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The purpose of public schooling in many democratic nation-states is the preparation of an active participatory citizenry. For this reason, educators advocate the use of participatory classroom practices for instilling in students knowledge, skills, values, and attitudes for active civic responsibilities. In this connection, Malawi has since the re-introduction of democracy in 1994, reformed the primary school curricula to emphasize participatory classroom practices. Therefore, the aim of this study was to explore how primary school teachers in Malawi planned and implemented social studies lessons for the preparation of competent citizens in a democratic civil society. The study used a case study genre of qualitative research involving three senior grade teachers as research participants. The study yielded four major results based on four generic research questions. The first result was that the social studies primary school curriculum has content and pedagogical approaches that are appropriate for the preparation of active participatory citizens. The second result was that the three teachers displayed limited understanding of the concept of participatory learning that was suggested to them in the curriculum documents. As such, their planning of lessons was largely teacher-centered, which they thought was participatory in approach. The third result was that the teachers’ limited conception of participatory learning, as reflected in the teaching plans, was transferred to their classrooms. In this way, the teacher-centered classroom practices caused a lot of missed opportunities for the students’ development of skills in critical thinking, problem solving, and rational decision-making that are necessary for active participation in a shared democratic political community. The last result was that state policies on the use of English as the medium of class instruction and the grade eight mandated examinations negatively contributed to the decisions that the teachers made in the organization of participatory classroom practices. Thus, the general picture based on these research results showed that there was a discrepancy between the state’s intended curriculum and the teachers’ enacted curriculum. / Ph. D.

The age of climate crisis is upon us, whether we accept it or not. Besides affecting the ecosphere that is earth, it affects all levels of society, including education. Therefore, this study poses the questions “How are different ecocritical perspectives presented in Where the Crawdads Sing?” and “Why and how should an ecocritical reading of Where the Crawdads Sing be used in the Swedish upper secondary school’s English curriculum to introduce wild pedagogies and foster a deeper understanding of ecological issues among students?”. The study analyses the novel Where the Crawdads Sing by Delia Owens from an ecocritical perspective and discusses how such an analysis can be used to implement wild pedagogies in English courses in Swedish upper secondary school. This study mainly utilises Glotfelty’s, Fromm’s and Garrard’s perspectives of ecocriticism, but focus is placed on the ecocentric perspective to highlight the importance of nature. The findings show that an ecocritical close reading of the novel illustrates an ecocentric characterisation of nature which places it in the forefront of the narrative and underscores the importance of the relationship between nature and humanity. Furthermore, this ecocentric characterisation may be a valuable resource when trying to implement wild pedagogies in education based on its transferability from fiction to real life. In this study, only a few perspectives of ecocriticism have been utilised and the implementation of wild pedagogies is merely touched upon. Therefore, more research is encouraged to explore other aspects of ecocriticism and to further understand how an effective implementation of wild pedagogies could transpire.

Thesis (M.A. Education (Curriculum Studies)) -- University of Limpopo, 2021 / The emergence of Web 2.0 and Web 3.0 resulted with digital classroom technology that changed learning spaces into interactive digital spaces. Changes in classroom digital technology has caused education ministries to make a substantial investment in digital technology infrastructure and teacher training, to prepare teachers to venture into the 4th Industrial Revolution. The advent of tablet and smart phone technologies created a platform for schools within developing economies to change from traditional classroom practices to digital classroom technology. The problem this study examined is the lack of classroom technology and connectivity, and teachers’ circumstances that makes them fail to transition to digital pedagogies. The purpose of the study was to investigate the levels of digital classroom technologies and teacher’s usage of technology in selected schools in Limpopo Province. This study was guided by three main research questions, namely, “What is the level of classroom digital technologies in schools? What is the teachers’ perceived level of usefulness of using digital classroom technology? Do teachers possess competencies required to influence teaching and student learning?” The study is qualitative in nature and the interpretivism paradigm and a theory of technology acceptance model were used to guide in assessment of this phenomenon. The study was premised within the interpretivism paradigm and qualitative case study approach was used. Interviews and document studies were used to collect data from 4 teachers, 4 heads of department (HoD) and 4 principals, who were selected from four case schools that participated in Limpopo CoLab school project. The findings of this study identified a low level of digital classroom technology integration in Limpopo project schools due to inadequacies of digital classroom technologies and lack of internet connectivity. Furthermore, teachers’ resistance to transit from teacher-centred pedagogy to learner-centred pedagogy; a lack of adequate teacher training on digital classroom technology; and failure in the implementation of e-education policy by case schools were identified as challenges faced by Limpopo Project Schools. The study concludes that schools that were serviced by Limpopo CoLab project lack digital classroom facilities to practice what were learnt during training. This study recommends the vi Department of Basic Education provides Limpopo schools with school connectivity and digital technologies. This study further recommends that training of teachers on the use of digital classroom technologies should be made a priority.

