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Tesi sul tema "Music educator"
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1
Hale, Travis L. "Becoming an educator: identity, music education, and privilege". Diss., Kansas State University, 2018. http://hdl.handle.net/2097/38794.
Testo completoAbstract (sommario):
Doctor of PhilosophyCurriculum and Instruction Programs
Frederick Burrack
This study is an intertwined critical autoethnography through which my experiences, my stories, are woven together with memories of family, students, and teaching career. Together, the telling of these stories will explore how I negotiated my identity development throughout my middle and high school experiences at a time when I could have been labeled as an at-risk student. The development into my professional career and personal life all influenced strongly by my participation in music education. Filtering these stories and memories through the lens of critical whiteness theory, this study interrogates the social assumptions that may be placed on at-risk students, exploring how these assumptions function within the context of access within our current music education structures, and investigates the ways in which social support systems allow opportunities for access of white male students and privilege in music education. An overarching question guiding this research is: How does the interrogation of such white privileges inform how one develops their identity as a music educator, a researcher, an academic, a husband, a father, a human, as well as, the curricular structures in place guiding access within music education?
2
Chandler, Paul. "The township trumpet educator". Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53180.
Testo completoAbstract (sommario):
Thesis (MMus) -- Stellenbosch University, 2002.ENGLISH ABSTRACT: This study attempts to address some shortcomings of brass tuition in South Africa. It is unique in its approach in concentrating on musicians from previously disadvantaged communities, although the content of the document can be equally successfully applied to brass teaching in general. The study differs from any previous written material on this topic in that it takes the background of the previously disadvantaged educator and learner into consideration. It therefore does not assume that the learner can read music or that the educator has any formal training. The challenge is thus to write a document to provide the educator and learner with basic information in a medium that does not take anything for granted and that also offers some practical guidance in already existing projects. As a starting point a background is offered to produce a general overview of the problem. My research has convinced me that a document which consists only of a written text would not be sufficient to guide the educator and learner. I have therefore set out to accompany the text document with a practical trumpet manual. South African melodies were predominantly used as study material. This offers the opportunity to all South African learners from different cultural backgrounds to identify with the study material. My literature review includes a selection of the most commonly used beginner brass manuals in South Africa. For practical reasons I made use of abbreviations in the trumpet manual to indicate the source of a particular melody.
AFRIKAANSE OPSOMMING: GEEN
3
Kim, Yŏng-suk. "The artist-teacher as college music educator /". Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396155.
Testo completoAbstract (sommario):
Thesis (Ed.D.)--Teachers College, Columbia University, 1993.Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Harold Abeles. Includes bibliographical references (leaves 217-220).
4
Miller, Reeves Harold Macmurray Medaglia. "The vision music of Casanova, the personal transformation of a music educator". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0009/NQ59094.pdf.
Testo completo
5
Corley, Scott Randolph. "Thomas Lee Dvorak: a career as music educator and conductor". Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2198.
Testo completoAbstract (sommario):
Thomas Lee Dvorak (b. 1941) uniquely blended his experience as a music educator with his long career as a collegiate conductor. In his ten-year career as a public school instrumental music educator, Dvorak taught bands at the elementary, middle school or junior high, and high school levels. During this time, he encountered beginning instrumental music instructional methods that allowed his beginning band students to advance at a rapid pace. Dvorak parlayed his school band teaching experience with his growing reputation in band music education into an appointment to the music education faculty at the University of Michigan. At Michigan, Dvorak combined his experience and duties in music education with a conducting position when he was assigned to conduct the University of Michigan Youth Band/Wind Ensemble in 1975. After being named its Director of Bands in 1979, Dvorak created a similar symbiotic role for himself at the University of Wisconsin--Milwaukee (UWM) when he founded the Greater Milwaukee Youth Wind Ensemble in 1982. Throughout his twenty-seven year tenure as Director of Bands at UWM, Dvorak also combined education and conducting through the mentorship of graduate conducting students, his sponsorship of new and original music for young/developing bands, and his outreach work with Milwaukee-area school band programs. Dvorak also enjoyed a reputation as an insightful interpreter of wind band music, a leader of national professional organizations, authority on wind band repertoire, and as a frequently invited guest conductor of school, collegiate, and professional ensembles Thomas Dvorak retired from UWM in May 2007 and was named Professor Emeritus of Music.
6
Gross, Jeanne Bilger. "Benjamin Russel Hanby, Ohio composer-educator, 1833-1867: His contributions to early music education /". The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu148758461216499.
Testo completo
7
McClellan, Edward Richard. "Relationships among parental influences, selected demographic factors, adolescent self-concept as a future music educator, and the decision to major in music education". Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1465McClellan/umi-uncg-1465.pdf.
Testo completoAbstract (sommario):
Thesis (Ph.D.)--University of North Carolina at Greensboro, 2007.Title from PDF t.p. (viewed Feb. 29, 2008). Directed by Donald A. Hodges; submitted to the School of Music. Includes bibliographical references (p. 192-216).
8
Lyle-Smith, Eva Diane. "Nathaniel Clark Smith (1877-1934): African-American Musician, Music Educator and Composer". Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277721/.
Testo completoAbstract (sommario):
This study is a biography of the life experiences of Nathaniel Clark Smith (1877-1934), an African-American musician, music educator and composer who lived during the early part of America's music education's history. Smith became one of the first international bandmasters to organize bands, orchestras, and glee clubs in schools and industries in the United States. Smith was raised and attended school on a military post. He later received a B.S.M.A. from the Chicago Musical College and a Masters in Composition from the Sherwood School of Music. He taught music at five educational institutions: Tuskegee Institute, Western University, Lincoln, Wendell Phillips and Sumner High Schools. Some of his students became prominent musicians. They were Lionel Hampton, Nat "King" Cole, Milton Hinton, Bennie Moten and Charlie Parker. Smith also worked with industries. He conducted the newsboys band for the Chicago Defender Newspaper and he became the music supervisor for the porters of the Pullman Railroad Company. Smith was stated to have introduced the saxophone to African-Americans and he was considered as one of the first composers to notate spirituals. Smith published over fifty works in America. One of his compositions received a copyright from England. His Negro Folk Suite, published by the Lyon and Healy Publishing Company, was performed by the St. Louis Symphony Orchestra. It received a John Wanamaker Award. His Negro Choral Symphony received a copyright in 1934. Smith became co-owner of the first Music Publishing Company owned by African-Americans, the Smith Jubilee Music Company.
9
Cassidy, Timothy John. "Modern a cappella-pop and showchoir methods for the classically trained music educator". Kansas State University, 2013. http://hdl.handle.net/2097/15629.
