Memórias e práticas do ensino de música no Grupo Escolar Farroupilha/RS (1938-1945)

Abstract

The research sought to produce a narrative of the teaching of music of the FArroupilha School Group, between the years of 1938 and 1945, considering practices and cultures evidenced in documental and photographic sources, coming from public and private collections as well as the production of the narrative of five former students.Thus, the methodology used is an oral history with documentary analysis. The temporal cut of the study is from 1938, year in which a new exercise of the institution is inaugurated, until 1945, when Estado Novo ends. Possessing historical character, the writing is developed having as an epistemological orientation the Cultural History. The theoretical-methodological assumptions that guided the analysis were especially the contributions of the historians: Chartier (2009, 2002, 2010), Burke (2008), Pesavento (2008) Barros (2003), among others. The researched institution is inserted in a context of Italian immigration, therefore, the study refers how policies imposed by the government during the Estado Novo period influenced the daily life of this institution. The training of the teachers of the Farroupilha School Group was also analyzed through parallels between the musical teaching developed at the Complementary School of Caxias and the work done by the teachers. Through the trajectory of the music teachers that worked in that institution, the scope of the project of the Canto Orfeônico within the RS was identified, because the teachers received training in courses offered in São Paulo by the Superintendency of Music and Arts Education. The representations found show that the song performed in the institution, at first, was interpreted without instrumental accompaniment, being performed a capella. The interpretation of the songs also did not employ vocal arrangements that required so much technique, and evidences indicate that most of the time they were held in unison. The musical teaching practices identified were especially related to the context of the festivities, through musical numbers involving singing and dances. It was evidenced the inculcation of a civil standard and the attempt to shape a citizen ready to serve the homeland through the songs of patriotic content and the hymns. This repertoire was consonant with precepts and themes. This perspective of teaching approached the presuppositions stipulated by Villa-Lobos in the Canto Orfeônico, discipline that is implanted in the basic education in national scope that especially aimed the canto coral, considered as means of moral and intellectual formation, besides being one of the more competent manners to work patriotism on the people. Thus, although the research has a local focus, the study brings aspects of how the project reaches Rio Grande do Sul, where the teaching of music is implemented through legislation, with the objective of vocal practice.