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Villa-Lobos Educador: a propriedade da música na Educação Musical
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Esta tese tem como objetivo principal redimensionar Villa-Lobos educador na história da Educação Musical e tem por objetivo secundário possibilitar a retomada da música de maneira prática e encantada na formação atual de educadores musicais. O problema principal da tese é que a Educação Musical não reconhece Villa-Lobos como educador da propriedade musical, e que nos dias atuais, a práxis educativa está desvinculada de uma prática musical nos cursos universitários das Universidades Federais de Educação Musical no Brasil. O propósito desta tese é discutir a presença e os modelos educativos da música na Educação Musical brasileira, trazendo Villa-Lobos como o marco principal de um tempo artístico criativo e autêntico, sendo por isso modelar para qualquer educação que pretenda ser musical. Investigamos como o musicar (tocar/cantar, reger, compor, arranjar e improvisar) aconteceu na formação deste educador, como o encantamento possibilitou a sua autonomia e como a sua propriedade musical lhe conferiu notoriedade para educar, apesar do seu autodidatismo. Portanto, esta tese, ao lado de Villa-Lobos educador, anuncia três dimensões que substanciam uma possibilidade da volta da música de maneira prática para a formação atual de educadores musicais: propriedade, encantar e musicar. Ainda sugere uma Educação Musical denominada por nós de educação educante, que considera além das três dimensões, a sensibilidade, a emoção e o prazer na profissionalização. A primeira parte da pesquisa é histórica e sobre Villa-Lobos, que se articula com o contexto filosófico-poético (conceitual), seguindo-se ao empírico, onde apresentamos os resíduos da história através de entrevistas realizadas com pessoas que estudaram o Canto Orfeônico no Rio de Janeiro e também dois diferentes “questionários Google forms”, que foram aplicados a professor universitário e alunos concluintes do ano de 2017 nas universidades brasileiras, para averiguar sobre a propriedade musical, o impacto do musicar, do encantar e da pedagogia de Villa-Lobos na formação dos educadores musicais. Desta forma, construímos uma ponte que liga o passado ao presente, onde Villa-Lobos educador da propriedade musical é o elo de ligação. Quanto aos resultados obtidos, entre outros, foi possível verificar que a Educação Musical precisa ressignificar seus caminhos para a retomada da música de maneira prática nos cursos universitários, pois, os cursos existentes podem fechar pelos poucos alunos que estão formando. E ainda, que os professor universitário dos educadores musicais, exercem forte impacto em seus alunos, os influenciando sobre a forma de pensar, de fazer e de sentir a música. No entanto, as mudanças educativas só acontecerão se os professor universitário se sensibilizarem desta necessidade, porque são eles que formulam os currículos formativos. Ainda concluímos que a Educação Musical hoje, não consegue impactar seus alunos para a profissionalização de forma eficaz e sensível, porque elege somente a teoria como núcleo da práxis pedagógica. Desta forma, causa um esvaziamento da música prática em todas as direções educativas. Todas estas questões, interferem significativamente na formação dos educadores, onde a música precisa ganhar lugar de destaque, para que educar seja carregado de musicar, de propriedade musical, de encantar e de amor.
