Article

International Journal of
Music Education
Education of music teachers: 29(1) 4571
The Author(s) 2010
A study of the Brazilian Reprints and permission: sagepub.
co.uk/journalsPermissions.nav
higher education programs DOI: 10.1177/0255761410372758
http://ijm.sagepub.com

Teresa Mateiro
State University of Santa Catarina, Brazil; rebro University, Sweden

Abstract
With reference to educational policies in the globalization process, the purpose of this article
is to show the status of higher Music Teacher Education Programs in Brazil after the enactment
of the Directives and Bases Act No. 9.394, in 1996. This law emphasizes the evaluation process
for higher education, including teaching quality and accreditation of institutions, programs and
majors as a resource. In this study, the quality parameters are shown from the perspective of the
terms of reference of the institutions (i.e., the vision, mission, objectives, values and commitment),
characteristic of the curriculum programs, students and team of teachers. A questionnaire has
been used for the data collection, completed by the program coordinators. The results show the
inequality of the higher education system, from the administrative and academic organization to
the teachers education and/or participation of the students in the academic life, indicating recent
changes that meet the national and international educational policies, and the need for studies that
may contribute to the improvement of Music Teacher Education Programs.

Keywords
curricular reforms, higher education, music education, profile of students, profile of teachers

The university reform in the worldwide calendar

The reform of higher education has been constantly moving forward in most countries of the world
during the last decades. What can be noticed is that there are many similarities between the changes
in each country, regardless of the social, historical and economic conditions. According to Rivzi
(2008), all countries are following the precepts of the same neoliberal market ideology (practices
taken from the corporate world) for the education reforms in order to meet the requirements of the
global economy and the new requirements of the labor market.
Teachers education is also a theme appearing in this globalization process. Today, the educa-
tion policies are overcoming the national boundaries and are channeled together with the social,

Corresponding author:
Teresa Mateiro, School of Music, Theatre and Art, rebro University rebro SE-701 82, Sweden.
Email: teresa.mateiro@oru.se
46 International Journal of Music Education 29(1)

economic and cultural relations; so that organizational structures, decision criteria, formation cur-
ricula and managerial rhetoric are copied or transferred from one country to another (Martnez
Rodrguez, 2008, pp. 1718). Studies of teacher education are being intensified as scholars seek to
meet the global quality requirements of efficiency, excellence, competence and productivity and to
promote the values associated with the concepts of equality, citizenship, ethics, justice and the right
to education.
The springboard for the reorganization of higher education systems of the member countries of
the European Union was the Bologna Declaration (1999), which triggered the Bologna Process
(ENQA, 2005). The higher education evaluation and accreditation system is in addition to the
adoption of measures such as the easy equivalence of academic grades system and the credits sys-
tem, among others.
The analysis dimensions considered as quality standards in higher education evaluation pro-
cesses according to the Standards and Guidelines for Quality Assurance in the European Higher
Education Area (ENQA, 2005) include: philosophy, mission and institutional vision; development
plan; internal standards and regulations; clear criteria for evaluation of the students; a qualified and
competent team of teachers; proper resources for teaching and learning situations; international
cooperation work; evaluation procedures built from self-evaluation and external evaluation; formal
approval and authorization of the educational program accreditation and certification. The force of
the language of globalization means that the classic academic language is defined in relation to the
concepts of excellence, flexibility and employability.
Music Teacher Education Programs for the first grade of elementary school (612 years) in
European and Latin-American countries have been studied and analyzed taking into consideration
the perspective of the overall policies of education quality evaluation (Arstegui et al., 2008).
Institutions of 25 countries in Europe and 15 in Latin America answered a questionnaire that
included questions about the type of institution, access to higher education, design and evaluation
of curricula, the actual characteristics of students and teachers, and general and specific resources.
Among the answers received in relation to those programs on both continents, were, for example:
the programs are given by universities, even though there are no university centers in Latin America
that music teachers can graduate from; music aptitude tests are not always required in order to be
admitted to the program; the students choose the program because they want to follow a music-
related career; the teachers in the European countries are more dedicated to research and working
full time than those in the Latin America countries. Other results will be discussed below.
Concurrently, a documentary analysis of 157 Music Teacher Education Programs that are in
progress in 19 European countries (115 programs) and 14 Latin-American countries (42 programs)
was carried out. The results show that there is a variety of programs, not only between the coun-
tries, but within the countries themselves. The music teachers may graduate from conservatories,
educational, arts or music colleges. The programs of Latin-American countries provide a higher
percentage of music disciplines than those of European countries, thus establishing guidance more
directly aimed at music and other more pedagogic areas (Arstegui et al., 2008).1
The information obtained from the questionnaires and themes emerging from the analysis of the
curricula documents were contrasted with the findings of seven case studies of Music Teacher
Education Programs that were carried out in Portugal, Spain, Sweden, Mexico, Argentina and
Brazil (Arstegui & Heiling, in press). Such studies offer a richer, more detailed, more holistic
portrait of curricula. These case studies permitted music education scholars to describe and analyze
the specificities of each.
Specifically in Brazil, the data has been collected through individual interviews with teachers
and in groups with students, observation of classes with video recordings, questionnaires, portfolios
Mateiro 47

and analysis of official institutional documents. The results published at this time are focused on
the profile of the music teaching students: identity, professional choice and music knowledge
(Mateiro, 2007a, 2007b; Mateiro & Borghetti, 2007). The research indicates that more than half of
the music teaching students are men, they are more than 20 years old and are in engaged in concur-
rent professional activities; the relationship between the individual and music is more determining
than external factors such as family, friends, school or religion; the will to learn music, improve
music knowledge and play an instrument is the central focus both of the motivation to study music
and the choice of occupation; a significant portion of the students did not show interest in working
in the public education network, but preferred to work as private instrument teachers.
Similarly, a series of studies on the education of music teachers in Sweden, Denmark, Scotland,
England, Germany and the USA is also in progress. These studies are examining perceptions of
different forms of knowledge and the relationship between them among those involved in music
teacher education (Georgii-Hemming, 2008). These and other studies have been promoted by the
policies of worldwide, European and Ibero-American organizations, such as, for example, the
European Community, the Organization of Ibero-American States, the World Bank and private
organizations, among others.

