinheiral - RJ com 34 produtores rurais. Nesse ?mbito, o desenvolvimento do trabalho de campo possibilitou ao corpo discente contato com a realidade dos produtores rurais, o conhecimento da produ??o agropecu?ria e dos produtos processados no munic?pio, al?m de despertar nos estudantes o senso cr?tico do afastamento do CANP/IFRJ com a comunidade rural e das muitas possibilidades de inser??o que a institui??o pode ter, junto aos produtores rurais, por meio da promo??o de atividades de extens?o rural e assist?ncia t?cnica com a efetiva participa??o dos estudantes, o que na opini?o deles promove o di?logo entre teoria e pr?tica, que ? de fundamental import?ncia para a sua forma??o profissional. Os procedimentos metodol?gicos adotados para o desenvolvimento da pesquisa junto aos estudantes foram a aplica??o de question?rios, elaborados com base em roteiros estruturados com perguntas abertas e fechadas no in?cio e no final do ano letivo de 2011 e, tamb?m, a realiza??o da din?mica do grupo focal, para conhecer as percep??es, os sentimentos, as atitudes e as ideias dos estudantes ap?s o trabalho de campo proposto. Em rela??o ? participa??o dos produtores rurais na pesquisa, eles foram entrevistados pelos estudantes que utilizaram um roteiro estruturado contendo perguntas abertas e fechadas e, na oportunidade da entrevista, tamb?m tiveram suas propriedades visitadas. Al?m disso, os resultados da pesquisa indicaram a necessidade de estimular o desenvolvimento de atividades interdisciplinares, utilizando as propriedades rurais do munic?pio como unidades de experimenta??o participativa. Comprovou-se, ent?o, que, por meio dessas atividades os estudantes puderam vivenciar e conhecer as reais dificuldades dos produtores rurais do munic?pio e como aplicar, de fato, na pr?tica seus conhecimentos te?ricos, deixando-os melhor preparados para o mundo do trabalho. Em suma, a realiza??o dessas atividades possibilitou a aproxima??o do CANP/IFRJ aos produtores rurais do munic?pio que, juntos, podem tra?ar estrat?gias e buscar alternativas para o desenvolvimento do arranjo produtivo local.
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Batista, Aline Cleide. "A media??o do di?logo e da reflex?o na pr?tica do supervisor pedag?gico no munic?pio de Jardim de Piranhas/RN". Universidade Federal do Rio Grande do Norte, 2008. http://repositorio.ufrn.br:8080/jspui/handle/123456789/14287.
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Previous issue date: 2008-08-11In preparation for reviewing and reflect about the pedagogical practice of teaching supervisor, noting instances of continuing education in service, dialogue-based, reflective and shared as propelling in the construction of theoretical and practical knowledge is that we propose to undertake this research. Based in our professional practice and stimulated by the desire to contribute with the education in the city of Jardim de Piranhas-RN our intention was to highlight issues which arising from practice teaching, especially those guided in the principles of a continuing, dialogic and reflexive teachers training. In that sense we are encouraged to answer the following question. How has been developed the work of teaching supervisor in the city of Jardim de Piranhas and what kind of elements should be constituted by a continuing education in school if those elements are enhanced by a reflexive action and dialogue-based? Thus, we performed studies of theoretical foundation based in N?voa (1995, 2001, 2003), where he emphasizes the importance of take in account the practice itself as a source for the study in the construction of a new teaching practice process, in Alarc?o (1999; 2001; 2002; 2003), Sch?n (1995, 2000), Tardif (2003) and Perrenoud (2002), Gomes (1998), Navarro (2005) and Oliveira (2006), among others, provided the basis to discuss the role of reflection and dialogue in the school and classroom. We still emphasize the ideas of Paulo Freire (1981; 1992; 1996; 2001; 2002), which is consistent with the proposal for a reflexive action and training. For this we adopted a methodology based in the qualitative research with field note, intending to observe the strategies which emerge in the educational supervisor practice. This practice should contribute to the training of teachers. In this process we chose three dimensions that provide structure and power in their work. So, we can describe as conceptual, strategic and changeable
Na perspectiva de analisar e refletir sobre a pr?tica pedag?gica do supervisor a partir do trabalho que desenvolvem nas escolas municipais de Jardim de Piranhas-RN ? que nos propomos a realizar esta pesquisa. Partimos da nossa pr?tica profissional e do anseio em contribuir com a educa??o do Munic?pio de Jardim de Piranhas-RN, no sentido de real?ar aspectos advindos da pr?tica pedag?gica, principalmente aqueles pautados nos princ?pios de uma forma??o de educadores, continuada e em servi?o, dial?gica e reflexiva. Nesse sentido, somos instigados a responder a seguinte quest?o: como tem se desenvolvido o trabalho do supervisor pedag?gico na cidade de Jardim de Piranhas/RN, e que elementos, se potencializados por uma a??o reflexiva e dialogada, podem ser constitutivos de uma forma??o continuada na escola? Para tanto, realizamos estudos de fundamenta??o te?rica com base em N?voa (1995; 2001; 2003), quando enfatiza a import?ncia de se considerar a pr?pria pr?tica como fonte de estudo para a constru??o de uma nova pr?tica docente; em Alarc?o (1999; 200; 2002; 2003), Sch?n (1995; 2000), Tardif (2003) e Perrenoud (2002), Gomes (1998), Navarro (2005) e Oliveira (2006), entre outros, que fornecem as bases para a discuss?o sobre o papel da reflex?o e do di?logo na escola e na sala de aula. Enfatizamos, ainda, as id?ias do educador Paulo Freire (1981; 1992; 1996; 2001; 2002), que consideramos coerentes com a proposta de a??o e forma??o reflexiva. Metodologicamente, optamos por uma pesquisa qualitativa e de campo, com a inten??o de observar as estrat?gias emergentes na pr?tica pedag?gica do supervisor que possam contribuir para a forma??o dos professores. Elencamos 03 dimens?es como estruturantes e potencializadoras do trabalho do supervisor pedag?gico: a conceptual, a estrat?gica e a transformadora
