O ser/tornar-se compositor(a) em âmbito universitário: a reciprocidade entre personagem compositor(a), Ethos Institucional e artesanato composicional

Abstract

In this thesis I explored the formative process of student composers at a university level, based on the conception of human functioning, presented by Albert Bandura (1986), in the Social Cognitive Theory. The study aimed to understand how the students are/become composers in a Bachelor's Degree Course in Composition from a public university in Brasil. From an approximation of Bandura's (1986) theoretical propositions to the composer universe, I built a research hypothesis that culminated in the following thesis: the students are/become composers in a Bachelor's Degree Course in Composition in Brasil through a reciprocal determinism of dynamic and bidirectional influences, between the composer character, institutional ethos and compositional handicraft, which are, at the same time, products and producers of their compositional worldviews. Methodologically, the research is characterized as a diagnostic character exploratory study, supported by the Interpretative Phenomenological Analysis (SMITH, 2004) which allowed us the comprehension of how the four student composers who participated in the study - Arkhan, GunZ, Agustín and Eduarda - attribute meanings to the individual experiences lived in their formative paths. Therefore, I designed a combined microanalysis follow-up protocol (CLEARY, CALLAN, 2018; BANDURA, 1986) and macro analysis (NERY, FONSECA, 2018) as a method of data collection for the research. Through interviews and compositional production analysis from participants in a period of one academic semester, I could extract the most prominent beliefs of their compositional worldviews, the facets of their composer characters, their perception of the institutional ethos and the way in which such elements influence each other, implying in the compositional handicraft of these student composers. In the idiographic level of analysis, I present the relationship of reciprocity that I defend as constitutive of being/becoming a composer at the university scope based on the particular journey of each participant in the study. At a nomothetic level, I register elements that approximate the path of student composers and characterize the common aspects from this reciprocity that take part of the formative process at the university level. This research report is organized in seven chapters in which the theoretical and empirical elements that supported the construction of the thesis defended here are arranged.