The university reform in the Brazilian calendar

The Brazilian higher education system has been experiencing significant change mainly since the
1990s, with the aim of increasing economic competitiveness in the globalized world and strengthen-
ing democratic values (Cunha, 2004, 2007; Dias Sobrinho & Brito, 2008). Apart from the strong and
quick expansion of the higher education system, both in the number of institutions and in the total
number of enrollments the latter expected to exceed 7,000,000 students in 2010 (Dias Sobrinho &
Brito, 2008) there have also been relevant changes in the Brazilian educational policies.
The National Education Directives and Bases Act (LDB) No. 9.394, passed in December 1996
(BRAZIL. Lei 9.394, de 20 de dezembro de 1996, 1996), emphasizes evaluation processes for
higher education, including improvements in teaching quality and the accreditation of institutions,
programs and majors as a resource. Mainly in the period from 1999 to 2002, new regulations
appeared within the scope of this legislative branch and a series of documents was written to guide
the curricular reforms of the teacher education programs. Guidelines and terms of references are
detailed, but are not mandatory, both for the basic education curricula and for the preparation of
teachers.2 There are also different evaluation systems for educational subjects.3
In the higher education evaluation policy, the National System for Evaluation of Higher
Education (SINAES) oversees the on-site evaluation of the institutions, the programs (authoriza-
tion, acknowledgement and renewal of acknowledgement) and the students through the National
Examination of Students Performance (ENADE). The National Commission for Higher Education
Evaluation (CONAES) coordinates and supervises the evaluation processes. Thus, the institutional
and education evaluations are focused, on one hand, on the ideas of integration, globalization and
formative effectiveness, and, on the other, on aspects such as quality, social and scientific rele-
vance, professional and citizenship relevance, equity, democratization of access and production of
scientific, artistic and technological knowledge, among others. Three concrete aspects are analyzed
in the institutional evaluation: (a) the dimensions, structure, relationships, activities, functions and
purposes of the higher education institutions; (b) the academic subjects; and (c) infrastructure
(BRAZIL, INEP-SINAES, 2004).
In this context, the Music Teacher Education Programs have also been affected. Each region or even
each institution has interpreted and adapted the legal provisions according to their own educational
48 International Journal of Music Education 29(1)

principles and local requirements. The following question is worth asking: How have the proposals
of the last LDB and other Resolutions been interpreted for the Music Teacher Education Programs4
in Brazil, in the building of the curricular programs and how are they being put into practice? The
purpose of this article is to present and analyze the status of the higher Programs of Music Teacher
Education in Brazil, in order to highlight concrete aspects for the development of the quality of the
education. The aspects considered in this article, which define quality in higher education accord-
ing to the evaluation systems presented here, are the following: location and main characteristics
of the programs; development and review of the curricular programs; models or trends in the Music
Teacher Education Programs; participation of the students in academic life; and teacher qualifica-
tion.

Methodological procedures
In this study5 both quantitative (questionnaires) and qualitative methodologies (analysis of docu-
ments; see Mateiro, 2009) have been employed. However, for this article only the data achieved
through the questionnaires will be analyzed. The questionnaire used in this study (see Appendix) was
developed and employed by the ALFA Evedmus research group during the academic year 200607,
when it was sent to institutions that offer Music Teacher Education Programs in European and Latin-
American countries. It comprises 26 questions, mostly multiple-choice, with the purpose of getting
information about the academic and institutional management of the different curricular programs.
The choice was made to use an electronic questionnaire, taking into consideration the advan-
tages emphasized by Martnez Gras, Mateo and Albert (2004) the speed of the data collection, the
control of the sample and the improved quality of the answers. According to these authors, elec-
tronic questionnaire can be administered as follows: sent in the body of an email; sent as a docu-
ment attached to an email message; sent by email with a software attachment; and available at a
web address. The questionnaire for this study was attached to an email, as this researcher consid-
ered it the best choice for the respondents.
The questionnaire was sent to the coordinators of the 72 Higher Education Institutions (HEIs)
that provide a Music Teacher Education Program, during the months of April and May 2008, and
was answered by 45 of them, with a participation rate of 62.5 percent. The answers were initially
organized and arranged in graphics and tables using only arithmetic means. Subsequently, the data
were analyzed in three major categories, which were based on the evaluation system proposed by
BRAZIL, INEP-SINAES (2004): the institutions terms of reference (i.e., vision, mission, general
objectives, values and commitment) and curricular program (type of institution, requirements to
evaluate the prior music knowledge of the students, curricular program evaluation frequency, etc.);
students (music level, motivation for choosing a career in music, gender, music life outside the
classroom, average quantity of students per class, etc.); and teachers (academic activities, univer-
sity teaching experience, labor status, academic education, etc.).

Results and discussion

Terms of reference and curricular program
From the 72 institutions that offer the Music Teacher Education Program, 48 are public, of which
28 are owned by the federal government, 18 by the state government and two by the municipal
government; and 24 are private, 11 of which are privately owned institutions and 13 community,
religious and philanthropic institutions (Comm/Relig/Phil).6 In terms of this administrative category,
Mateiro 49

Table 1. HEI by administrative category, indicating how many answered the questionnaire

Institutions Administrative category

Public Particular Total
Federal State Municipal Total Private Comm/Relig/Phil Total

