Planejamento escolar e o ensino de música na educação básica
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Data
2016-06-08
Autores
Liidtke, Marla Ebinger Moraes [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Em toda e qualquer filosofia e teoria educacional, o planejamento escolar é visto como necessário para que se efetive uma prática pedagógica consciente e eficiente. Entendemos então que ele também deve integrar o ensino musical, pois viabiliza direcionamentos visíveis, práticas fundamentadas e metodologias contextualizadas; mais que isto, ele resgata o sentido da educação musical na escola. Parte do pressuposto de que o ensino de música só será de fato inserido na escola básica, quando direcionado e fundamentado por uma matriz curricular pensada coletivamente e por planejamentos pedagógicos a ela relacionados. Esta dissertação tem como objetivo analisar o conceito de planejamento escolar, investigando sua validade na educação musical, verificando como o planejamento pedagógico e curricular é feito pelos educadores musicais, professores e coordenação pedagógica em escolas particulares de ensino fundamental. O assunto planejamento escolar é amplamente investigado pelas Ciências da Educação, sendo um assunto de interesse do Currículo e da Didática. No campo da música, porém, pouco é abordado. Essa pesquisa é de caráter misto. Contemplou parte de uma bibliografia voltada para as Ciências da Educação, definindo o que é planejamento, quais seus tipos e componentes, bem como as diferentes formas de conceber planejamento nas três principais teorias do currículo: Teoria Tradicional, Teoria Prática e Teoria Crítica. A fundamentação teórica embasou-se em autores que investigam o planejamento crítico, os quais defendem a participação igualitária de professores, gestores e alunos no processo de decisão sobre objetivos, conteúdos, procedimentos e avaliações do ensino e aprendizagem. Nessa linha, Celso Vasconcellos, Jose Carlos Libâneo e José Augusto Pacheco são as principais fontes. A pesquisa de campo foi feita por meio de entrevistas semiestruturadas, com 09 (nove) professores de música de escolas básicas particulares da cidade de São Paulo, analisadas quantitativamente e qualitativamente. Concluímos que as escolas investigadas não possuem um projeto curricular para o ensino musical, sendo que os professores de música ora seguem um livro didático imposto de maneira rígida pela instituição, ora decidem sozinhos o que ensinar e o seus planos didáticos tomam o lugar do planejamento curricular institucional. Tal atitude aponta para a incompreensão por parte dos educadores musicais e das instituições, do sentido maior do planejamento conforme explicitado no capítulo I.
In every single educational philosophy and theory, the educational scheduling is taken as an important tool in order to implement a conscious and efficient pedagogical practice. Therefore, we understand that this scheduling must integrate the musical education because promote straight directions, reasoned practices e contextualized methodologies. More than this, the educational scheduling rescues the meaning of the musical education in the school. It is assumed that the musical education will be only included in a basic school program when this will be directed and settled up by a curricular model collectively prepared and by pedagogical scheduling related to it. This dissertation reviews the educational scheduling concept, investigating its credibility and expiration into the musical education and checking out how the pedagogical and curricular scheduling is planned and made by the musical educators, teachers and pedagogical coordinators into the private elementary schools. The educational scheduling issue is hugely investigated by the Educational Sciences, being a matter of relevant meaning for Curriculum and Didactic. However, for Music this issue is a lot less approached. This research talks about both of them. It is contemplating part of a bibliography with focus on Educational Sciences, explaining what the scheduling is about, what are all the kinds and components, such as the different ways of making scheduling in the three main curriculum´s theories: Traditional Theory, Practical Theory and Critical Theory. The theoretical principles were made thinking of the authors that investigate the critical scheduling, the ones who support the teacher’s equitable involvement, leaders and students who are able to decide the purposes, contents, procedures and teaching and learning evaluations. Following this point of view, Celso Vasconcellos, Jose Carlos Libâneo e José Augusto Pacheco are the main sources. The researches were made using framed interviews with nine musical teachers from private schools in Sao Paulo capital. All the questions were analysed qualitatively and quantitatively. We concluded that the schools that were investigated do not have a curricular project for the musical education. The musical teachers sometimes adopt a didactical book imposed in a tough way by the institution; sometimes decide on their own what to teach and which didactical plans will be used as institutional curricular scheduling. This behavior shows a kind of musical educators misunderstanding and also some institutions’ misunderstandings too, according to the planning explained in the first chapter.
In every single educational philosophy and theory, the educational scheduling is taken as an important tool in order to implement a conscious and efficient pedagogical practice. Therefore, we understand that this scheduling must integrate the musical education because promote straight directions, reasoned practices e contextualized methodologies. More than this, the educational scheduling rescues the meaning of the musical education in the school. It is assumed that the musical education will be only included in a basic school program when this will be directed and settled up by a curricular model collectively prepared and by pedagogical scheduling related to it. This dissertation reviews the educational scheduling concept, investigating its credibility and expiration into the musical education and checking out how the pedagogical and curricular scheduling is planned and made by the musical educators, teachers and pedagogical coordinators into the private elementary schools. The educational scheduling issue is hugely investigated by the Educational Sciences, being a matter of relevant meaning for Curriculum and Didactic. However, for Music this issue is a lot less approached. This research talks about both of them. It is contemplating part of a bibliography with focus on Educational Sciences, explaining what the scheduling is about, what are all the kinds and components, such as the different ways of making scheduling in the three main curriculum´s theories: Traditional Theory, Practical Theory and Critical Theory. The theoretical principles were made thinking of the authors that investigate the critical scheduling, the ones who support the teacher’s equitable involvement, leaders and students who are able to decide the purposes, contents, procedures and teaching and learning evaluations. Following this point of view, Celso Vasconcellos, Jose Carlos Libâneo e José Augusto Pacheco are the main sources. The researches were made using framed interviews with nine musical teachers from private schools in Sao Paulo capital. All the questions were analysed qualitatively and quantitatively. We concluded that the schools that were investigated do not have a curricular project for the musical education. The musical teachers sometimes adopt a didactical book imposed in a tough way by the institution; sometimes decide on their own what to teach and which didactical plans will be used as institutional curricular scheduling. This behavior shows a kind of musical educators misunderstanding and also some institutions’ misunderstandings too, according to the planning explained in the first chapter.
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Palavras-chave
Planejamento de ensino, Planejamento curricular, Planejamento escolar, Teoria crítica da educação, Educação musical, Música na escola, Education scheduling, Curriculum scheduling, Education critical theory, Musical education, Music in the schools