Testo completoAbstract (sommario):
Master of MusicDepartment of Music
Julie Yu
University choral music education programs commonly focus on training music educators in the Western Classical tradition, however, the evolving landscape of popular music requires an additional set of skills and experiences that are not a part of the standard curriculum. A cappella groups with vocal percussion and show choirs are increasing in demand due to the popularity of modern vocal music entertainment with television shows such as “Glee” and “The Sing-off” and performing groups such as “Pentatonix” and “Straight No Chaser.” With limited available literature and training, current and future musical educators face the problem of having to acquire these skills on their own. While ensembles dedicated to singing popular music are nothing new, the technical aspects of developing an ensemble that meets the high performance expectations of modern audiences can be intimidating. This report intends to cover the requisite techniques, skills, and resources that modern a cappella pop choirs and show choirs utilize to be successful. The report covers these topics: 1) a brief survey of the historical origins of choral vocal pop and show choir ensembles 2) defining the purpose, intent, and nature of such ensembles 3) show choirs, pop a cappella choirs, and hybrids 4) roles, responsibilities, and personnel assignment 5) music selection, arrangement, and programming 6) the decision to perform live, with a pre-recorded track, or a combination 7) use of audio and recording equipment in performance 8) rehearsal techniques 9) artistic and stylistic decisions
10
Eshelman, Darla A. "The instructional knowledge of exemplary elementary general music teachers : commonalities based on David J. Elliott's model of the professional music educator /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.
Cerca il testo completo
11
Van, Scoyoc Marilyn Linda. "The development and evaluation of electronic wind controller instructional materials and techniques for the instrumental music educator /". Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11168183.
Testo completoAbstract (sommario):
Thesis (Ed.D.)--Teachers College, Columbia University, 1991.Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Robert Pace. Includes bibliographical references (leaves 115-119).
12
Wolfgang, Nancy Andersen. "Adolescent Female Musical Theater Belt Pedagogy: Preparation, Approaches, and Experiences of Ohio Music Educators". Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1434468398.
Testo completo
13
Cavalcante, Fred Siqueira. "Ensino de rítmica musical: analisando uma prática pedagógica bem sucedida". Universidade Federal de São Carlos, 2004. https://repositorio.ufscar.br/handle/ufscar/2685.
Testo completoAbstract (sommario):
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Previous issue date: 2004-11-08Financiadora de Estudos e Projetos
From different regards, the present study has the foremost aim of understanding the trajectory and pedagogical practice of a musical rhythm teacher, José Eduardo Gramani, so that the knowledge produced during the course of the research might serve as a fundamental element for the formation of new musical educators. Understanding his professional trajectory, his specific formation, his beliefs, values and opinions (about school, student, work methodology, the musical "teaching/learning" process), it was sought to set, within and through the related complex of factors and in their intrinsical relationships, what researchers in the field of education have called "teacher s thought" (an interpretation for the course of acquaintance with specific contents towards the pedagogic knowledge as on "a double side-way"), that, in the specific case of this piece of work, it refers to that musical educator. The data have been collected by means of semi-structured interviews, with open schedule. Such interview route, or schedule, was structured through basis upon authors who have studied histories of teachers life, and others who have studied professional trajectories of "good" teachers. Among the interviewees, some were relatives of the above-mentioned teacher, students, co-workers teachers. As collaborators in a collective game, those participants represent all those who, at any rate, have collaborated, so as to Gramani be able to idealize and create his teaching methodology. Paralleled with the above-mentioned procedures, it was made a documental analysis of books that mention facts of this musician s personal history, as well as the available didactic materials produced during his professional teaching trajectory (from the apostils of the beginning of his career till the books later published), specially the reflecting texts on the specific area of musical rhythm teaching, that fit in those materials. The data collected in the interviews and in the documents were analyzed, so as to stand out this teacher s trajectory of personal life and pedagogic actuation, as well as to configure his profile, from the perspective of the interviewees, participants of this research. The analysis main points are sectioned into four themes, all of them obviously referring to the educator aimed at this search; the first theme describes his historical professional and personal trajectory, divided into phases; the second expatiates unpon his beliefs and values related to teaching and human acquaintance; the third analyzes his professorial practice, as well as the development of his knowledge bases that involve such activity ; and the fourth specifies the individual and professional characteristics that compose the teacher s profile, according to the interviewees standpoints. The results give evidence that the educator s performance, accomplished under the criteria based on his beliefs and values, and on his relashionship with the students, have been successful. Other aspects of that practice define peculiar standards of teaching, profitable to composing the cast of knowledges in the studies of those who prepare to exercise the teaching of music, or even of other cognizance áreas.
A partir de diferentes olhares, o presente estudo tem por objetivo compreender a trajetória e a prática pedagógica de um professor de rítmica musical, José Eduardo Gramani, de forma que o conhecimento produzido no decorrer da pesquisa possa servir como elemento fundamental para a formação de novos educadores musicais. Compreendendo seu percurso profissional, sua formação específica, suas crenças, valores e opiniões (sobre: escola, aluno, metodologia de trabalho, o processo de ensinoaprendizagem musical), procurou-se estabelecer, nesse conjunto de fatores e nas suas relações intrínsecas, o que pesquisadores do campo da educação têm chamado de "pensamento do professor" (uma interpretação do percurso do conhecimento de conteúdo específico para o conhecimento pedagógico - numa via de mão dupla) que, no caso específico do trabalho, refere-se àquele músico-educador. Os dados foram coletados por meio de entrevistas semi-estruturadas, com roteiro aberto. O roteiro de entrevista foi construído com base em autores que estudaram histórias de vida de professores e outros que estudaram trajetórias profissionais de bons professores. Entre os entrevistados constaram alguns dos parentes do referido professor, alunos, colegas professores. Como coadjuvantes de um jogo coletivo, esses participantes representam todos aqueles que, de alguma forma ou de outra, colaboraram para que Gramani idealizasse e criasse a sua metodologia de ensino. Paralelamente foi feita uma análise documental de livros que mencionam fatos da história pessoal do músico, bem como dos materiais didáticos disponíveis produzidos durante o seu percurso profissional docente (desde as apostilas do início de sua carreira até os livros publicados posteriormente), especialmente os textos de reflexão sobre o ensino da área específica de rítmica musical que se encontram nesses materiais. Os dados coletados nas entrevistas e nos documentos foram analisados de forma a ressaltar a trajetória de vida pessoal e pedagógica desse professor, além de configurar o seu perfil na perspectiva dos entrevistados participantes dessa pesquisa. Os eixos de análise estão divididos em quatro temas: o primeiro descreve os aspectos históricos da sua trajetória profissional e pessoal que foi dividida em fases; o segundo disserta sobre as suas crenças e valores sobre o ensino e o ser humano; o terceiro analisa a sua prática de ensino, bem como o desenvolvimento de sua base de conhecimento para o ensino; e para concluir, o quarto tema pormenoriza, sob o ponto de vista dos entrevistados, as características pessoais e profissionais que compõem o perfil do professor. Os resultados atestam a prática bem sucedida do educador, sob o prisma das suas crenças e valores (e de sua relação com os educandos). Outros aspectos de sua prática definem padrões de ensino úteis na formação de professores de música e de outras áreas do conhecimento.