In activity 28 18 02 48 11 13 24 72
Participants 20 11 01 32 02 11 13 45

it can be seen in Table 1 that more than half of the institutions answered the questionnaire, with the
exception of the private institutions, of which only two out of 11 contacted took part in this research.
The HEIs in Brazil, pursuant to Decree No. 3.860 of 2001 (Articles 1, 3 and 7; BRAZIL. Decreto
N.3.860 de 9 de julho de 2001, 2001), are classified as public and private and are academically orga-
nized as (I) universities, (II) university centers and (III) integrated colleges, colleges, institutes or higher
education schools. The public institutions are created or incorporated, maintained and managed by the
government and are classified as federal, state and municipal. The private institutions are maintained
and managed by individuals or private legal entities and are divided into private institutions for profit
(those referred to as private) or non-profit private institutions (community, religious and philanthropic).7
According to the academic organization of the participant HEIs, 36 institutions are universities
(80%). After the enactment of LDB 96, the novelty was the appearance of the university centers,
defined as multi-curricular higher education institutions, which are characterized by the excel-
lence of the provided education, by the qualification of their team of professors and by the aca-
demic work conditions offered to the school community (Art.1, Decree No. 5786/06; BRAZIL.
Decreto 5.786 de maio de 2006, 2006). Concerning the other formats colleges, institutes or
schools there is no definition to characterize them.
Table 2 summarizes the number of institutions, subjects of this research, organized according to
the administrative category (public and private) and the academic category (universities, university
centers and colleges).

Table 2. No. of participant HEIs, by academic organization and administrative category

Administrative category Institutions
Total (I) (II) (III) Integrated
Universities University colleges, institutes or
centers higher schools
Participants 45 36 3 6
Public 32 30 0 2
Federal 20 19 0 1
State 11 10 0 1
Municipal 01 01 0 0
Private 13 6 3 4
Particular 02 0 1 1
Comm/Relig/Phil 11 6 2 3

In the universities, the Music Teacher Education Program is located in colleges, centers or insti-
tutes of music or arts, and in faculties or centers of education (Figure 1). The physical location of
50 International Journal of Music Education 29(1)

Others 20.0

Education colleges or centers 11.1

Music/arts colleges, centers or institutes 68.9

0 10 20 30 40 50 60 70 80
Percentage

Figure 1. Centers/institutes offering a Music Teacher Education Program

the programs in the HEIs is interesting in this measure because the different and possible relation-
ships between the knowledge areas can be observed. In the majority of programs, music education
teachers are linked with the area of arts, while in the minority, they are linked with pedagogy.8
The majority of the HEIs are located in the southeastern region of Brazil (So Paulo, Rio de
Janeiro, Esprito Santo and Minas Gerais), where there are 31 institutions that offer a Music Teacher
Education Program (Table 3). In the southern region (Rio Grande do Sul, Santa Catarina and
Paran) there are 17 HEIs. The northeastern region, with the highest number of Brazilian states
(Alagoas, Bahia, Cear, Maranho, Paraba, Piau, Pernambuco including the State District of
Fernando de Noronha Rio Grande do Norte and Sergipe) has 15 HEIs. The northern region (Acre,
Amap, Amazonas, Par, Rondnia, Roraima, Tocantins) and central-western region (Mato Grosso,
Mato Grosso do Sul, Gois and Distrito Federal) are those that have the smallest number of institu-
tions: the former has five and the latter four.
The data related to the institution type describe, on one hand, the centralization of the HEIs in
the southern and southeastern regions, highlighting the State of So Paulo with the highest number
of HEI; and, on the other hand, the public universities as the main institutions that offer the Music
Teacher Education Program in the country.

Examinations required for attending the program (vestibular)

In Brazil, the access to higher level programs is generally decided by means of a test, called a ves-
tibular (plural vestibulares), which evaluates the knowledge of the candidates related to the subject

Table 3. Distribution of the HEIs per region, indicating how many answered the questionnaire
Institutions Regions
Southern Southeastern CentralWestern Northeastern Northern Total
In activity 17 31 04 15 05 72
Participants 13 18 02 09 03 45
Mateiro 51

matters studied during the school period Portuguese Language, Foreign Language, Mathematics,
Biology, History, Physics, Chemistry and Geography. In order to be accepted for higher Programs
of Music and Physical Education, for example, candidates have to take tests concerning specific
knowledge and skills required for those areas.
The vestibulares were created at the beginning of the 20th century, aimed at protecting the
teaching quality and controlling the expansion of the higher education programs (see Cunha, 2004).
The LDB, of 1996, broke the tradition, releasing the hold of the vestibular when it made reference
to the selection process and to completing high school as a condition for access to higher educa-
tion programs, thus opening up new possibilities for the candidate admission processes. Usually,
the private HEIs are those that adopt other selection models in order to fill the available vacancies.
In this study, it has been verified that only 15.6 percent of the total participant HEIs do not
evaluate the prior music knowledge of the candidates, who, accordingly, may begin the Music
Teacher Education Program without any music knowledge. Some institutions demand, as a prereq-
uisite, any document that certifies or provides evidence of the candidates music knowledge, while
others require a theory and/or practical test. The latter is taken by 60 percent of the HEIs, but the
theory test is a requirement of 77.8 percent of the institutions.
The theory tests, in most cases, comprise general knowledge of music theory9 and of music
history. The music theory tests can also include questions on hearing perception, such as rhythmic
and melodic dictation and sight-reading. The practical tests usually aim at evaluating the candi-
dates instrumental skill and/or voice. However, they may be comprised only of hearing skills and/
or music reading tests or a combination of instrument/voice test and the music reading test.

80 77.8

70
60.0
60

50
Percentage

40

30

20 15.6

10 6.7

0
None Certificate Theory test Practical test

Figure 2. Music test of access to the program (multiple answers)

Political and Pedagogical Project of the program

The Political and Pedagogical Project (PPP) is a document of academic guidance, the benchmark
of the actions and decisions of a certain program (BRAZIL, INEP-SINAES, 2004, p. 7), ensuring
its identity. According to the INEP document, PPP should include knowledge and skills deemed
necessary to the formation of the competence established from the profile of the entering student;
52 International Journal of Music Education 29(1)

Others 4.4

Committee: institution, teachers and students 22.2

Committee: institution and teachers 42.2

Institutions directive organs 2.2

Teachers and students 4.4

Teachers 24.4

0 5 10 15 20 25 30 35 40 45
Percentage

Figure 3. Committees responsible for the development of the curricular program currently in force

curricular structure and content; digest, basic and complementary bibliography; teaching strate-
gies; teachers; material resources, administrative services, laboratory services and infrastructure to
support the full operation of the program.
The PPP in force for the Music Teacher Education Program has been developed by different
committees (Figure 3), because there is no common model among the 45 consulted institutions.
The committees are usually comprised of representatives from the institution and teachers or only
of teachers. One case mentioned the pedagogic coordinator with teachers participation and
another one the first principal of the program. The students, in turn, have little representation on
those committees.
The large majority of the HEIs said they have a program in the institution that ensures the
achievement of the objectives proposed in the programs PPP (Figure 4). Such a program is present
in the private institutions that answered the questionnaire, with some federal and state institutions
not using this method.

