This qualitative study aims to offer an insight into the term personal expression and its’ meaning and definition in the upper secondary school environment, in which the purpose of the study is to examine singing teachers’ interpretation of the term personal expression and their descriptions of the methods used to assess personal expression. The study has a discourse analytical approach in which concepts such as power, truth effect and construction are used to analyse the gathered material. Four singing teachers working at upper secondary schools participated in the study. Data was collected through semi-structured interviews. Three overarching discourses were identified: education, subjectivity and objectivity and personal expression. It was found that the teachers all helped shape and construct the truth effects of these discourses by their language: they constructed the truth effect that subjectivity in assessment is constant and that internalization and externalization are core elements in personal expression. Through the discourse, it was also discovered that a truth effect the teachers all constructed was that personal expression is hard to both teach and achieve.

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Fundação de Amparo a Pesquisa do Estado de Minas Gerais / Within the scope of teacher education and professional singing teacher practices, this study aims to understand how the professional identities of singing teachers are config-ured. For this purpose, the articulation of concepts of profession as well as professional identities was necessary, using the consideration by Claude Dubar (1998; 2005) as the theoretical framework. For this research study, four singing teachers were interviewed in Uberlândia-MG. The teachers have a wide teaching practice ranging from singing teaching at the Conservatory of Music and specific private music schools to teaching in Choirs on social projects from associations, NGOs and churches. In addition, some professionals teach private singing lessons in their and their students\' residences and also sing at weddings and other events with their musical groups. The empirical mate-rial was collected through semi-structured interviews whose script was subdivided in three areas: self-image, education, and professional experience. Data analysis was con-ducted through Discourse Analysis. The discursive strands gave visibility to the profes-sional identities configured by the teachers. Among the main findings, it was possible to highlight a broad identity of the singing teacher. Apart from singing lessons, they also teach other music disciplines and hold other activities. There is also what I called typi-cal identities of singing teachers based on concepts by Dubar (1998, 2005, 2009). Such identities are mainly outlined by the specific professional cultures of this professional. Among them, it is possible to highlight the particularities of the voice instrument to be worked and the methodology used in the singing teaching. By realizing that the profes-sional identities of singing teachers are broad, one can understand that they are also marked by the dualities of being a singing teacher and choir conductor/preparer; work-ing with classical and popular repertoires; being a performer and a teacher; following a teaching model and using technology, among others. The results contribute to a wider understanding of the professional identities of the singing teacher as well as of the work carried out by such professional. / Inserido no campo da formação de professores e das práticas profissionais do professor de canto, este trabalho tem como objetivo compreender como são configuradas as iden-tidades profissionais de professores de canto. Para este propósito, foi necessária a articu-lação de conceitos abertos de profissão bem como das identidades profissionais, tendo como referencial teórico considerações de Claude Dubar (1998,2005,2009). Nessa pes-quisa foram entrevistados quatro professores de canto que exercem a profissão na cida-de de Uberlândia MG. Esses professores têm uma prática docente ampla que vão desde o ensino de canto no Conservatório Estadual de Música e escolas particulares específi-cas de música até projetos sociais com Canto Coral em associações, ONGs e igrejas. Além disso, há professores que ministram aulas particulares de canto na sua residência e na residência dos alunos e, ainda, cantam em casamentos e eventos com seus grupos musicais. O material empírico foi coletado por meio de entrevistas semiestruturadas as quais possuíram um roteiro sob três eixos: auto imagem, formação e experiência profis-sional. A análise dos dados foi feita a partir da Análise do Discurso. Os fios discursivos deram visibilidade às identidades profissionais configuradas por esses professores. Den-tre as principais conclusões foi possível destacar uma identidade ampla do professor de canto. Ao mesmo tempo em que ministram aulas de canto, outras disciplinas na área da música são ministradas e outras atividades são realizadas. Há também o que denominei a partir dos conceitos de Dubar (2005) como identidades típicas dos professores de can-to. Essas identidades têm como principais delineamentos àquelas culturas profissionais específicas desse profissional. Dentre elas é possível destacar a particularidade do ins-trumento voz e a metodologia para se ministrar aulas de canto. Ao perceber que as iden-tidades profissionais do professor de canto são amplas, pode-se compreender que estas também são marcadas por dualidades que estão entre ser professor de canto e regen-te/preparador de coros, entre o repertório erudito e popular, entre ser performer e ser professor, entre um modelo de ensino e o uso de tecnologias, dentre outras. Os resulta-dos contribuem para um entendimento mais aberto acerca das identidades profissionais do professor de canto bem como a atuação desse profissional. / Mestre em Artes