A voz pedagógica de professoras formadoras em música na pedagogia: narrativas (auto)biográficas

Abstract

The research on the pedagogical voice of music teachers in Pedagogy presented itself as an emerging theme for the understanding of the teaching activities and the ways of being and being in teaching in higher education. Linked to the FAPEM group - formation, action and research in music education -, to the Laboratório de Educação Musical (LEM/CE) and to the Programa de Pós-graduação em Educação of UFSM (PPGE/UFSM), the thesis was born as a branch of the research "Music - Pedagogy - human formation: encounters in ways of being a teacher in higher education" (BELLOCHIO, 2018, 2022) and highlighted the pedagogical voice as an embodied voice, incarnated in university teaching by female teacher educators. It was sought, with the thesis, to understand how the pedagogical voice is/has been constructed by teacher educators in Music, in Pedagogy courses, from their teaching action articulated to the students' human formation and the pedagogical love of music. Specifically, the research was interested in (a) understanding how music is presented and embodied in teaching; (b) (re)knowing, through (auto)biographical narratives, the emergence of pedagogical love in university teaching; (c) identifying in what way and/or if the formative teachers operate with the four pedagogical forms - becoming a student, suspension, profanation, and pedagogical love - in the musical, pedagogical-musical and human formation of future reference teachers; (d) understanding the elementsmodes-gestures-expressions in the constitution of the pedagogical voice of formative teachers in music in Pedagogy. The rationale of the thesis was built from the base authors, to think of the pedagogical voice of teacher formators (ZUMTHOR, 1993, 2018; KOHAN, 2015; SIMONS, MASSCHELEIN, 2017; LARROSA, RECHIA, 2019; MASSCHELEIN, 2021), articulated to the pedagogical forms, the elements-modesgestures-expressions of teaching, the authors who discuss Music and Pedagogy in higher education (APPENDIX A) and the (auto)biographical research (JOSSO, 2010; PASSEGGI, 2020, 2016; PASSEGGI, SOUZA, 2017), as a theoretical and methodological referential, which dialogues with and intertwines with the pedagogical voice. The narrative (auto)biographical interviews were the basis of the research data production, which had as analytical inspiration the grounded theory (CHARMAZ, 2009; TAROZZI, 2011). With the development of the thesis, it was possible to understand that the pedagogical voice built-in in music teaching by teacher educators is a voice that changes with time, with the references that accompany it in the teaching trajectory. For some of the teacher trainers, this voice is also constituted as a pedagogical chorus, composed of consonances, dissonances, and pedal notes that involve human relations in teaching. It is also a voice that emanates feelings, involves processes, and embodies the word. Consonance is made of choices that are embodied in the construction of the teaching units of its subject matter and the musical and pedagogical-musical practices, developed in the classroom. Finally, the pedagogical voice of female teacher-trainers in music in Pedagogy courses is also shrouded in the challenges that make up teaching, but it is a voice that recognizes the importance of the work developed by their student-teachers.in.formation, in basic education.