18%
Yes

2% No
80%
Did not answer

Figure 4. Institutional program that ensures the objectives proposed in the PPP
Mateiro 53

50
44.4
45

40
35.6
35

30
Percentage

25

20 17.8

15

10

5 2.2
0
Not foreseen Yearly From 2 to 5 years Did not answer

Figure 5. Frequency foreseen to evaluate the curricular program

A curricular program re-evaluation is planned in 80 percent of the participant institutions, but at

different times. Many expect to evaluate the program after between two and five years, some expect to
do an evaluation on a yearly basis and a few did not schedule specific time intervals for evaluation.
Among the institutions that evaluate the curricular programs, the large majority said they use the
evaluation results to review certain aspects of the program. As a consequence, the same percentage
of HEIs that do not perform such evaluation processes do not achieve results that can be used in the
program review. Control of the scope of objectives proposed in the PPP, the program evaluation
process, as well as the use of the results are measures taken by the majority of the HEIs.
How, why and when are the curricular reforms performed? How is the knowledge that com-
prises a curriculum for educating music teachers defined? When developing a new PPP, how are

18%
Yes

No
78% 4%
Did not answer

Figure 6. Evaluation results

54 International Journal of Music Education 29(1)

the education laws, the profile of the team of teachers, the students interests, the social and cultural
demands of the region, and the labor market taken into account? These questions, without any
doubt, lead to the education of a model teacher. Should curricular programs for music teacher edu-
cation start from the perspective of pedagogic, artistic knowledge or should music knowledge be
essential to those programs?

Musical
89%
Educational

9% Musical and educational

2%

Figure 7. Model of music teacher that is promoted from the curricular program

According to the information gathered, pedagogic and music knowledge are equally addressed
in the large majority of the curricular programs for music teacher education. Music knowledge is
given priority over pedagogic knowledge in a few programs, while very few give priority to peda-
gogic knowledge. Certainly, this knowledge organization takes the last educational guidance (LDB
9.394/96; Resolutions 1 and 2/2002; BRAZIL. Conselho Nacional da Educao. Conselho Pleno,
2002a, 2002c) as a basis for the construction of the education program in Brazil.

Profile of the music teaching students

Men are in the majority in Music Teacher Education Programs: on average 66 percent of students
are men and 34 percent are women (Figure 8). Among the 45 HEIs that answered the questionnaire,
only five indicated that the number of women is higher than the number of men. Professorship as
a female occupation, as it has been for a long time (Almeida, 1998) and music performance as a
male occupation, as has historically occurred in western culture (ONeill, 1997), are prototypes
that do not correspond to the current reality. The study made by Arstegui et al. (2008) involving
14 European and Latin-American countries (Argentina, Mexico, Brazil, Guatemala, Colombia,
Costa Rica, Chile, Bolivia, Spain, Sweden, Italy, Austria, Portugal and Latvia) shows that 54 per-
cent of the students of the Music Teacher Education Program are women and 46 percent are men.
Among the Latin-American countries, it was found that in Brazil, Chile and Bolivia, men are in the
majority, in contrast to Argentina, where the proportion of women is higher.
In the opinion of the program coordinators, who answered to the questionnaire, the majority of
the students choose to study music because they have a vocation (Figure 9). Even though the
questions were specifically aimed at the Music Teacher Education Program, which is naturally
directed to the education of teachers, there is doubt as to whether the students have a vocation to
be teachers, or to be musicians, or both. The result of a case study performed at a Brazilian uni-
versity, where a questionnaire, among other data collection sources, has been used (Mateiro,
2007b; Mateiro & Borghetti, 2007),10 involving a group of 27 music teaching students, indicates
Mateiro 55

Men
34%
Women

66%

Figure 8. Proportion of men and women in the Music Teacher Education Program

Others 60.0

Music-related occupation 48.9

Acess to university 26.7

Family influence 6.7

Did not have other choice 20.0

Vocation 71.1

0 10 20 30 40 50 60 70 80
Percentage

Figure 9. Reasons that led students to choose the course (multiple answers)

that liking music is closely related to vocation. Forty-four percent of the music teaching stu-
dents declared that vocation was one of the reasons for their decision to study music. In turn, the
enhancement of music knowledge was the most selected other reason for justifying the choice of
the Music Teacher Education Program.
The coordinators give other reasons, emphasizing the labor market and the lack of other options.
With regard to the labor market, after graduation, the students may have access to public contests to
work as music teachers in the education network, take part in artistic-educational projects in differ-
ent areas (museums, theaters, concert rooms, cultural institutions), besides being allowed to continue
working as musicians. The lack of other options has been explained as follows: (a) because in So
Lus11 there is no Bachelor of Music program for specific instruments; (b) many would like to attend
56 International Journal of Music Education 29(1)

70

60.0
60

50
Percentage

40

31.1
30

20

10 6.7
2.2
0
Very low Low Medium High

Figure 10. Music level of the average of the students

an instrument Bachelor of Music program but the university only offers Singing and Music Teacher
Education Programs; and (c) some want to be music teachers, others attend the Music Teacher
Education Program because it is the only option for studying music in a particular university.
The music level of the candidates for the Music Teacher Education Program was classified as
medium by the majority of the coordinators. In view of the data shown in Figure 10, it can be stated
that 93.3 percent of the candidates, on a scale of 0 to 10, have a music level of 0 to 5.
The quantity of students per class varies significantly among the institutions. The minimum
number of students is seven and the maximum is 70. Of the 45 HEIs, three did not answer this
question and the institution with 70 students per class has been excluded because it is significantly
outside the average. Therefore, the results considered the answer of 41 HEIs, organized into two
groups: 30 public HEIs and 11 private HEIs (Table 4). It was found that the average of students per
class in Brazil is about 18, with a standard deviation of 7.15, average deviation of 5.37 and a
median of 18.