14
Paes, Francisco Guedes. "O passado presente na educação musical brasileira : uma análise do golpe /". Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/153252.
Testo completoAbstract (sommario):
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Esta dissertação tem como objetivo discutir a educação musical no Brasil a partir da análise dos documentos do Sumário do Comunismo Internacional, produzidos durante o regime militar brasileiro, a fim de revisar o impacto do percurso histórico-político da educação musical no Brasil a partir da década de 1960 e suas consequências para a educação musical. Por meio da análise, é possível levantar um panorama mais aprofundado sobre as condições em que se deram as perseguições, bem como as condições do ensino musical, da música erudita e das políticas que intervinham diretamente nessa área da educação. Em 1971, o ensino de música sofreu um golpe muito forte quando foi deixado de lado na educação formal, ou seja, quando saiu do currículo escolar. Mas as condições que levaram a essa precarização do ensino de artes não foram repentinas, esse blecaute de aproximadamente 30 anos apenas volta a ver a luz das políticas públicas com a LDB 9394 de 1996. Com a reestruturação da comissão da verdade no Brasil, se inicia um novo percurso de pesquisa, no qual os próprios órgãos de justiça do país garantem o acesso a novos documentos, possibilitando o aprofundamento da pesquisa deste gênero, que passa a ter um aspecto muito importante como ponto de abertura para novas discussões acerca da história da educação musical dentro do regime militar brasileiro.
This work aims to discuss the need to better understand the image of the musician, music and music educator from the analysis of the documents of the Summary of International Communism, produced during the Brazilian military regime, in order to review the impact of the historical-political music education in Brazil from the 1960s, and its consequences to musical education. Through the analysis it is possible to get a more detailed picture of the conditions under which the persecutions took place, as well as the conditions of music education, classical music and policies that intervened directly in this genre of education. In 1971 the teaching of music takes a very strong blow when it is put aside in formal education, but the conditions that led to this precariousness of the teaching of arts did not arise overnight, this blackout of about 30 years just to see again the light of the public policies with the LDB of 1996. With the restructuring of the truth commission in Brazil, a new research course begins where the country's own judicial organs guarantee the access to new documents, enabling the deepening of the research of this genre, which has a very important aspect as an opening point for new discussions about the history of musical education within the Brazilian military regime.
15
Santiago, Glauber Lúcio Alves. "Uma proposta de modelo para diagnóstico dos atributos do educador musical em projetos pedagógicos de cursos de licenciatura em música baseado na gestão de competências". Universidade Federal de São Carlos, 2006. https://repositorio.ufscar.br/handle/ufscar/3294.
Testo completoAbstract (sommario):
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Previous issue date: 2006-09-19This work intends to demonstrate the feasibility and applicability of competency management rudiments in activities connected to the formation of music educators. More specifically, it is meant to propose a model to evaluate graduate educational projects in music regarding the qualification of graduated. The study is based upon a theoretical reference that comprehends competency management and music education; having for the latter the purpose of characterizing the music educator s attributes. After an extended bibliographical research on many different authors, it was proposed a model for analysis of graduate educational projects based on competency management, and then an empirical implementation in an actual educational project was fulfilled. As a conclusion, this research could attest that it is possible the application of competency management methods in music graduate courses and in music educators formation as well, with substantial possibilities for benefits.
O presente trabalho pretende mostrar a viabilidade e a aplicabilidade de princípios da gestão de competências em atividades relativas à formação profissional do educador musical. Mais especificamente, visa propor um modelo para o diagnóstico de projetos pedagógicos de cursos de licenciatura em música, no que tange à capacitação das competências do aluno egresso. O trabalho, parte de um referencial teórico que abrange a gestão de competências e a educação musical, nesta última, tendo por finalidade a caracterização dos atributos do educador musical. Após a pesquisa bibliográfica com um grande número de autores, foi proposto um modelo para diagnóstico de projetos pedagógicos de cursos de licenciatura baseado na gestão de competências e foi realizada uma aplicação experimental em projeto de curso real. Como conclusão, o trabalho pôde verificar que é possível a aplicação de sistemáticas de gestão de competências com grande potencial de benefícios para os cursos de licenciatura em música e para a formação dos educadores musicais.
16
Kunz, Stephanie Jane. "Gustave Vogt: Performer, Educator and ComposerToward an Edition of his works for Oboe and English horn". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429624795.
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Vincent, Lynette Susanne. "The effects of amplification and selected vocal exercises on the perceived vocal health of elementary music educators". Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6041.
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Lopes, António Laertes Bela Leal Pereira Amorim. "As linguagens e escrita musical actuais aplicadas ao ensino artístico especializado da música: a contribuição do compositor". Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/16967.
Testo completoAbstract (sommario):
A presença das novas linguagens musicais no ensino básico e secundário da música é
diminuta. Com o avançar do tempo essas linguagens desenvolvem-se naturalmente
criando hiatos temporais ainda maiores. Para fazer face a essa lacuna foi criado o Grupo
de Música Contemporânea do Conservatório Regional de Setúbal, ensemble que serviu
de base para a realização de projectos no âmbito desta dissertação. A pluralidade de
linguagens, a dualidade Compositor-Professor e adequação e criação de repertório são
os aspectos desenvolvidos nesta investigação. Foram analisados os objectivos
pedagógicos das obras trabalhadas e recolhida informação para a produção de uma
avaliação. Foram recolhidas e analisadas entrevistas em 2010 e em 2015. As reflexões
efectuadas constituem as conclusões para futuras revisões, restruturações e
investigações nesta área em expansão, na procura da definição do perfil de um educador
artístico que reúna todas estas valências; NEW LANGUAGES AND COMPOSITIONAL TECHNIQUES APPLIED TO
COURSE IN MUSIC EDUCATION: A COMPOSER CONTRIBUTION
ABSTRACT:
New musical languages at middle and high school levels are hardly ever used. As time
goes by, those languages evolve, which will naturally create larger time gaps. The
Contemporary Music Ensemble of Conservatório Regional de Setúbal was created to
address this problem, and has been used as the basis for several projects carried out ever
since. This investigation was developed focusing on the plurality of languages, the
Composer-Teacher duality and the adequation and creation of repertoire. The pedagogical
goals of each piece that was played were analyzed and data was collected aiming at the
investigation's evaluation. Interviews were collected and analyzed both in 2010 and in
2015. The observations are the conclusions for future revisions, restructuring and research
in this expanding field, in the search for defining the profile of an artistic educator who
combines all these features.
