Humanities Languages and Arts
Master’s Program
The Music Graduate Program (Programa de Pós-Graduação em Música – PMU), founded in 2019 and focused on the concentration area “Praxis and Epistemology of Music,” is grounded on the articulation between artistic and musical practice, the study of musical knowledge and the multiple forms of musical teaching and learning.
Musical practice results in the construction of a framework of theoretical musical conceptions, which, in turn, determines in equal measure the development and transformation of practice itself. In this sense, praxis, understood here as the action and production of different musical phenomena and approached as an object of research, contributes to the construction of a set of theoretical reflections which intends to overcome a non-reflexive practice. In a similar way, music epistemology, understood here as the study of musical knowledge in its multiplicity of conceptions and also approached as an object of research, should lead to a practice-oriented conception of music.
Taking this into account, the Program encompasses the different relations between humans, their musical praxis and the many different ways of teaching and apprehending musical knowledge. Therefore, its objective is to present itself as a convergence site for practices, knowledge and processes of musical teaching and learning, working as a facilitator of the verticalization of knowledge responsible for the expansion and strengthening of scientific, artistic, and educational work in the field of music.
Investigations carried out under the Program should reflect this concern of provoking the involvement of research in music with social phenomena. The concentration area directs the Program to the development of investigative abilities and critical sense, essential traits to artistic and scientific production, as well as to the practice of musical teaching.
In this context, the Program is organized in two different fields of research. The field “Processes of Musical Teaching and Learning” addresses musical teaching and/or learning in varied social and cultural realities. The second field, “Construction Processes and Practices of Musical Expression,” deals with conceptual and practical investigation directed to the critical and reflexive creation and interpretation of musical discourse. The academic staff’s profile is characterized by the processes of education and creation, which opens the possibility of dialogues and exchanges between both research fields, stressing the importance of science in artistic production and social development.
Musical practice results in the construction of a framework of theoretical musical conceptions, which, in turn, determines in equal measure the development and transformation of practice itself. In this sense, praxis, understood here as the action and production of different musical phenomena and approached as an object of research, contributes to the construction of a set of theoretical reflections which intends to overcome a non-reflexive practice. In a similar way, music epistemology, understood here as the study of musical knowledge in its multiplicity of conceptions and also approached as an object of research, should lead to a practice-oriented conception of music.
Taking this into account, the Program encompasses the different relations between humans, their musical praxis and the many different ways of teaching and apprehending musical knowledge. Therefore, its objective is to present itself as a convergence site for practices, knowledge and processes of musical teaching and learning, working as a facilitator of the verticalization of knowledge responsible for the expansion and strengthening of scientific, artistic, and educational work in the field of music.
Investigations carried out under the Program should reflect this concern of provoking the involvement of research in music with social phenomena. The concentration area directs the Program to the development of investigative abilities and critical sense, essential traits to artistic and scientific production, as well as to the practice of musical teaching.
In this context, the Program is organized in two different fields of research. The field “Processes of Musical Teaching and Learning” addresses musical teaching and/or learning in varied social and cultural realities. The second field, “Construction Processes and Practices of Musical Expression,” deals with conceptual and practical investigation directed to the critical and reflexive creation and interpretation of musical discourse. The academic staff’s profile is characterized by the processes of education and creation, which opens the possibility of dialogues and exchanges between both research fields, stressing the importance of science in artistic production and social development.
Natália Corbello Pereira
Liliam Cristina Marins