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| Author(s): |
Tamya de Oliveira Ramos Moreira
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Escola de Comunicações e Artes (ECA/SBD) |
| Defense date: | 2019-07-31 |
| Examining board members: |
Maria Teresa Alencar de Brito;
Viviane Beineke;
Sandra Mara da Cunha;
Marisa Trench de Oliveira Fonterrada;
Mario Rodrigues Videira Junior
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| Advisor: | Maria Teresa Alencar de Brito |
| Abstract | |
This research stems from the observation that creative practices are prominent as valued pedagogical tool in the recent discourses of the Music Education area. This valorization is frequently accompanied by considerations of its still scarce effectiveness in teaching, especially in the case of the Brazilian school. If, on the one hand, the opening to children\'s creative activities in our area is currently related to proposals of the second half of the twentieth century, especially in connection with technical and aesthetic innovations from the compositional field, on the other hand, the valuation of creative activities in a broader pedagogical context is linked to the school renovation movements dated at the beginning of this century. The work presented here was undertaken with the objective of investigating this apparent mismatch. From the pedagogical press analysis of the interwar period - specifically the journals Progressive Education (United States), La Nouvelle Éducation (France) and Revista Brasileira de Estudos Pedagógicos (Brazil), published in the 1920s, 1930s and 1940s - and secondary sources, we sought to draw a picture of Music Education as it was inserted in renovating movements. The examination of this material allows us to confirm the thesis that in this scenario there were already cases of encouragement of children\'s musical creation and that such activity was fundamental, as well as the children\'s participation in a broader way. The examples presented are indications that Music Education was incorporated in a coherent way to such pedagogical projects. The present thesis also shows the circulation of experiments in music education in the three studied contexts, especially the influence of the work developed by the American educator Satis Coleman and appropriated in particular ways in Europe and Brazil. Finally, this study also stresses the need to interpret the Escolanovista ideas in its close connection with the social aspect of the school institution. This need arises from the common associations established between Escolanovismo and any proposal of music education based on the experimental psychology of the early twentieth century or any proposal that presents any innovation in the fields of didactics and content. We point out the limits of associations of this nature insofar as they do not take into account a central aspect of the renovating movements studied here: the fact that they have as their specific locus the school precisely in the historical moment in which this institution establishes itself as a social place of childhood and adapted to this phase of life. (AU) | |
| FAPESP's process: | 15/01978-0 - The creative process in music education and its relationship to pedagogical thinking in the Twentieth Century |
| Grantee: | Tamya de Oliveira Ramos Moreira |
| Support Opportunities: | Scholarships in Brazil - Doctorate |