Innovation in music education: ideas and objects in circulation in the first half of the 20th century

• Grant number: 20/08693-9
• Support Opportunities: Scholarships in Brazil - Post-Doctoral
• Start date: August 01, 2021
• End date: August 31, 2024
• Field of knowledge: Linguistics, Literature and Arts - Arts - Music
• Principal Investigator: Marisa Trench de Oliveira Fonterrada
• Grantee: Tamya de Oliveira Ramos Moreira
• Host Institution: Instituto de Artes (IA). Universidade Estadual Paulista (UNESP). Campus de São Paulo. São Paulo , SP, Brazil
• Associated scholarship(s): 22/04371-2 - Innovation in music education: two lines of research in the context of the international new education movements (first half of the 20th century), BE.EP.PD

Abstract

This post-doctoral research aims to investigate the theme of innovation from two axes of interest for music education in the first half of the twentieth century, namely: the impacts of technological reconfiguration caused by the popularization of objects such as the recorder, the radio set and the disc, and the international circulation of innovative pedagogical-musical ideas. Both aspects are focused on the context of school renewal movements, which in Brazil have been called Escola Nova, and which has as correlates in English and French the terms Progressive Education, New Education and Éducation Nouvelle. Through the work with documentary sources referring to the renewing movements, it seeks to understand how the new technologies have been used and discussed - both in conflicts and in convergent discourses - among music educators in the context of pedagogical innovation, as well as to shed light on the different appropriations of Satis Coleman's Creative Music when it was taken as an exemplary proposal on an international level. It is about exploring the aspects of pedagogical, aesthetic and technological innovations, which are currently emphasized in the area in studies about the second half of the referred century. Thus, it is intended to contribute originally both to the construction of historiographic discourses that consider the pioneering of women in a field represented as predominantly male, and to the understanding of other proposals of Music Education of the period beyond canto orfeônico. (AU)