Table 4. Average number of students per class

Average Standard deviation Average deviation Median
Public 18.5 5.28 4.07 19
Private 17.5 11.1 8.86 16
Total 18.2 7.15 5.37 18

Figure 11 shows the number of institutions that have the same number of students. For example,
there are nine institutions with 20 students per class, six with 15, four with 25, and so on. It must
Mateiro 57

0
5 10 15 20 25 30 35

Figure 11. Histogram showing the absolute attendance of students per class among 41 HEIs

80 75.6
73.3
70
64.4

60

50
Percentage

40 35.6

30

20

10

0
Classical music Folk music Rock or pop music Others

Figure 12.Type of music the student performs in the classroom when he/she acts on his/her initiative
(multiple answers)

be added that, depending on the disciplines, the classes are divided into and/or organized in small
groups and also that there may be individual classes, such as in the case of the instrument classes.
Such dynamics are a characteristic of music programs because of their practical nature, which was
mentioned by some of the HEIs.
In order to find out about the music preferences of the students, question 21 of the questionnaire
(see Appendix) related to the type of music the student performs in the classroom when he/she acts
on his/her own initiative. Among the alternatives, the classical repertoire can be emphasized, fol-
lowed by rock or pop. However, other types of music have were also specified, such as: Brazilian
popular music, jazz, choro,12 electro-acoustic music, gospel music, traditional music, urban popu-
lar music, improvisation, childrens songs, music education activities.
Both classical music and rock or pop music are music styles that appear in the music production
of students, and in other studies. In the study of Arstegui et al. (2008), even though the Brazilian
58 International Journal of Music Education 29(1)

Yes. in a small proportion 13.3

Yes. in a significant proportion 73.3

Yes, all 13.3

0 10 20 30 40 50 60 70 80
Percentage

Figure 13. Active musical life outside the university

results were the same as found in this survey, when added to the other countries, rock and pop
achieved the first place (80.6%), followed of folk/traditional music (71%) and, finally, classical
music (67.7%).
The majority of the music teaching students have an active music life outside the university. All
of them are in some way involved in musical activities; because no one checked option 4 (no, none)
this was not considered in Figure 13. In addition to this question, it would be useful to investigate
the types of music activities in which the students get involved in order to produce a more accurate
description of their musical life outside the university.
Concerning the PPP, the data show the different ways in which the students approach changing
some concrete aspect of the curricular program (Figure 14). Usually, they make informal comments
among colleagues and formally through their representatives. It is interesting to note here that just
over 10 percent of HEIs do not know of any such interest from the students. This aspect is significant
when there is a belief in education as a democratic and participative process. The academic com-
munity as a whole (students, teachers, administrative staff, directors) has a collective responsibility
towards the common good and the inheritance of the civil society (BRAZIL, INEPSINAES, 2004).

Profile of the teachers team

According to the data arising from the 45 HEIs, it can be stated that out of every three professors
involved in the Music Teacher Education Program, one is a doctor. Such results correspond with
the profile of professors in other areas, that is, the majority of the doctor professors work in public
institutions, and the private institutions prefer those holding a masters degree (Dias Sobrinho &
Brito, 2008). According to Cunha (2004, p. 804), within the medium term, one third of the profes-
sors shall have master or doctor postgraduate degree; one third (not necessarily the same) shall
work in the institution on a full-time basis.
Concerning the experience of university professors, it has been verified that 73.4 percent of the
professors have been working in higher education for more than six years, and 52.3 percent of them
Mateiro 59

Such interest is not known 13.3

Otherwise 17.8

Committee created for such purpose 8.9

Formally through their representatives 44.4

Informal comments among colleagues 51.1

0 10 20 30 40 50 60

Percentage

Figure 14.Ways in which the students show interest in changing the PPP

Did not answer 2.2

More than 10 years 52.3

Between 6 and 10 years 21.1

Less than 5 years 24.4

0 10 20 30 40 50 60
Percentage

Figure 15. Number of years of university teaching experience of professors

for more than 10 years (Figure 15). In addition to this, it has been verified that in 44.4 percent of
the surveyed HEIs, more than 75 percent of the professors work full time, that is, have no other
remunerated job, while more than 31.3 percent stated that less than 25 percent of the professors
work full time (Figure 16).
60 International Journal of Music Education 29(1)

Did not answer 2.2

More than 75% 44.4

From 51 to 75% 8.9

From 25 to 50% 11.1

Less than 25% 33.3

0 5 10 15 20 25 30 35 40 45 50
Percentage

Figure 16. Percentage of professors that work full time

Among the academic activities, teaching, extension,13 management and research are among
the main ones (Figure 17). It is worth noting that, in addition to those activities, often individual
teachers are also dedicated to research and music activities, the latter related to their professional

Others 17.8

Music activities 77.8

Cultural activities 88.9

Tutorship 46.7

Administrative activities 66.7

Research 64.4

Teaching activities 100.0

0 10 20 30 40 50 60 70 80 90 100
Percentage

Figure 17. Activities that comprise the professors academic load (multiple answers)
Mateiro 61

54%

Yes
2%
No
44% Did not answer

Figure 18. Evaluation of the university education practice

profile as musician. It has been found that 69.6 percent of the professors develop an active music
life outside the classrooms, as interpreters, composers, etc. Such data is extremely important,
because the music activity itself is required, in addition to the education activities.
The principle of the inseparability of teaching, research and extension, ensuring the status of
university (LDB 96, Decree No. 3869/01), has been regulated in the federal higher education sys-
tem since 1997, limiting its application to the university bodies (for further discussion see Cunha,
2004; Macedo, Trevisan, Trevisan, & Macedo, 2005). The research work, in the majority, origi-
nates from public institutions, because 24 out of 32 HEIs declared that a portion of the professors
work load is dedicated to research. The private institutions develop research in the smallest propor-
tion, it being important to emphasize that the university centers and the colleges are focused on
teaching activities, as already mentioned.
More than half of the consulted HIEs stated that they do not perform evaluation of teachers
(Figure 18). However, many carry out investigations focused on the evaluation of the university
education practice and, usually, these are performed through the application of a questionnaire
answered by the students. Those institutions stated that the results have a significant influence on
the professors activities (Figure 19).

