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Dissertations / Theses on the topic 'Philosophy of music education'
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Bates, Vincent Cecil. "Moral Concepts in the Philosophy of Music Education." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1082%5F1%5Fm.pdf&type=application/pdf.
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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.
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Razumovskaya, Maria. "Heinrich Neuhaus : aesthetics and philosophy of an interpretation." Thesis, Royal College of Music, 2014. http://researchonline.rcm.ac.uk/355/.
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This thesis investigates one of the key figures of Russian pianism in the twentieth century, Heinrich Gustavovich Neuhaus (1888 - 1964). Although Neuhaus is known, particularly in the West, as an important pedagogue of the Moscow Conservatory rather than a performing artist in his own right, this thesis seeks to address the tension between Neuhaus's identities as a pedagogue and his overshadowed conception of himself as a performer - thus presenting a fuller understanding of his specific attitude to the task of musical interpretation. The reader is introduced to aspects of Neuhaus's biography which became decisive factors in the formation of his key aesthetic, philosophical, pedagogical and performative beliefs. The diverse national influences in Neuhaus's upbringing - from his familial circumstances, European education and subsequent career in Russia - are investigated in order to help locate Neuhaus within the wider contexts of Russian and Central European culture at the turn of the nineteenth and twentieth centuries. In addition, this introduction will highlight ways in which Neuhaus's national identity has been oversimplified in recent literature by both Russian and non-Russian authors. Whilst this thesis draws on a range of contemporaneous and recent international sources throughout its investigation, it presents a substantial amount of Russian-language material that has previously been unavailable in an English translation: this includes many writings and articles by Heinrich Neuhaus, his colleagues and the leading musicologists and critics of his time. The core of the thesis traces Neuhaus's personal philosophical approach to the act of performance and explores the impact it had on his interpretations of Beethoven and Chopin. This will show that despite aspiring to a modern, Urtext-centred approach and sensibility to the score, Neuhaus's Romantic subjectivity meant that he was unafraid of making assumptions and decisions which often misinterpreted or transformed the image of the composer to reflect his own artistic identity. Thus, the investigation of Heinrich Neuhaus as a performing artist, alongside his role as a pedagogue, presents a powerful model of interpretation as a creative process, from which performers today can learn.
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Mell, Margaret Ruth. "Body, Mind, Spirit: In Pursuit of an Integral Philosophy of Music Teaching and Learning." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/94537.
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Music EducationPh.D.
This dissertation investigates extant literature on the contributions of spirituality within music education from perspectives of philosophical writers in the field. It introduces Integral Theory, which features a five element heuristic: a) four quadrants of human experience, specifically, subjective, objective, individual, and collective perspectives; b) levels (or stages) of human development; c) lines of human development; d) states of consciousness; and e) types or styles of being and acting in the world. Finally, this dissertation applies Integral Theory's multi-perspective approach to the dynamic elements that engage body, mind, and spirit as teacher and learner perform, listen to, compose, and improvise music. I use Integral Theory's four quadrants of human experience to summarize, categorize, analyze, and map aspects of presenters' papers and the final round table discussion at the Spirituality Symposium, Spirituality: More than just a concept?, during the International Society of Music Education Conference (ISME), July, 2008, in Bologna, Italy. I use Integral Theory's levels of human development to map Edward Sarath's Levels of Creative Awareness, as he applies it to trans-stylistic jazz improvisation pedagogy. Sarath's melding of jazz music practices, and music theory and analysis with personal and collective non-music influences, transpersonal elements, and meditation mirrors Integral Theory's second element. Results from this philosophical inquiry show that discussions and pedagogy focusing on spirituality in music education include (a) teacher and student levels of proficiency and excellence in music, (b) personal and collective transformation, (c) diverse descriptions and interpretations of transcendence as they pertain to music's effect on persons, (d) understanding self and other especially meaning, value, belief, and moral systems, (e) receiving and dealing with emotions and feelings in professional settings, (f) brain, biological, and physical aspects, (g) personal and collective imagination, creativity, mystery, wonder, intention, attention, awareness, mindfulness, playfulness, authenticity, flow, (h) identified stake-holding cultural collectives, (i) environmental, institutional, educational, religious, and ideological factors, and (j) curriculum and experiential practices and guidelines. A close reading of flow pedagogy in early childhood music teaching shows some similar methodologies.
Temple University--Theses
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Burchman, Eon Kriya. "A dialogue on improvisation, space and melody| Larry Koonse's approach to improvisation." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591592.
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This project explores Larry Koonse's playing and teaching as it relates to improvisation. In particular, the author discusses the various aspects of Koonse's playing through the elements of melody and space. This project focuses on the author's interview with Larry Koonse, which presents questions that reveal the guitarist's views on space in playing jazz and improvising. Koonse's ideas are compared and contrasted with perspectives from other teachers and pedagogues, used to support and expand on his ideas. This project also explores the views and experiences of other students and players, such as Kevin Downing and Jamey Rosenn.
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Wallbaum, Christopher. "Summary comparing normative constellations in music education." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34646.
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This summary connects parts of nearly every chapter of the book with a thick brush regarding normative constellations. Comparing the constellations shows both, how practices within lessons are normatively connected with practices in other social fields, and that there are fractures that show a need for further research. In conclusion I sketch a model for comparative praxial music education.
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Kangron, Ene. "Teaching music through active participation and involvement in music making." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34623.
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The development of Estonia’s national music culture has really taken place over the last 145 years, thanks to the national choral song festival tradition that began in 1869 and has continued until today. Song festivals have been always important as a form of non-political resistance confirming Estonian identity and self-confidence. Many have characterized Estonia as a “singing nation” and we know that a great contribution to this is provided by music teachers at schools.
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Paul, Stephen John. "Aesthetic Justifications for Music Education: a Theoretical Examination of Their Usefulness." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331148/.
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Justifications for music education have been studied only by examining historical trends in statements of aesthetic versus utilitarian values, and not from the perspective of evaluating the justifications' usefulness. A number of prominent writers in the music education field, while supporting aesthetic values as important for music education, have expressed doubts about the effectiveness of aesthetic justifications when used for convincing outsiders of the importance of music in the public school curriculum. These doubts, along with a preponderance of aesthetic justifications in the recent music education literature, led to the present study, which conducted a theoretical examination of the usefulness of aesthetic justifications for music education. The study addressed three research problems, namely: (1) the attitudes of the clientele groups of the public schools in terms of their values toward music as a subject in the schools; (2) the attitudes of the groups within the music education profession in terms of their values for music in the public schools and for the profession itself; and 3) the likelihood that justifications based upon "aesthetics" as a system of values would be accepted by the groups both inside arid outside the music education profession. A philosophical-sociological perspective was chosen for the theoretical analysis because the problems of the study concern the manner in which values are accepted or rejected by groups of people. The particular sociological theory chosen combined the symbolic interaction theory of George Herbert Mead and the sociology of knowledge as described by Peter Berger and Thomas Luckmann. Conclusions: Problems arise in justifying music education using aesthetic theory because (1) the symbolic universe of aesthetic theory is complex and is not well-understood by music educators or the clientele of the public schools; and (2) aesthetic theory represents gestures of a reference group with norms and values not usually found in the music educator or clientele groups.
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Brueck, Julia Christine. "A study of Peter Christian Lutkin's philosophy of church music and its manifestation in the hymn tune transcriptions for organ (1908)." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/471.
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Prusky, Kathy Ann. "Developmental preschool music education : a proposed rationale, philosophy and 12-week curriculum for 4-year-old children." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/29053.
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Numerous curricula for preschool music education have been developed in the past two decades. For the most part, however, these have not incorporated important evidence from three disciplines which has important implications for how the music education of preschool children should be approached. The first of these is the field of developmental neurobiology, which has provided relevant information concerning early learning and experience. The second is the research pioneered by Jean Piaget, whose insights into cognitive development bear heavily on curriculum planning for preschool music education. The third is research in musical development, which indicates what skills and behaviors can be expected of preschool children in a musical setting.
