| dc.description.abstract | This research was developed in the Graduate Program in Education of the Federal
University of Santa Maria, research line Education and Arts (LP4), together with the
group Formação, Ação e Pesquisa em Educação Musical (FAPEM) and sought to
understand how trainees articulate knowledge musical and pedagogical-musical in the
construction of teaching in Music in the Supervised Stage (ES) I and II. Through a case
study (YIN, 2005), direct observations and participants and semi-structured and focus
group interviews were carried out with six trainees attending ES I and II, in pairs,
developed in Early Childhood Education. The data produced from these sources of
evidence were analyzed according to the Discursive Textual Analysis (MORAES;
GALLIAZZI, 2011), and could be understood from four categories and respective
theoretical references: a) the academic-professional formation in the degree course in
Music of the UFSM (CERESER, 2003; BRASIL, 2004; MATEIRO, 2009; WIELEWICK,
2010; BAUMER, 2012); b) the ES in Music and its senses (MATEIRO; TÉO, 2003;
GATTI, 2010; PIMENTA; LIMA, 2010; BELLOCHIO, 2011; KHAOULE, CARVALHO,
2012; NATERA, 2013); In this paper, we describe the practice of ES in pairs, called
peer teaching (SAWFFORD, 1998;; HAYAMA, 2008;; AZEVEDO, 2008), and in the
context of children's education and their relations with music (KISHIMOTO, 2002;
WERLE, 2010; GOELZER; (1988). It was concluded that trainees feel a distancing
between the musicological, pedagogical and pedagogical-musical disciplines of the
Licenciatura in Music course, a perception that makes it difficult for them to relate the
musical and pedagogical-musical knowledge developed in these curricular
components. The senses attributed to ES induce trainees to seek to reproduce
teaching models or to seek technical instrumentation for teaching in ES, and the
specificity of Early Childhood Education in relation to the child's development makes it
difficult for academics to develop, at this stage of teaching, the musical contents that
come learning in the course and would like to teach, which causes them to
problematize the identities of the Music teacher. Finally, peer teaching enables the
articulation of knowledge to occur, as trainees divide their assignments, one of which
assumes musical activities (singing and playing) and other pedagogical-musical
activities (interacting with children). | |