Very high 10.0

High 35.0

Average 30.0

Little 10.0

Very little 15.0

0 5 10 15 20 25 30 35 40
Percentage

Figure 19. Influence of the evaluation on education practice

62 International Journal of Music Education 29(1)

24%

Yes

No

Did not answer

76%

Figure 20. Collegiate work

In the large majority of the HEIs , the teachers work together collegiately and this usually occurs
through pedagogic meetings. The collegiate work seems to be an activity more prevailing in the
private institutions than in the public ones, since only two private institutions said that they do not
work in this way.
In summary, it can be stated that the general characteristics of the teaching teams of the Music
Teacher Education Programs in Brazil are: on average, 29.9 percent of the professors are educated
to doctorate level; more than half of the participant HEIs have teachers with more than 10 years of
experience in higher education; more than 75 percent of the teachers of a significant portion of the
consulted institutions work on a dedicated, full-time basis; the teachers develop extremely diversi-
fied activities, with teaching and extension being among the priorities; practically 70 percent of the
teachers perform music activities outside the university.

Final provisions
One of the impacts of globalization in higher education is that many countries have been searching
for similar alternatives to comply with the global quality standards. The institutions formats appear
and change; new modalities of courses and programs are created; curricular reforms are imple-
mented adopting national and international standards; evaluation of areas and programs is carried
out at regular intervals; external evaluation, approval and formal authorization of accreditation and
certification of the programs are obligatory procedures; participation of the students in academic
life is encouraged; the research resources are increasing; and international cooperation expands
goals and functions.
In Brazil, the HEIs have been trying to meet and adopt such requirements. However, as can be
observed from the data presented in this article, which describe the characteristics of almost the
whole population, the higher education system is unequal, from the administrative and academic
organization of the institution to the teachers education and the participation of the students in the
democratic management of the PPP of the program. Some recommendations can be considered for
improving the quality of the Music Teacher Education Programs in Brazil and maybe these will
also be useful for the programs of other countries.
Mateiro 63

The data about the institutions terms of reference indicate that since the LDB of 1996,
higher education institutions have been created in several formats and, therefore, new Music
Teacher Education Programs have been implemented, thus increasing the offering in several
regions of the country. The written music theory test is the evaluation instrument used by a
significant portion of the HEIs to select candidates for the program. This test considers only
knowledge in the music theory area, disregarding other competences and skills. It is necessary
to (re)-think the prerequisite knowledge that a candidate for music teacher education should
demonstrate, as well as the evaluation instruments. Maybe such definitions will also help in the
process of selection of curriculum content and fundamental activities for music teaching in
basic education,14 because following the enactment of Law 11.769 of 18 August 2008, the
teaching systems have a three-year period in which to include music as an obligatory discipline
in school curricula.
The curricular programs of the Music Teacher Education Program have been restructured
according to the latest educational guidance, because it was observed that the majority of
them have a very similar format with regard to the arrangement of music and pedagogic
knowledge. The discussion, however, should go beyond compliance with the regulations, to
look at teacher education programs more in line with Brazilian reality, in order to meet the
specific labor demands of a society in constant transformation. To achieve this, it is important
that all programs are evaluated by the institutions themselves, because evaluation is consid-
ered as an internal process of self-knowledge and a tool for improvement in educational and
institutional quality.
The active participation of the students in the democratic management of the PPP is an aspect
to be considered because, besides the students themselves demonstrating interest, it is indicated as
one of the quality benchmarks in the globalization process. Rock and/or pop music, as one of the
music styles more present in students own productions, can be related to the gender issue, where
men prevail and, consequently, to the reasons that lead students to choose the program vocation,
labor market and lack of options. On the other hand, it suggests that those music styles should be
included among the disciplines in the Music Teacher Education Programs or even that teachers
should be educated to specialize in rock and pop music.
The qualification and dedication of the teachers are specific requirements that should be com-
plied with by the university institutions in the medium term, and this is another quality indica-
tion. In order to be a higher education professor, it is not enough to have a first degree; a masters
degree and/or doctorate is required, as provided for in Article 66 of the LDB. Such issues, how-
ever, also lead to a discussion about the quality of post-degree programs. In addition, it is impor-
tant that part of the team of professors is dedicated full time to the program and has professional
experience.
Finally, the expectation is that the material included in this article may serve as a resource for
the professors engaged in the education of teachers and for those responsible for the decisions
taken during the development of the political and pedagogical projects of the Music Teacher
Education Programs. At the same time, other research work is expected, in order to enhance the
data described and analyzed herein: studies on the music curricular programs, still limited, aim-
ing at the improvement of the pedagogic methods and materials; studies on the music teaching
students, identifying their interests and requirements; studies on those entering and the labor
market, evaluating societys demand; studies on the professional knowledge required for music
teacher education, searching for alternatives in the relationship between culture, school and
knowledge; and administrative regulation studies, resulting in the improvement of the higher
education system.
64 International Journal of Music Education 29(1)

Acknowledgement

The authoris very grateful to Gunnar Heiling for the theoretical discussions and reflections carried out during
the development of this work. She is also very grateful to the coordinators and colleagues of all the institu-
tions that kindly answered the questionnaire, as well as to Fernando Deeke Sasse for suggestions and revision
of the quantitative data.

