Read the text below
It is important to emphasize that it isn’t a question of changing an ethnocentric focus wellmarked
from European root by an African, but rather of broadening the focus on the school
curricula to the Brazilian cultural, racial, social, and economic diversity. For this, it is necessary to
be sure that Art. 26-A added to Law n. 9.394/ 1996 provokes much more than an inclusion of new
contents, it requires rethinking about ethnic-racial, social, pedagogical relations, teaching
procedures, conditions offered for learning, tacit and explicit goals of the education offered by
schools (BRASIL, 2014).
The multiculturalism in art teaching implies a broad conception of art, capable of encompassing
multiple and differentiated artistic manifestations, and the same is placed on a specific field of
musical education. A broad conception of music is, on the one hand, a necessary condition for that
musical education can respond to the multicultural perspective. On the other hand, the conception
of multiculturality contributes to the expansion of the conception of music that guides our
educational position. In its origins, the multicultural movement is basically linked to ethnic issues,
but little by little it "gives space to other aspects of cultural domination" (GONÇALVES; SILVA,
2000, p. 28).
PENNA, Maura. Poéticas musicais e práticas sociais: reflexões sobre a educação musical diante da diversidade. Revista da
ABEM, Porto Alegre, V. 13, 7-16, set. 2005. Adaptado. Versão nossa.
Considering the presented text, evaluate the following statements and the relation proposed
between them.
I - The multiculturalist posture must embrace the diversity of artistic and musical productions,
linked to different social groups that produce or adopt certain musical poetics such as theirs,
whether these groups are marked by particularities of class, region or generation, for
example. As a consequence of this position, the references to pedagogical practices in music
education can’t be restricted to classical music, which is rooted in European culture. It is
essential to embrace the diversity of musical manifestations, including the popular ones and
those of the media.
BECAUSE
II- The music, as well, in the play of its configurations, presents modes of engenderment that
are typical from the poetic function of language, namely projections of similarity, in their most
diverse possibilities of updating, on the axis of contiguity. [...] Poetry and music are
constructions of forms, games of structuring, echoes and reverberations, progressions and
retrogradations, overlaps, inversions, in short, poets and musicians are visual designers of
the language (SANTAELLA, 2002, p. 46-47, versão nossa).
Regarding these statements, mark the correct alternative:
Read the text below
It is important to emphasize that it isn’t a question of changing an ethnocentric focus wellmarked from European root by an African, but rather of broadening the focus on the school curricula to the Brazilian cultural, racial, social, and economic diversity. For this, it is necessary to be sure that Art. 26-A added to Law n. 9.394/ 1996 provokes much more than an inclusion of new contents, it requires rethinking about ethnic-racial, social, pedagogical relations, teaching procedures, conditions offered for learning, tacit and explicit goals of the education offered by schools (BRASIL, 2014).
The multiculturalism in art teaching implies a broad conception of art, capable of encompassing multiple and differentiated artistic manifestations, and the same is placed on a specific field of musical education. A broad conception of music is, on the one hand, a necessary condition for that musical education can respond to the multicultural perspective. On the other hand, the conception of multiculturality contributes to the expansion of the conception of music that guides our educational position. In its origins, the multicultural movement is basically linked to ethnic issues, but little by little it "gives space to other aspects of cultural domination" (GONÇALVES; SILVA, 2000, p. 28).
PENNA, Maura. Poéticas musicais e práticas sociais: reflexões sobre a educação musical diante da diversidade. Revista da ABEM, Porto Alegre, V. 13, 7-16, set. 2005. Adaptado. Versão nossa.
Considering the presented text, evaluate the following statements and the relation proposed between them.
I - The multiculturalist posture must embrace the diversity of artistic and musical productions, linked to different social groups that produce or adopt certain musical poetics such as theirs, whether these groups are marked by particularities of class, region or generation, for example. As a consequence of this position, the references to pedagogical practices in music education can’t be restricted to classical music, which is rooted in European culture. It is essential to embrace the diversity of musical manifestations, including the popular ones and those of the media.
BECAUSE
II- The music, as well, in the play of its configurations, presents modes of engenderment that are typical from the poetic function of language, namely projections of similarity, in their most diverse possibilities of updating, on the axis of contiguity. [...] Poetry and music are constructions of forms, games of structuring, echoes and reverberations, progressions and retrogradations, overlaps, inversions, in short, poets and musicians are visual designers of the language (SANTAELLA, 2002, p. 46-47, versão nossa).
Regarding these statements, mark the correct alternative:
Read the text below.
Read the text below.