The goal of this thesis is to demonstrate (a) why an understanding of the major findings from these fields is important to the formulation of a music education program for preschool children; and (b) how this understanding can and should impact on the curricular choices made for the musical education of preschool children. To this extent, a series of developmental and musical objectives for the music education of preschool children, specifically 4-year-olds, have been formulated to serve as a theoretical and practical foundation on which to develop and choose musical activities which are appropriate for this age group. The educational and practical value of each of these activities was tested with a group of 4-year-old children during a 12-week study carried out at the University of British Columbia Child Study Center. The activities which adequately demonstrated this value were then organized into a 12-week music curriculum for 4-year-old children.
Four conclusions are made in this thesis. The first of these is that music education should begin early in life in order to influence the general learning patterns necessary for the development of musical skill. The second conclusion is that early exposure to music will be most effective when the activities chosen are complex and stimulating and allow for interaction with numerous musical stimuli on a variety of different levels. The third conclusion is that developmentally appropriate musical activities may make an important contribution to the enrichment of the learning environment during the preschool years and may subsequently enhance sensory, motor, verbal and nonverbal, social and creative thinking skills. Finally, it was concluded that preschool music education will be most effective when musical tasks reflect the limitations of children's cognitive development.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Quigley, Nicholas Patrick. "Making a scene: empowering third-grade students towards creative, independent, and collaborative musicianship in an after-school general music program." Thesis, Boston University, 2018. https://hdl.handle.net/2144/29720.
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This project-thesis introduces an elementary general music curriculum designed to empower students towards creative music making. Building off the work related to creativity in music education by Green (2005), Hickey (2001), and Ruthmann (2008), this curriculum consists of two parts which highlight fundamental musical skill development and creative music making, respectively. The curriculum is rationalized in the contexts of a proposed local teaching environment and education policy, philosophy of music education, and current educational funding policies at the levels of state and federal governments, and non-governmental organizations.
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Hawkey, Rachael M. "Vernon Griffiths (1894-1985): His life and philosophy of music education as demonstrated in his collected papers." Thesis, University of Canterbury. Music, 1993. http://hdl.handle.net/10092/4886.
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[Thomas] Vernon Griffiths (1894-1985) was one of five Englishmen appointed to influential positions in New Zealand music education during the 1920s. As Britons, Griffiths and his colleagues believed it to be appropriate to preach and practise the ideas and methods in which they themselves had been schooled, given that New Zealand was, until post-1945, firmly aligned to the “mother country”, Britain. Indeed, Britain was the prototype of the parental model in all aspects of life, including music education, as systems of thought and actual customs were transported to New Zealand and were reinforced within the Dominion.
During his working life in New Zealand (1927-1961), Vernon Griffiths was appointed to positions of importance in New Zealand music education. What, then, were the actual ideas and beliefs that he expressed? How did they emerge in practical form? In what ways did he address the specific needs of the Dominion which he viewed as a culturally-developing country?
Questions such as these lie behind this study of Vernon Griffiths' philosophies, using the materials preserved by Griffiths in his collected papers to determine the ideas and beliefs he held as essential in his personal philosophy during the thirty-five years of his career. Vernon Griffiths' own writings and appropriate materials from his papers are evaluated within three broad themes - music in life, music in education and music in New Zealand.
To provide background and context, the opening chapters commence with a review of the literature pertaining to Griffiths, including assessments of his character, attitudes and contribution to music education, and brief descriptions of the journal Music in New Zealand, his book An experiment in school music-making, recorded sound archives and the primary source material - the Vernon Griffiths Papers. This is followed by a biographical account which furnishes details of his life, from his birth in England in 1894 and his arrival in the Dominion in February 1927, to his eventual retirement in 1961. The various sources of his "inspiration" are examined, and the educational contexts from which he emerged and into which he entered and to which he contributed are outlined in order to place him and his work as a music educator into context.
While the focus of this study is an attempt to construct Vernon Griffiths' own philosophy based on his own writings and statements, the concluding chapter compares his philosophy to a model of the universals of music education and highlights the points of concurrence between the two systems. A postscript provides a summary of views of a sample of Vernon Griffiths' former students and practitioners as to his influence on their work in music and music education.
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Wheeler, T. Ray. "Toward a Framework for a New Philosophy of Music Education: Løgstrup as Synergy Between the Platonic and the Aristotelian Perspectives in the Music Education Philosophies of Bennett Reimer and David Elliott." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/wheeler_t_ray/index.htm.
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Sherwin, Ronald Glynn. "The Church Music Program: The Effect of Moving from Performance-based to Education-based Emphasis in a Church Music Program." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/SherwinRG2004.pdf.
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Kopkas, Jeremy M. "Soundings: Musical Aesthetics in Music Education Discourse from 1907 to 1958." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/eps_diss/81.
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In this dissertation I examine the discourse of music educators as it relates to musical aesthetics in the United States from the creation of the Music Supervisors’ Conference in 1907 to the year of the publication of Basic Concepts of Music Education: The Fifty-Seventh Yearbook of the National Society for the Study of Education, Part 1 in 1958. The purpose of this dissertation is to show that philosophical discussion, especially in relation to musical aesthetics, was much more comprehensive than previously acknowledged. The conventional view that the arguments supporting music education were primarily utilitarian is a limited interpretation of the discourse prior to 1958. In actuality, arguments about music extended beyond its practical social, economic, and political utility. Additional aesthetic theories guided the field and girded ideas of musical understanding and informed instruction. A better understanding of the discourse of this period contributes to more informed conversations about musical aesthetics and its relation to music education. Utilizing philosophical analysis and archival research, I argue in this dissertation that the philosophical discourse relating to musical aesthetics was rich, varied, insightful, and pervasive. The evidence in this dissertation refutes the standard interpretation which eschews the possibility of discourse on aesthetics taking place prior to 1958. I show that there was deeper philosophical analysis than what is currently acknowledged by those who presently make the claim that what was intended to happen generally in the field of music education and during instruction was solely guided by utilitarian philosophy. In other words, it expands the current understanding of philosophical discourse relating to musical aesthetics in music education before the Music Education as Aesthetic Education movement that is argued to begin with the publication of Basic Concepts.
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Rolle, Christian. "What can we expect from international comparison in the field of music education?: Opportunities and challenges." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34630.
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Analysing the conversations at the conference the chapter addresses fundamental issues of cultural comparison in music education. There is a disciplinary bias that can tempt the researcher to overestimate cultural conditions. This could lead to cultural relativism that keeps us from critically addressing normative issues associated with aims and contents of music education.
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Lenord, Christiane. "“Positive action through positive reinforcement”: An example of performance-based music education in contrast to a reflection-based music lesson." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34613.
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This article deals with the differences of a performance-based approach of music education in the USA and a reflection-based approach in Germany. The lessons represent very different ways to reach students through music. The students respond either more enthusiastic or more rational, but always positively.
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Petrova, Irina School of Music & Music Education UNSW. "A comparative study of primary/ elementary school music curricula in Australia (NSW), in the UK (England), in the Russian Federation and in the United States of America." Awarded by:University of New South Wales. School of Music and Music Education, 2005. http://handle.unsw.edu.au/1959.4/23330.