Notes
1. Results are published in Profesorado, Revista de currculum y formacin del profesorado, 14(2), 2010.
Available at http://www.ugr.es/~recfpro/?p=831
2. National Curricular Parameters PCN, from first to fourth grades (MEC/SEF, 1997), from fifth to eighth
grades (MEC/SEF, 1998) and High School PCNEM (MEC/SEF, 2000); Teachers Education Terms of
Reference (MEC, 2002), National Curricular Terms of Reference for Childrens Education RCNEI
(MEC/SEF, 1998) and National Curricular Directives DCN for Graduate Courses. Documents are
available from Ministrio da Educao (2009).
3. Basic Education Evaluation System SAEB, Brazil Test School Achievement Evaluation, National
Examination of High School ENEM and National Examination of Students Performance ENADE.
Available from Ministrio da Educao: Instituto Nacional de Estudos e Pesquisas Educacionais Ansio
Teixeira (2009).
4. Because of the different nomenclatures found in the music teacher preparation programs, this article will
use Music Teacher Education Program.
5. Research supported by CAPES, a Foundation that reports to the Ministry of Education of Brazil.
6. Data provided by the Ansio Teixeira National Institute of Educational Studies and Researches (INEP) in
2008. There were three further private institutions, giving a total of 75 HEI. These institutions have have
not been considered in this research, however, because the Music Teacher Education Programs are no
longer running.
7. Decree No. 3860 of July 09, 2001, which covers the organization of higher education, the evaluation of
courses and institutions and other provisions. Data also available on the SESu website (Ministrio da
Educao: SESu, 2009).
8. For further discussion on the links between music pedagogy and other disciplines, see Kraemer (2000)
and Nielsen (2008).
9. The music theory content is different in each institution, but is usually comprises analysis (harmony,
melody, rhythm, counterpoint, form, tempo, compositional technique) and notation (notes, lines, keys,
rhythm patterns, triplets, time signatures, matrix, tempo indications, expression markings, dynamics,
articulation, repetition signs).
10. See similar studies on the profile of the music teaching students (Cereser, 2004; Feichas & Oliveira, 2009).
11. Capital of the State of Maranho and considered as the fourth largest city in the Northeastern Region.
12. Brazilian popular (instrumental style) music.
13. Educational and cultural projects developed with the community. The idea is that academic activities
should be also extended to the community in general.
14. The basic education in Brazil comprises the kindergarten (0 to 5 years); the elementary school (6 to 15
years) and the high school (15 to 18 years).

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Appendix
Survey for the evaluation of curriculum plans of music education teacher preparation
programs for elementary schools
We would appreciate your collaboration in participating in this study, the results of which will
be used for improving the quality of elementary school music teacher preparation programs. The
information obtained from this survey will be analyzed and kept confidential. No publication of the
study will provide any personal information about the study participants the study.
When responding to the questionnaire, please provide the data requested in the following box
(below) and then answer the next 26 questions by marking an X in the corresponding box. When
required, provide the information requested. Thank you very much for your participation.

Institution:
Indicate whether the institution belongs to a public (federal or state) or private school:

1. In what kind of institution is being implemented the Music Education Program?

1. College, Superior school or University School of Music or Arts
2. College, Superior school or University School of Education
3. Normal school or one with no university related institution
4. Other. Please specify:__________________________________________
Mateiro 67

2. How would you categorize the average level of musical knowledge of the students who
attend this program?
1. Very low
2. Low
3. Medium
4. High
5. Very high
3. Are there any prerequisite examinations required for attending the program?
1. There are no prerequisite requirements
2. Some kind of musical studies certificate is required
3. A specific test of musical theory is administered
4. A test of vocal and/or instrumental interpretation is administered
4. Does the institution have a program that guarantees the fulfillment of the curriculum
objectives?
1. Yes
2. No
5. Who designed the current curriculum?
1. The faculty
2. The faculty and students
3. The administrators of the institution
4. A commission integrated by representatives of the institution and the faculty
5. A commission composed of representatives of the institution, the faculty and students
6. Other. Please specify: _____________________________________________
6. How often is the curriculum evaluated?
1. It is not expected to be evaluated
2. Every year
3. Between 2 and 5 years
4. Every 6 years or more
7. Are the results of the curriculum evaluation used for its review?
1. Yes
2. No
If yes, please explain how the evaluation results are used.
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
_________________________________________________________________
8. Why do you think students choose to study Music Education? Select all that apply.
1. Vocation
2. They did not have another option
3. Because of the influence of their family
4. To get access to the university
5. Because this the only option for following a profession related to music
6. As a complement to their musical preparation
7. Other. Please specify: _____________________________________________
68 International Journal of Music Education 29(1)

9. Do faculty members promote collaborative work among students? It this a technique that ...
1. Nobody uses in practice
2. Is used little
3. Is used frequently
4. Faculty members use all the time
10. If students show an interest in modifying some concrete aspect of the present curriculum,
how do they go about doing this?
1. By means of informal commentaries expressed among companions
2. Formally, through their representatives in the college council
3. In a commission created specifically for doing this
4. Other. Please specify: _____________________________________________
5. The existence of this interest is unknown
11. What is the percentage of male and female students in the Music Teacher Education Program
at your institution (from a total of 100 percent)?
Women: ___ %
Men: ___%
12. Do students have an active life as musicians outside the classroom?
1. Yes, all
2. Yes, a great proportion
3. Yes, a small proportion
4. No, none
13. What activities constitute the academic workload of the faculty members? Select all that
apply.
1. Teaching
2. Research
3. Administration
4. Advising
5. Organization of cultural activities
6. Musical activity
7. Others
14. We want to get a picture of what the teaching experience of faculty members is like at your
institution. Please indicate approximately how many years of university teaching experience
they have. Remember that the sum of the three percentages must be 100 percent.