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Chen, Chia-Chi, e 陳嘉琪. "A Study on the Career Development of Music Teachers in Non-formal Education". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/wsqn63.
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碩士國立暨南國際大學
諮商心理與人力資源發展學系終身學習與人力資源發展研究所
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Abstract The present study aims to explore the career development of music teachers in non-formal education, focusing on the understandings of those teachers’ motivation, career planning and influencing factors. The present study also investigates what pressures those music teachers in non-formal education face and how they deal with those pressures to achieve their goals and aspirations in life. The objectives of the present study are as follows: 1. To explore the motivation of music teachers’ career development in non-formal education 2. To investigate music teachers’ career planning in non-formal education 3. To examine the influencing factors of music teachers’ career development in non-formal education 4. To discuss what pressures music teachers in non-formal education face and how they deal with those pressures during their career development The present study is qualitative-based. The research questions were designed and supported by literature based on the research purposes and motivation. The subjects were randomly chosen and interviewed in a semi-structured manner. According to the research results, the key findings are as follows: 1. At the initial learning stage of career development, the internal motivation of music teachers in non-formal education is mainly personal interest. At the teaching stage, their internal motivation is to make the most of teaching opportunities to build up their knowledge and experiences for becoming an outstanding music teacher 2. Music teachers’ career planning in non-formal education includes three aspects: their past expertise development, their current career positioning and their expectations of future career. Expertise development is the most important for music teachers. 3. The internal factor influencing music teachers’ career development in non-formal education mainly relates to their competences, and the main external factor is economy. 4. During their career development, music teachers’ pressures in non-formal education derive from three aspects: individual, family and environment. They deal with those pressures by improving their professional and communicative competences, changing their timetable and teaching methods or developing multiple teaching competences.
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Daniel, Shirelle Desiree. "The church as a site for non-formal music education : a case study of Bethesda Temple, Durban". Thesis, 1998. http://hdl.handle.net/10413/3657.
Testo completoAbstract (sommario):
Much of the research undertaken on music education in South Africa has been concerned with formal music education and its application in the classroom. In spite of the fact that the majority of South Africans have had little or no access to formal music education, non-formal learning practices have been largely ignored as alternative, and potentially effective forms of music skills acquisition. This study focuses on the church, and the Durban Bethesda Temple in particular, and explores how, in the absence of access to formal music education, alternative learning methods based on generalised participation and musical process, may be conducive to the achievement of highly skilled musicianship. This thesis draws insight from theories proposed by intercultural music educationists, Christopher Small and Patricia Campbell, and ethnomusicologists, Blacking, Chernoff, Nketia and Merriam, whose work has focussed on conceptualisations, functions, roles and contexts of music-making in nonwestern, and Mrican societies in particular. It postulates that when music-making is nonindividualised and non-competitive, and when performance focuses on relationshipbuilding and ritual, rather than on specialisation and spectacle, music learning is achieved through participation by way of aural transmission, imitation and mentorship. In thisregard, the underlying philosophy of education, as is applied in non-formal mUSIC education, is based on the assumption that music is a human capacity; that music-making is process-orientated rather than product-related, and that music can be used to build individual and communal skills and competencies. The discussion concludes by suggesting insights that can be gleaned from the process of non-formal music learning in communal, participatory contexts, namely, the church; and how these insights can signal alternative perspectives to the practices and procedures of South Africa music education amidst current transformation.Thesis (M.A.-Music)-University of Natal, 1998.