Esta dissertação visa apontar possíveis caminhos e reflexões para uma pedagogia criativa para o violão em sintonia com propostas contemporâneas de educação musical que tem como base as pedagogias abertas e o modelo artístico de ensino de música. Ambos conceitos formam o alicerce do pensamento pedagógico-musical do Foro Latinoamericano de Educación Musical (FLADEM). As pedagogias abertas propõem a superação de estruturas curriculares rígidas e de procedimentos de ensino planejados de maneira a não considerar os interesses dos alunos. O modelo artístico de ensino de música integra o conceito das pedagogias abertas e significa trabalhar a música a partir da música, com os conhecimentos sendo construídos a partir das experiências vivenciadas pelos alunos, as quais incluem práticas criativas, como a composição e a improvisação. São tomados como referenciais teóricos a obra pedagógica da educadora musical argentina Violeta de Gainza (n.1929) e de autores associados ao FLADEM, assim como o legado pedagógico do músico e educador alemão Hans-Joachim Koellreutter (1915-2005), pela grande proximidade de seu pensamento com os conceitos das pedagogias abertas e do modelo artístico. Será também analisado o que chamei de \"abordagem geográfica\" do violão enquanto ferramenta pedagógica para o desenvolvimento de práticas criativas. Tal recurso musical consiste na exploração do instrumento a partir de seus aspectos físicos, algo notadamente presente na literatura violonística em obras de Villa-Lobos (1887-1959), Abel Carlevaro (1906-2001), Leo Brouwer (n.1939), entre outros. Questões específicas sobre estratégias de aulas envolvendo assuntos como composição, improvisação, experimentação instrumental, desenvolvimento técnico, sonoridade, fraseado, teoria musical, notação e o tocar de ouvido também são objetivos deste trabalho. A parte prática analisada envolve duas categorias: as experiências pedagógicas realizadas com estudantes de violão da FIAM-FAAM e da Teca Oficina de Música, instituições de ensino localizadas em São Paulo, e as minhas experiências composicionais próprias correspondentes à série de estudos violonísticos \"Desenhos\". Entre os aspectos observados, a criatividade, o perfil artístico e a formação pedagógica do professor de instrumento foram tidos como essenciais para o desenvolvimento deste modelo de ensino com o público iniciante. / This dissertation aims to point out possible paths and reflections for a creative guitar pedagogy in harmony with contemporary proposals of musical education that are based on open pedagogies and the artistic model of music teaching. Both concepts form the foundation of the pedagogical-musical thinking of the Latin American Musical Education Forum (FLADEM). The open pedagogies propose the overcoming of rigid curricular structures and planned teaching procedures that do not take the students\' interests into consideration. The artistic model of music teaching integrates the concept of open pedagogies and implies to work with music from the music itself, with the knowledge being constructed from the experiences lived by the students, which include creative practices, such as composition and improvisation. The pedagogical work of Violeta de Gainza (b. 1929) and authors associated with FLADEM as well the pedagogical legacy of German musician and educator Hans- Joachim Koelleutter (1915-2005) were used as theoretical references due to the close proximity of their thinking with the concepts of open pedagogies and the artistic model. I will also analyze what I call the \"geographical approach\" of the guitar as a pedagogical tool for the development of creative practices. This musical resource consists of the exploration of the instrument from its physical aspects, something notably present in the guitar literature on the works of Villa-Lobos (1887-1959), Abel Carlevaro (1906-2001), Leo Brouwer (b.1939) among others. Specific questions about classroom strategies involving subjects such as composition, improvisation, instrumental experimentation, technical development, sonority, phrasing, music theory, notation and playing by ear are also objectives of this dissertation. The practical part analyzed encompasses two categories: the pedagogical experiences with guitar students of FIAM-FAAM and of the Teca Oficina de Música, which are educational institutions located in São Paulo, and my own compositional experiences corresponding to the \"Desenhos\" series of guitar studies. Among the aspects observed, the creativity, the artistic profile and the pedagogical formation of the instrumental teacher were considered to be essential for the development of this model of teaching with beginners.