Less than 5 years: __________ %

Between 5 and 10 years: __________ %
More than 10 years: __________ %
100%

15. What percentage of the faculty members works full time?

1. Less than 25%
2. Between 25% and 50%
3. Between 51% and 75%
4. More than 75%
Mateiro 69

16. What percentage of the faculty members has an active musical life experience (interpreter,
composer or musicology) outside the classroom?
_______ %
17. What is the percentage of faculty members with a PhD teaching on this program?
_______ %
18. Is there teamwork or another any kind of collaborative or collegiate work on teaching among
the faculty members at your institution?
1. Yes
2. No
If yes, please provide information:______________________________________
19. Is there any research agenda aimed to evaluate the teaching quality of the faculty at the
university?
1. Yes
2. No
If yes, please provide information:
______________________________________________________________________________
____________________________________________________________________
If no, please, go to question 21.
20. How does faculty research influence teaching at your institution?
1. Very little
2. Little
3. Moderately
4. Enough
5. Much
21. What kind of musical productions are developed by students on their own initiative in the
classroom? Choose all that apply.
1. They play or propose activities related to classical music
2. They play or propose activities related to folk music
3. They play or propose activities related to poprock music
4. Other. Please specify:______________________________________
22. What model of music teacher educator is promoted by the curriculum?
1. One that emphasizes musical over educational knowledge
2. One that emphasizes educational over musical knowledge
3. One that emphasizes both musical and educational knowledge equally
23. What is the approximate average amount of students per class studying this degree?
___________________________________________________________________
24. Which of the following general resources are available for students? Choose all that apply.
1. Library
2. Newspaper library
3. Study rooms
4. Room with audio-visual resources
5. Other. Please specify: ______________________________________
70 International Journal of Music Education 29(1)

25. What specific resources do the students have available to them? Choose all that apply.
1. Study cabins
2. Musical instruments
3. Hi-fi equipments
4. Computers
5. Other. Please specify: _____________________________________________
26. In your opinion, to what extent do facilities and resources satisfy student needs? And how do
they meet faculty member needs? Please select one number per row.

Very little Little Average High Very high

Students 1 2 3 4 5

Faculty members 1 2 3 4 5

Teresa Mateiro completed her PhD in Music Education at the University of the Basque Country, Spain.
Before that she studied at the Federal University of Rio Grande do Sul, Brazil, where she concluded an arts
licentiate and a masters degree in Music. Since 1995, she has been a teacher of music education in the Music
Department at the State University of Santa Catarina, Brazil. Currently, she is an Associate Senior Lecturer
at rebro University, Sweden. Her research interests comprise music teacher education, teaching practice in
music education, music in schools, curriculum development and evaluation.
[email: teresa.mateiro@oru.se]

Abstracts
ducation aux enseignants en musique: Une tude des programmes suprieurs
brsiliens
En considrant les politiques ducatives dans son processus global, la vise de cet article est de
dmontrer le statut des programmes denseignement musicaux suprieurs au Brsil suite de la
promulgation de la lacte numro 9394 en 1996. Une telle loi met laccent sur le processus
dvaluation lenseignement suprieur, incluant ainsi la qualit de lenseignement et laccrditation
des institutions, des programmes gnraux et des programmes de concentration en tant que res-
source. Dans cette tude, la qualit des paramtres est montre en regard des rfrences institution-
nelles, des caractristiques du programme curriculaires, des tudiants et du corps professoral. Les
rsultats montrent lingalit du systme ducatif suprieur, et cela, de lorganisation administra-
tive et scolaire jusqu lducation des professeurs et leur participation la vie scolaire des tudi-
ants. Cela indique les rcents changements qui rgissent les politiques nationales et internationales
de lducation et le besoin de raliser des tudes qui pourraient contribuer lamlioration des
programmes denseignement divulgus aux enseignants en musique.

Musiklehrerausbildung: Eine Studie zur Hochschulausbildung in Brasilien

Unter Beachtung der Bildungspolitik in einer globalisierten Welt mchte dieser Artikel den Status
der Musiklehrerausbildung in Brasilien nach dem Inkrafttreten des Directives and Bases Act No.
9394 aus dem Jahr 1996 darstellen. Dieses Gesetz hebt den Evaluierungsprozess hherer Bildung,
Mateiro 71

einschlielich der Unterrichtsqualitt und der Akkreditierung von Institutionen, Studiengngen

und Hauptfchern hervor. In dieser Studie bezieht sich die qualitative Bewertung der Lehrerbildung
auf institutionelle Bedingungen, Merkmale der Curricula sowie auf Dozenten und Studenten. Die
Daten wurden mittels eines Fragebogens erhoben, der von den Studiengangskoordinatoren ausge-
fllt wurde. Die Ergebnisse zeigen die Ungleichheit im hheren Bildungswesen, von der Verwaltung
und akademischen Organisation bis zur Lehrerbildung und der Beteiligung der Studierenden am
akademischen Leben, was jngst eingetretene nderungen betrifft, die der nationalen und interna-
tionalen Bildungspolitik entsprechen. Die Notwendigkeit derartiger Studien kann zur Verbesserung
der Musiklehrerausbildung beitragen.

Formacin del profesorado de msica: un estudio de los programas brasileos

Partiendo de las polticas educativas desarrolladas en los procesos de globalizacin, el propsito de
este artculo es mostrar el estatus de los programas de formacin del profesorado de msica en
Brasil tras la promulgacin de la Ley de Directrices y Bases n 9394 de 1996. Esta Ley enfatiza los
procesos evaluadores en enseanzas universitarias, incluyendo la calidad de la enseanza y la
acreditacin de instituciones, planes de estudio y especialidades. En este estudio, los parmetros de
calidad provienen de los referentes institucionales, de las caractersticas del currculo en cada plan
de estudios, de los estudiantes, y del profesorado. Se recogieron datos a partir un cuestionario
dirigido a los coordinadores de cada plan de estudios. Los resultados muestran las desigualdades
del sistema de enseanzas universitarias, desde la organizacin acadmica y administrativa hasta
la formacin de los profesores o la participacin del alumnado en la vida acadmica, indicndose
cambios recientes en correspondencia con polticas educativas nacionales e internacionales, as
como la necesidad de otras investigaciones que contribuyan a la mejora de los planes de estudios
de formacin del profesorado de msica.