Aprendizagem musical compartilhada: a prática coletiva dos instrumentos de sopros/madeiras no Curso de Música da UFCA

Abstract

This work aims to reflect and understand the pedagogical practices in the teaching of woodwind instruments (flute, clarinet and saxophone) which take place at the Music Course of Federal University of Cariri- UFCA, in the perspective of sharing information and diversity of knowledge. To this end, the survey was conducted with students from freshman classes of 2010, 2011, 2012 and 2013, using as methodology the interpretative paradigm within the case study and action research. As data collection I used audiovisual records, interviews, questionnaires, observation and field journal. I used as theoretical support mainly the concept of interaction and zone of proximal development- ZPD, of Vygotsky (1998); the idea of Ecology of Knowledge, of Santos (2010); and the model C(L)A(S)P, of Swanwick (1979). I also used the ideas of Sacristán (2008) about the curriculum and the idea of reflection on teaching practice in the view of Freire (1996), to deepen the proposition of Shared Musical Learning which I understand as occurring in this context. To support the work, I sought further reflection on pedagogical proposals aimed at the collective practice of woodwind instruments, which occur nowadays in Brazilian Musical Education, searching a deepening of collective musical learning, based on the existing literature and my own formation. This research allowed me to unveil and deepen theoretically the concept of Shared Musical Learning expanded by the ecology of knowledge and the zone of proximal development, which emerged from the researched context. Thus, actions came to light showing multiple learnings, and among them the musical instrument, (flute, clarinet and saxophone), covering the technical, creative and musical bias, which are derived from actions of knowledge sharing. These learnings can be potentiated by the intentionality of the teacher to achieve knowledge sharing. This research also allowed me to transit through formal, informal and non-formal curricula, in which I understand to occur such learnings, which revealed musical sharing and the construction of teaching identity in the students involved since the admission in the Instrumental Practice. Furthermore, this study of the context in which I am inserted, gave me a new perspective towards my pedagogical practice, towards the development of the Music Course of UFCA and the approaches used in the musical learning and teaching processes. Also, it gave a new perspective towards the comprehension of the curriculum which emerges from the heterogeneity of instruments, the ecology of knowledge and the Shared Musical Learning.