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-12-14T13:53:21Z No. of bitstreams: 1 Maria Claudia Rodrigues_.pdf: 6459197 bytes, checksum: b9507f7dffd8b378de456136a666721f (MD5) / Made available in DSpace on 2017-12-14T13:53:21Z (GMT). No. of bitstreams: 1 Maria Claudia Rodrigues_.pdf: 6459197 bytes, checksum: b9507f7dffd8b378de456136a666721f (MD5) Previous issue date: 2017-10-17 / Nenhuma / A tese investiga os processos de atribuição de significados e sentidos às propriedades, à natureza e aos produtos vinculadas ao turismo rural de Porto Alegre, capital do estado do Rio Grande do Sul – Brazil, na trajetória de transformação desses bens para uso do turismo. O corpus de análise compõe-se de quatro empreendimentos ligados a projetos de turismo agroecológico na zona sul do município de Porto Alegre: “Sítio Tio Juca”, “Sítio Herdeiros”, “Sítio Capororoca”, “Granja Santantonio”. O critério de escolha desses empreendimentos decorre das relações sociais de vizinhança e parentesco e por que iniciaram o projeto Caminhos Rurais de Porto Alegre como sócios fundadores da associação POARURAL. Trata-se de uma abordagem que se desenvolve na perspectiva metodológica da Análise Situacional, de Van Velsen (1987), e da perspectiva fenomenológica de Alfred Schutz (1979), em que se busca transitar de forma interdisciplinar por diversas áreas do conhecimento articulando diálogos, em particular: Turismo Rural, Patrimônio Cultural, Cidadania. Os resultados se direcionam a ideia de que o processo de produção do projeto Caminhos Rurais gera simultaneidades que produzem referentes de novos projetos e correspondências. Ao se organizarem em grupo na constituição de um produto turístico para Porto Alegre, esses atores acabam negociando identidades e promovendo novas ações de cidadania e passam a assumir diversas identidades. Observou-se a produção de uma “cultura agroecológica”, devido aos sentidos e intercâmbio de significados que ali são produzidos sobre a natureza, a paisagem, a agroecologia, os modos de vida. Na medida em que amplia o conceito de pedagogia pode-se intuir que os sítios produzem “agroecopedagogias”. Ao se posicionarem em uma “cultura agroecológica”, as lideranças avançam e problematizam o espaço em que estão inseridas propondo lógicas coletivas de ação que tratam de outras formas de fazer econômico, político, social e ambiental e possibilitam uma gestão participativa que estimula o debate horizontal fortalecendo a autonomia, a cooperação e os laços de sociabilidade entre associados e colaboradores do projeto. Esses atores se articulam a outros coletivos que empreendem propostas semelhantes e que buscam salvaguardar a paisagem, a natureza, a história e cultura locais em uma tentativa de minimizar os impactos que os programas de políticas públicas habitacionais trazem para a zona sul de Porto Alegre. / The thesis investigate the processes of attribution to the properties, nature and products associated to the rural tourism of Porto Alegre city, capital of Rio Grande do Sul State – Brazil, in the transformation journey of these assets into public patrimony and heritage for tourism purposes. The analysis corpus consists of four initiatives linked to agro-ecological tourism projects in the far south of the city: “Sítio Tio Juca”, “Sítio Herdeiros”, “Sítio Capororoca” and “Granja Santantonio”. The selection criteria of these sites derive from two main aspects: the neighborhood and kinship social relationships and the fact they started the project named Rural Paths of Porto Alegre (“Caminhos Rurais de Porto Alegre”) as founding members of the POARURAL association. It is an approach developed in the methodological perspective of Van Velsen´s Situational Analysis (1987) and in the phenomenological perspective of Alfred Schutz (1979), in which the purpose is to transit through and understand various areas of knowledge in a n interdisciplinary way, coordinating and strengthening dialogues, especially the Rural Tourism, Cultural Heritage and Citizenship. The results point to the idea that the product process of the Rural Paths project generate simultaneities that produce references for new projects and correspondences. By organizing themselves as a group in the constitution of a tourism product for Porto Alegre, these players end up negotiating identities and promoting new citizenship actions and turn to assume several identities. It was observed the formation of a agro-ecological culture due to the meanings and the exchange of these meanings about nature, landscape, agro-ecology and ways of life that are produced there. Extending the concept of pedagogy it is possible to intuit that these sites produce “agro-eco-pedagogies”. By positioning themselves in an "agro-ecological culture", the leaders advance and problematize, enquire the space in which they are inserted proposing collective logics of action that deal with other forms of economic, political, social and environmental making and allow a participative management that stimulates the horizontal debate strengthening the autonomy, cooperation and the bonds of sociability among associates and collaborators of the project. These players or actors articulate themselves with other groups that have similar proposals and seek to preserve the landscape, nature, history and local culture in an attempt to minimize the impacts that public housing programs bring to the southern area of Porto Alegre city.