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In different countries, the music curricula for primary/ elementary school children has been influenced by many diverse factors including a number of progressive educational practices and a variety of psychological theories. This research gives a detailed analysis of a number of primary/ elementary school programs for general music in Australia (New South Wales, i.e. NSW), in the UK (England), in the Russian Federation and in the United States of America. The research aims to find out to what extent music education in different countries is based on or follows psychological theories of child development and progressive educational practices. Firstly, to acquire an adequate understanding of child education this research examines the philosophical roots of primary/ elementary education and a set of psychological ideas of Piaget and Vigotsky about the nature of children and the nature of knowledge. This provides insight of how children learn (the nature of learning) and the role of the teacher in learning music. Secondly, the research examines the musical content of the syllabae (the nature of subject). It critically compares the following components of curricula and syllabae: philosophy, objectives and contents including musical concepts, activities and music repertoire. This is then subjected to further analysis examining these contents in relation to theories of child development (Piaget and Vigotsky) and traditional and progressive educational practices (where it is applicable). Finally, a questionnaire is aimed at primary school teachers in NSW. These teachers are generalist teachers, there are no specialist music teachers employed as such in public primary schools in NSW. Music is taught in the NSW primary schools by class teachers. The problem is that NSW university faculties of education do not train music teachers as specialists at primary level. They only train generalist teachers. In other countries the situation is different. There are music specialists in the USA, UK and Russia teaching in primary schools. There are also such teachers in primary schools in Queensland, SA, Victoria, and WA and there are some in NSW. The questionnaire was, therefore, designed to enquire into the specific situation in NSW. Finally, issues of further investigation and research of curricula and syllabae in the primary/ elementary school are outlined.
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Snyder, Lydia L. "Voicing Mother Nature: Ecomusicological Perspectives on Gender and Philosophy in Japanese Shakuhachi Practice." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556496056536201.
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Begnaud, Edward M. C. "Musical Aesthetics: An Objective Approach to "Music Appreciation" for American Public Education." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500415/.
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The specific problem prompting this investigation is the creation of a method of music criticism. The purposes for the investigation are three in number. First and foremost, the purpose of the investigation is to develop an unrestricted method of music criticism. The development of such a method fulfills the second reason for the investigation. Although Mortimer Adler and the Paideia Group have clearly stated the classes and pedagogy to be utilized in a Paideia curriculum, they have done little to suggest specific class content. This study resolves the content problem for one class. It is recommended that the music masterworks class be treated as a course in music criticism. Through such treatment of the class, students will meet the goals of the Paideia Group and develop the tools for societal reconstruction. Finally, the goal of establishing a method of music criticism harmonious with the educational philosophy of reconstructionism is the end to the previous two "means" purposes.
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Jourdan, Kathryn Ruth. "Through the lens of Levinas : an ethnographically-informed case study of pupils' practices of facing in music-making." Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/256142.
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This study investigates how the philosophy of Emmanuel Levinas might shape practice in music education. In a climate of accountability and performativity within wider educational policy-making, the drive for ever-increasing efficiency has overtaken notions of professional judgement and ethical practice. This study opens by introducing current strands of international meta-policy priorities in education, and explores moves to redress the emphasis on standardisation and accountability through the rediscovery of notions of responsibility in the work of Biesta drawing on Bauman (1993), who in turn finds a way forwards in Levinas’ ‘ethics as first philosophy’. Emmanuel Levinas is introduced as a major thinker of the twentieth century whose influence is increasing throughout social science disciplines and who, writing firstly as a teacher, provides valuable philosophical tools with which to investigate current practices in education. Over the past three decades competing paradigms for music education have tended to polarise rather than ground thinking in music education research. More recent notions of music-making as ethical encounter (Bowman, 2000) and as the practice of hospitality (Higgins, 2007) have taken forwards Small’s relationship-oriented conceptualisation of ‘musicking’ (1998), and these provide the starting point for this study’s search for an ethical underpinning for music education. Levinas’ first major work (1969) provides two key strands of thought – the polarities of totality and infinity, and the exhortation to ‘look into the face of the Other’. These tools open up explorations of how pupils encounter difference, the unfamiliar, and of how narrow conceptions of learning in the music classroom may be understood as an ethical problem. At the heart of this study is the report of ethnographically-informed fieldwork undertaken in a Scottish secondary school, following a group of 13-year-olds through an academic year of class music lessons. Participant observation and semi-structured interviews were methods employed alongside participant self-documentation in order to gather pupils’ experiences and perspectives on how they encounter the Other through their music-making at school and in their everyday lives. A critical realist theoretical framework enabled the experiences and perspectives of pupils to be set within a deep, layered conception of social reality, uncovering the dynamic interplay of structural forces and pupil agency. Through the lens of Levinas’ philosophy pupils’ ‘practices of facing’ were brought to light and conceptualised as agential. ii From these ‘practices of facing’ the study’s conclusions are drawn. Music-making is conceptualised through terms in which Levinas spoke of language, as having as its first impetus a reaching out to the Other, ‘putting a world in common’. This grounds, and is generative of, an epistemological diversity within which aesthetic and praxial approaches are anchored in one underlying, ethical orientation, where the attentiveness and openness of aesthetic sensitivity are as significant as the developing of skills and competencies in enabling an ever-deeper entering-into ‘infinity in the face of the Other’. This study offers a critique of the present educational environment which prioritises predetermined outcomes and narrow models of knowing, thereby, according to a Levinasian view, legitimising practices of violence and domination, and sets out an alternative orientation, where richly contextualised learning in the music classroom and a radical openness might allow for an infinity of possibility to break in.
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Wallbaum, Christopher. "Comparing international music lessons on video." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A33770.
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Video-recorded music lessons (on multi angle DVDs) were used to inspire and improve understanding among experts from different cultures and discourses of music education. To make the process manageable and focused we developed the Analytical Short Film (2-3 minutes) to address particular areas of interest and starting points for debate.
We asked selected music teachers from seven nation-states to allow a typical and (in their opinion) good lesson to be recorded. We also asked the students and their parents for permission. At a symposium, national experts and researchers presented views on „their“ lessons through Analytical Short Films. Discussion included implicit and explicit comparisons. The presenters also used a lesson from one of the other countries to stimulate discussion about assumptions in and challenges to their own views. We documented all comparisons made and compared these to derive cross cultural categories (tertia comparationis). These categories should be relevant for understanding what makes a music lesson „good“.
The different perspectives and discussions offered by the authors in this book provide rich and diverse material for researchers, teachers and teacher educators.
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Pardàs, Lluïsa. "Constructivism and Collaborative Learning in Music Teaching." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34619.
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The lessons from Catalonia and Sweden, based in instrumental or vocal music performance, are analysed taking into account the respective teachers’ goals and practices. The implications of the two different methodologies used, top-down big ensemble and collaborative small groups, and their relationship to constructivist pedagogies are discussed.
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Summers, Moira, Carolin Dässel, and Marcus Lauer. "Creating a classroom culture which promotes positive attitudes and motivated learners." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34626.
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Chapter and Analytical Short Films show the Scottish “aspects of quality” of music education. Four key capacities of comprehensive education: successful learners, confident individuals, responsible citizens, and effective contributors to society, and three key competences for comprehensive musicianship: listening, performing and composing.
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McLaughlin, Paul E. "Raymond Crisara, A Trumpet Life: His Pedagogy, Philosophy and Legacy." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248521/.
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In this project I identify the pedagogical techniques, philosophy and legacy of Raymond Crisara. I examine how his pedagogical philosophy led to Crisara's personal success as a teacher and to his students' success in their performing and teaching careers. In much the same way that Ernest Williams's legacy has been passed on to his students, Crisara's legacy is now being handed down. I have examined Crisara's pedagogical concepts and philosophy through the eyes of four former students: Dr. Todd Hastings (Professor, Pittsburg State University), Billy Hunter (Principal Trumpet, Metropolitan Opera Orchestra), Dr. Gary Mortenson (Dean of the School of Music, Baylor University) and Keith Winking (Professor, Texas State University) as well as from transcripts of interviews Crisara gave. Crisara extended and modified William's pedagogy through the use of a multitude of étude methods. This modification and Crisara's experience as a leading New York freelance musician greatly influenced the teaching and success of the four subjects I interviewed. While these teachers have adopted Crisara's pedagogy and philosophy largely unchanged, I found that they modified his pedagogy slightly through the use of added teaching materials never used in Crisara's career or teaching studio.
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Wallbaum, Christopher. "Internationale und nationale Musikpädagogik." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-173369.
