Banca de QUALIFICAÇÃO: ALAN SILVA

Uma banca de QUALIFICAÇÃO de MESTRADO foi cadastrada pelo programa.
STUDENT : ALAN SILVA
DATE: 20/03/2026
TIME: 15:00
LOCAL: Videoconferência
TITLE:

Eduardo Gramani's approach as a decolonial perspective for teaching rhythmics: an action research project in the Global Music program at the Sibelius Academy.

KEY WORDS:

music education, decoloniality, action research, emancipatory practices.

PAGES: 70
BIG AREA: Lingüística, Letras e Artes
AREA: Artes
SUMMARY:

Based on an exchange program at the Sibelius Academy's global music program, this research aimed to capture didactic approaches to music education, focusing on the rhythmic element, from a decolonial perspective. The chosen methodology was qualitative research (Gil, 2008; González, 2020; Deslandes et al; 2002; Godoy, 1995; Bresler, 2007) using action research approaches (Thiollent, 1986; Tripp, 2005; Franco, 2005). Their rationale concerns contributing to the landscape of teacher training for higher education in Brazil from a decolonial perspective, whereby, through a hybrid training (Zeichner, 2010; Idrus, 2015; Veles, 2023; Whitchurch, 2008), they will be able to work in different teaching situations (Queiroz; Marinho, 2005; Del Ben, 2003). Their theoretical framework permeates the concept of hybridity and Homi K. Bhabha's (1989) theory of the third space, along with Aníbal Quijano's (2019) decolonial conceptions, with the perspective that Latin America is embedded in a new model of global power. This is based on a literature review focused on the contributions of these two schools of thought to the field of music. This study approached the concept of "emancipatory practices" as the core of a study group based on Eduardo Gramani's (2013) 2-1 series, which allowed for an attempt to frame the author's thinking within decolonial conceptions. As a result, the research revealed that, although decolonial studies in the field of music are already present, research involving rhythmic aspects is still under construction (Bezerra, 2021). Therefore, in addition to different activities, this study makes accessible two rhythmic games originating from East Africa in order to contribute to this scenario. It reflects on a possible characterization of a rhythmic musical formation that opposes Eurocentric conceptions. Concomitantly, it raises a question regarding a possible musical formation focused on body percussion, which may prove promising for the advancement of the decolonial perspective in music education in Brazil.

COMMITTEE MEMBERS:
Presidente - ***.337.844-** - GIANN MENDES RIBEIRO - UERN
Externo à Instituição - GLEISSON DO CARMO OLIVEIRA
Interno - 1017535 - TIAGO DE QUADROS MAIA CARVALHO