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Beaumont, Walter Lance. "Bringing it all together: formal and informal learning in a university guitar class". Thesis, 2015. https://hdl.handle.net/2144/16230.
Testo completoAbstract (sommario):
This study seeks to integrate informal and formal music learning in a university guitar class with a secondary focus on evaluating the effectiveness of this approach in meeting student's stated goals for learning the guitar. Salient features in formal music learning were discovered from an examination of guitar method books. Informal features were examined from a reading of extant research on popular music pedagogy and expounded upon through research devoted to specific areas of informal music learning and popular music pedagogy. These features were used in the creation of a guitar curriculum to aid in the integration of both formal and informal music learning in a university guitar class. Data were gathered through pre- and post-study questionnaires, interviews, and video analysis.
Analysis of data shows that integrating formal and informal music learning in a beginner's guitar class is effective in meeting student stated goals for the course. Note reading was an area that was not effective in meeting student goals for the course. Data revealed that note reading should be taught slowly, in key based relationships and with fewer notes taught over the 16 week course. Integrating informal music learning procedures in a formal environment proved to be challenging for the students. A difficulty existed in the student's ability to task switch between formal and informal learning in the University setting. Implications from the study are listening should be considered a primary means for learning music and haphazard learning is beneficial, though difficult to include in a systematized curriculum.
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Graves, Byron. "Belonging in band: relatedness support, relatedness satisfaction, prosocial behavior, and music practice in high school band". Thesis, 2019. https://hdl.handle.net/2144/35684.
Testo completoAbstract (sommario):
School music ensembles have the potential to provide a space where students can develop a strong sense of belonging and relatedness. A sense of belonging and relatedness has been shown to be an important factor in helping students avoid social isolation and its attendant issues of poor academic performance, lack of motivation, and behavioral problems. Particularly within a music education context, however, little is known about how fulfilling the need for belonging and relatedness might have a positive impact in the music classroom.
In order to address this research gap, I used self-determination theory to test the hypothetical links among students’ perception of teacher support for relatedness, perceived relatedness satisfaction, general prosocial behavior, and music practice quantity and quality. I surveyed a sample of 749 high school band students about their perceptions of the band classroom and their band-related behaviors. Path analysis was then used to test the hypothetical model.
As hypothesized, the findings of this study indicate a strong relationship between relatedness support and relatedness satisfaction. Results also show that relatedness support—through relatedness satisfaction—predicted certain general prosocial behaviors (compliant and public) and music practice quality. Also, relatedness need fulfillment was negatively associated with music practice quantity. These results indicate that teacher support for relatedness in band may play an important role in promoting other positive outcomes such as increased prosocial behavior and higher-quality music practice. This study also shows continued evidence for the viability of using self-determination theory to understand the motivational processes at work in the music classroom.
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Human, Rene Irene. "Towards generic cross-cultural standards in theassessment of African musical arts". Thesis, 2013. http://hdl.handle.net/2263/32390.
Testo completoAbstract (sommario):
This research contextualizes the measurability of African musical arts (including music,
dance, drama, poetry and costume art as an integrated whole), through the introduction of a generic evaluation system, which can be implemented outside its culture of origin as recontextualized
authenticity. An assessment system is developed, entitled, The Generic Crosscultural
Assessment Framework for African Musical Arts. The Framework illustrates that: the
cultural-educational void between African/indigenous/informal and international/formal
music education can be crossed; the development of a reliable, valid and objective evaluation
system for African musical arts assessment, which can be recognized internationally to the
satisfaction of Western and African cultures, is possible.
African musical arts has only fairly recently begun to be integrated into formal education
systems and music curricula for schools and tertiary institutions. At this stage, there is no
structured curriculum available for African musical arts in schools. The need for structuring a
Framework for contemporary African musical arts assessment, from which a curriculum
could be developed, is clear.
The contextualization of the main problem of the research, namely the measurability of
African musical arts, took place through: exploration of cultural diversity; translation
between cultures; music-cultural integration processes in assessment; cross-cultural dialogue;
the learning, teaching and grading situations in different cultures and systems and the
integration of different ‘voices’ from many disciplines. Globalization and change were
essential concepts in this research.
