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“Nervos de Aço": funções sociais da canção e a BNCC-EM
(Universidade Federal do Espírito Santo, 2023-11-27) Gomes, Emiliane Santana; Vermes, Viviana Monica; http://lattes.cnpq.br/3806495173897941; https://orcid.org/0000-0003-4512-2477; http://lattes.cnpq.br/9394256697668934; Nathanailidis, Andressa Zoi; http://lattes.cnpq.br/3371274869641421; Salgueiro, Maria Amelia Dalvi; http://lattes.cnpq.br/9399371418356916; Adeodato, Ademir; Neta, Nair Floresta Andrade
This bibliographic and documentary research investigates the place occupied by music in the National Common Curricular Base (BNCC-EM), in order to enhance the romantic song “Nervos de Aço”, by Lupicínio Rodrigues. The privileged literary-musical genre, the romantic song, can make it possible to study the social functions of music that interfere with human formation and that, therefore, needs to be considered in the construction of the curriculum. From a theoretical point of view, the research is based on the contributions of Finnegan (2008) and Luiz Tatit (2012), about the song, and the studies by Ulhôa and Pereira (2016), about the romantic song; also we study Merriam (1964), regarding the social functions of music; Gonçalves (2021), Andrade and Motta (2020), regarding the relationship between The Reform of Secondary Education (NEM) and the BNCC as a curriculum that is in favor of capitalism; and by Saviani (2020), Malanchen, Matos and Orso (2020) as main studies that bring Historical-Critical Pedagogy (PHC) to overcome of capitalist influences in education and the pedagogical approach to skills, among other authors. This study takes into account that the BNCCEM as an educational reform, began to decisively influence the pedagogical work of teachers and to consolidate itself in Brazilian education and reduced the time and space for music in classrooms. The study is based on the hypothesis that the BNCC does not value the song in the way that this literary musical genre deserves. Even if the song is present in the official document this does not mean that is valued, as it was found that the BNCC-EM does not value the song based on more than two of the social functions of music brought by Merriam (1964). It is confirmed that the song privileged in our research makes it possible to study the ten main social functions of music, favoring the study of various social, historical and ideological themes. It is concluded that the Pedagogy of Competences (PC), as proposed by the BNCC and standardizes teaching and devalues song, is incompatible with the search for comprehensive training that involves valuing the literary-musical genre based on social functions as a whole. In accordance with the economic interests that support Brazilian education, the training model proposed by BNCC-EM is compatible with the neoliberalism that exists in this educational reform by presenting market strategies as the learning objective. Therefore, it is not a question of improving the BNCC-EM, but of criticizing the simplistic and utilitarian way in which the song is found in the high school curriculum. It is necessary to criticize the reform if we wish to defend music as a human expression for social transformation.