A formação da vida musical de Belo Horizonte: sua organização social em torno do ensino de piano de 1890 a 1963

• Ano de defesa: 2012
• Autor(a) principal: Maria Teresa Mendes de Castro
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Campo; História; História de vida; Ensino de piano; Educação Historia; Música para piano; Belo Horizonte (MG) História
• Link de acesso: http://hdl.handle.net/1843/BUOS-92XNTG

The focus of this research is built on the acknowledgement of the genesis of a piano education field in Belo Horizonte from the life story of a pianist and piano teacher born in 1920. We delimitated a time period that goes from the change of the name of Curral Del Rey to Belo Horizonte in 1890 to 1963. We can see that it is possible to weave a historic plot that reveals both the music and the sonority of the period through its soundscape in the social and musical movement of the city. We built a study frame based on the history of several institutions in specific years which revealed a social and institutional force field: The Conservatório Mineiro de Música (1925), presently the Escola de Música of the Universidade Federal de Minas Gerais (UFMG), the Universidade Mineira de Artes (UMA, 1954), that later became the Fundação Universidade Mineira de Artes (FUMA, 1964) and the Fundação Aleijadinho (1980), which is currently the Escola de Música of the Universidade do Estado de Minas Gerais (ESMU-UEMG, 1995), and the promise of the Fundação de Educação Artística (FEA, 1963). There was also a first institution which was very important to the understanding of the musical life of the city: the Escola Livre de Música (1901-1923). In order to understand the shaping of piano teaching social and musical space we employed Bourdieus concept of field and so as to do that we tried to find a possible context in the social life that was being created in the city. We also tried to find some understanding of piano teaching and learning related to its social functions. We employed as sources a life story, minute books and registrations, oral reports form piano teachers and students, concerts programs, articles and reports from newspapers and magazines of that time which used to report and make possible the circulation of musical events. Through these sources we weaved a woof trying to build a web of significations of this city music-making.