O despertar do músico para a educação musical: limitações e expectativas de sua atuação na sociedade

Abstract

The current research was developed at the Post-graduation Program in Education at UFSCar in a Social Practices and Educational Processes research line. This is the master's thesis in which was conducted a qualitative study in order to understand how the musicians discover themselves as music educators. The aims are to describe and to analyze the strengths and weaknesses in both professions, to understand how the family and society recognize them and how these professionals become more aware of their social role. The research also searched for understanding which social and academic practices promote the awakening of the musician toward music education. Questions, anxieties and reflections about the music return to the regular school curriculum and the current education of musicians and music educators were surveyed. The main authors of the research line helped to build a theoretical basis allowing the discussion on the research problem. The concept of experience was referenced on Larrosa Bondia (2002); the concepts of culture, pop culture and liberation were based on Dussel (undated); Education, Dialogue, Liberation, and others came from contributions of Paulo Freire (1979a, 1979b, 1992, 1993, 1996, 2000, 2001); and the concept of teaching practice was founded by Tardif (2002). The concepts of social practice and educational processes were built from the text developed by the professors of the research line. The concepts in the field of art-education were contributed by Barbosa (2009). Other references in the field of music education helped us to build the specific references, including: Penna (2005), Kater (2004), Koellreutter (1977), Fonterrada (2005). The data collection methodology used was the group interviews which promoted a dialogue among the participants. Fourteen graduated students of the Bachelor s Degree in Music at the Universidade de Ribeirão Preto, UNAERP, were interviewed. The research is organized into three chapters. The results show that the discovery of music education by musicians occurs as a result of the positive experience, of the involvement with working, and of the bond they establish with their students. We can also emphasize that the possibilities of personal and interpersonal changes that occurred during his/her professional course collaborate, motivate and encourage teachers to initiate and continue his/her career.