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Ivo, Laís Figueiroa. "Práticas pedagógicas coletivas com flauta doce : uma proposta de formação continuada de educadores e educadoras musicais". Universidade Federal de São Carlos, 2017. https://repositorio.ufscar.br/handle/ufscar/9360.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
In the initial formation of the musical educator, in the context of the undergraduate courses in music, one has the recorder as one of the instruments that can be used by this professional in his teaching performance. Based on the consideration that teacher training should be a permanent process and considering the limitations of instrumental teaching in the initial formation of musical educators, we propose an intervention - the formative activity Recorder and musical education: experiences and reflections - aimed at the continuing education of educators who already use or intend to use the recorder in their classrooms. The activity was elaborated and conducted by the researcher, being offered in the Musicalization Laboratory of the Federal University of São Carlos (UFSCar), between March and May of 2016 and had the participation of twelve educators, in exercise and in initial formation. The objective of the research was to identify and understand educative processes resulting from the intervention proposal. In order to do so, it was supported by theoretical contributions on teacher training and continuing education (GARCÍA, 1999; MIZUKAMI et al., 2002, FREIRE, 1997a and 2009, among others), on training of the musical educator (BELLOCHIO, 2003; DEL BEN, 2003; QUEIROZ; MARINHO, 2005; PENNA, 2007) and on recorder (BARROS, 2010, FRANCISCO, 2015a, 2015b e 2016; CALLEGARI, 2012 e 2013). As a methodological approach, the qualitative approach (DEMO, 2005; BOGDAN; BIKLEN, 1994), action research (THIOLLENT, 2002) and content analysis (BARDIN, 2006; FRANCO, 2008) as method of data analysis. The intervention was elaborated with reference to authors of education and musical education (FREIRE, 1997a; OSTETTO, 2010; FRANÇA; SWANWICK, 2002 and BEINEKE; FREITAS, 2006), seeking a dialogic perspective of the education. The results were organized in two categories - Educative processes with recorder and General educative processes - each containing five units, that analyzed pointed: to the expansion of the perspective of the participants of the pedagogical use of the recorder, implying contributions to their teacher training; for contributions that went beyond this expansion, occurring in the field of interaction and exchanges of knowledge between the subjects, exercising influences on their ways of teaching and learning; for a conception of recorder teaching and training of musical educators and, finally, for the need to carry out further proposals for continuing training with this perspective.
Na formação inicial do/a educador/a musical, no contexto dos cursos de licenciatura em música, tem-se a flauta doce como um dos instrumentos que poderá ser utilizado por esse/a profissional na sua atuação docente. Pautadas na consideração de que a formação docente deve ser um processo permanente e considerando as limitações do ensino instrumental na formação inicial dos/as educadores musicais, propomos uma intervenção – a atividade formativa Flauta doce e educação musical: vivências e reflexões – destinada à formação continuada de educadores/as que já utilizam ou pretendem utilizar a flauta doce em suas aulas. A atividade foi elaborada e conduzida pela pesquisadora, sendo ofertada no Laboratório de Musicalização da Universidade Federal de São Carlos (UFSCar), entre março e maio de 2016 e contou com a participação de doze educadores/as, em exercício e em formação inicial. O objetivo da pesquisa foi identificar e compreender processos educativos decorrentes da proposta de intervenção. Para tanto, apoiou-se em aportes teóricos sobre formação docente e formação continuada (GARCÍA, 1999; MIZUKAMI et al., 2002; FREIRE, 1997a e 2009, entre outros), sobre formação do/a educador/a musical (BELLOCHIO, 2003; DEL BEN, 2003; QUEIROZ; MARINHO, 2005; PENNA, 2007), e sobre flauta doce (BARROS, 2010; FRANCISCO, 2015a, 2015b e 2016; CALLEGARI, 2012 e 2013). Como opções metodológicas, tem-se a abordagem qualitativa (DEMO, 2005; BOGDAN; BIKLEN, 1994), a pesquisa-ação (THIOLLENT, 2002) e a análise de conteúdo (BARDIN, 2006; FRANCO, 2008) como método de análise dos dados. A intervenção foi elaborada com referência em autores/as da educação e da educação musical (FREIRE, 1997a; OSTETTO, 2010; FRANÇA; SWANWICK, 2002 e BEINEKE; FREITAS, 2006), buscando uma perspectiva dialógica da educação. Os resultados foram organizados em duas categorias – Processos educativos com flauta doce e Processos educativos gerais – cada uma contendo cinco unidades, que analisadas apontaram: para a ampliação da perspectiva dos/as participantes do uso pedagógico da flauta doce, implicando em contribuições para as suas formações docentes; para contribuições que foram além dessa ampliação, ocorridas no campo da interação e das trocas de saberes entre os sujeitos, exercendo influências nos seus modos de ensinar e aprender; para uma concepção de ensino da flauta doce e de formação de educadores/as musicais e por fim, para a necessidade de realização de mais propostas de formação continuada com essa perspectiva.
20
Heinrich, Lisa M. "MULTICULTURAL MUSIC EDUCATION: SECOND-GRADE STUDENTS’ RESPONSES TO UNFAMILIAR MUSICS". Cleveland, Ohio : Cleveland State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=csu1260496852.
Testo completoAbstract (sommario):
Thesis (M.M.)--Cleveland State University, 2009.Abstract. Title from PDF t.p. (viewed on Dec. 15, 2009). Includes bibliographical references (p. 52-55). Available online via the OhioLINK ETD Center and also available in print.
21
Thorgersen, Ketil. "Music from the Backyard : Hagström's Music Education". Doctoral thesis, Luleå tekniska universitet, Institutionen för musik och medier, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-40056.
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22
Forari, Antonia. "The voices of Cypriot music education : a sociology of music education". Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/10006665/.
Testo completoAbstract (sommario):
Monitoring the processes through which upper secondary music education in Cyprus is constructed calls for articulation of the meanings of four groups of key actors. These actors are involved in music education's journey from education policy contexts to curriculum contexts. They include, firstly, the policymakers of the Cyprus Ministry of Education, who form policy and present this as curriculum ideologies, mainly in the official rhetorical curriculum. Second, the music inspector (for which there is only one post in Cyprus) has the main responsibility of interpreting, adapting and embodying this education policy in the intended music curricula. Third and fourth, this education policy is implemented, with a degree of interpretation, by music teachers, and actively received by pupils, who conceptualise and interact in complex ways with what is made and remade as the context of a school music educational culture, according to their own distinct logic, in relation to the delivered and received music curriculum respectively. This thesis investigates these various meanings through a policy trajectory study, gathering mostly qualitative data to unravel what counts as music education for the actors and how they conceive each others' meanings. Empirical data were gathered with reference to the aims, content, activities and assessment of the curriculum as conceived by individual key actors. Data referring to the first context identified earlier, that of the official rhetorical curriculum, involved a range of documentation from the Archives of the Ministry of Education of Cyprus; an extended semi-structured interview and follow-up discussions with Cyprus's music inspector were conducted regarding the second context, that of the intended music curriculum; a questionnaire to music teachers and, finally, group interviews with pupils were conducted in relation to the third and fourth contexts, the delivered and received curricula respectively. The findings indicate that Cypriot music education is a polydynamic site, full of paradoxes and conflicts within and between all four contexts. Key actors struggle with each other to define what counts as music education. In these terms music education is viewed as a socio-political construction, in which critical theory, and, more specifically, Foucault's concept of power as possessing an exclusionary, silencing aspect as well as a creative, positive one, can reveal what counts as musical knowledge. A theoretical model is proposed as an aid to conceptual and methodological interpretations of curriculum policy trajectory phenomena in music education.
