Trajetórias formativas de sanfoneiros: conhecendo a formação musical de alunos do instrumento na Licenciatura em Música da UFPB

Abstract

Historically, accordion learning is linked to aural dimensions and occurs outside of music education institutional contexts. Since the recent insertion of this instrument in undergraduate music programas, such as the Music Teacher education at UFPB, the formative trajectories of accordion players become more complex and diversified. In this work, we aimed to understand the formative trajectory of accordion students at the Music Undergraduate Degree at UFPB. Thus, we had as specific objectives: to know the musical formation trajectories of the accordion students of the Music Teacher Education Program at UFPB; identify what were the spaces and learning processes experienced by students before reaching the degree; and to analyze how students articulate their previous training with the studies of the Music Teacher Education Degree. The methodological approach encompassed bibliographic research, questionnaires, and semi-structured interviews. The analysis were based on the Sociocultural Approaches to Music Education and studies related to the learning processes of popular musicians. The trajectories of accordion players point to a diversity of contexts and practices of musical learning. Initial learning is marked by unintentionality and the acquisition of global skills mediated by family stimuli. As the subjects expand their interactions and build their autonomy in the acquisition of specific musical skills, learning music becomes more and more intentional. Performance contexts are shown as rich learning spaces and a starting point for the demands for specialized teaching. In the undergraduate program, teaching systematization is reported as a positive contribution to instrumentalists. On the other hand, research participants present, throughout their practical trajectories, typical of the learning of popular musicians, as described by Green (2002), mainly what is known as “playing by ear”. These practices conflict with conservatory-bsased teaching strongly present in specialized education and represent an enormous challenge for accordion players. The hierarchy between academic and popular knowledge reverberates in the interviewees' speeches. However, the presence of the accordion in the undergraduate degree in music contributes significantly to the training of these subjects, which denotes gradual advances in the inclusion of popular music in the university and alerts us to the permanent challenge of incorporating knowledge and diverse learning practices in this context.