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ISME Website History Standing Committee IHME Homepage BRAZIL - Historical Overview Music Education in Brazil: An Historical Overview (Part 3) By Luciane Wilke Freitas Garbosa and Claudia Ribeiro Bellochio Edited by Robin Stevens For an unedited version of this historical overview of music education in Brazil that includes pictorial images, click on the icon below: LAW 5.692/71: ARTS EDUCATION AND THE �POLIVAL�NCIA� OF ARTS TEACHING AT SCHOOL In August 1971 the Law of Directions and Basis 5.692 was enacted (BRASIL, 1971). This regulated teaching in middle and high schools and extended the mandatory period of schooling from four to eight years. The result was greater access to education and the creation of the vocational schools. The law came effect at a time when people lived under the repression of the authoritarian and dictatorial state. Because of this Law, the scope of The Arts in Education was limited to a subject called �Artistic Education� which related the area of music to fine arts, drama and drawing according to the �Parecer do Conselho Federal de Educa��o� [Argument of the Federal Council of Education] (CFE) n.1.284 from 1973 and the �Resolu��o do CFE� [CFE Resolution] n. 23, written in February 1973 (BRASIL, 1982). According to the 7th article of LDB, �middle and high school were obliged to include the subjects Moral and Civic Education, Physical Education, Artistic Education and Health Program in the curriculums.� Thus, Artistic Education was now designed to promote connections between all arts, despite this not being defined in the words of the law and only set out in documents of other institutions (PENNA 2013; 2010; 2004). However, inside the classrooms, the training courses which teachers had undergone determined what aspects of the curriculum would be implemented or not, with subjects for which poor or no training had been received were either not taught or taught poorly. With regard to teacher training, undergraduate programs were required to prepare prospective teachers to implement all aspect of art education mentioned in the Law. Therefore, arts educators received training that varied from two to four years�called respectively �short graduation� or �full graduation�. As a result of generaliist training, school teachers were only able to give superficial attention to arts education and little by little some music and drama in schools declined. Teacher training was focused so broadly across the curriculum that teachers had too little time for more specialist areas such as the arts (PENNA, 1991, p. 58). It is also important to mention that durign the 1970s, teachers of fine arts were trained at the �Escolinha de Arte do Brasil� (see http://crv.educacao.mg.gov.br/aveonline40/banco_objetos_crv/%7B0EB7498D-8C5C-47FD-92BA-553DB7C66151%7D_Arte%20Educa%C3%A7%C3%A3o%20no%20Brasil%20do%20moderismo%20ao%20p%C3%B3s-modernismo.pdf and http://www.anpap.org.br/anais/2012/pdf/simposio3/sidiney_peterson_lima.pdf) [Little School of Arts of Brazil] whereas music teachers received no systematic and consistent training and ended up with little or no ability to teach music in the classroom. Accordingly, school music did not compare favourably with music activities outside the schools. Therefore, between 1971 and 1996, when the new LDBEN (Law of Directions and Basis of Education) was enacted, the subject of music as a discipline area declined in the school curriculum. Many reasons explain the reduced status of music as part of Artistic Education; these related to 1) the poor standards of teacher training in the three art forms�art, drama and music; 2) the much larger number of teachers with a specialism in fine arts; 3) most of the teachers who specialized in music chose to teach the subject in music schools or conservatories rather than in schools. LAW 9.394/96 AND THE TEACHING OF ARTS The Law of Directions and Basis of Education 9.394/96 (LDBEN) was codified after the federal constitution of 1988 and was characterized by the re-introduction of democracy. The LDBEN sought to give recognition to the social needs of the country, to international programs designed to eradicate illiteracy, the right of all citizens to receive a school education, and the obligation of the state to provide school education.. With the enactment of LDB in 1996, the subject of �Artistic Education� was substituted by �Art Teaching�, incorporating Music, Visual Arts, Drama and Dance. According to the Law, �the teaching of art, especially in its regional expressions, should be an obligatory topic of the curriculum in the diverse levels of the basic education, aiming to promote a cultural development for the students� Wording of Law 12.287, de 2010. (BRASIL, 2010). The decision to offer all three art forms was left to the schools to decide. Because of their independence, schools were free to chose and organize the three art forms in their curriculum according to the vocational needs of their region. After that, MEC (the National Department of Education and Culture) published three volumes entitled �Referencial Curricular Nacional para Educa��o Infantil - RCNEI� (National Curriculum Reference for Pre-School) (BRASIL, 1988), and the �Par�metros Curriculares Nacionais - PCN� (National Parameters for Curriculums) for Middle School and High School (BRASIL, 1997; 1998; 1999). Recently, MEC provided the National Curricular Directions for the Basic Education (BRASIL, 2013a), a document which established a common national base and �guides the organization, planning and development of the evaluation of pedagogical proposals of all Brazilian education groups� (ibid., p. 4). LAW 11.769/08 AND THE MANDATORY TEACHING OF SCHOOL MUSIC Even though Law 9.394/96 and associated provisions established music as part of the Teaching of Arts in the schools, few musical activities