23
Dunn, Anne Maureen. "Music education : an adult education perspective". Thesis, University College London (University of London), 1989. http://discovery.ucl.ac.uk/10019700/.
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24
Vogelgesang, Anna Ruye. "An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes". Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.
Testo completo
25
Shuck, Cynthia Marie. "Music Integration: Educators’ Perceptions of Implementation and Student Achievement in Public School Elementary Education". Scholar Commons, 2005. https://scholarcommons.usf.edu/etd/863.
Testo completoAbstract (sommario):
This qualitative case study investigated the levels and frequency of music integration being implemented at a public elementary school in central Florida, what key issues affect the successful implementation of effective music integration, and if music integration has an influence on academic achievement.
This study focused on 14 elementary school educators actively involved with music integration at one public elementary school. The multiple formats of data collection and analysis provided triangulation and increased the viability and transferability of the results. The five data collection formats that were used consisted of surveys, observations, lesson plans, interviews, and student achievement documents. Data results were coded and analyzed for themes, similarities, and differences. Tables, graphs, narratives, and transcription quotes illustrate the data results.
The literature review provides historical and foundational information of how interdisciplinary qualities of music education relate to student achievement. This study offers working integration examples and addresses the important issues and benefits of music integration. With increased high-stakes accountability for student achievement, educators must explore viable curriculum options that aid academic achievement (Arts Education Partnership, 2002; Cutietta, 1996; Hyatt, 2004; Mallery, 2000; Snyder, 2001).
This study found academic benefits are linked to music integration as previous research has found (Bresler, 2002; Brewer, 2002; Drake, 1998; MENC, 2001, 2004; Wiggins and Wiggins, 1997). Perhaps other elementary school personnel working toward higher student achievement will find the results useful to increase effective music integration at their schools.
The following were major findings of this study: (a) music integration occurred at Levels 1, 4, and 5; (b) awareness and training were the 2 most important issues affecting music integration out of the 12 identified in this study; and (c) educators do perceive music integration to be beneficial to students academically, behaviorally, and emotionally.
Contributions of this research are beyond that typically found in similar literature: (a) a balanced research-practitioner music integration resource; (b) an awareness and training program for school administrators, which includes working models and literature to help educators improve the musically integrative practice in their elementary curriculum; and (c) the development of Music Integration Criteria and an Integration Consortium.
26
NGUYEN, DUY. "SOFTWARE FOR MUSIC EDUCATION". Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/190713.
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27
Young, Sharon M. "Music teachers' attitudes, classroom environments, and music activities in multicultural music education /". The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794066543544.
Testo completo
28
Rush, Sharon G. "Leadership and Administrative Tasks of Secondary Choral Music Educators". Digital Commons @ East Tennessee State University, 1992. https://dc.etsu.edu/etd/2780.
Testo completoAbstract (sommario):
The problem of this study was the inconsistency between perceptions of secondary choral music educators and college and university choral music professors pertaining to needed leadership and administrative training in undergraduate music teacher education programs. The main purpose of this study was to attempt to develop a list of recommendations pertaining to necessary leadership and administrative tasks of music education majors. Two subpurposes of this study were: to help university and college school officials evaluate the present curriculum and adjust it to help meet the needs of their music education graduates; and to help expand the limited literature base concerning administrative and leadership tasks that are required of bachelor of music education degree graduates. This descriptive study was conducted to attempt to identify administrative and leadership tasks necessary for secondary choral music educators. A four point Likert-type scale was used to identify the importance level of administrative and leadership tasks of secondary choral music educators. A preliminary questionnaire was developed and mailed to a selected panel. After changes were made based on respondents suggestions, two pilot studies were conducted. The results were tested for reliability and validity. It was then sent to 899 secondary choral music educators (25.0% of the population) and to all 131 college and university choral music educators within the Southern Division of the Music Educators National Conference. The conclusions of this study were based on 486 responses from secondary choral music educators and 63 college and university choral music educators. No significant difference existed between the two groups. Developing rapport with parents and conducting fund-raisers were the only two tasks that obtained absolute significant differences. This analysis provided the rationale that 49 of the 51 tasks are basically valued at the same level of importance by secondary choral music educators and college and university choral music educators. All of the tasks, except for attending school board meetings and employing special service personnel received a majority percentage level from both groups for inclusion in a music teacher education program. Recommendations were based on the analyses that the majority of tasks were important and should be included in a teacher education program.
29
Paton, Rod. "The process of renewal in music and music education". Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307250.
Testo completo
30
Makonnen, Karyn. "The Interdisciplinary Approach: A Music Education Methods Course Component For Preservice Education and Music Education Majors". Bowling Green State University / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1421884052.
Testo completo
31
Thompson, Laura C. "How Arkansas Band Educators Use Technology for Music Education and Their Attitudes towards This Technology". Thesis, Arkansas State University, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13861515.
Testo completoAbstract (sommario):
This study was conducted in order to understand the types of music technologies band educators in the state of Arkansas were using, their attitudes towards technology, and the implications training, during undergraduate and through professional development, had on the frequency of use. Arkansas Music Educators (n = 64) completed an online questionnaire containing demographic information, selection of music technologies, agreeability/disagreeability to statements about music technology, frequency of use, descriptions of technologies, and description of how they felt music technology should be used for the purpose of learning. Regarding training in undergraduate professional development for music technology use, there appeared to be no difference between the increase of music technology usage and the increase of more training. Results suggest that participants have an overall “good” attitude towards technology with the stipulation that it should be considered a tool, students and teachers receive appropriate training, and it should be used efficiently.
32
Nyholt, Gustafsson Anette. "Musik och lek i skolan – Ett pedagogiskt redskap? : Music and playing in school- an instrument for education?" Thesis, Mälardalen University, School of Education, Culture and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-1195.
Testo completoAbstract (sommario):
Syftet med detta examensarbete är att ta reda på hur pedagoger som arbetar med
barn använder sig av musik och lek i undervisningen. För att få reda på det
genomfördes intervjuer och observationer av fyra pedagoger i en skola i en
mellansvensk stad. Respondenterna arbetar med barn i olika åldrar, från
förskoleklass till årskurs nio. Sedan jämfördes intervjuerna och observationerna mot
tidigare forskning. Läroplanen (Lpo 94) säger att de som arbetar med barn i skolan
ska försöka hitta sätt att fånga elevernas nyfikenhet och ge dem lust att lära. Man ska
se alla barn som olika individer och hitta möjligheter för alla att lära och utvecklas.
