IMAGINATION AND MEMORY, PLAYED, SUNG AND TOLD IN PROSE

• Autor(a) principal: Elger Gonçalves, Sandra Aparecida
• Data de Publicação: 2010
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Travessias (Cascavel. Online)
• Texto Completo: https://e-revista.unioeste.br/index.php/travessias/article/view/4249
• topic: Linguagem artística; Memória; Identidade.

This paper addresses the relationship between the child and musical language in its communicative and ludic aspects. Based on the assumption that the child is a social being and thus interacts with the world by using various forms of language, musical language is seen as an accessible and expressive vehicle of communication, which contains in its melodies and rhythms, historical and social characteristics that are also present in the child’s life. In this sense, musical language provides communication with the real world mediated by the child’s feelings and social imaginary in the perception and meaning assignment of the objects, people, facts and individual or group relations. Music has, in its composition, a kind of magic that cannot be conveyed in spoken or written communication, and therefore it transcends the socially defined and approved limits, resulting in new findings, interpretations and even essential actions for the child development. The theoretical framework for the analysis is based on authors from the fields of Sociology, Musical Art and Education, such as Phillipe Ariés (1981), George Snyders (1997), Walter Benjamin (2002), among others. In this regard, we aim at considering the child’s sensitivity as a sociological construction of the human being.