Autorregulação para aprendizagem no campo da performance musical: problematizações e proposições desde a Teoria Social Cognitiva.

Abstract

The thesis entitled “Self-regulation for learning in the field of musical performance: problematizations and propositions from the Social Cognitive Theory” begins from the understanding that the researches dedicated to address self-regulated learning in the field of music, from a sociocognitive perspective, have failed in considering essential aspects to the understanding of human functioning and, consequently, of their ways of thinking, acting and learning, which creates the concept of human agency under which the theoreticalexplanatory model of self-regulated learning with which the field of music has been operating. Due this, the research was guided by the following question: How to think about the instrumental learning from the self-regulation of learning in a sociocognitive perspective? In order to explore answers to the question, we carried out a systematic integrative review of studies in the musical field based on the perspective of self-regulated learning in its sociocognitive perspective. The analytical corpus of this review consists of a set of 57 writings, produced in the last twenty years (1999-2018), under the cyclical and multidimensional model of Barry Zimmerman's self-regulated learning. The data are presented in three steps. On the first, we highlight the foundations of self-regulated learning that guide the researches in the field of music. On the second, we list the five typological axes from which contributions of the productions analyzed here emerge to think of instrumental learning through the self-regulation, there are: 1) measurement, 2) selfregulated practice, 3) correlations, 4) prediction and, 5) construction. Finally, in the third step, we seek interlocutions between the results of the analyzed studies and the assumptions of Social Cognitive Theory in order to defend that thinking the instrumental learning from the self-regulation of learning in a sociocognitive perspective requires the understanding of environmental factors as social and, therefore, historical, cultural, political, economic, an bring the way in which students-musicians select predictive clues and build the rules of their actions at the center of investigations/interventions.