Currículo e práxis pedagógica em educação musical: a razão neoliberal no “novo” ensino médio.

Abstract

This research, linked to Research Line 1: Trabalho, Política e Formação e Professores from the Programa de Pós-Graduação em Educação from Instituto Federal de Educação, Ciência e Tecnologia de Goiás, (PPGE-IFG) and to the Núcleo de Pesquisas e Estudos em Educação e Formação de Trabalhadores (NUPEEFT/IFG), seeks to investigate the influence of neoliberal rationality on Arts education, focusing on curriculum and pedagogical praxis, considering music education in High School and how this influence has affected the role of music in human development. Music and music education—historically, but especially today, as revealed by our research—are subordinated to pragmatic utilitarianism and market-driven objectives, as reflected in the Brazilian National Common Curriculum Base (BNCC) and the Arts curriculum of the Goiás Curriculum Document (DC-GO). From a critical perspective, grounded in historical-dialectical materialism and Marxist aesthetics, we question how neoliberal logic, with its emphasis on productivity and competitiveness, influences the curriculum and pedagogical praxis and, consequently, teacher education and teaching practice, both in the conception and instruction of music education. We argue that music education, in its omnilateral formative potential, should be accessible not only to aspiring musicians but to all students, providing formative possibilities related to aesthetic awareness, cognitive development, and socio-emotional aspects. Thus, strategies are proposed to enhance the value of music education in the regular school context, especially for those who do not aspire to pursue a musical career but seek to develop themselves as human beings. The methodology includes bibliographic and documentary analysis, drawing on theoretical references such as Penna, Lukács, Gramsci, and Adorno. The conclusion is that both curricula and pedagogical praxis in music education have been affected by neoliberal hegemony. Therefore, in a counter-hegemonic approach, an aesthetic and inclusive music education is proposed as a way to resist the dismantling of music’s formative potential in school education.