O curso de canto da UNESP: o impacto do ensino superior no discurso dos seus egressos
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Data
2019-03-18
Autores
Velho, Homero Antonio Strini [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Esta tese de doutorado investiga como os egressos do curso de bacharelado em música-habilidade canto da UNESP avaliam sua educação universitária e o impacto que eles acreditam que essa sobre suas trajetórias profissionais. Esta tese encontra respaldo no crescente interesse de IES nos estudos de egressos como método de avaliação institucional. Através de uma abordagem metodológica mista (quantitativa e qualitativa) foi possível traçar as trajetórias musicais e profissionais dos egressos do curso de canto desde o período pré-universitário, passando pelos anos de graduação e escolhas profissionais após a conclusão do curso. A análise dos dados coletados utilizou-se da teoria de campos do sociólogo francês Pierre Bourdieu, que serviu tanto para delimitar um “campo vocal” dentro das atividades profissionais existentes na grande área de música, quanto para explicar como a universidade, pertencente ao campo acadêmico, ignora as especificidades inerentes à área da música, pertencente ao campo da produção artística. O enfraquecimento dos conservatórios e a derrocada do ensino musical na educação básica brasileira transformaram o curso superior em música em uma versão reestruturada do modelo conservatorial. Os resultados nos mostram que a maior parte dos egressos investigados buscavam na UNESP uma formação musical institucional estruturada. Embora o curso de canto tenha sofrido críticas específicas relativas ao seu funcionamento, a maior parte dos egressos consegue se manter economicamente ligada à música, mesmo que nem todos tenham conseguido se posicionar profissionalmente da maneira que desejavam ao ingressar na universidade. O mercado para os cantores líricos no país, reflexo do descaso sistêmico da música erudita como parte de uma política cultural nacional, não é capaz de acomodar a contento o número de cantores que se formam todos os anos nas universidades brasileiras.
This doctoral dissertation investigates how alumni from the Bachelor of Music – voice – degree from UNESP evaluate the impact tertiary education had on their professional careers. This thesis is justified by the growing interest that HEIs attribute to alumni studies as a method of institutional evaluation. Using mixed methods of investigation (quantitative and qualitative) it was possible to trace alumni’s professional and musical paths beginning from their pre-university years, continuing through their university education and professional choices after graduation. Pierre Bourdieu’s theory of social fields was used to interpret collected data and was used in delimiting a “vocal field” within the professional activities within music as a general area, as well as an explanation of how the university, which belongs to the academic field, ignores the inherent specificities of music, which belongs to the field of artistic production. The weakening of conservatories and the collapse of music education in Brazilian primary education have restructured tertiary music education into functioning as version of the conservatory model. The results show that most of the alumni look for an institutionally structured music degree that will tend to basic music training and understanding. Although the voice program was criticized because of operational flaws most of its alumni have been active in the music field, even though not all were able to position themselves professionally as they had envisioned when they entered university. The market for classically trained singers in Brazil reflects the systemic unimportance that classical music has in modern society, which can be seen in the lack of cultural public policies. The history of performing organizations show us that this market is unable to adequately accommodate singers who graduate every year from Brazilian universities.
This doctoral dissertation investigates how alumni from the Bachelor of Music – voice – degree from UNESP evaluate the impact tertiary education had on their professional careers. This thesis is justified by the growing interest that HEIs attribute to alumni studies as a method of institutional evaluation. Using mixed methods of investigation (quantitative and qualitative) it was possible to trace alumni’s professional and musical paths beginning from their pre-university years, continuing through their university education and professional choices after graduation. Pierre Bourdieu’s theory of social fields was used to interpret collected data and was used in delimiting a “vocal field” within the professional activities within music as a general area, as well as an explanation of how the university, which belongs to the academic field, ignores the inherent specificities of music, which belongs to the field of artistic production. The weakening of conservatories and the collapse of music education in Brazilian primary education have restructured tertiary music education into functioning as version of the conservatory model. The results show that most of the alumni look for an institutionally structured music degree that will tend to basic music training and understanding. Although the voice program was criticized because of operational flaws most of its alumni have been active in the music field, even though not all were able to position themselves professionally as they had envisioned when they entered university. The market for classically trained singers in Brazil reflects the systemic unimportance that classical music has in modern society, which can be seen in the lack of cultural public policies. The history of performing organizations show us that this market is unable to adequately accommodate singers who graduate every year from Brazilian universities.
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Palavras-chave
Egressos, Canto lírico, Habitus conservatorial, Mercado para o cantor lírico, Ópera, Alumni, Classical singing, Conservatorial habitus, Market for classical singers, Opera