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Es besteht Einigkeit darüber, dass über „die Wahrheit“ im Allgemeinen und in der Musikpädagogik im Besonderen keine Einigkeit besteht. Vor diesem Hintergrund stellt der Text das Verhältnis zwischen einer nationalen Sprache (Deutsch) und Englisch als Lingua Franca in der Wissenschaft allgemein, der Musikwissenschaft und der Musikpädagogik dar. Der Text schließt mit dem Bedarf an Kommunikation und der Skizzierung einiger „Bojen“ zur Verständigung in internationaler MusikpädagogikRealizing the common sense of having no common sense about the truth, the article presents the relation between a national language (German) and English as lingua franca in international practices of science in general, musicology and music pedagogy. It concludes with the need of communication and some buoys of understanding in international music education
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Bard-Schwarz, Anna Ewa. "A Philosophy and an Approach to Teaching Non-professional-track Violin Students." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500007/.
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The aim of this dissertation is to lay the groundwork for an integrated approach to violin instruction for children who are not being groomed explicitly for professional careers as instrumentalists. The study presents a particular focus on the age of middle school children, in order to showcase a more specialized and definitive result of research without, however, distinguishing between advantages and limitations of different age groups of children who study music and learn to play the violin. My first goal is to craft a sample method of teaching with a premise that not all students studying music must or need to become professional musicians in their future. I promote an approach based on the premise that music has universal value available to all and that any kind of music education encourages the growth, personality development, and imagination of children. My second goal is to explore how music education functions in 21st century western culture. Research is based on teachings and methods established by Suzuki, Kodaly, Jaques-Dalcroze, and Orff, among others.
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Wallbaum, Christopher. "Internationale und nationale Musikpädagogik: ein Blick aus Deutschland: (Basisartikel)." Diskussion Musikpädagogik, Bd. 60 (2013), S. 3-9. - ISSN 1437-4722, 2013. https://slub.qucosa.de/id/qucosa%3A7332.
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Es besteht Einigkeit darüber, dass über „die Wahrheit“ im Allgemeinen und in der Musikpädagogik im Besonderen keine Einigkeit besteht. Vor diesem Hintergrund stellt der Text das Verhältnis zwischen einer nationalen Sprache (Deutsch) und Englisch als Lingua Franca in der Wissenschaft allgemein, der Musikwissenschaft und der Musikpädagogik dar. Der Text schließt mit dem Bedarf an Kommunikation und der Skizzierung einiger „Bojen“ zur Verständigung in internationaler Musikpädagogik.Realizing the common sense of having no common sense about the truth, the article presents the relation between a national language (German) and English as lingua franca in international practices of science in general, musicology and music pedagogy. It concludes with the need of communication and some buoys of understanding in international music education.
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Price, Benjamin J. 1980. "Toward a Rationale for Music Education in the Public School Context Framed with both Progressive and Essentialist Considerations: Operationalizing the Ideas of William Chandler Bagley." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849619/.
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In music education, aesthetic education and praxial music education serve as two major, guiding philosophical frameworks, yet supporters of each often conflict with one another. Furthermore, both are slightly problematic with respect to the specific context of the public school. Each framework is primarily music-based, however, music education has existed in the wider context of general education since the 1830s. Given the recent core-status designation for music education, as part of all fine arts, in the reauthorization of the Elementary and Secondary Education Act, a framework from general education that supported music education could offer benefits for the domain. However, the wider context of general education is messy as well. Two groups occupy most of the space there, and remain locked in a fundamental disagreement over the purpose of a formal education. The progressive educators, historically framed by Dewey and Thorndike, contend that education functions as societal improvement. In contrast, the essentialists contend that education functions as cultural transmission. Therefore, a more specific need for music education involves selecting a framework from general education that resolves this conflict. The writings of William Chandler Bagley indicate that he balanced both considerations of a formal education while also advancing his notion of essentialism. Bagley differed from the progressive educators predominately associated with Dewey over definitions and ideas surrounding a democratic education. Emergent points of contrast with Thorndike include distinctions between social efficiency and Bagley's alternative idea of social progress. Bagley also diverged from other essentialists over definitions concerning liberal and cultural education. To make these viewpoints of Bagley explicit, I describe characteristics of a progressive education, and an essentialist education separately, before introducing Bagley. Finally, I apply Bagley's ideas into the domain of music education. Ultimately, I contend that through common outcomes of creativity, competition, and literacy, the domain of music education can remain securely grounded in the values within the public schools.
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Zandén, Olle. "Enacted possibilities for learning in goals- and results-based music teaching." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34628.
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In this chapter, enacted possibilities for learning in a Scottish and a Swedish music lesson are analysed and compared with the intended learning outcomes as defined in the Swedish national curriculum. The Scotland-Lesson proves to place more emphasis on music's auditive aspects while the Sweden-Lesson focuses playing as individual manual skills.
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Lehmann-Wermser, Andreas. "How lessons are structured." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34625.
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This chapter demonstrates how distinct positions in “Didactics” structure lessons in general, even down to structures in interaction. Another focus lies in the role of assessment in a comparison between the Lower-Saxony- and the Scottland-Lesson. It can be shown that the role of assessment that is proposed by the school administration influences classroom action, again down to structures of interaction.
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Wallbaum, Christopher. "Einleitung." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-87503.
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Die Einleitung beschreibt das Konzept des Symposions und des Buchs zusammen mit Grundlinien der Situation der Musikdidaktik bzw. Musikpädagogik in Deutschland. Ein zweiter Abschnitt gibt Zusammenfassungen der Beiträge und zeigt Querverbindungen, ein dritter Abschnitt skizziert die Themen und Struktur der drei Diskussionsrunden („Fishbowls“) zwischen jeweils 3-4 Autoren des Buchs und der letzte Abschnitt gibt Anregungen für die Arbeit mit dem Material, insbesondere den DVDs (die jede Stunde aus drei Kamerawinkeln zeigen)The introduction describes the concept of the symposion and the book together with some baselines of the situation of music didactics in germany. A second part gives summaries of the articles and connections between them, a third part is about the three discussions (“fishbowls”) between the authors of the book and the last part offers suggestions how to work with the material, specially the DVDs (which show each lesson with three camera-angles)
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Wallbaum, Christopher. "RED – A supposedly universal quality as the core of music education." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34616.
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The Chapter consists in two sections complementing Analytical Short Films. The first is about a supposedly universal atmosphere called RED in the Bavaria-Lesson, the second about different cultures in voice and posture coming together in the Beijing-Lesson. Both are related to theory as well as German philosophies of music education.
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Mortyakova, Julia Vladimirovna. "Existential Piano Teacher: The Application of Jean-Paul Sartre's Philosophy to Piano Instruction In a Higher Educational Setting." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/230.
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This essay uses existential ideas of Jean-Paul Sartre to provide a philosophy of college piano performance teaching which includes awareness of freedom, abandonment and responsibility as a prerequisite for student-teacher interaction. To set the stage for the interaction the study uses Sartre's philosophy, illustrated with concrete examples from the world of piano teaching and performing, to describe what it means to be human. The author applies Sartre's writings about literature to support the idea of an engaged performance, relating it to existential psychoanalysis, making the performer and audience member realize freedom through choice, while addressing ideas of abandonment and performance anxiety. Sartre's philosophy is used to identify the roles both teachers and students play in the college environment as people and as performers. The study with the help of existentialism, describes the interaction between the different elements: teacher, student, performer, and human being, and provides a better understanding of the complexity of the pupil/professor relationship in the college piano performance program.
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Fiorillo, Risa Maree. "Music handbook for primary grade teachers." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1739.
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Academic research in the area of music and learning has proven that there is both a deficiency and need for classroom music education commencing at the primary grade levels. The research has shown that by incorporating music education into the academic curriculum the arts can be more effectively taught and other academic subject areas can gain from the diverse teaching strategies the arts bring to education. There are two goals of this project. One is to demonstrate to teachers what primary grade level students should be learning in music. A second goal of this project is to design a music education handbook for primary teachers that can serve as a basis for intergrating music into the curriculum. This handbook takes into consideration the general lack of sufficient teacher training in music instruction, along with teaching time constraints, and potential roadblocks, such as the acquisition of music and instrumental supplies.
