Abstract

O presente artigo propõe analisar as tensões entre a comunicação musical — entendida como dispositivo aglutinador e mediador de trocas simbólicas (SEINCMAN, 2008) — e as apropriações da cultura (popular e erudita) que, desde o cenário das práticas pedagógicas e das linguagens estéticas musicais vem definindo a práxis e o corpus teórico do ensino — nos níveis profissionalizante e superior — do violão.

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