The choice of the research designs for this thesis was informed by Western as well as African
indigenous music philosophies. A combination of documentary research design (with
literature review, content analysis) and deconstruction theory study designs was conducted
within the qualitative paradigm. The reseach focused on intercultural understanding and
communication, as well as its emic/etic, or insider/outsider approach.
The most important aspects of the research focused, firstly, on Social Studies including
Ethnomusicology, Translation Studies, Inter-Cultural and Cross-Cultural Studies; secondly,
on Educational Studies including assessment standards, philosophies and systems; thirdly, on
African Musical Arts; and finally, on contemplating the syntheses of all above named
outcomes in relation to generic cross-cultural standards.
The emphasis of the thesis is on music-cultural integration processes in assessment of
progressive skills development.Thesis (DMus)--University of Pretoria, 2012.
gm2013
Music
unrestricted
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Dias, Maria Francisca Soares. "A música e a inserção social de jovens em risco". Master's thesis, 2013. http://hdl.handle.net/10400.14/15401.
Testo completoAbstract (sommario):
Com este estudo -“A música e a inserção social de jovens em risco” – pretendemos verificar como a música forma de expressão/comunicação e contexto de ensino/aprendizagem – pode ajudar os jovens a enfrentarem e ultrapassarem as dificuldades e barreiras escolares que os conduzem a situações de exclusão social. Tenta-se perceber como os contextos de aprendizagem ‘não formal’ – através da expressão artística – favorecem e potenciam a aquisição de competências pessoais e sociais, que se traduzem em competências de cidadania para a inserção. Para tal, optámos por observar o ensino da música e escolhemos o primeiro grupo que se formou a partir do projeto da Orquestra Geração, na Escola Miguel Torga, concelho da Amadora, por ter já alguns anos de existência e um percurso de aprendizagens realizado.
Percebemos desde logo que o estudo deste projeto iria levar-nos ao aprofundamento de diferentes áreas teóricas: se por um lado partimos para o estudo colocando a música no centro da intervenção, logo percebemos que se iriam alargar as áreas, pois a orquestra, ao estar inserida num ambiente de escola, fez-nos optar por aprofundar a questão da intervenção pela educação, usando estímulos que se situam fora do ambiente de sala de aula. Por outro lado, ao observar que este projeto se organiza como fruto de parcerias institucionais e organizacionais, este fato, fez-nos colocar a tónica, também, na intervenção em rede, bem como na iteração dos atores a nível territorial.
Trata-se de uma pesquisa-exploratória, focalizada num estudo de caso, que seguiu uma abordagem indutiva e compreensiva. Partimos da realidade observada, isto é, dos significados e sentidos atribuídos pelos atores às suas experiências e vivências – quinze primeiros alunos a participarem no projeto OGMT –, para os traduzir em conceitos que nos permitissem perceber a relação entre fatores vivenciais e contextuais. A nossa observação centra-se nos testemunhos dos jovens alunos/músicos, para daí deduzirmos como os contextos emocionais e motivacionais interferem nos processos de ensino/aprendizagem.
As conclusões retiradas levam-nos a afirmar que a realidade recriada pela Orquestra Geração tem vindo a alterar os percursos de vida dos jovens que nela participam. Podemos inferir que a força do projeto se encontra, por um lado, no empoderamento dos próprios jovens, a partir da relação entre formador e formando e, por outro, nas redes que se geram entre os diferentes intervenientes do projeto, proporcionando novas oportunidades de acesso a recursos e novos capitais sociais.
Algumas questões/interpelações são deixadas numa linha de procura para melhorar cada vez mais a intervenção nestes campos de ação, do ensino de competências para a cidadania e o acesso a direitos sociais.
