DA SOCIOLOGIA HISTÓRICA DA FORMAÇÃO EM MÚSICA À FORMAÇÃO DO MÚSICO POPULAR EM TEXTOS/DOCUMENTOS CURRICULARES

Abstract

This research brings us closer to the historical sociology of music education and the formation of popular musicians. The object and sources of this research are curricular texts/documents prescribed for higher education in Music at the following universities: State University of Campinas (Unicamp), Federal University of the State of Rio de Janeiro (UNIRIO), Federal University of Bahia (UFBA), Federal University of Minas Gerais (UFMG) and Federal University of Rio Grande do Sul (UFRGS). It is important to mention that the studies and analyzes of the prescribed curricular texts/documents are part of a Research Program developed at/by Observatório de Cultura Escolar (OCE). The chosen curricular texts/documents become a particular case, guided by the general objective of producing reflections and dialogues between two historical, sociological and curricular artifacts, that is, music and the formation of the musician, which structure the collective unconscious of formations in music and popular musician. This production has theoretical support in the dialogues with the theory of social practices, in the Bourdieusian perspective, and the critical theory of the curriculum, in dialogue with authors from the field of music and culture. Furthermore, the methodological orientation is anchored in praxeological knowledge. This form of knowledge recovers the active notion of subjects as products of the history of the entire social field and of experiences accumulated in the course of individual trajectories. This recovery is projected on the hypothesis that the formation of the popular musician, in higher education, becomes relatively autonomous, with regard to the injunctions between erudition and the popularization of music, by breaking (albeit partially) the structural dependence of the formation in relation to the field of power – erudition. We analyzed the structure of the Music Course, as well as the promised musician training, illuminated in/by the portrait of the set of meanings, expectations and behaviors shared by a certain social group. Such a group facilitates and orders, limits and potentiates social exchanges, productions and individual and collective achievements within a temporal and spatial framework oriented by erudition versus the popular. In conclusion, the legitimation of music and popular musicians is operated in the social space itself built within the artistic field, the educational field and, simultaneously, outside of both. Therefore, the place of the restricted production subfield, the hegemony of popular canons and the illusio of agents, whose classification struggles predominantly take place in the hierarchy and curricularization of musical genres, are displaced.