Para este professor, é fundamental, a princípio, o conhecimento destas diferentes e polifônicas origens para fornecer aos estudantes um escopo amplo não apenas da história da música. Mas também contribuir para a sua educação musical, amparada menos pelo adestramento técnico e muito mais pela apreciação, fruição, experimentação e produção musical no espaço da escola. 

Decolonize musical training

It is important, therefore, to understand, from the outset, the context of the formation of Brazilian music in order to then understand the importance of musical education for the teaching of Art. We can consider that the formation of Brazilian music was crossed by the Portuguese invasion in the mid-16th century. From this drastic contact, the first initiatives for musical education emerged, at the hands of the Jesuits, strongly influenced by Catholic models from Western Europe.

Apesar da forma incivilizada pela qual portugueses aportaram no território que viria a se tornar o Brasil, não podemos desconsiderar a importância desta cultura para a formação pioneira de uma educação musical. Sua relevância para a criação de uma série de estilos e movimentos musicais foi de fundamental posição no cenário da música brasileira. Este movimento se ampliou ainda mais com a vinda da família real para o país. 

Background to musical training in Brazil

No período histórico seguinte, a república, experimenta-se uma independência em relação à igreja e onde podemos considerar, de acordo com Corrêa (1975), o nascimento de uma música genuinamente brasileira. Destacam-se nomes como Glauco Velasques, Francisco Mignone, Alexandre Levy, Lorenzo Fernandes, Luciano Gallet, Camargo Guarnieri e Heitor Villa-Lobos. 

From this period onwards we see the flowering of a series of rhythms, styles and artists gaining prominence in the Brazilian music scene. Brazilian popular music and its various branches emerged, arising from lundu and modinha.

As transformações tecnológicas popularizaram ainda mais a MPB, o rádio, o vinil e anos depois com a televisão. Os festivais de música dos anos 60, exibidos em rede nacional na TV, marcaram a memória do público e abriram muitas portas para artistas hoje consagrados, como Caetano Veloso e Gilberto Gil. Estava sendo forjada a identidade da música brasileira, marcada pela miscigenação dos povos e a contribuição das diversas origens de estilos, ritmos, bases melódicas, instrumentos e técnicas. 

Legal aspects

It would, therefore, be naive to disregard Brazilian musical diversity apart from the school space. It remains, in this sense, to understand how to provide students with a musicalization process that is inclusive, emancipatory and that takes into account the musical experiences of students in their training process at school.

The transformations that occur in the contemporary world and in the pedagogical practices of teachers, as well as legal aspects and normative frameworks, such as the National Common Curricular Base (BNCC), and in particular Law no. 11,769, which changes the LDB. 9,394/96 in its article 26, proposing the mandatory teaching of music in Basic Education.

Musicalization as a pedagogical strategy

A concept that deserves to be highlighted, musicalization, can help us understand the relevance of study and pedagogical preparation of the art teacher so that he or she is able to get out of improvisation and practices that do not meet, for example, the 10 essential competencies recommended in the BNCC text for Basic Education.

Musicalization is not an uncritical musical experience disconnected from intentionality. According to Regina Luzia Marcondes de Arruda Lima (2013), in the book Music for Educators,

"Musicization is a work that favors a rich experience and experience with musical structures, in addition, of course, to facilitating coexistence between people, developing expressions, thoughts and emotions through their musical language. Musicalization makes the individual or child receptive to the sound world, responding in a musical way (LIMA, 2013, p. 44)."

If the process of musicalization, as Lima mentions, is a work that must provide the development of a musical sensitivity based on the language of music. We must ask ourselves whether this process does not require the acquisition of a specific musical technique to carry out such processes.

Se a música é uma linguagem natural do ser humano, onde a musicalização atua justamente no resgate desta vivência natural. Percebe-se que o domínio técnico e instrumental teria pouca importância diante de um processo mais amplo e profundo como o da musicalização. 

Sensitive training through music

We know that music at school does not aim to train artists, musicians, much less virtuosos. We believe that it will provide an experience and understanding of musical language, thus developing sensory channels, improving the way of expressing emotions, increasing the general culture and integral formation of citizens inserted in the society in which they live. (LIMA, 2013, p. 47).

A garantia de que estudantes e professores irão conseguir êxito nos processos de musicalização na escola não perpassa o domínio técnico sobre a música. Antes se ancoram na ampliação do repertório musical e pela fruição do belo em diálogo com as vivências compartilhadas a partir de uma cultura musical. 

It is necessary to engage art teachers

Let us think about the less than inclusive pedagogical practice carried out by an art teacher. It is important to observe which aspects of their practice are far from an implication with pedagogical practice.

It is necessary to consider the concepts of musicalization among students in the school environment. This conception is highlighted in the concepts previously listed by Regina Luzia Marcondes de Arruda Lima.

Let us think that the practice defended by this teacher, by limiting students' actions to just listening and debate, fails to consider other important aspects of the musicalization process. Your students cannot open their eyes and must remain silent while listening to a children's song. The class is from the first years of elementary school.

Desse modo, estudantes terão uma percepção limitada sobre a ressonância musical e os seus efeitos sobre seus corpos e dos outros colegas ao permanecerem todos de olhos fechados. Eles nunca saberão quais reações seus colegas tiveram ao ouvir determinada música. Esta capacidade de compartilhar percepções é um componente fundamental no processo de musicalização para crianças e adolescentes. 

The challenge is to create active dialogue

Another point that deserves attention when analyzing this teacher's pedagogical practice is the fact that he forced his students to remain silent. An interesting factor for musical appreciation is the ability to memorize sounds. For this to happen, it is essential to repeat the sounds heard.

Children repeat sounds with their mouth in an attempt to imitate them and are able to memorize peculiar sounds in their daily lives. If music is a natural human language, it would be inconsistent to limit learning to mere passive listening.

Building a musical repertoire goes far beyond the passive assimilation of a song. It is in this plural constitution that musicalization achieves its social role. Create a space for dialogue between subjects, not only in the context of music, but also in speech.