Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-04-04T00:24:32Z No. of bitstreams: 1 ValdierRibeiroSantosJunior_DISSERT.pdf: 2137409 bytes, checksum: 9ecf83751a3832b44931b211e7718a1a (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-04-12T21:34:25Z (GMT) No. of bitstreams: 1 ValdierRibeiroSantosJunior_DISSERT.pdf: 2137409 bytes, checksum: 9ecf83751a3832b44931b211e7718a1a (MD5) / Made available in DSpace on 2017-04-12T21:34:25Z (GMT). No. of bitstreams: 1 ValdierRibeiroSantosJunior_DISSERT.pdf: 2137409 bytes, checksum: 9ecf83751a3832b44931b211e7718a1a (MD5) Previous issue date: 2016-12-19 / Os diversos espa?os em que os m?sicos transitam em busca da sua forma??o s?o assuntos em debate na atualidade. Diante disso, a Educa??o Musical, pensada como a ?rea que contempla o estudo e os processos de forma??o em m?sica, certamente est? atenta em perceber os distintos ambientes em que acontece a aprendizagem musical. Com foco nessa busca, o presente trabalho tem o objetivo de aprofundar a compreens?o acerca das distintas dimens?es formativas dos m?sicos populares. Nesse sentido, proponho compreender a forma??o musical dos instrumentistas Eduardo Taufic e Jubileu Filho, sujeitos da pesquisa. O trabalho traz uma revis?o de literatura com o fito de evidenciar o estado do conhecimento sobre o tema. A fundamenta??o te?rica proporciona uma media??o no debate, apontando as infer?ncias dos autores em constantes interlocu??es com o campo. O estudo de caso com a abordagem qualitativa ? o procedimento metodol?gico proposto. Na fase de coleta de dados, foram usados o question?rio eletr?nico, a observa??o direta, o caderno de campo e a entrevista semiestruturada. A organiza??o e, posteriormente, a an?lise dos dados foram materializadas sob a ?tica da an?lise textual discursiva. A constru??o textual das an?lises foi objetivada a partir de tr?s pontos centrais: forma??o musical inicial, forma??o musical em distintos espa?os e forma??o musical em contextos de profissionaliza??o. Diante disso, a categoriza??o oportunizou a compreens?o sobre os diversos espa?os formativos em que m?sicos populares transitam desde os seus primeiros contatos espont?neos com a m?sica at? a fase da atua??o profissional. Os resultados obtidos revelam que os m?sicos populares est?o imersos em diferentes espa?os formativos, assumindo caracter?sticas sazonais. Esses espa?os est?o acess?veis desde os primeiros contatos com o material sonoro at? a fase formativa. / The diverse environments that musicians transit when in search for their formation are subjects debated nowadays. Considering that the Music Education thought as an area that contemplates the study and the process of music graduation certainly perceives the different environments in which the musical learning occurs. Focusing on it, this paper aims to deepen the understanding about the formative environment of popular musicians. In that sense, I submit to understand the musical formation of the instrumentalists Eduardo Taufic and Jubileu Filho, both subjects of this study. This paper brings a literature revising that aims to highlight the knowledge about the subject. The theoretical foundation provides a mediation on the debate, pointing the authors? inferences in constant interlocutions with the field. The case study with qualitative approach is the methodological procedure used. During the data collection, electronic questionnaires, direct observation, a notebook and an open-ended interview were used. The organization, and eventually, the analysis of the data were materialized under the discursive textual analysis. The textual analysis construction was thought from three central points: initial musical formation, musical formation in different environments and musical formation in professionalization contexts. In light of this, the classification allowed the understanding about the different formative environments in which popular musicians transit through from their first spontaneous contact with music to their professional performance. The results reveal the complexity of the formation of popular musicians. That formation is utterly connected to the practice in different environments. In this case, the social environment revealed itself as a strong motivating agent, especially for the spontaneous treatment that music assumed in those spaces. In addition, family, friends, teacher, technological resources, work environment, musical tests were certainly the great responsible for the musical formation of the popular musicians studied in this paper.