Discursos em prol da “natureza” foram ingressando na ordem do dia em diversas instâncias e práticas sociais, vindo a atuar como potentes diferenciais para a venda de produtos pela mídia, particularmente, pela publicidade. Assim, novos nichos de mercado, novas categorias de produtos e novos valores empresariais foram sendo construídos, constituindo um novo perfil de sujeitos consumidores: os “sustentáveis” ou socioambientalmente “corretos”. Nesta direção, analisei como e de que lugar a linha de produtos Natura Ekos da empresa Natura Cosméticos fala sobre a “natureza” para atingir e formar sujeitos consumidores “sustentáveis”, a partir dos vídeos publicitários da campanha “Somos Produto da Natureza”. Para tanto, utilizei-me de ferramentas teórico-metodológicas dos Estudos Culturais, em suas vertentes pós-estruturalistas; pretendendo tecer uma articulação entre diferentes campos – “natureza”, cultura, política, publicidade, ciência e consumo –, a partir de saberes oriundos das áreas da Educação, da Filosofia, da Sociologia e da Comunicação. Tracei uma revisão histórica sobre a construção discursiva das noções de “natureza” desde a Antiguidade Grega, atentando para as (des)continuidades que foram ocorrendo e configurando as distintas compreensões que apresentamos hoje. Abordei a emergência das pedagogias culturais, entendendo que: a) a mídia exerce um papel eminentemente pedagógico, ao passo em que (in)forma os sujeitos sobre o mundo; b) a publicidade é uma das principais forças de moldagem dos pensamentos e dos comportamentos; c) os anúncios publicitários utilizam-se de inúmeras estratégias para ensinar sobre a “natureza” – formando sujeitos consumidores de produtos “biodiversos” e “sustentáveis”, obtendo lucro financeiro com a construção de uma imagem “verde” A meu ver, os anúncios publicitários analisados ensinam-nos certos modos de pensarmos, estarmos, sentirmos e agirmos em relação à “natureza”, articulando determinados elementos discursivos e não-discursivos. Os vídeos têm a finalidade de educar os sujeitos consumidores socioambientalmente “corretos” construindo o entendimento de que os mesmos são produto da “natureza”, de que os produtos Ekos também são esta “natureza” e de que, portanto, adquirir e consumir os produtos Natura Ekos é pertencer a esta “natureza” veiculada. A campanha lança mão de estratégias publicitárias dinâmicas (sons, imagens, cores, enunciados, movimentos) para construir aquilo que quer mostrar para o espectador: a indissociável relação entre o homem e a “natureza”. Ekos comercializa uma visão de “natureza” como sinônimo de “essência” e de “(re)conexão” consigo e com o planeta; uma “natureza” estética, ética e moralmente benéfica, que deve ser buscada, preservada e cuidada ao se consumir os seus produtos produzidos com os bens “naturais” da Amazônia. Nesta perspectiva, penso que um grande desafio educacional consiste em promover deslocamentos por meio do alfabetismo crítico em relação à mídia, para que possamos (re)pensar a separação entre homem e “natureza”, sujeito e objeto, humano e não-humano, cultural e “natural”; propondo novos olhares e novas compreensões para o mundo e para o funcionamento de suas redes. / Speeches in favor of “nature” were entering on the agenda in several social instances and practices, acting as powerful differentiators for the sale of products by the media, particularly by advertising. Thus, new market niches, new product categories and new business values were being built, creating a new profile of consumer subjects: the “sustainable” or social environmental “correct”. In this direction, I analyzed how and from which place the line of products Natura Ekos of Natura Cosmetics company talks about the “nature” to reach and form “sustainable” consumer subjects, from advertising videos of the campaign “We Are Product of Nature”. Therefore, I used theoretical and methodological tools of the Cultural Studies, in its post-structuralist strands; intending to weave a link between different fields – “nature”, culture, politics, advertising, science and consumption – from knowledge derived from the fields of Education, Philosophy, Sociology and Communication. I traced a historical review of the discursive construction of “nature” notions since Greek Antiquity, observing the (dis)continuities that have been occurring and configuring the different understandings that we present today. I discussed the emergence of the cultural pedagogies, understanding that: a) the media plays an eminently teaching role, while it (in)forms the subjects about the world; b) advertising is one of the main shaping forces of thoughts and behaviors; c) the commercials use numerous strategies to teach about the “nature” – forming consumer subjects of “biodiverse” and “sustainable” products, obtaining financial profit from the construction