Representações sociais de professores da rede municipal de João Pessoa sobre música e sobre a docência na educação básica

• Autor(a) principal: Oliveira, Jonathan de
• Data de Publicação: 2020
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UFPB
• Texto Completo: https://repositorio.ufpb.br/jspui/handle/123456789/20457
• topic: Professores de música; Educação básica; Rede municipal de ensino de João Pessoa – PB; Representações sociais; Entrevistas narrativas; Music teachers; Basic education; Municipal education system of João Pessoa - PB; Social representations; Narrative interviews; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA

In order to understand the social representations of music and teaching in the basic education of teachers awarded for Art / Music in the João Pessoa public school system, the concept of Collective Representations (by Durkheim) was started and followed by the bases of Theory of Social Representations (by Moscovici) and Theory of the Central Nucleus, its derivative (by Abric). We sought to recognize the construction of the symbolic object of representation through the relationships established by individuals and/or social groups based on everyday and dynamic phenomena structured in close or distant relation s with the object. In the field of education, the present research was based on studies of the dimension of knowledge, aiming to recognize the relationship between music education and social psychology. As a methodology, narrative interviews were used in an autobiographical view, complemented by the performance of semi-structured interviews with the purpose of resuming and deepening points considered important in the narratives, enabling a detailed and subjective analysis. The selection criteria for the six participants were: teachers graduated in Music Education or Art Education/Music qualification, qualified to work with music in the municipal system of João Pessoa and working in the classroom in basic education. The interviews - six narratives and six semi-structured - took place from September 2019 to January 2020. To record them, audio recordings were made that were transcribed using technological tools, such as Voice typing and Speedchloger, available on the Google platform. The analysis was developed using different instruments, such as organizing tables and Iramuteq textual analysis software for the organization of central and peripheral elements of social representations. As a result of the analysis, it was identified that the representations presented symbolic aspects constructed and consolidated through socio-cultural and historical relations, reflecting the affective and emotional relationships about the music object in different periods of their lives. It was noticed that the relationships that involve exchanging experiences between the subjects, their group and their opposites contributed to the maintenance of some representations and to the transformation of others that were restructured by the new connections, assuming different dimensions for the subjects, some covering the whole his musical life, as the perspective of instrumental practice, perceived from the first moments of musical awareness until his professional life. This aspect was confirmed as the conception of music as a technique, love, life and gift divided the central nucleus of social representations. The conceptions of good and poor quality music also reflected these multilateral symbolic constructions that involved the subjects and groups around them. Analyzing the training process and the view on teaching, it was noticed that their conceptions reflect the previous aspects. However, when discussing the representations about teaching, two aspects were identified that divided the centrality of their social representations: 1) the difficulty, associated with the students' behavioral issues and the breaking of musical expectations at school; and 2) the multipurpose, linked to structural issues involving the Art / Music curriculum in basic education. It concluded by discussing the ambivalence of the elements of its representations that conceive the teaching of music as an instrumental practice, to the detriment of the characteristics of the basic school.