This thesis has as main objective to resize Villa-Lobos educator in the history of Music Education and has as secondary objective to enable the resumption of music in a practical and enchanted way in the current formation of musical educators. The main problem of this thesis is that Music Education does not recognize Villa-Lobos as an educator of musical property, and that nowadays, the educational praxis is disconnected from a musical practice in the formative courses of the Federal Universities of Music Education in Brazil. The purpose of this thesis is to discuss the presence and the educational models of music in Brazilian Music Education, bringing Villa-Lobos as the main mark of a creative and authentic artistic time, being for that reason to model any education that pretends to be musical. We investigated how the musicking (playing / singing, conducting, composing, arranging and improvising) happened in the formation of this educator, how the enchantment made possible his autonomy and how his musical property gave him notoriety to educate, despite his self-learning. Therefore, this thesis, along with Villa-Lobos educator, announces three dimensions that substantiate a possibility of the return of music in a practical way for the current formation of musical educators: property, enchant and musicking. It also suggests a musical education called by us of educating education, which considers beyond the three dimensions, the sensibility, the emotion and the pleasure in the professionalization. The first part of the research is historical and about Villa-Lobos, which articulates with the philosophical-poetic (conceptual) context, following the empirical one, where we present the residues of history through interviews with people who studied the Orpheonic Chant in Rio de Janeiro and also two different "Google forms questionnaires", which were applied to educational shapers and graduating students of the year 2017 in Brazilian universities, to investigate about musical property, the impact of the musicking, enchantment and pedagogy of Villa-Lobos in the formation of musical educators. In this way, we built a bridge linking the past to the present, where Villa-Lobos educator of musical property is the connecting link. As for the results obtained, among others, it was possible to verify that Music Education needs to re-signify its pathways for the resumption of music in a practical way in the formative courses, because the existing courses can close seeing that few students are forming. And yet, that the professors, shapers of musical educators, have a strong impact on their students, influencing them on how to think, do and feel the music. However, educational changes will only happen if educational shapers become aware of this need, because they are the ones who formulate the formative curriculum. We still came to a conclusion that Music Education today can not impact its learners for professionalization in an effective and sensitive way, because it only chooses theory as the core of the pedagogical praxis. In this way, it causes an emptying of practical music in all educational directions. All these issues interfere significantly in the training of educators, where music needs to gain prominence, so that education is loaded with music, musical property, enchantment and love.
This thesis has as main objective to resize Villa-Lobos educator in the history of Music Education and has as secondary objective to enable the resumption of music in a practical and enchanted way in the current formation of musical educators. The main problem of this thesis is that Music Education does not recognize Villa-Lobos as an educator of musical property, and that nowadays, the educational praxis is disconnected from a musical practice in the formative courses of the Federal Universities of Music Education in Brazil. The purpose of this thesis is to discuss the presence and the educational models of music in Brazilian Music Education, bringing Villa-Lobos as the main mark of a creative and authentic artistic time, being for that reason to model any education that pretends to be musical. We investigated how the musicking (playing / singing, conducting, composing, arranging and improvising) happened in the formation of this educator, how the enchantment made possible his autonomy and how his musical property gave him notoriety to educate, despite his self-learning. Therefore, this thesis, along with Villa-Lobos educator, announces three dimensions that substantiate a possibility of the return of music in a practical way for the current formation of musical educators: property, enchant and musicking. It also suggests a musical education called by us of educating education, which considers beyond the three dimensions, the sensibility, the emotion and the pleasure in the professionalization. The first part of the research is historical and about Villa-Lobos, which articulates with the philosophical-poetic (conceptual) context, following the empirical one, where we present the residues of history through interviews with people who studied the Orpheonic Chant in Rio de Janeiro and also two different "Google forms questionnaires", which were applied to educational shapers and graduating students of the year 2017 in Brazilian universities, to investigate about musical property, the impact of the musicking, enchantment and pedagogy of Villa-Lobos in the formation of musical educators. In this way, we built a bridge linking the past to the present, where Villa-Lobos educator of musical property is the connecting link. As for the results obtained, among others, it was possible to verify that Music Education needs to re-signify its pathways for the resumption of music in a practical way in the formative courses, because the existing courses can close seeing that few students are forming. And yet, that the professors, shapers of musical educators, have a strong impact on their students, influencing them on how to think, do and feel the music. However, educational changes will only happen if educational shapers become aware of this need, because they are the ones who formulate the formative curriculum. We still came to a conclusion that Music Education today can not impact its learners for professionalization in an effective and sensitive way, because it only chooses theory as the core of the pedagogical praxis. In this way, it causes an emptying of practical music in all educational directions. All these issues interfere significantly in the training of educators, where music needs to gain prominence, so that education is loaded with music, musical property, enchantment and love.
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Palavras-chave
Villa-Lobos educador Educação Musical Educação educante Musical Education Educating education