The present dissertation is linked to the research line of Education and Arts from the PPGE/UFSM and to the group of studies and research Training, Action and Research in Musical Education FAPEM. Aimed to the analysis of the Musical Education practices that results from the Louvai Cantando song book utilization context in the German Brazilian school in Ivoti on the period of 1968 to 1976 (1st edition of the book) under the arrangers and teacher s scope. The investigation of the places at which the practices took place and the song book s inscribed reading protocols are intended specific objectives. The developed research from qualitative nature uses hybrid oral thematic history with semi-structured interview and questionaire as tools to collect material. Besides other materials the song book itself act as source of data. The theorical referential adopted, from which the analysis were done, follows Roger Chartier´s ((2007, 2004a, 2004b, 2002, 2001, 1999a, 1999b, 1996, 1994, 1990) teaches that shows the conceptual tripod book, print and readings. Based on the collected data and analysis we have the conclusion that the music was build on vocal execution and that from the song book musical and educational knowledge were aborded. The teacher was in most cases an example to the students being the one responsible for selecting the songs once the song book don´t show na explicit sequence to be followed. The song book carries songs from various different realities giving the student the opportunity to have contact with these realities and with other cultures, forms and musical genre and also expanding his vocabulary. The linguistic culture brought by the immigrants was also contemplated. Taking place not just as a classroom activity the singing was a constant in the German Brazilian School. Besides, the organization of Cancioneiro was directly influenced by two publications of the 1930's, Tönen die Lieder ... and Kommt und Singet!, featuring a continuation of these two song books well as the tradition of the practice of singing brought by early immigrants. / A presente dissertação está vinculada à linha de pesquisa Educação e Artes do PPGE/UFSM e ao grupo de estudos e pesquisas Formação, Ação e Pesquisa em Educação Musical - FAPEM. Esta pesquisa teve como objetivo, analisar as práticas de Educação Musical decorrentes da utilização do cancioneiro Louvai Cantando no contexto da escola teuto-brasileira protestante de Ivoti, no período de 1968 a 1976, relativo à 1ª edição do livro, sob a ótica de seus organizadores e de professores de Música. Buscou ainda, como objetivos específicos, investigar os espaços nos quais as práticas se desenvolviam e examinar os protocolos de leitura inscritos no cancioneiro. A pesquisa, de natureza qualitativa, utilizou-se da história oral temática híbrida, sendo a entrevista semi-estruturada e o questionário os instrumentos de coleta de dados utilizados. Assim, o cancioneiro Louvai Cantando serviu como objeto de estudo e como fonte de dados, além de outros materiais documentais. O referencial teórico adotado segue os preceitos do historiador francês Roger Chartier (2007, 2004a, 2004b, 2002, 2001, 1999a, 1999b, 1996, 1994, 1990), que apresenta o tripé conceitual, livro, impresso e leituras, mediante os quais foi efetuada a análise do cancioneiro. A partir da análise dos dados coletados, verificou-se que as práticas de educação musical estavam alicerçadas na execução vocal e que a partir do cancioneiro, conteúdos musicais e educacionais eram trabalhados. O professor servia, muitas vezes, de modelo para a classe, sendo o responsável pela seleção de repertório, uma vez que o manual não apresentava uma ordem rígida a ser seguida. O cancioneiro, por carregar um repertório oriundo de diversas regiões do país, oportunizava o contato com realidades diferentes das quais os alunos estavam inseridos, ampliando o vocabulário e levando o grupo a conhecer outras culturas, formas e gêneros musicais, contemplando paralelamente a cultura lingüística trazida pelos imigrantes. Verificou-se ainda, que o canto era uma constante no espaço escolar, não restringindo-se, porém, às atividades de sala de aula. Salienta-se que a organização do Louvai Cantando foi diretamente influenciada pela publicação de dois cancioneiros da década de 1930, o Es Tönen die Lieder... e o Kommt und Singet!, caracterizando-se assim como uma continuação do trabalho, de modo a manter a tradição musical e cultural da prática do canto trazida pelos primeiros imigrantes.

