A escola gaúcha de acordeom: identidade, formação e legado de acordeonistas em narrativas (auto)biográficas

• Ano de defesa: 2020
• Autor(a) principal: Weiss, Douglas Rodrigo Bonfante
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Santa Maria; Brasil; Educação; UFSM; Programa de Pós-Graduação em Educação; Centro de Educação
• Palavras-chave em Português: Educação musical; Identidade(s); Identidade(s) de gaúcho; Narrativas (auto)biográficas; Práticas musicais; Escola de acordeom; Music education; Identity; Gaucho identity; (Self)biographical narratives; Musical practices; Accordion school; CNPQ::CIENCIAS HUMANAS::EDUCACAO
• Link de acesso: http://repositorio.ufsm.br/handle/1/23002

This thesis is linked to the Graduate Program in Education (PPGE) of the Federal University of Santa Maria (UFSM), to the research line Education and Arts (LP4), and to the Research Group NarraMus - Self-narratives of Musical Practices. The general objective of this research is to investigate to what extent the legacy of accordionists Adelar Bertussi, Honeyde Bertussi, Albino Manique, Luiz Carlos Borges, Edson Dutra and Luciano Maia are builders of a “Gaucho accordion school”. In order to meet the general objective, this research has the following specific objectives: To gather and understand the experiences of the accordionists interviewed in this project through their (self)biographical narratives; observe how their forming experiences are revealed in their (self)biographical narratives regarding their musical legacy; understand how the gaucho identity influenced the formation of the “Gaucho Accordion School”. Musical Education aimed at the emergence of the Gaucho Accordion School is occurred through cultural identification. To endorse this consideration, I seek theoretical support in the concept of identity, starting from the perspectives of Dubar (2009), in which identity is presented as an intrinsic human need under subjective aspects. The emergence of the gaucho identity was put into reflection in contrast with authors such as Oliven (2006). In a (self)biographical approach, the methodology adopted in this study is the Narrative Interview, analyzed from the Formative Experience (Josso 2004). In the course of this present study, several formative parameters are highlighted. The main ones are: a) the understanding of the formation of musical identity or the identity of a musician could be noticed since childhood, when we observe the senses constructed from experiences, and then from the formative experiences in relation to the sonority, from informal musicalization to conscious professional search, such as formal studies and search for visibility in the media. b) it was possible to see how movement by the media, institutions, and groups of people, such as writers and musicians, can build and influence identities linked to regionality, and how sonority identification is as important as the lyrics for a popular song to achieve success, which is noticeable in purely instrumental music. c) while musical innovations are fundamental for developing the gaucho accordion school and promoting the musical market, they occur within a sonorous scope of identity, which regulates the accepted innovations, sometimes forming new branches of this school. In addition, different struggles are faced by professional musicians in relation to the legitimation of music as a profession, both in educational institutions and family context.