Musik, lek och rörelse anses av flera forskare vara ett bra sätt att uppnå detta. Man
kan genom musiken visa att man behärskar språket, eller ges en möjlighet att kunna
ta till sig ett nytt språk. Pedagogerna i studien vet att man ska ta till vara på barnens
naturliga lekfullhet och lusten att sjunga, och de utnyttjar detta till viss del i
undervisningen. Det är fortfarande viktigt för pedagogerna att använda sig av
läroböcker i undervisningen, då inte alla vill eller kan lära med hjälp av lek och
musik. Efter en viss åldersgrupp försvinner till en viss del musiken och nästan all lek
från skolan, då respondenterna har skilda åsikter om vad eleverna tycker är barnsligt
eller inte.
33
Ericson, Maja. "Motivation och feedback i musikundervisning : En kvalitativ studie om hur musiklärare motiverar och ger feedback till sina elever i musikklassrummet". Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-95844.
Testo completoAbstract (sommario):
The study examines how different music teachers in secondary school and high school motivate their students and gives feedback in the music classroom. The study has been done together with five music teachers where individual interviews have taken place in the school where the informants work at. The music teachers have all been active in the school sector in different long time and have all different specialist areas in the subject of music. The result of the study shows that the music teachers motivate their student in different ways depending on the group dynamics and class composition that prevails and what motivational factors each individual student is driven by. The result also shows that feedback is an ongoing process that takes place all the time in the music classroom and that good feedback is important for students motivation.
34
Shuck, Cynthia Marie. "Music integration educators̕ perceptions of implementation and student achievement in public school elementary education /". [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001127.
Testo completo
35
Schaus, Lam E. "Implementing multicultural music education in the elementary schools' music curriculum". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111519.
Testo completoAbstract (sommario):
The study examined the benefits of implementing multicultural music education into an elementary school's music curriculum. Conducted in a region with a culturally diverse student population, the study surveyed in-service music teachers and elementary students' parents on their perceptions of multicultural music education. Meanwhile, a set of experimental classes focused on Chinese music was taught to a diverse class of Grade 5 students to study their reactions and learning outcomes when studying non-Western music. Results indicate that (a) multicultural music needs to be better implemented in Ontario's music curriculum, (b) students receive non-Western music with enthusiasm, and (c) if taught responsibly, learning music from non-Western cultures can expand individual students' musical and cultural horizons, help eliminate stereotypes and discrimination in society, and possibly elevate the status of music education in schools.
36
Barrett, James Edward. "Music technology in school education". Thesis, London Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515328.
Testo completoAbstract (sommario):
What is music, and how should it be taught in schools? This thesis traces how education and literation have reified music and distanced the construction of music in western conceptions, and British education, from practice in other, historical and geographical, cultures. Musical practice is dependant on the technologies for music production, which also influence the cultural construction of music. New developments in music technology, through the application of electronics and digitisation, have substantially changed the music industry, and, beyond this, have altered the generally accepted construction of music, by opening up new possibilities of sound creation and manipulation. These changes are theorised here as a transgressional step in the progressive literation of music, that reconnects musical practice to wider possibilities in the organisation of sound, some of which are examined by reference to the example of the traditional music of sub-Saharan Africa. By requiring more music practice, and inclusion of music from other times and cultures, the (British) National Curriculum has made new demands of music education in schools. It is shown that as these coincide with concomitant changes in the production of music due to new technologies, there is a possibility of restructuring music teaching in schools to take account of twenty-first century industry practice of music production. This will provide a sound basis for future employment to pupils. While there are many examples of excellence in school music teaching, quality remains variable and change is uneven. This thesis demonstrates the possibility within school music, of increasing the emphasis on a wider range ix of possibilities of organised sound, by connecting music to science, especially acoustical science, in Key Stages 1-3. At higher levels, considering music and sound together with images in multimedia will provide wider opportunities for the development of career skills. An electronic xylophone serves as an example of an instrument developed to enable the exploration of sound in the manner proposed, while retaining the kinaethesia found in physical musical instruments.
37
Runn, Elin, e Mikaela Jönsson. "Using music in Swedish education". Thesis, Malmö högskola, Lärarutbildningen (LUT), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-29906.
Testo completoAbstract (sommario):
Arbetets syfte är att undersöka på vilka grunder musik bör användas som redskap i svenskundervisning. I ämnesplanen för svenska 1 finns flera formuleringar som stödjer lyssnandet samt att eleverna ska kunna hantera flera olika medier. Användandet av musik går ifrån den traditionella ”läsa-skriva”-ramen vilket gör att det kan finnas motstånd mot denna typ av estetisk läroprocess. Vårt mål med undersökningen är att visa att musik som medel kan användas i svenskundervisning utan att försämra elevernas slutresultat. Musikens pedagogiska fördelar har belagts av flera forskare. För att styrka dessa fördelar har vi använt oss av relevant litteratur från Sundin (1998), Sundin (1995), Scheid (2009) Steinberg (1994) och Wiklund (2009). Vår förhoppning är att visa musikens motiverande effekt. Litteratur som rör motivation hämtades från Dysthe (2008) och Hugo (2011). Vår undersökning utgår från en text och två undervisningspass. I det första passet analyserade eleverna texten utan musik och i det andra analyserade de samma text med musik. Detta skede observerades och elevernas svar på analyserna följdes upp med individuella intervjuer av fyra på förhand utvalda elever. Det sammanställda resultatet visade att ingen informant gjorde sämre ifrån sig med musikens inträde, däremot gjorde en elev en bättre analys. Tre elever ansåg att musiken gjorde undervisningen mer intressant. En elev uppfattade musiken som störande, men påpekade att det troligtvis berodde på hans ovana att använda musik i undervisningen. Musikens positiva effekter visades tydligast i elevernas resonemang kring deras engagemang inför uppgiften, samtidigt som inget slutresultat försämrades.
38
Siebert, Johanna J. "Why music teachers remain in the profession : conversations with career music educators /". Digitized version, 2007. http://hdl.handle.net/1802/5629.
Testo completo
39
Moore, Judy W. "Music education in Prince George's County, Maryland, from 1950 to 1992 an oral history account of three prominent music educators and their times /". College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/2028.
Testo completoAbstract (sommario):
Thesis (Ph. D.) -- University of Maryland, College Park, 2004.Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
40
Stock, Carolyn D. "Perspectives in music education and arts education : the role of National standards for arts education in music education policy reform /". view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p1413024.