of this “green” image In my point of view, the commercials analyzed teach us certain ways of thinking, being, feel and act in the "nature", articulating certain discursive and non-discursive elements. The videos are intended to educate the social environmental “correct” consumer subjects by building the understanding that they are product of “nature”, that the Ekos products are also this “nature” and that, therefore, purchase and consume the Natura Ekos products is to belong to this conveyed “nature”. The campaign makes use of dynamic advertising strategies (sounds, images, colors, statements, movements) to build what it wants to show to the viewer: the inseparable relation between man and “nature”. Ekos markets a vision of “nature” as a synonym of “essence” and “(re)connection” with yourself and the planet; an aesthetic, ethical and morally benefic “nature”, that must be sought, preserved and cared for consuming its products made with the “natural” Amazon goods. In this perspective, I think a great educational challenge is to promote displacements through critical literacy about the media, so we can (re)think the separation between man and “nature”, subject and object, human and non-human, cultural and “natural”; proposing new perspectives and new understandings for the world and for the operation of its networks.

Nesta tese, elaborada sob a perspectiva dos Estudos Culturais de inspiração pós-moderna e pós-estruturalista, busca-se indicar como os filmes de ficção científica têm operado na configuração de um mundo futuro, altamente tecnológico, bem como dos sujeitos que nele viverão, a partir de representações que exacerbam tendências atuais e que também são sarcásticas, dos modos de estruturação das sociedades contemporâneas. Considerou-se o cinema como uma Pedagogia Cultural por conterem os filmes representações e discursos sobre as tecnologias virtuais e digitais, relacionadas aos desenvolvimentos da informática, da eletrônica e das biotecnologias, que não apenas propiciam o entretenimento ou a convocação dos espectadores para reflexão em torno desses temas; postula-se que esses os ensinam a (con)viverem com tais tecnologias. O estudo focaliza seis filmes de longa metragem, que alcançaram uma significativa circulação nos circuitos comerciais, sendo também disponibilizados em DVDs e apresentados em sessões de cinema da TV, cujos títulos são os seguintes: O Quinto Elemento (1997); I. A. Inteligência Artificial (2001); Minority Report – A Nova Lei (2002); Eu, Robô (2004); Click (2006) e Filhos da Esperança (2006). A partir da noção foucaultiana de discurso procederam-se as análises, focalizando especialmente aspectos que colocam em discussão a perturbadora semelhança entre seres os humanos e as máquinas apresentadas pelas criaturas ciborgues, pós-humanas e pós-orgânicas representadas nestes filmes; a problemática proliferação de dejetos – lixo tecnológico e inclusive lixo humano – produzida por essas sociedades “do futuro”; o modo como as imagens digitais são neles tomadas para constituírem uma forma de mediação entre o presente, o passado e o futuro; e, por fim, como as alterações processadas nas estratégias de governamento das sociedades, que têm implicado uma passagem das sociedades disciplinares modernas para as sociedades de controle pós-modernas. / In a postmodern poststructuralist Cultural Studies perspective, we seek to show how science fiction films have shaped a highly technological future world and subjects to live in it by exaggerating and sometimes with sarcastic representations of how contemporary societies are structured. We have taken the cinema as a cultural pedagogy as films have representations and discourses about digital virtual technologies relating to computer science, electronics and biotechnology developments, which not only provide entertainment or making the viewers to think about these themes, but we consider that these teach them to live and live with these technologies. This study focuses on six feature films, which had significant circulation in the commercial circuits and were also offered in the form of DVD and presented on TV cinema sessions: The Fifth Element (1997); Artificial Intelligence (2001); Minority Report (2002); I, Robot (2002); Click (2006) and Children of Men (2006). From a Foucauldian notion of the discourse, we analysed particularly aspects discussing the disturbing similarity humans and machines cyborg, post-human and post-organic creatures introduced in these films; the problematic spread of waste — technological and human waste — these ‘future’ societies produced; the way how digital images become a mediation between present, past and future; and finally how changes occur in the strategies of governing societies, which have spurred modern disciplinary societies into postmodern control societies.