were specified. As a result, musicians, professional associations and community representatives undertook a national advocacy initiative that was promoted in 2006 with the motto �We want Musical Education at School� (see http://cascavel.cpd.ufsm.br/tede/tde_arquivos/18/TDE-2011-10-15T100212Z-3257/Publico/AHMAD,%20LAILA%20AZIZE%20SOUTO.pdf). This advocacy initiative involved 94 national and international entities from the areas of both music and education. Because of this movement, there was strengthening parliamentary supportt which gradually gained national visibility. The Law 330/2006 sponsored by Senator Roseana Sarneywas approved and ensured that music became a mandatory school subject at school. In this context, the subsequent Law 11.769/08 established the mandatory content of music. However, due to the poor status of music education in Brazilian schools, the process of implementation was only gradual, so that even five years after the approval of the Law, the introduction of music was not achieved in a substantial manner. The �Conselho Nacioanal de Educa��o� [National Council of Education], represented by the �C�mara de Educa��o B�sica (CEB)� [Basic Education Assembly] was so concerned about this situation, that together with the �Associa��o Brasileira de Educa��o Musical� [Brazilian Association of Music Education], they arranged five national public meetings during 2013 in the five principal Brazilian regions to raise awareness and discuss the state of school music education with the national community. The result was the approval for the National Directions for the �Operacionaliza��o do Ensino de M�sica na Educa��o B�sica� (see file:///D:/Bibliotecas/Downloads/pceb012_13.pdf) [Operationalization of Music Teaching in the Basic Education] (BRASIL, 2013b), a document which specified musical knowledge and skills for schools, education authorities, pre-service teacher education and professional development, as well as for the Education Ministry. MUSIC EDUCATION ASSOCIATIONS AND POSTGRADUATE COURSES IN MUSIC EDUCATION After the 1980s, and more particularly after the 1990s, the transformation of music teaching in Brazil begin to occur, both in the formal schooling and outside of school education.. These changes resulted from the growth in postgraduate studies in music, the promotion and development of research in music education and the formation of collaborative research groups. In addition, research work undertaken in the broader field of education, especially in the areas of sociology, anthropology and psychology contributed for the strengthening of the music education research and of music teaching in schools. Following this line, a masters degree course focused on music education has been offered by the �Conservat�rio Brasileiro de M�sica� [Brazilian Music Conservatory] in Rio de Janeiro since 1982. However, an important impetus for music education research came from the establishment of ANPPOM (see http://www.anppom.com.br/index.php) at Bras�lia in 1988. In 1990 postgraduate courses in music with emphasis in music education were established at the Federal University of Rio Grande do Sul and at the Federal University of Bahia. During the 2nd Meeting of ANPPOM in 1991, the Brazilian Association of Music Education (ABEM) (see http://abemeducacaomusical.com.br/) was founded and it has arranged annual regional and national meetings with the objective of reuniting and strengthening the connection between researchers, teachers and others associated with music education promoting and discussing research in the field. In this context, ABEM has also published scholarly journal (see http://abemeducacaomusical.com.br/publicacoes.asp) as well as proceeding from its biennial conferences. Both ANPPOM and ABEM have contributed to and advocated for scholarship and policy development in music education in Brazil and in overseas countries. The synthesis of the historical development of music education and the current state of music pedagogy in Brazil is a complex task which demands interrogation of considerable data and then careful conjuncture to make possible a fuller understanding of Brazilian national profile of music education. Only by doing this will it be possible to fully appreciate the most important aspects of the music in the schools of the country and the contributions of professional associations. Finally, to speak about music in Brazil and music education through an historic perspective is a major challenge that certainly is not restricted to single narrative, but one among many possible narratives. REFERENCES ALMEIDA, F. M. de. Hist�rico do Conservat�rio Dram�tico e Musical de S�o Paulo In: Relat�rio do Conservat�rio Dram�tico e Musical de S�o Paulo. S�o Paulo: Typographia Fiume, 1931. ALMEIDA, Renato de. A m�sica brasileira no per�odo colonial. Rio de Janeiro: Imprensa Nacional, 1942. 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Dispon�vel em http://books.google.com.br/books?id=n8IGAAAAYAAJ&pg=RA1-PR6&lpg=RA1-PR6&dq=Decreto+n.1.542,+de+23+de+Janeiro+de+1855&source=bl&ots=lC-yzRXFNr&sig=bQTgovcoDPyrmJFWUB7jxP4CIT4&hl=pt-BR&sa=X&ei=rmxaU7O1A63MsQSd94KwBA&ved=0CDkQ6AEwAw#v=onepage&q=Decreto%20n.1.542%2C%20de%2023%20de%20Janeiro%20de%201855&f=false Acesso em 15 de fevereiro de 2014. ____. Decreto n. 1.331 A, de 17 de fevereiro de 1854. Approva o regulamento para a reforma do ensino primario e secundario no Municipio da C�rte. Cole��o das Leis do Imp�rio do Brasil, Rio de Janeiro, tomo 17, parte 2�, se��o 12�, 17 fev. 1854. Dispon�vel em: http://www.histedbr.fae.unicamp.br/navegando/fontes_escritas/3_Imperio/artigo_004.html Acesso em 15 de fevereiro de 2014. ____. Decreto-lei n. 4.993, de 26 de novembro de 1942. Institue o Conservat�rio Nacional de Canto Orfe�nico e d� outras provid�ncias. Rio de Janeiro, 1942. 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