Testo completoAbstract (sommario):
Thesis (M.A.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 74-75). Also available for download via the World Wide Web; free to University of Oregon users.
41
West, Susan, e susan west@anu edu au. "A new paradigm in music education : the Music Education Program at The Australian National University". The Australian National University. Centre for Educational Development and Academic Methods, 2007. http://thesis.anu.edu.au./public/adt-ANU20090816.132910.
Testo completoAbstract (sommario):
This thesis describes a qualitative action research process undertaken in the field over
approximately eight years of the development of an alternative paradigm for music education. This
new paradigm evolved from a simple, practical approach that was not, in the first instance,
designed to be transformational, but which quickly showed itself to have potential for providing a
different model for conceptualising musical engagement.
¶
It is argued that the standard and widely accepted approach to music education has aspects that
does not encourage on-going music making. This study conceptualises that traditional Western
approach in terms of a virtuosic mountain that prioritises and rewards technical achievement. The
concept of the virtuosic mountain is developed in terms of three Ps: Perfection, Practice and
Performance. The concept was developed by not just reviewing current literature but also by
analysing that literature in light of the developing new paradigm as a means of comparing and
contrasting the approaches.
¶
Called The Music Education Program, this new paradigm is based on a practical approach to
the sharing of music making beyond institutional boundaries like the school gate. Children do not
perform in the community but seek to engage others in making music with them without
reference to age, disability or skill level. The focus is on the social outcomes that derive from
music making rather than the improvement of skills, which develop as a natural part of community
engagement. In this respect, the approach has roots in community enculturation processes that are
no longer prominent in Western society.
¶
The new paradigm is presented with a contrasting set of three Is: Intent, Identity and
Involvement, which are designed to illustrate how the community outreach of the Music
Education Program provides a model for consciously reconceptualising our approach to music
education through re-visiting what might be regarded as old practices in a new guise. The three
Is are illustrated through a series of critical incidents that highlight the necessary change in
theoretical underpinnings that the practical application of the Program demands. This includes a
particular focus on the Intent behind our music making, rather than the quality in terms of technomusical
outcomes; stress on the individual and group choices that develop musical Identity; and
demonstration of the ways in which this paradigm may contribute to voluntary, rather than
enforced, Involvement.
¶
The critical incident data is supplemented by some survey and evaluation data which supports
the view that the social component of musical engagement provides an alternate focus to musical
development than does an achievement paradigm. The range of data collected shows that
classroom teachers can take a significant role in the encouragement of music making in the primary
school without relying solely on the expertise of those with specific musical training; and that
overcoming negative attitudes and experiences can transform not only the teachers relationship
with music but produce a positive effect on her students.
¶
The model described here has evolved through a longitudinal process that constantly maintains
the centrality of the practical operation of the program. In so doing, it moves away from theoretical
constructs that often do not seem to relate directly to practitioners but, at the same time, it avoids
prescriptive methodology. Theory is elucidated through practice in a way that encourages teachers
to develop their own practices that are consistent with underlying principles. This model is
transformative in nature, having first a transformative effect on the principal researcher and thence
on those teachers engaging in professional development with the Program.
¶
Since the Music Education Program does not yet have students who have exited the school
system, this study does not attempt to claim success in the long-term in terms of promoting ongoing
engagement through life. Data suggest, however, that it has had an impact in encouraging
teachers to reconnect with music making and enables them to share that music making with their
students, thereby helping to develop more school-based musical engagement that is also affecting
the broader community in the Australian Capital Territory.
42
Jarachovic, Jacquelyn Sarah. "Vocal Health Education for Preservice Music Education Students". Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1588190950179913.
Testo completo
43
Kim, Eun Jew. "Inclusive music education in the Republic of Korea: policies and adaptive instruction for general educators of primary school students with disabilities". Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/690.
Testo completoAbstract (sommario):
The purposes of this study were to research the current inclusive practices in primary school music education in the Republic of Korea (ROK), identify issues that hamper optimal inclusion, and develop instructional strategies and recommendations to assist general educators in the accommodation of students with disabilities in their music classes.
Analyses of public documents from the government of the ROK reveal that since the enactment of the Special Education Promotion Law (1977), there has been an increase in the number of students with disabilities educated inclusively. The current curricular requirements of the universities of education regarding general educators' music instruction and special education are limited. Furthermore, the government-mandated "Seventh Music Curriculum" (used in every ROK primary school) indicated no accommodation for use with students who have disabilities. Consequently, primary school general educators, while often expected to provide inclusive music instruction, have little preparation or resources available to assist them in making appropriate instructional modifications.
Because of the limited pedagogical or research information available within the ROK, additional information regarding the accommodation of students with disabilities was obtained from special education and music education resources in the United States. These resources provided the basis for pedagogical strategies developed for adapted lesson plans for grades three through six.
As these findings suggest, initiatives such as improved pre-service and in-service training are needed to prepare general educators in effective instructional methods and accommodations for inclusive music education. In-service training for such teachers could possibly be provided by music therapists if the therapists are fully conversant with the instructional difficulties faced by the teachers.
The current development of the Eighth Curriculum by the South Korean government provides an excellent opportunity to include information on students with disabilities within the teacher's manuals. Additional resource materials for the teachers would also be beneficial. Future studies are needed regarding teacher competencies, pre-service preparation, in-service training, and needs assessment regarding inclusive music education.
44
Petrich, Macie. "Vocal Health Survey of Instrumental Music Educators". Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1588015468956836.
Testo completo
45
Eriksson, Elin. ""Musik borde vara obligatoriskt" : en kvantitativ studie om musikämnets betydelse för gymnasieelever". Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105520.
Testo completoAbstract (sommario):
The purpose of the present study is to investigate the importance of the subject of music for high school students. A quantitative method, digital survey, has been used to examine high school students' experiences and feelings toward the subject of music. The results have been analyzed from a socio-cultural perspective and from the viewpoint that learning takes place in communication and interactions between people. The previous research that dealt with the subject in the past has also been included in the analysis process. The results show that the subject of music is important for high school students, albeit of different kinds of significance and from different perspectives. Many students have positive experiences of the subject of music, which results in the subject having a positive meaning for them, while others have negative experiences of the subject. The results also show that the subject of music is important not only for students' mood but also for an individual's development of creativity, problem-solving ability and collaboration ability. This creativity also contributes to other professions and should not only be seen as something artistic for only music or other artistic forms of expression. Creativity can contribute to other professions where problem-solving ability, creativity and collaboration are required.
46
Cook, Andrew S. "A poststructural investigation of music teachers and music education in film". Thesis, Boston University, 2013. https://hdl.handle.net/2144/10970.