Considera-se que esta é uma questão onde se situam os quadros teóricos do Serviço Social, como complementares de um “olhar transdisciplinar” que se constrói no terreno, ao situar-se na vivência dos próprios atores-utilizadores para encontrar os conceitos estruturantes, modeladores de uma nova inteligibilidade das práticas.With this study - "Music and social inclusion of youth at risk"– we want to see how music – a form of expression/communication and context of teaching / learning can help young people cope with and overcome the difficulties and school barriers that lead to social exclusion. We try to understand how 'non-formal' learning contexts' – through artistic expression – favor and enhance the acquisition of personal and social skills, which translate into citizenship skills for insertion. For this, we chose to observe the teaching of music and chose the first group who graduated from the Design Orchestra Generation, in School Miguel Torga, Amadora, as they have already some years of existence and a journey of learning achieved. We could easily realize that the study of this project would take us to the deepening of different theoretical areas: on the one hand if we set out to the study placing music at the center of the intervention, we soon realized that the areas would expand because the orchestra, on being inserted in a school environment, made us decide to look into the intervention by education, using stimuli that fall outside the classroom environment. Moreover, noting that this project is organized as a result of institutional and organizational partnerships, this fact has made us focus also on the network intervention, as well as the iteration of the actors at the territorial level. This is an exploratory research, focused on a case study, which followed an inductive approach and understanding. We start from the observed reality, ie, the meaning and significance attributed by actors to their experiences and life - fifteen students participating in the project OGMT – to translate them into concepts that might allow us to perceive the relationship between contextual and experiential factors. Our observation focuses on the testimonies of young students/musicians, hence to deduce how the emotional and motivational contexts interfere in the processes of teaching/learning. The conclusions drawn lead us to affirm that the reality recreated by Orchestra Generation has been changing the life trajectories of young people who participate in it. We can infer that the strength of the project lies, on the one hand, in the empowerment of young people themselves, based on the relationship between trainer and trainee, and secondly, the networks that are generated between the various stakeholders in the project, providing new opportunities to new resources and new social capitals. Some questions/interpellations are left in a way of looking to improve more and more intervention in these fields of action, of teaching skills for citizenship and access to social rights. It is considered that this is an issue where there are the theoretical frameworks of Social Work, as an additional "disciplinary gaze" that is built on the ground, to be in the experience of the actors-users themselves to find the structural concepts, modelers of a new intelligibility of practice.
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Lima, Marioneide Vieira. "A Importância da Música na Motivação do Aluno: Projeto: "Formar para Melhor Ensinar"". Master's thesis, 2015. http://hdl.handle.net/10284/5428.
Testo completoAbstract (sommario):
A presente pesquisa faz uma análise sobre o reconhecimento da necessidade da Música na Escola, levando em consideração o caráter interdisciplinar, lúdico e as restantes propriedades da música, capazes de promover cada vez mais sinapses, fato este comprovado pela Neurociência, em que o aluno passa a estar mais motivado, através da constante e percetível ativação de diversas áreas cerebrais distintas das áreas específicas do tratamento da informação musical.
O ponto de partida para esta pesquisa foi a Lei 11.769/08 do Governo Federal Brasileiro que trata da obrigatoriedade do ensino da música na educação básica, a partir deste momento, houve grandes perspetivas e projetos direcionados ao retorno da música à sala de aula, focalizando a atenção para a melhor organização dos espaços, nomeadamente, estruturas, materiais e pessoal, de forma a garantir o sucesso do ensino através da música.
Tendo em conta a implementação desta lei, houve a necessidade de analisar na prática, os benefícios da música na aprendizagem, bem como a formação do docente para esta atividade. Deste modo, fez-se o enquadramento teórico com base nos conhecimentos já existentes sobre políticas educativas públicas e o ensino artístico, especificamente a presença da Música no currículo escolar.
Este enquadramento serviu de base para a realização de um estudo no município de Coelho Neto no Maranhão – Brasil, com base na temática: ―A Importância da Música na Motivação do Aluno‖, que demonstrou a falta de preparação dos docentes no que concerne à música. Assim, esta investigação-ação levou-nos à elaboração do Projeto ―Formar para melhor ensinar‖, no sentido de ajudar os professores a superar esta lacuna. Este projeto será implementado no próximo ano letivo.This research analyzes the recognition of the necessity of Music at the school, taking into account the interdisciplinary, playful characteristics and the remaining properties of music, which promote more and more synapses, a fact proven by Neuroscience, having the student more motivated by constant and noticeable activation of several distinct brain areas of the specific treatment areas of musical information. The starting point for this research was the Law 11,769 / 08 of the Brazilian Federal Government dealing with the mandatory music teaching in basic education. From this moment, there were great prospects and projects directed to the return of music to the classroom, focusing the attention to a better organization of spaces in particular structures, materials and personnel in order to ensure the success of education through music. Taking into account the implementation of this law, it was necessary to analyze the benefits of music on learning as well as the training of teachers for this activity. Thus, a theoretical framework was made, based on existing knowledge about public education policies and artistic education, specifically the presence of music in the school curriculum. This framework was the basis for conducting a study in the municipality Coelho Neto Maranhão - Brazil, based on the theme: "The Importance of Music in Student‘s Motivation," which demonstrated the lack of preparation of teachers with regard to music. Thus, this action-research led us to the development of the Project ―Training for better teaching," as a way to help teachers to overcome this gap. This project will be implemented during the next school year.