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Wallbaum, Christopher. "Einleitung." Georg Olms Verlag, 2010. https://slub.qucosa.de/id/qucosa%3A2140.
Full textAbstract:
Die Einleitung beschreibt das Konzept des Symposions und des Buchs zusammen mit Grundlinien der Situation der Musikdidaktik bzw. Musikpädagogik in Deutschland. Ein zweiter Abschnitt gibt Zusammenfassungen der Beiträge und zeigt Querverbindungen, ein dritter Abschnitt skizziert die Themen und Struktur der drei Diskussionsrunden („Fishbowls“) zwischen jeweils 3-4 Autoren des Buchs und der letzte Abschnitt gibt Anregungen für die Arbeit mit dem Material, insbesondere den DVDs (die jede Stunde aus drei Kamerawinkeln zeigen).The introduction describes the concept of the symposion and the book together with some baselines of the situation of music didactics in germany. A second part gives summaries of the articles and connections between them, a third part is about the three discussions (“fishbowls”) between the authors of the book and the last part offers suggestions how to work with the material, specially the DVDs (which show each lesson with three camera-angles).
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Wallbaum, Christopher. "Zur Praxis des Musikunterrichts in Europa." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-172797.
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Der Text berichtet über eine Erhebung zu Praxen des Musikunterrichts in 5 Ländern Europas. Über eine auf Englisch veröffentlichte Erhebung ‚About Different Cultures in Music Classrooms of Europe’ hinaus enthält dieser Text auch die Ergebnisse einer zweiten Erhebung. Nach der Reflexion einiger methodischer Aspekte der Arbeit mit Videos sowie des Kontexts eines europäisch geförderten ‚Intensive Programs’, gibt der Text Information über gemeinsame Inhalte und Methoden sowie unterschiedliche Praxismerkmale im Musikunterricht. Abschließend liefert der Text drei Reflexionen der Daten über (1) die Wichtigkeit von Sound und Gesten im Musikunterricht, (2) Interferenzen zwischen Kulturen der Musik und Kulturen der Pädagogik im Klassenzimmer und (3) Muster von MusikunterrichtThe article is about an exploration about practices of school music in 5 countries of Europe. Beyond an exploration ‚About Different Cultures in Music Classrooms of Europe’, which was published in English, this article includes results of a second exploration. After reflecting some methodological aspects of working with videos and the context of an Intensive Programm, the article gives information about common contents and methods and distinguishing marks of practices in music education. At last the article gives three reflections of the data about (1) the importance of sound and gestures in music education, (2) interferences between cultures of music and cultures of pedagogy in the classroom, (3) patterns of school music
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Väkevä, L. (Lauri). "Kasvatuksen taide ja taidekasvatus:estetiikan ja taidekasvatuksen merkitys John Deweyn naturalistisessa pragmatismissa." Doctoral thesis, Oulun yliopisto, 2004. http://urn.fi/urn:isbn:9514273109.
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Abstract John Dewey has been widely accepted as a modern classic in educational philosophy. Dewey's general philosophy has gained new interest lately, as well. This interest reflects both a need to find alternatives for analytic and continental philosophies, as well as a need for a naturalistic critique of the modernist presuppositions of Cartesian and transcendental philosophies. Dewey's reconstructive philosophy has encouraged the approach of this study. The reconstructive approach combines the synchronic and diachronic analyses of philosophical concepts with a pragmatist critique that trusts in the power of philosophy to guide human practice. The possibility of such pragmatist critique explains the central role of pedagogy in Dewey's philosophy: Dewey saw pedagogy as a social laboratory where philosophical concepts are tested for their pragmatic potential in enhancing democratic cultural formation. The present study is guided by the central idea that the naturalistic outlook of Dewey's mature philosophy can serve as a thematic framework for contemporary philosophies of art and music. Recent readings of Dewey's work suggest important links between his pedagogy and aesthetics. If Dewey's later philosophy is examined systematically, it becomes clear that his concept of (a)esthetic experience has an important summative function; it unifies his ideas concerning epistemology, ontology, and moral theory in a "soft" naturalistic anthropologic-pedagogical perspective. Dewey finds the core of existence in the process of human growth where experience is continually transformed into culture through communicative practice. Ideally, human growth involves both an immediate, aesthetic dimension, as well as a mediated, instrumental dimension. An important function of art is to bring out the aesthetic moments of growth. With this thesis in mind, Dewey radically extends his concept of art to comprise all cultural practices that balance their means with their ends. Art educates as it is worked out in means-ends-praxis, that is, in social practice that aims both at mediate and immediate good. In the framework of Dewey's naturalistic pragmatism, art education has two crucial functions: (1) to work out the possibilities of aesthetic expression and perception in a pragmatic process of learning by doing; and 2) to point out the paradigmatic moments of meaning making in the best of art. To the philosophers of music education, Dewey's philosophy can open up a new critical horizon where both aesthetic and praxial outlooks can meet in the experimental terms of naturalistic pragmatismTiivistelmä John Deweyn asema pedagogiikan klassikkona on tunnustettu jo vuosikymmeniä. Myös Deweyn laajempi filosofia on saanut osakseen uutta kiinnostusta. Tämä kiinnostus liittyy sekä vaihtoehtojen hakemiseen analyyttiselle ja mannermaiselle filosofialle että modernin filosofian kartesiolaisten ja transsendentaalisten lähtökohtien naturalistiseen kritiikkiin. Deweyn filosofialle ominainen rekonstruktiivinen lähestymistapa on innoittanut käsillä olevaa tutkimusta. Rekonstruktiivinen lähestymistapa edellyttää filosofisten käsitysten synkronisen ja diakronisen analyysin ohella pragmatistista kritiikkiä, johon liittyy luottamus filosofian voimaan ohjata inhimillisiä käytäntöjä. Pragmatistisen kritiikin mahdollisuus selittää pedagogiikan keskeisen aseman Deweyn filosofiassa. Deweylle kasvatus on laboratorio, joka tarjoaa mahdollisuuden koetella filosofisten käsitysten pragmatistista toimivuutta demokraattisen kulttuurin rakennusaineina. Tämän tutkimuksen temaattisena johtolankana toimii ajatus Deweyn myöhäiskauden naturalistisen pragmatismin soveltuvuudesta oman aikamme taide- ja musiikkikasvatusfilosofiseksi tarkastelutavaksi. Uudemmassa Dewey-tutkimuksessa onkin tuotu esiin Deweyn estetiikkaan ja pedagogiikan välisiä yhtymäkohtia. Tarkasteltaessa Deweyn myöhäiskauden filosofiaa kokonaisuutena, mikä on tämän työn tavoitteena, on lisäksi helppo huomata, että esteettisen kokemuksen käsitteellä on tärkeä asema hänen tiedonfilosofiansa, ontologiansa ja moraalifilosofiansa täydentäjänä. Deweylle inhimillisen eksistenssin ytimessä on kasvuprosessi, jossa kokemuksesta muovataan demokraattista kulttuuria kommunikatiivisessa toiminnassa. Tähän pragmatistiseen merkityksen tuoton prosessiin (ja siihen liittyvään pedagogiseen projektiin) liittyy parhaimmillaan esteettinen ulottuvuus. Kasvu sulkee sisäänsä sekä välineellisiä että välittömästi koettuja momentteja. Taiteen tärkeänä tehtävänä on tuoda esiin kasvuprosessiin liittyviä esteettisiä momentteja osana pragmaattista merkityksen tuottoa. Taide käsittääkin Deweylla kaiken kulttuurisen toiminnan, johon liittyy keinojen ja päämäärien välinen tasapaino. Kasvattavana toimintana taide on means-ends-praksista, keinonsa ja päämääränsä tasapainottavaa yhteiskunnallista käytäntöä, joka pyrkii samanaikaisesti sekä välilliseen että välittömään hyvään. Taidekasvatukselle jäsentyy Deweyn naturalistisessa pragmatismissa kaksi päätehtävää: (1) harjoituttaa esteettisen ilmaisun ja havainnon mahdollisuuksia pragmaattisessa tekemällä oppimisessa ja (2) osoittaa taiteissa kulminoituvia inhimillisen merkityksentuoton paradigmaattisia momentteja. Musiikkikasvatusfilosofeille Deweyn filosofia voi avata uuden kriittisen horisontin, jossa sekä perinteinen esteettinen näkökulma että uudempi praksiaalinen näkökulma voivat kohdata toisensa naturalistisen pragmatismin eksperimentaalisessa viitekehyksessä
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Anosike, Philemon O. Sr. "Praxialism: A Philosophical Foundation of Multicultural Education in a Democratic Society." University of Toledo / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1365124962.
