Projetos de extensão em música no IFCE de Sobral: táticas para a reinvenção do cotidiano através do ensino coletivo de instrumentos musicais e canto

• Ano de defesa: 2018
• Autor(a) principal: Cruz, Francisca Antônia Marcilane Gonçalves
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Palavras-chave em Português: Projetos de Extensão; Ensino Coletivo de Instrumentos Musicais; Reinvenção do cotidiano; Extension projects; Collective Instrumental Music Education
• Link de acesso: http://www.repositorio.ufc.br/handle/riufc/30758

This research approaches the musical practices developed in the Instituto Federal de Educação, Ciência e Tecnologia do Ceará (IFCE), Sobral campus, in the extension courses. These practices constitute three different courses, which are: Recorder, Clarinet and Saxophone, and Choir Singing. The music teaching-learning in this context takes place through Collective Teaching of music instruments'. The study aimed to understand the repercussions these collective musical practices have on the “common practices” of the courses’ “users” and, after that, identify possible changes in their “quotidian”. To that end, we used Certeau (2013, 2014) as a theoretical framework, with his ideas and reflections about “quotidian practices”, which consider concepts such as “tactics”, “strategies”, “anti-disciplin”, “space”, “place”, “practitioner”, and “users”, among others. The methodological approach emphasizes the qualitative paradigm and uses the case study as a design, turning to multiple evidence collecting techniques (exploratory study; audiovisual records; self-administered post-pre questionnaire; and focus group interview). This process took place between August 2016 and December 2017. The analyses and interpretation of the evidence identified in this study allowed an understanding of the different manners of consumption, appropriation, and utilization of musical education by the “users” of the extension projects. Thus, the teaching of music in this institution was understood as “spaces” capable of stimulating, in their “users”, “tactics” and “anti-disciplin” within their reality, being able to promote the “reinvention of their quotidian”. Therefore, the present research seeks to contribute to the enhancement of current music education practices in the context investigated and to the expansion of researches concerning collective instrumental music education, “quotidian” and Music Education.