Afinação da interioridade: um estudo sobre a integração da canção popular brasileira à musicalização de adultos

Abstract

Studies on the early stages of the music education process frequently prioritize early childhood education. Despite the relevance of this prioritization, there is an effective lack of theoretical/reflexive approaches in the field of adult music education. However, this is a field that, in Brazil, has correlations for music both in higher education and in the growing demand for continuing education, that is, adults interested in studying music without any professional aspirations. When thinking about the musical education of adults, considering the role of urban popular song proves to be quite useful, since this is one of the most widely recognized musical expressions on the part of these same adults. However, when placing urban popular song at the center of this discussion, one must take into account its specificity as an object of study, so that its potential contributions to the process of adult music education result from conscious reflections that a song, for as varied as its physiognomy may be, is irreducibly a meeting point of musical components with linguistic ones. In order to investigate the potential of urban popular song as a primary element in the musical education of adults, this study was carried out so that, in addition to the subjects already mentioned, it also addresses: the role of the teacher as a mediator in this process; the intrinsic relationship between urban song and technological resources, involved from creation to fruition; the redimensioning of the importance of the score and the possible paradigmatic changes involving solfeggio and aural skills training as devices regularly prioritized in music education; the characteristic modal/tonal hybridism of Brazilian urban song. This text is characterized by a dynamic coexistence between formulations of a theoretical nature and observations from classroom experiences, for which the approach of autoethnographic writing has been adopted. The main setting for this experience was the Music Fundamentals Course for adults at the Fundação de Educação Artística [Foundation for Artistic Education] (Minas Gerais state), though the experiences of upper-level cohorts in three educational institutions (UEMG - Universidade do Estado de Minas Gerais, UFMG - Universidade Federal de Minas Gerais, and UNI-BH - Centro Universitário de Belo Horizonte) were also considered. Each section of the text deepens the look into one of the multiple faces of this study, and, in combining theory and practice, presents partial conclusions that, at the same time, are motives for future approaches. In conclusion, presented here is a compendium of classroom practices that have the peculiarity of absorbing the result of the reflections that extend throughout the text. Thus, the key to reading what is presented here is to take into account that the sequential development is rather a result of the writing process. While this work presents ideas in a linear fashion, driven by the desire for clarity and objectivity, the resulting form tends to follow a spiral, in which the central point is set upon urban popular song, continuing the protagonism that history has reserved for it in Brazilian culture.