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Tivenius, Olle. "Musiklärartyper : En typologisk studie av musiklärare vid kommunal musikskola." Doctoral thesis, Örebro University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-2487.
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Tivenius, Olle (2008): Musiklärartyper: En typologisk studie av musiklärare vid kommunal musikskola. (Music Teacher Types: A Typological Study of Music Teachers at Municipal Music Schools.) Örebro Studies in Music Education, 230 pp.
The aim of this study is to establish a typology for instrumental music teachers at Swedish municipal music schools, and to describe different types, generated from questionnaire-answers, regarding how their attitudes and valuations in matters concerning democracy in broad sense are reflected in their pedagogical activity.
I address the following concrete questions.
• From where do music teachers at Swedish municipal music and culture schools get their attitudes and valuations, what circumstances lie behind, and are there specific circumstances that explain attitudes and valuations that are not embraced by most of them?
• How can different types of music teachers be described?
• How do the attitudes and valuations differ between different types?
• How are the attitudes and valuations of the different types reflected in their respective work?
In the first place I try to answer the questions by using questionnaires which I analyse with methods including factor and cluster techniques. In order to generate intelligible pictures of the types I also interpret, by mean value and correlation analyses, quantitatively dependent data with hermeneutical tools.
The population is about 5 000 individuals, represented by 834 informants.
The results show that each subject (singing, strings, brass, etc.) has its own inherited culture, with its own set of attitudes and valuations These attitudes and valuations are, in the first place, transmissioned within the subjects.
The questionnaire answers have generated eight different types: MISSIONARY, GATE KEEPER, MUSIC MAKER, MASTER TEACHER, MUSIC DIRECTOR, REFORMIST, ANTI-FORMALIST, and PEDAGOGUE. Each of them has their own set of attitudes and valuations, which are based on the four factors MISSION, FEELING, FOUNDATION, and STUDENT-FOCUS. The eight types and their significant qualities, can be described, in reasonable and recognized ways. Different discourses can also be discerned.
Most types seem to have a given position at music school. THE REFORMIST, however, appears to be dissatisfied. He or she is rooted in classical music, but wants to teach the children to play music of their own, although he or she is lacking the didactical tools for this kind of teaching. THE REFORMIST constitutes 19 % of the population and is thereby the largest group.
Among other things, one conclusion drawn from the discussion is that the conservatory discourse is a cement keeping together the whole field of music education, and without it the structure and organisation of music school as well as college of music would collapse into a messed-up activity beyond defini¬tion. Another conclusion is that education of music teachers must be reformed with the starting point in democracy and philosophy, if discoursive isolation of music school should not become total—with fatal consequences for music school. These two conclusions stand for opposite poles, which must be balanced to each other.
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Lynn, Laura. "Dialogue as performance. Performance as dialogue." [Yellow Springs, Ohio] : Antioch University, 2008. http://etd.ohiolink.edu/view.cgi?acc_num=antioch1225369866.
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Thesis (Ph.D.)--Antioch University, 2008.Title from PDF t.p. (viewed March 25, 2010). Advisor: Carolyn Kenny, Ph.D. "A dissertation submitted to the Ph.D. in Leadership and Change program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2008."--from the title page. Includes bibliographical references (p. 250-260).
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Rogers, Taylor. "The Ethical Significance of the Aesthetic Experience of Non-Representational Art." Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1306457898.
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Costa, Cristiano Bedin da. "Matérias de escrita." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/15659.
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Trata-se de matérias e da escrita. E especialmente de matérias de escrita. Trata-se do texto. Do estilo. Da língua, do sentido, das formas e da linguagem. Trata-se do ritmo. Do ritmado. De conteúdos, substâncias e expressões. Trata-se de procedimentos. De sonoridades e de refrões. De sons organizados e ruídos. Trata-se do que trata a literatura. E também a música. A pintura. O cinema. A poesia. E também a filosofia. O cotidiano. A educação. Trata-se de fixar alguns eixos. De traçar alguns contornos. Delimitar alguns meios. De manter algumas posturas. Trata-se de construções e de fugas. De pontos e de linhas. De Deleuze e de Guattari. De Barthes, Beckett, Kafka, Rilke, Flaubert e Manoel de Barros. De Schulz, Hjelmslev, Klee, Blanchot e Céline. E também de Fante, Ponge, Cage, Miles Davis e Bukowski. Trata-se do que se encontra nas coisas. De ínfimos pedaços disso tudo e sobretudo do resto. Da ruína. Do silêncio. Dos abismos e da desconstrução. Trata-se do inominável. Dos limites. De alguns tensores e de conexões e suspensões. Trata-se da despalavra e da palavra ágrafa. Do instante-nada das coisas todas quando distantes da usura da vida. Trata-se do indiferenciado e de sua maleabilidade. Do impossível e de alguma outra possibilidade. Do cansaço e da desistência. Do uso e de seu inverso. Do esgotamento e da criação.It refers to matters and writing. And especially writing matters. It refers to the text. The style. The language, sense, shapes. It refers to rhythm. The rhythmic. To content, substance and expressions. It refers to procedures. To sonorities and choruses. To organized sounds and noises. It refers to which literature relates to. And also music. Painting. Cinema. Poetry. And also philosophy. Daily life. Education. It refers to fixing some axles. Tracing some outlines. Delimiting some means. Maintaining some postures. It refers to constructions and escapes. Dots and lines. To Deleuze and Guattari. To Barthes, Beckett, Kafka, Rilke, Flaubert and Manoel de Barros. To Schulz, Hjelmslev, Klee, Blanchot and Céline. And also to Fante, Ponge, Cage, Miles Davis and Bukowski. It refers to what is found in things. To insignificant pieces of it all and above the rest. Ruin. Silence. Abysms and deconstruction. It refers to the untamable. To limits. To some tensors and connections and suspensions. It refers to wordless and nonliterate word. To the nothing instant of all things, distant from the usury of life. It refers to the undifferentiated and to its malleability. The impossible and some other possibility. Tiredness and desistance. Use and its inverse. Depletion and creation.
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Wallbaum, Christopher. "Zur Praxis des Musikunterrichts in Europa: eine Erhebung mit Videos und drei Reflexionen." Diskussion Musikpädagogik, Bd. 60 (2013), S. 45-54, 2013. https://slub.qucosa.de/id/qucosa%3A7331.
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Der Text berichtet über eine Erhebung zu Praxen des Musikunterrichts in 5 Ländern Europas. Über eine auf Englisch veröffentlichte Erhebung ‚About
Different Cultures in Music Classrooms of Europe’ hinaus enthält dieser Text auch die Ergebnisse einer zweiten Erhebung. Nach der Reflexion einiger methodischer Aspekte der Arbeit mit Videos sowie des Kontexts eines europäisch geförderten ‚Intensive Programs’, gibt der Text Information über gemeinsame Inhalte und Methoden sowie unterschiedliche Praxismerkmale im Musikunterricht. Abschließend liefert der Text drei Reflexionen der Daten über (1) die Wichtigkeit von Sound und Gesten im Musikunterricht, (2) Interferenzen zwischen Kulturen der Musik und Kulturen der Pädagogik im Klassenzimmer und (3) Muster von Musikunterricht.The article is about an exploration about practices of school music in 5 countries of Europe. Beyond an exploration ‚About Different Cultures in Music Classrooms of Europe’, which was published in English, this article includes results of a second exploration. After reflecting some methodological aspects of working with videos and the context of an Intensive Programm, the article gives information about common contents and methods and distinguishing marks of practices in music education. At last the article gives three reflections of the data about (1) the importance of sound and gestures in music education, (2) interferences between cultures of music and cultures of pedagogy in the classroom, (3) patterns of school music.
