Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Instrumental music teachers usually recognize some aspects of students’ motivation. However, we do not know teachers’ opinions about students’ motivation, specifically what do they consider a motivated or unmotivated student. To support this study, we adopt Self-Determination Theory perspective, which define autonomous motivation as high quality of motivation and controlled motivation as low quality of motivation. From that, the aim was to know what instrumental music teachers mean by high- and low-quality motivated students. To conduct an in-deep study, we interviewed five instrumental music teachers. As results, teachers recognize some relevant traces of motivation, both in positive and negative aspects. For high-quality motivation, teachers highlighted interest, effort, curiosity, and identification with the task. For low-quality motivation, teachers emphasized the obligation to attend classes, absence behaviors, alienation, and lack of interest. Teachers, however, didn't mention others relevant motivations aspects, as beliefs in own capability, strategies to study and causal attributions. This indicates that it could be productive to approach motivation theories in music teacher training.

The article resumes the discussions about teacher   reflection and the experiences experienced in liquid times (where clickativis and mercantilization are present) understanding them as significant and powerful knowledge for their learning from alternation (alter-ego).  Thus, thinking about the impacts that digital tools have engendered in the daily life of schools when they come across the active and hyperactive senses that digital produces and its latent effects is necessary, because attention to academic knowledge seems to have been lost to the detriment of the potentialities offered by networks.  Thus, looking at the teacher and his spectrum of action (which includes elements of mental, emotional, relational health, and others), is quick to exercise, because, it says about the time of thinking, a dwell on the productive conceptual understanding between man and the machine.

É com muita satisfação que a Revista Caminhos da Educação apresenta seu primeiro número do ano de 2023, um importante marco em nossa trajetória. Ao longo de cinco anos de existência, nosso periódico tem se destacado por promover diálogos entre os diferentes campos da área da educação, incentivando reflexões e discussões acerca de saberes, artes, políticas, experiências, culturas e diversidades. Desde a sua criação, a revista tem como objetivo principal fomentar o debate acadêmico, por meio da publicação de textos que contemplam as mais diversas perspectivas e abordagens teóricas e que abarcam a diversidade nas formas de ser, existir e pensar. Em nossos cinco volumes, 13 números e 137 artigos, procuramos oferecer aos leitores conteúdos de qualidade, com rigor científico, sempre na busca da excelência em nossas publicações. O dossiê temático deste número intitulado Ensino de Instrumento Musical e as Didáticas Inovadoras, foi organizado pelos professores Marco Antonio Toledo Nascimento, da Universidade Federal do Ceará – UFC, e pelo francês Francis Dubé, da Universidade Laval do Canadá. A área de didática da música ainda é uma área relativamente recente de pesquisa. Com a diversidade atual das práticas musicais, a expansão dos contextos escolares e extraescolares para o ensino de instrumentos musicais, juntamente com a indução forçada pelo ensino musical remoto durante a pandemia, os autores participantes do dossiê se debruçaram sobre o desenvolvimento e a aprendizagem musical neste novo contexto. Ainda neste número, há nove artigos da livre demanda de fluxo contínuo. Temos a certeza de que os leitores encontrarão conteúdos relevantes e atuais, que estabelecem conexão com o foco e escopo deste periódico acadêmico. Os temas abordados nos artigos são diversos e versam sobre assuntos como inclusão, diversidade, artes, cultura e educação. Acreditamos que esses artigos estimulam o debate acadêmico e incentivam a reflexão sobre as questões educacionais numa perspectiva ética e social. Para a equipe editorial é motivo de grande satisfação poder contribuir para o avanço do conhecimento científico na área de educação. Agradecemos aos autores por compartilharem suas pesquisas e reflexões conosco e os parabenizamos pelo excelente trabalho. Agradecemos também aos avaliadores que se dedicam com rigor e excelência à avaliação dos artigos aprovados à revista. Enfim, desejamos ao nosso público tenha uma ótima leitura e que este número sensibilize para os valores educativos, humanos e sociais. Que possamos seguir juntos, confiantes para o avanço do conhecimento científico na área de educação e para a construção de uma sociedade mais justa e igualitária.