Este trabajo de investigación, enmarcado en el contexto de Tesis Doctoral, oferta un programa alternativo de guitarra para los cuatro cursos de Grado Elemental Logse. Las piezas se han elaborado con contenidos sonoros de diversa procedencia. Así encontraremos música clásica, folclórica, cinematográfica, etc. No pretende sustituir la enseñanza ortodoxa, sino complementarla con un material que puede estar más cerca de la afectividad musical de los educandos. Para poder cumplir los propósitos antes mencionados, se ha estudiado el instrumento desde el punto de vista histórico en las facetas de: evolución de los estilos musicales en torno a la guitarra, instrumentos anteriores afines a la guitarra, los compositores de guitarra, estudio comparativo de la evolución del método, etc. Posteriormente se ha analizado la fuente musical de forma poliédrica, abarcando músicas de muy diversa procedencia que pueden tener repercusión en el entorno del educando, desde el punto de vista familiar, social, de los medios de comunicación, etc. Así mismo se ha contemplado al Cancionero, por medio de su estudio en el tiempo, como fuente inagotable de material sonoro. El estudio de los Programas de Guitarra de los Conservatorios de la Región de Murcia, ha dado una visión panorámica de cómo se encuentra la enseñanza de este instrumento en los centros oficiales. Antes de la confección del Programa Alternativo, se ha experimentado con músicas propias de la Región de Murcia, extraídas de varios Cancioneros, en su adaptación pata guitarra, ofreciendo los consiguientes resultados de la muestra. Se ha tenido en cuenta para la adjudicación de las piezas a cada curso, el nivel de Lenguaje Musical de cada una de ellas. La Bibliografía expuesta después del Programa Alternativo, donde podemos encontrar textos convencionales como Libros, Ensayos, Textos de Jornadas y Congresos, Artículos de Revistas y Libros, etc., hasta citas de carpetas de discos compactos y testimonios orales, es amplia y variada. Los diversos índices que se ofrecen en el Anexo (tndice de obras musicales anónimas, de autor y onomástico), facilitan la búsqueda de datos a lo largo del trabajo de investigación. Lo anteriormente comentado viene organizado, resumidamente, en esta Tesis Doctoral de la siguiente manera. INTRODUCCIÓN PRIMERA PARTE: GUITARRA Y MÜSlCA Capítulo 1. Breve Historia de la Guitarra Capítulo 2. Música Popular y Folclore SEGUNDA PARTE: LA ENSEÑANZA DE LA GUITARRA Capítulo 3. Aspectos de la Guitarra y sus Programas, asociados a los contenidos de Lenguaje Musical Capítulo 4. Creación de un Programa Alternativo para Grado Elemental de la Logse Capítulo 5. Síntesis de esta Tesis DoctoralCapítulo 6. Bibliograffa ANEXO / This piece of research, submitted as a doctonl dissertation, offers an altemative syllabus for the teaching of guitar in the four years of LOGSE Elementary Grade. The musical pieces have been composed with sounds from different origins, such as cIassical music, folk music, music from films, etc. Our proposal is not intended as a substitute to the orthodox teaching model. Rather, it is our intention to supplement the latter with teacbing material which might be closer to the pupils' musical affect. In order to achieve our aims, we start with a study of the instrument from different historical angles: evolution of musical styles around the guitar, previous instruments similar to it, guitar composers, contrastive analysis of the evolution of the "method", etc. We then anaIyse the musical source in all its facets, including types of music of various origin which my have an influence in the pupil's environment, be it from a family or social perspective, in the media, etc. We also include a historical analysis of the Songbook (Cancionero) as an endless source of sound material. The anaIysis of the didactic programs of guitar from the Official Schools of Music in the Region of Murcia has allowed us to gain an overal1 view of the teaching of tbis instrument in official institutions. Prior to the design of the altemative syIlabus, we experimented with autochthonous musical varieties from the Region of Murcia, taken from various songbooks and adapted for the guitar, and which made their way into the syl1abus. The allocation of musical pieces to each year is based on the consideration of the level of Musical Language of each year. The bibliography which appears after the alternative syllabus is intended to be both comprehensive and varied. It includes tradicional texts (such as books, essays, conferences proceedings and journal articles), quotations from information in compact disks covers and oral testimonies. The indexes included in the Appendix (index of anonymous and authored musical pieces and index of names) are intended to facilitate the reading of the text. The above mentioned contents are structured in the Doctoral Dissertation as follows: INTRODUCTION PART 1: GUITAR AND MUSIC Chapter 1. A short history of guitar Chapter 2: Popular and folk music PART ll: THE TEACHING OF GUITAR Chapter 3: Aspects of guitar and its teaching associated to the contents of Musical Language. Chapter 4: Design of an alternative syllabus for LOGSE Elementary Grade Chapter 5: Synthesis of the Doctoral Dissertation Chapter 6: Bibliography APPENDIX

The Composers' Collective, founded by leftist composers in 1932 New York City, sought to create proletarian music that avoided the "bourgeois" traditions of the past and functioned as a vehicle to engage Americans in political dialogue. The Collective aimed to understand how the modern composer became isolated from his public, and discussions on the relationship between music and society pervade the radical writings of Marc Blitzstein, Charles Seeger, and Elie Siegmeister, three of the organization's most vocal members. This new proletarian music juxtaposed revolutionary text with avant-garde musical idioms that were incorporated in increasingly greater quantities; thus, composers progressively acclimated the listener to the dissonance of modern music, a distinctive sound that the Collective hoped would become associated with revolutionary ideals. The mass songs of the two Workers' Song Books published by the Collective, illustrate the transitional phase of the musical implementation of their ideology. In contrast, a case study of the song "Chinaman! Laundryman!" by Ruth Crawford Seeger, a fringe member of the Collective, suggests that this song belongs within the final stage of proletarian music, where the text and highly modernist music seamlessly interact to create what Charles Seeger called an "art-product of the highest type."