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Olesen, Bradley Christian. "The Impact of Musical Background, Choral Conducting Training and Music Teaching Style on the Choral Warm-up Philosophy and Practices of Successful High School Choral Directors." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/425.
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The purpose of this study was twofold: (a) Examine successful choral director beliefs about warm-ups and their successful practices in conducting warm-ups, and (b) examine the relationship of musical background, choral training and music teaching style of high school choral directors upon these beliefs and practices. Subjects were 365 high school choral directors from 28 states. Data were analyzed using descriptive analysis, correlation analysis, multivariate analysis of variance and multiple regression. Results indicated choral director's beliefs and practices differ as a function of musical back-ground, demographic characteristics, choral conducting training, and music teaching styles. Specifically, warm-up beliefs were predicted by knowledge of vocal health and variety of warm-ups. Conversely, those who relied on the warm-up time for discipline and focusing attention showed a significant negative relationship with their philosophy. From multiple regression analysis, doing choral warm-ups accounted for one-third of a director's overall success, predicted by 10 variables: (a) experience, (b) education, (c) teaching style teacher-directed performance, (d) teaching style deep-student learning, (e) warm-up literature and procedure, (f) planning warm-ups (g) warm-up content, (h) prior choral experience and piano background, (i) a foundation in music, and (j) a developed philosophy of choral warm-ups. However, having a philosophy about warm-ups did not predict successful teaching practices.
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Junior, Luiz Costa Pereira. "O mar que me navega: sintonias filosóficas em Paulinho da Viola." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-21072011-131554/.
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Este trabalho interpreta, à luz da filosofia, temas recorrentes na obra musical de Paulinho da Viola. Detentor de um vasto repertório de referência, o compositor e intérprete expressa em seus sambas uma abordagem sobre o mundo que se vincula a correntes de pensamento tão distintas como as de Epicuro, Heráclito, Benedictus de Spinoza, Tomás de Aquino, Henri Bergson, Josef Pieper e Richard Rorty, dentre outros. Perguntar pelo ser (o que é isto, em suas últimas razões) a partir da efêmera paisagem cotidiana estaria no cerne daquilo que é cantado por ele. A hipótese deste trabalho é que a canção em Paulinho da Viola (de sua autoria e de adoção, ao interpretar composições alheias) se filia a um desconforto sem ilusões e à sensação de espanto ante o mistério das coisas, a que apresenta como resposta a potência de sua serenidade. Assim, o trabalho procura mostrar não só que as composições executadas por ele podem ilustrar questões recorrentes na filosofia, como evidenciar que o ângulo de abordagem das canções de seu repertório só serão plenamente compreendidas à luz de certos debates ou conceitos. O estudo sugere que uma obra cultural pode ser usada como ferramenta do processo educativo. Além de possibilitar uma melhor compreensão de nossa realidade cultural, em nível de educação informal, o estudo e o ensino da filosofia podem ter em Paulinho da Viola o trunfo de uma atuação musical que é filosófica em seus problemas sem o ser na abordagem. Há um pensamento composicional em jogo, que não é mera aplicação de procedimentos especulativos sistêmicos e, mesmo assim, evita que o paralelo entre MPB e filosofia se torne artificial: a racionalidade de sua música contém uma musicalidade do pensamento, a recorrência de motivos que atormentam o gênero humano e, como a mera incidência no repertório de um cantor popular deveria indicar, não há sinal de que serão apaziguados tão cedo.This study interprets, to the light of philosophy, recurrent themes in the work of Paulinho da Viola. Owner of a wide reference repertoire, the composer and interpreter expresses in his music an approach to the world that is linked to currents of thought so distinct as those of Epicurus, Heraclitus, Benedict de Spinoza, Thomas Aquinas, Henry Bergson, Josef Pieper and Richard Rorty, among others. At the core of his singing we find the questioning of being in ephemeral daily landscapes. The hypothesis in this study states that Paulinho da Violas singing (whether his own compositions or those of other composers) is affiliated to a disillusioned discomfort and to the sensation of awe before the mystery of things, to which he responds with the strength or power of his serenity. Hence, this study points out that the compositions sang by him may not only illustrate recurrent issues in philosophy, but also evidence that the his songs approachwill only be fully grasped under the light of certain debates or concepts. This study suggests that a cultural work of art may be used as a tool for the learning process. Aside from yielding better understanding of our cultural reality as informal education, the study and teaching of philosophy could benefit from using Paulinho da Violas work for it presents the advantage of a musical repertoire which is itself philosophical in its issues but not in its approach. There is a compositional reflection at play which is merely an application of systemic speculative procedures and, even so, avoids the artificial comparison between Brazilian Popular Music and philosophy: the rationality of his songs has a musicality of thought, the reoccurrence of reasons that plague the human being and, as the mere occurrence in the repertoire of a popular singer should indicate, there is no sign that such issues will be settled any time soon.
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Pacheco, Eduardo Guedes. "Por uma (des)educação musical." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/72124.
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Vinculado à Linha de Pesquisa Filosofias da Diferença e Educação da UFRGS, este texto, intitulado “Por uma (Des)Educação Musical”, toma para a sua realização a música, a infância e a educação como “lugares” de problematização das relações que os constituem. Como intercessores, trazemos pensadores como Friedrich Nietzsche, Paul Valéry, Gilles Deleuze, Manoel de Barros, Silvio Ferraz, Sandra Corazza, entre outros. O objetivo desta tese é pesquisar a criação de novas possibilidades de existência naqueles “lugares”, tendo como nosso principal guia o pensamento proposto pela Filosofia da Diferença. Tal investimento elege conceitos como "plano de composição" e "ritmo" para produzirem uma nova possibilidade de ação e relação entre aqueles que querem ensinar música e aqueles que desejam aprender música, entendendo que os espaços que escolhem estabelecer relações de ensino e de aprendizagem podem realizar tal feito, tendo a arte como orientadora das ações que são chamadas, neste trabalho, de (Des)educacionais. Compõem esta criação, desejos de escritura que passeiam por poesias, métodos, inventários, dicionários, cartas, experimentações, que carregam, além da força dos intercessores escolhidos, dos conceitos colocados em movimento, a potência produzida pelo bloco sensações, aspecto que define a criação em arte como tal.Linked to the research line Filosofias da Diferença e da Educação, this text, entitled “Por uma (Des)Educação Musical” takes Music, Childhood and Education to problematize the relations which permeate these fields. Having as intercessors thinkers as Friedrich Nietzsche, Paul Valéry, Gilles Deleuze, Manoel de Barros, Silvio Ferraz, Sandra Corazza, among others, the aim of this doctorate thesis is to research the creation of new possibilites of existence for those fields by having as main guide the thought proposed by Philosophy of Difference. This choses concepts such as composition plan and rhythm to produce a new possibility of acting and interacting between those who want to teach music and those who want to learn music, understanding that the spaces they choose to estabilish teaching and learning relations can achieve such relations by having art as the guide of actions that are called here (un)instructive. This creation is composed of writings from poetries, methods, inventories, dictionaries, letters, experiences that carry, besides the strenght of intercessors and the concepts in movement, the power produced by sensations, aspect that defines creation as art itself.
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Miranda, Paulo César Cardozo de [UNESP]. "Jogos e brincadeiras na cultura escolar: uma perspectiva complexa e sistêmica da prática musical em escola de São Paulo." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/95165.
