O frevo e a sua escuta por estudantes do Conservatório Pernambucano de Música: uma abordagem discursiva

Abstract

This research aimed to analyze students' discourses about their relationship with frevo within the teaching-learning conditions of the Pernambuco Conservatory of Music. We analyzed the presence of frevo teaching in normative and institutional documents. We sought to understand students' discourses regarding their relationship to listening to frevo. We developed an educational product in the form of a digital book (including a teaching sequence)—based on frevos by the composer Capiba—to foster understanding of frevo listening practices from different eras and contribute to a humane and comprehensive education. We assume that frevo is an artistic expression constructed through a socio-historical process. The research was qualitative, exploratory, and descriptive in nature. Regarding the technical procedures, the research consisted of three stages: literature review, document analysis, and action research. Regarding the literature review, we found that numerous researchers investigate frevo from different perspectives. However, the research located does not focus on the teaching and listening of frevo from a perspective that considers the socio-historical-discursive aspects of the compositions and, at the same time, the french materialist Discourse Analysis. As for the composition of the documentary corpus, we analyzed some curricular documents from the institution, both general and related to technical courses. The results indicate that the prescribed curriculum should include theoretical and practical approaches to frevo in the program content, which, in turn, already occurs in the curriculum shaped by teachers and management. We found that frevo remains quite alive, whether through the offering of subjects, the performance of repertoire, and artistic presentations by representative groups. The action research was conducted in the Frevo Practice class through four lessons, where frevo listening activities were developed from a socio-historical-discursive perspective. The theoretical-methodological framework used was Materialist Discourse Analysis, based on Orlandi and Pêcheux. Regarding the themes related to Vocational and Technological Education, our theoretical framework consisted of classic categories, such as Ramos's integral human development and Kuenzer's understanding of work as an educational principle. In the listening category, we drew on Machado and Pêcheux's concept of social listening. The results demonstrated that the students' statements regarding frevo are marked by affective memories linked to Carnival and the musical ideology inherent in a variety of musical genres, such as choro, classical music, manguebeat, jazz, and rock. However, they also demonstrated, through their words, that there was a change in perspective in the way of thinking, starting from the frevo listening classes, under a discursive approach, towards a holistic human formation