Ensino de história da música em cursos de licenciatura: panorama, desafios e perspectivas

Abstract

The research that resulted in this dissertation had the overall objective of understanding the state of music history teaching in Bachelor of Music courses. Based on an analysis of course guidelines and teacher reports, we sought to develop an overview of music history teaching in music degree programs at Brazilian public higher education institutions (HEIs) (2018-2024). To this end, it proposed to identify the main problems present in the curriculum structure, program, and teaching of the subjects; reflect on the probable causes of these problems; and, in dialogue with the theoretical basis of the research, point out perspectives for the teaching of music history in Music Degree courses in the coming years. The study's methodology was based on data collection from 69 courses at 62 HEIs and its analysis in dialogue with recent publications on music history teaching, higher music education, decoloniality, curriculum, and music teacher training. Four main methods of data collection were explored: (1) documentary research focused on pedagogical projects of courses and other documents; (2) consultation of official websites of the Ministry of Education, HEIs, and higher education music courses; (3) direct contact with teachers, secretaries, and course coordinators; and (4) questionnaires followed by interviews with teachers. The results of the research point to the need for reformulation, at the national level: of the conventional curriculum structure of the History of Music axis, centered on European concert music; and of the program and teaching of its main disciplines, which are based mainly on foreign and/or outdated compendiums and give little consideration to the orientation of undergraduate courses toward teacher training. The analyses also show that individual attempts to resolve these problems by teachers in the five regions of the country have resulted in slow but positive changes in the courses, which are compiled in this thesis in the form of perspectives. It is concluded that not all the challenges faced by music history teachers in undergraduate courses are caused by the curriculum structure, program, or teaching of the subjects, but those that are can be mitigated by a variety of individual and collective actions on the part of teachers, based on decolonial perspectives on music education.