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miranda_pcc_me_ia.pdf: 2750242 bytes, checksum: b1371a1c2f80c58ffa30f651ba364513 (MD5)Em virtude da Lei nº 11.769/2008, que dispõe sobre a obrigatoriedade do ensino da Música na Educação Básica, foram observadas lacunas de pesquisas em relação aos conhecimentos atuais para atender as demandas didáticas nesse nível pedagógico. Nesse sentido, o presente estudo visou verificar e registrar a existência da música, dos jogos e brincadeiras musicais da tradição na cultura da escola estudada. Objetivou, por outro viés, localizar um aspecto da vida social, representado pelo jogo e a brincadeira musicais, considerados como tema da educação musical, da educação geral e de estudos sociais. Pretendeu, além disso, analisar a viabilidade de sua utilização em aulas de Educação Musical e Arte-Educação, no ensino fundamental. Devido às múltiplas propostas inseridas no interior da temática, surgidas ao se trabalhar com a cultura popular, adotou-se como ponto de partida as relações de complexidade existentes no objeto a ser pesquisado. O estudo destas relações foi embasado no pensamento sistêmico, na teoria da complexidade aplicada à Educação e fundamentou-se, também, metodologicamente, em autores da área das Ciências Sociais, o que resultou em um estudo de caso com abordagem qualitativa realizada junto ao corpo discente de uma escola pública de ensino fundamental II, na cidade de São Paulo. Realizaram-se levantamento e registro, por meio de entrevistas, caderno de campo, questionários e gravações em vídeo. Ao final da investigação, analisou-se o material recolhido relativo ao tema da pesquisa, além de outros, conexos ou transversais com os seguintes resultados: os jogos e brincadeiras musicais e a educação musical se imbricam em questões técnicas musicais criadas pela ação de jogar e brincar, na sensibilização pela música, por meio dos elementos de natureza social e relacionados com o...
student body from a public school in basic education II, in the city of Sao Paulo. The study aimed to verify the existence of traditional music, musical ludic activities and frolics, as well as to deepen its investigation and register its presence in the culture of the studied school, in case it was, indeed, present. Furthermore, it aimed to locate an aspect of social life, which is musical ludic activity and frolic, considered a matter of music education, education and social studies. It intended to analyze the feasibility of its use in Music Education and Art Education classes in primary school. Due to the multiple proposals contained within the theme, encountered when working with popular culture, the complex relations that exist within the object of research were adopted as a starting point. The study of these relations was grounded in Maturana’s systems thinking (1998, 2001), Maturana; Verden-Zöller (2004) and in the complexity theory applied to Education, as it is presented in Edgard Morin’s proposal (2011a, 2011b). It was also based, methodologically, in Fernandes (1979), Cândido (1975) and Magnani (1998), amongst others, in the Social Sciences area. Surveys and records were made, through interviews, field notes, questionnaires and video recordings. At the end of the study, the collected material and the content related to the research topic, in addition to others, connected or transverse, were analyzed. It was established that the study proposals achieved their goals. It is intended to forward the prepared material... (Complete abstract click electronic access below)
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Lynch, Tosca. "'Training the soul in excellence' : musical theory and practice in Plato's dialogues, between ethics and aesthetics." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4290.
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This thesis offers a technically informed examination of Plato's pervasive, though not innocent, use of musical theory, practice and musical concepts more generally within the ambitious ethical project outlined in many of his dialogues: fostering the ‘excellence' of the soul. Starting from Republic 3, Chapter 1 will focus specifically on music stricto sensu in order to assess Plato's interpretation of the basic ‘building blocks' of musical performances, creating a core repertoire of musical concepts that will prepare the way to analyse Plato's use of musical terms or categories in areas that, at first sight, do not appear to be immediately connected to this art, such as politics, ethics and psychology. Chapter 2 examines a selection of passages from Laws 2 concerning the concept of musical beauty and its role in ethical education, demonstrating how Plato's definition is far from being moralistic and, instead, pays close attention to the technical performative aspects of dramatic musical representations. Chapter 3 looks first at the harmonic characterisation of the two central virtues of the ideal city, sophrosyne and dikaiosyne, showing how their musical depictions are not purely metaphoric: on the contrary, Plato exploited their cultural implications to emphasise the characteristics and the functions of these virtues in the ideal constitution. The second half of Chapter 3 analyses the Platonic portrayal of musical παρανομία, studying both its educational and psychological repercussions in the dialogue and in relations to contemporary Athenian musical practices. Chapter 4 looks at how different types of music may be used to create an inner harmonic order of passions in the soul in different contexts: the musical-mimetic education outlined in the Republic, the musical enhancement of the psychological energies in the members of the Chorus of Dionysus in the Laws, and finally the role of the aulos in the Symposium.
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Abreu, Thiago Xavier de [UNESP]. "Música e Educação Escolar: contribuições da estética marxista e da pedagogia histórico-crítica para a educação musical." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/157273.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O tema geral a ser abordado na presente pesquisa é o ensino de música na perspectiva da pedagogia histórico-crítica, o que corresponde ao estudo de uma educação musical propriamente escolar. Para esta corrente pedagógica a educação é uma atividade de mediação no interior da prática social necessária para o desenvolvimento histórico do gênero humano, sendo a escola a forma historicamente mais desenvolvida do trabalho educativo. Partindo deste entendimento, o objetivo de nossa pesquisa foi determinar elementos filosóficos e pedagógicos para a fundamentação da educação musical escolar na perspectiva da pedagogia histórico-crítica. Por meio da pesquisa bibliográfica, observamos a música como um tipo específico de atividade humana que atua de maneira também específica na constituição da subjetividade. Assim, defendemos a tese de que a explicitação dos principais aspectos dessa especificidade da música no desenvolvimento histórico da dialética entre objetividade e subjetividade pode ser um caminho fértil para a construção de referências para a seleção de conteúdos escolares da educação musical, e para a definição de formas de efetivação do trabalho pedagógico com esses conteúdos. Para tanto, abordamos no primeiro capítulo a música como uma esfera de objetivação humana, isto é, como uma atividade capaz de tornar objetiva a vida afetiva do ser humano, para que dela possa se tomar consciência. No segundo capítulo exploramos o processo histórico de desenvolvimento da objetivação musical, tanto do ponto de vista das relações entre o indivíduo e o gênero humano, quanto das formas educacionais que sustentaram essa trajetória. Por fim, no terceiro capítulo sintetizamos os elementos analisados à luz das especificidades da educação escolar, abordando também as peculiaridades da catarse como momento chave da educação musical. A unidade teórico-metodológica é dada pelo referencial do materialismo histórico-dialético. Esperamos que nosso estudo contribua para a valorização da música no contexto da educação escolar e para a fundamentação teórica da educação musical na perspectiva da pedagogia histórico-crítica.
The general theme to be addressed in the present research is the teaching of music from the perspective of Historical Critical Pedagogy, which corresponds to the study of a proper school music education. For this educational chain, education is an activity of mediation within the social practice necessary for the historical development of the human, with school being the most historically developed form of educational work. Based on this understanding, the objective of our research was to determine philosophical and pedagogical elements for the foundation of school music education in the perspective of Historical Critical Pedagogy. Through bibliographic research, we observe music as a specific type of human activity that acts in a specific way in the constitution of subjectivity. Thus, we defend the thesis that the explication of the main aspects of this specificity of music in the historical development of the dialectic between objectivity and subjectivity can be a fertile way for the construction of references for the selection of school contents of musical education and for the definition of forms of pedagogical work with these contents. In order to do so, we address in the first chapter music as a sphere of human objectification, that is, as an activity capable of rendering objective the affective life of the human being, so that they may become aware of it. In the second chapter we explore the historical process of development of musical objectification, both from the point of view of the relations between the individual and the human genre, as well as the educational forms that sustained this trajectory. Finally, in the third chapter we synthesized the elements analyzed in light of the specificities of school education, also addressing the peculiarities of catharsis as a key moment of music education. The theoretical-methodological unity is given by the referential of historical-dialectical materialism. We expect that our study may to bring contributions to the valorization of music in the context of school education and to the theoretical analyzes of musical education from the perspective of Historical Critical Pedagogy