These research presents the results of an undergraduate final work of the Music Course - Undergraduate degree from the Federal University of Ceará - Sobral Campus (UFC - Sobral) which aimed to verify the possibility of metacognition development in beginner students of transverse flute. This research is connected to the integrated research project "Metacognition and Music Band: Strategies Applied to the Teaching of Wind Instruments" from the Research Group in Music Education "PesquisaMus". Using a pedagogical intervention strategy that stimulates the development of metacognition entitled "Strategy in three phases" (Garcia; Dubé, 2012), it was possible to observe that the beginning students of transverse flute of the optional discipline Complementary Instrument I, of the Music Course - Licenciatura of UFC - Sobral, despite having developed the expected skills in instrumental practice in only eight hours of course, did not demonstrate the development of metacognitive skills.

This paper wants to start a reflection on the use of the music of the Other as pedagogic tool at school. Especially, it deals with an Afro-Brazilian tradition, the batucada, in French public school. But the analyze of the knowledge conveyed by such practices, reveals an important gap in comparison with the endogenous references. Trying to understand a little bit better this phenomenon is the goal of this work. After having studied the conditions of the transmission of Afro-Brazilian music, both in Brazil and in France, the Anthropological Theory of Didactics developed by Chevallard and specifically the concept of Didactic Transposition, has been used as a framework. The development of a model of didactic situations transculturation allows to show that this — pedagogical and exogen — use of the batucada induces a series of paradigmatic shifts. One of them concerns the French teacher, whom responsibility in the musical knowledge transmission appears exacerbated. Unfortunately, a mismatching cognitive perception denies his access to some musical fundamentals and disrupts his transposition ability

This article presents reflections on guitar teaching in the context of a degree in music based on the principles of Shared Musical Learning (OLIVEIRA, 2017). After a brief contextualization on the character of instrumental guitar practice in the Degree in Music at the Federal University of Ceará on the Campus of Sobral, I present the principles of Shared Musical Learning. Then, I present a report on some guitar teaching practices, namely: Roda of Music, Roda of Improvisation, teaching to study and managing stage nervousness. Finally, I highlight the importance of reflecting and explaining the pedagogical principles adopted in guitar teaching, especially considering the current Brazilian context.

The current text discusses the contributions of the mandatory supervised training and the pedagogical practice in the training of the future history teacher/researcher from the articulation with the theoretical-methodological perspectives of local history. The work is the result of the experience of a project developed with the students of the eighth block of the Licentiate in History course at the State University of Piauí, in São Raimundo Nonato, while they were attending the Mandatory Supervised Training III and the Interdisciplinary Pedagogical Practice VIII components. The experience emphasizes the elaboration and application of didactic workshops, taught remotely, on the histories of Piauí and the municipality of São Raimundo Nonato in close dialogue with the use of digital communication and information technologies.

The didactics of music is still a relatively recent area of research in music education (BOURG, 2021). However, the current diversity of musical practices, the recent expansion of school and extracurricular contexts for the teaching of musical instruments (NASCIMENTO, 2022), as well as the forced induction by an epidemic to remote music teaching (LEMAY, 2021) have stimulated teachers' reflections on musical development and learning in this new context. This edition Revista Caminhos da Educação proposes the diffusion of research permeated by new didactic paths taken by musical instrument teachers in their pedagogical practices.

This article presents the investigation of artivism in clowning, having as a source of analysis the caravans of the group “Mothers in Rebellion” and thus problematizing aesthetic and ethical issues of these artistic actions. Therefore, this research began its course by describing the reality and the political and ethical position of the caravans with the “Clowns in Rebel” in “Learning to be Rebel”. Then, with “Affective artivism”, reflections are developed on the philosophical concept of affection and artivism as a tool that enhances the action of joy. The research then developed the concept of declowning in “From personal failure to collective failure”, thus expanding to reflections on the renewal of the practice of clowning based on the concept of nhandereko and teko porã, expressions that in Guarani represent “good living”.

The interview with Walter Carlo sought to obtain data on possible distinctions among the learning, creation and performance processes experienced in circus between the 1940’s and 1990’s (period in which he acted as an artist) and those offered in professional schools, especially the Luiz Olimecha National Circus School (ENC) where he was a teacher between 1995 and 2018. It also addressed unique aspects of circus life, education and work in the mentioned period, such as the difficulty in accessing formal education, the methodologies and characteristics of artistic teaching in itinerancy and the workspaces beyond the big tops. The statement also brings information about the integration of elements from different arts in the circus scene and the resources most validated by this artist and his contemporaries in the ways of creating and inserting his acts in the market, offering a record of memory and artistic, cultural and social production of the Brazilian circus.