Habitus e formação musical de adolescentes: um estudo com estudantes da escola pública

Abstract

This work is the result of a qualitative research whose general objective was to understand the influence of Musical Habitus, constituted and incorporated, in the musical formation of high school first year teenage students in a school from Fortaleza/CE. Although music is a compulsory curricular content of the Arts curriculum component, according to Law 13.278/2016, in practice many teenagers still do not have access to musical knowledge in a formal way, through the school curriculum, since the law is not yet properly complied with. Thus, it is necessary to analyze the life trajectories and musical formation of these young people, since understanding this formative process implies, in a way, to understand their musical culture. As a theoretical contribution, the concepts of Habitus, Fields and Capitals of Pierre Bourdieu's Praxiology (2011), Bourdieu and Passeron's School System Reproduction theory (2014), Edgar Morin's Mass Culture (2011) and the Cultural Industry of Adorno and Horkheimer (1985) were used: to understand the influence of Musical Habitus, constituted and incorporated, in the musical formation of first year high school teenage students of a school from Fortaleza/CE; to characterize the Musical Habitus, constituted and incorporated, of these teenagers; to understand the influence of family, school and the cultural industry on the choices and accumulations of social and cultural capitals for the formation of musical taste; and finally to understand how the Musical Habitus influences on the musical formation of these teenagers. This research is descriptive and it used the Multiple Case Study as research strategy, having as its instrument of data collection: the daily observation of a group of public school students in Fortaleza-CE, the use of questionnaires and the semi-structured interviews. As a result, it was possible to perceive that the few experiences in music using the formal curriculum in the public school were a preponderant factor so that media, social projects, ONGs, churches and families gained a greater importance in this formation process. Thus these bodies assume the role of capital exchange agencies, influencing in a decisive way the musical formation of these teenagers.