Testo completoAbstract (sommario):
Thesis (D.M.A.)--Boston UniversityAs popular texts that circulate widely, films contribute to the way groups, individuals or ideas are understood in society. In this study I sought to explore the portrayals of music teaching in Hollywood movies, and examine the ways films might contribute to the occupational identity of music teachers. This investigation focused on four films that feature music teachers as major characters and that demonstrate a prevalent position in public consciousness as indicated by commercial success: Mr. Holland's Opus (1995), Music of the Heart (1999), Drumline (2000) and School of Rock (2002). I employed two poststructural approaches to analysis which view meaning as plural, negotiated and produced primarily by the reader's encounter with the text. One reading uses Derrida's project of deconstruction to focus on aporias, or paradoxes, and assumptions upon which texts make claims of truth. Aporias of responsibility, hospitality and the gift serve as lenses through which I investigate issues of professionalism, access and the image of the hero-teacher within music education. A second reading uses an intertextual approach to film analysis, acknowledging that texts derive meaning in part from their association and communication with other texts. Using related films, texts from popular culture and movie reviews, I investigate how these films construct images about gender, race and the value of music in schools. Exploring possible dominant, negotiated and contrary readings of these film texts, I look at a variety of possible interpretations and suggest ways that the films might be used by teachers and pre-service teachers to better understand expectations that people carry with them into the music education environment. As films may be used as sources for common-sense understandings in society, I explore how these films may act as structures to the agency of music teachers and how the negotiation of these portrayals might impact the music education environment.
47
Holmberg, Susan D. "Music teachers’ perceptions: the role of music education in early literacy". Diss., Kansas State University, 2010. http://hdl.handle.net/2097/4635.
Testo completoAbstract (sommario):
Doctor of PhilosophyCurriculum and Instruction Programs
Jana R. Fallin
In the wake of No Child Left Behind Act (U.S. Department of Education, 2006), educational reforms focused on providing students with effective systematic instruction in reading skills have become a nationwide concern. Report findings from the National Reading Panel (National Institute of Child Health and Human Development, 2000), indicate the establishment of a high quality comprehensive reading curriculum must include the five key components of phonemic awareness, phonics, fluency, vocabulary, and comprehension to improve reading achievement. These essential elements, with emphasis on phonemic awareness and phonics skills beginning in pre-kindergarten, are instrumental in the acquisition of early literacy development. The purpose of this qualitative study was directed toward better understanding first grade general music teachers’ perceptions of the role of music education in the attainment of early literacy. Using a multi-site case study design to examine and present an analysis of nine public elementary school music educators from across a Midwestern state, each of which used one of the three elementary general music series currently published, resulted in this collective case study. Data indicated parallels focused on the five key reading components between music and language literacy development processes, with particular emphasis on aural discrimination skills to phonemic awareness. Further findings described the sequential sound before symbol pedagogical practice of music literacy development from the perspective of the nine general music educators to be similar to early reading skills progressions, as they experienced equivalent learning processes. Implications for the educational community and suggestions for further research were discussed.
48
Snow, Michelle Hansen. "Music education and entrepreneurship: post-secondary music teacher education and value creation for individuals and communities". Thesis, Boston University, 2012. https://hdl.handle.net/2144/12633.
Testo completoAbstract (sommario):
Thesis (D.M.A.)--Boston UniversityEntrepreneurship is a topic gaining attention within post-secondary education in the United States in a multitude of disciplines outside of the traditional business school. In the discipline of music, entrepreneurship education can be described as an approach to preparing professional musicians that considers the artistic and economic environment they will encounter upon graduation. The aim of entrepreneurship education is to help a student creatively apply her or his education, skills, passion, and vision toward creating a sustainable career in music. Entrepreneurship education may hold particular significance in the realm of music teacher preparation in post-secondary education for its potential to broaden employment opportunities for music educators and to help them create new and expanded value for individuals and communities within and beyond the pre-K-12 school settings for which music educators are traditionally prepared to work. Examples include preparation in studio teaching and community music leadership. Drawing on the historical and theoretical foundations of traditional entrepreneurship, and examining current models of entrepreneurship and entrepreneurial thinking in music education, I develop a conceptual framework for how entrepreneurship education might serve as a means of positively transforming music teacher preparation practices in post-secondary education to better meet the career needs and interests of music education majors and other music majors who aspire to teach music. Programs that are designed to create musical, social, and economic value for individuals and communities may challenge and expand current accepted definitions of "music educator" and might bring greater relevance to the aims, processes, and content involved in music teacher preparation programs. Particular attention is focused upon three entrepreneurial models of music education: the Sistema Fellows Program of El Sistema USA, Musical Futures in the United Kingdom, and the Music-in-Education concentration at New England Conservatory.
49
Kladder, Jonathan Ross. "Re-envisioning Music Teacher Education: A Comparison of Two Undergraduate Music Education Programs in the U.S". Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6719.
Testo completoAbstract (sommario):
The coursework requirements for an undergraduate music education degree in the U.S. have remained relatively unchanged since its inception in the early twentieth-century. In light of the changing milieu of the twenty-first century music learner, some scholars and researchers have suggested redesigning particular components of the music education degree. A few universities in the U.S. have reacted by implementing changes to their undergraduate music education curricula. Preliminary data and reviews of literature revealed that limited investigations into these programs existed. The purpose of this research was to investigate two established music education degree programs in the U.S. where the faculty had redesigned their curricula, while extracting similarities and differences among them. Furthermore, this study was designed to investigate the impact of these curricular changes on students and faculty. Qualitative data were collected through interviews and observations. Lewin’s (1947) Change Theory was used as the framework guiding the investigation. Data analyses and a cross-case synthesis suggested the redesigns took two to four years, which included removing courses in the general music study areas. There were four main themes extracted from these data: (1) faculty-directed process, (2) tension, (3) impetus, and (4) outcomes. These themes illuminated the challenges associated with the work and the influence of the redesign on student dispositions, experiences, musicianship, and future careers. Implications for the field of music education and suggestions for future research are provided in conclusion.
50
Lundin, Viktor. "Reflektioner om musikundervisning : framgångsfaktorer i skapandet av lärandemiljöer i musik". Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-95928.
Testo completoAbstract (sommario):
The purpose of the study is to study, from a teacher's perspective, how music teachers describe how they identify success factors for good musical learning environments in music teaching as well as what teachers need to be able to implement it.. The study has a hermeneutic perspective with the hermeneutic circle as a concept. To study how music teachers reflect and reason about success factors and learning, a qualitative semistructured interview study with music teachers who work at secondary school and high school were conducted. Previous research reports on various factors that influence music education from different perspectives such as teacher education, student, music teacher and evaluation perspectives. Results show that the music teachers are satisfied with their teaching situation in many ways and at the same time they see opportunities for improvement. Improvement opportunities that can be difficult to obtain. The discussion clarifies similarities between the previous research but also differences in how the Swedish music teacher works with student focus as a priority. The discussion provides suggestions for further research on the subject where the researcher sees further research on whole and half class in music education and how students view the quality of music education within it.