Rosa Lúcia dos Mares Guia: uma boniteza de educação musical

Abstract

The aim of this research was to analyze the musical education proposal of educator Rosa Lúcia dos Mares Guia and to map her influence on musical education in Belo Horizonte and Minas Gerais. Rosa Lúcia was a teacher who worked in Belo Horizonte for almost fifty years. Together with her colleague and friend Maria Amélia Martins, she founded the Villa-Lobos Center for Music Education, which served as a laboratory for her pedagogical inventions. She is the author of a vast amount of pedagogical material, including the publication of books such as Tocando flauta-doce: pré-leitura (2004) and Som e Música, volumes 1 and 2 (2011, 2012). The research presented here is qualitative, within the (auto)biographical approach and was based on the Life Stories method based on Passeggi (2016); Souza (2016); Abrahão (2003); Delory-Momberger (2011) and Ferrarotti (2007) to construct the teacher's life narrative. We used semi-structured interviews and document analysis as qualitative research tools. To understand Rosa Lúcia's life story, we started from a dialog established between her and her colleagues, family and students, through interviews that sought to reveal memories that contributed to the construction of the text. We had access to the educator's voice through documents, interviews and audiovisual recordings that were made available to us. Some authors were selected to talk to Rosa Lúcia in order to better understand the music education she advocated: David Elliot and Marissa Silverman (2015), Keith Swanwick (1979, 1988), Hans-Joachim Koellreutter (2018), Edgar Willems (1970, 1981) and Paulo Freire (1996/2002). In building this dialog, we identified the basic foundations of Rosa Lúcia's pedagogical approach, which translates into music education based on musical experience supported by creative teaching-learning processes with an emphasis on playfulness. In the documentary research carried out on the teacher's pedagogical work, we found the basic foundations of her proposal, mentioned above. In order to identify the existence of a music education method proposed by Rosa Lúcia and its influence on the pedagogical practice of music educators in Belo Horizonte and Minas Gerais, we used the data collected in interviews with 8 music teachers who, at some point during their training, had systematic contact with her. This data revealed three themes: Rosa Lúcia's personal characteristics and her attitude as a teacher; her method of music education and her influence on the pedagogical-musical training of these teachers. This occurred in the last chapter of the research where we also addressed the formation of teacher identity based on the ideas of Nóvoa (2013). The results of this research show that Rosa Lúcia established, based on her actions as a music educator, principles and pedagogical-musical practices that uniquely qualified her professional performance. This uniqueness was proven through the identification of specific personal characteristics, her gestures in the classroom, her critical and reflective stance as an educator, the proposal of her own music education methodology and how this whole set of actions influenced the pedagogical-musical training of a generation of music teachers in Belo Horizonte and Minas Gerais. We also found that the educator's conception of music education was concretized in the pedagogical materials she created.