Esta dissertação visa apontar possíveis caminhos e reflexões para uma pedagogia criativa para o violão em sintonia com propostas contemporâneas de educação musical que tem como base as pedagogias abertas e o modelo artístico de ensino de música. Ambos conceitos formam o alicerce do pensamento pedagógico-musical do Foro Latinoamericano de Educación Musical (FLADEM). As pedagogias abertas propõem a superação de estruturas curriculares rígidas e de procedimentos de ensino planejados de maneira a não considerar os interesses dos alunos. O modelo artístico de ensino de música integra o conceito das pedagogias abertas e significa trabalhar a música a partir da música, com os conhecimentos sendo construídos a partir das experiências vivenciadas pelos alunos, as quais incluem práticas criativas, como a composição e a improvisação. São tomados como referenciais teóricos a obra pedagógica da educadora musical argentina Violeta de Gainza (n.1929) e de autores associados ao FLADEM, assim como o legado pedagógico do músico e educador alemão Hans-Joachim Koellreutter (1915-2005), pela grande proximidade de seu pensamento com os conceitos das pedagogias abertas e do modelo artístico. Será também analisado o que chamei de \"abordagem geográfica\" do violão enquanto ferramenta pedagógica para o desenvolvimento de práticas criativas. Tal recurso musical consiste na exploração do instrumento a partir de seus aspectos físicos, algo notadamente presente na literatura violonística em obras de Villa-Lobos (1887-1959), Abel Carlevaro (1906-2001), Leo Brouwer (n.1939), entre outros. Questões específicas sobre estratégias de aulas envolvendo assuntos como composição, improvisação, experimentação instrumental, desenvolvimento técnico, sonoridade, fraseado, teoria musical, notação e o tocar de ouvido também são objetivos deste trabalho. A parte prática analisada envolve duas categorias: as experiências pedagógicas realizadas com estudantes de violão da FIAM-FAAM e da Teca Oficina de Música, instituições de ensino localizadas em São Paulo, e as minhas experiências composicionais próprias correspondentes à série de estudos violonísticos \"Desenhos\". Entre os aspectos observados, a criatividade, o perfil artístico e a formação pedagógica do professor de instrumento foram tidos como essenciais para o desenvolvimento deste modelo de ensino com o público iniciante. / This dissertation aims to point out possible paths and reflections for a creative guitar pedagogy in harmony with contemporary proposals of musical education that are based on open pedagogies and the artistic model of music teaching. Both concepts form the foundation of the pedagogical-musical thinking of the Latin American Musical Education Forum (FLADEM). The open pedagogies propose the overcoming of rigid curricular structures and planned teaching procedures that do not take the students\' interests into consideration. The artistic model of music teaching integrates the concept of open pedagogies and implies to work with music from the music itself, with the knowledge being constructed from the experiences lived by the students, which include creative practices, such as composition and improvisation. The pedagogical work of Violeta de Gainza (b. 1929) and authors associated with FLADEM as well the pedagogical legacy of German musician and educator Hans- Joachim Koelleutter (1915-2005) were used as theoretical references due to the close proximity of their thinking with the concepts of open pedagogies and the artistic model. I will also analyze what I call the \"geographical approach\" of the guitar as a pedagogical tool for the development of creative practices. This musical resource consists of the exploration of the instrument from its physical aspects, something notably present in the guitar literature on the works of Villa-Lobos (1887-1959), Abel Carlevaro (1906-2001), Leo Brouwer (b.1939) among others. Specific questions about classroom strategies involving subjects such as composition, improvisation, instrumental experimentation, technical development, sonority, phrasing, music theory, notation and playing by ear are also objectives of this dissertation. The practical part analyzed encompasses two categories: the pedagogical experiences with guitar students of FIAM-FAAM and of the Teca Oficina de Música, which are educational institutions located in São Paulo, and my own compositional experiences corresponding to the \"Desenhos\" series of guitar studies. Among the aspects observed, the creativity, the artistic profile and the pedagogical formation of the instrumental teacher were considered to be essential for the development of this model of teaching with beginners.