A música popular como decolonidade na formação de professores de música: narrativas de acadêmicos a partir de uma disciplina complementar de graduação

• Ano de defesa: 2020
• Autor(a) principal: Leismann, Jeancarlo Paulo
• Orientador(a): Louro-Hettwer, Ana Lúcia de Marques e
• Banca de defesa: Reck, André Müller, Queiroz, Luis Ricardo Silva
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Santa Maria; Centro de Educação
• Programa de Pós-Graduação: Programa de Pós-Graduação em Educação
• Departamento: Educação
• País: Brasil
• Palavras-chave em Português: Cotidiano e ensino superior; Música popular; Decolonialidade; Narrativas de si; Formação docente
• Palavras-chave em Inglês: Daily life and higher education; Popular music; Decoloniality; Self-narratives; Teacher training
• Área do conhecimento CNPq: CNPQ::CIENCIAS HUMANAS::EDUCACAO
• Link de acesso: http://repositorio.ufsm.br/handle/1/23423

Inserted of field of studies of everyday musical experiences, this dissertation, linked to the Graduate Program in Education (PPGE) of the Federal University of Santa Maria, next to Education and Arts Research Group-Self- Narratives of Musical Practices, it is proposed to understand strategies for teaching popular music and its articulation in the academic formation process of the Full Degree in Music program. As specific objectives, the research outlined based on a) understanding, from the experience in a DCG how popular music disciplines enhance teacher training; b) how the PM is inserted in the training process; c) How the PM dialogues/interacts with different training strategies. In conjunction theoretical contributions that support reflection on the teaching of popular music in higher education of music, everyday experiences and education (LUCAS, 1992, SANTOS, 2005, RAMOS, 2008, TORRES, 2008, LOURO e RECK, 2014, QUEIROZ, 2017, among others). The text is divided into nine chapters, in which new perspectives of formation based on the daily experience of the subjects, engendered to the perspective of “coloniality” brought by Queiroz (2017) are approached. Based on a complementary undergraduate course, the empirical material was based on a qualitative methodology, through self-narratives and music practices involving participants of the discipline. Understanding teacher education as continuous process, which begins in the first approximations with the activity, extending throughout professional life, the understand that, from the experiences of the research subjects, such processes can be enhanced, making us think new practices with higher education in music, thus dialoguing with the hegemonic curricular representations existing in higher education.