O trabalho de músicos: percursos, trajetórias e recursos na carreira profissional

• Autor(a) principal: Ferreira, Dercideo Soares
• Data de Publicação: 2019
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• dARK ID: ark:/38995/0013000000xgj
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/12122
• topic: Ocupação; Profissão; Identidade; Músicos; Trabalho musical; Occupation; Profession; Identity; Musicians; Music work; CIENCIAS HUMANAS::SOCIOLOGIA

This master's thesis analyzes the professionalization of Brazilian musicians, considering how the first contact with music it has made until they become recognized professionals. It was questioned how those professionals accessed various resources as a training strategy until they reached the status of professionals. The methodology was based on consists of data triangulation, a complex analysis of the combination of several methods and sources of research on the work and professionalization of those artists. The subsequent topics were privileged: 1) literature review, relevant to the sociology of professions, but also to the sociology of music and art applied to the process of professionalization; 2) biographical analysis, from on the reading of several biographies available in entries of music dictionaries, the life of 95 of deceased musicians, who had professional recognition, born between the nineteenth and twentieth centuries, were understood, where it was possible to analyze the life trajectories and professional trajectories of those musicians; 3) interviews, a total of 59 interviews were granted to the program to the radio station 'Música em Pessoa', a project for the extension of the Federal University of Rio Grande do Sul (UFRGS), which in addition to a radio program works a database, a digital collection of the life and professional histories of musicians who pass the university in the music course at UFRGS; 4) quantitative analysis, in order to understand the profile of the musician worker, formal and informal employment, form privileged government databases, the National Household Sample Survey (Pnad Continuous) of the Brazilian Institute of Geography and Statistics (IBGE) and the Annual Social Information Report (RAIS) of the former Ministry of Labor (MTE), currently downgraded to secretary. Commonly musicians are more associated with entertainment than the idea of being hard workers. Artists are often associated with super artists, people with high arts and music skills who do not need much effort to perform an artwork. Extrapolating common sense, the research addresses the professional career of the musician, how the professionalization of these artists occurs, is a profession where you start studying early and there are several ways to become a music professional. Musicians to become professionals must possess minimally the know-how, the specialized knowledge of the field; the autonomy, control and power exercised in the work itself; credentials, the ability to decide how the work will be done; and authorization of the jurisdictions, institutions responsible for regulating the profession. The professional musician's field of activity is also strongly influenced by the cooperation networks and conventions of the music world, which do not detract from the musician's autonomy or creativity, but to some extent agree on how the musicians' work will be performed. As a highlight of jurisdictions related to the profession of musician, we have the law 3857 of 1960, which regulates and creates the Brazilian Order of Musicians (OMB), the responsible institution for regulating music work. Musicians in the training process begin to study music at an early age, and use a variety of resources, either private or state owned, through culture incentive laws or educational policies to complete their qualification. Learning from renowned musicians in music schools, music conservatories or technical level enables musicians to work in the market as professionals, but a large portion of those workers continue their studies at a higher level, refuting the notion that musicians would be super-artists.