This dissertation is the result of a master's research that aimed to analyze how institutionalized and non-institutionalized of Music Education environments influence the education of students from the Music Degree Course at UFRR from the perspective of the students themselves. Thus, we sought to: a) discuss how institutionalized and non-institutionalized environments for training music teachers were constructed, based on the concept of Coloniality (BOAVENTURA, 2005; QUIJANO, 1992; 2010; APPLE, 2002; MALDONATO-TORRES, 2007; PEREIRA, 2018; 2020; QUEIROZ, 2017; 2019; BATISTA 2018; 2020); b) to analyze the configuration of institutionalized and non-institutionalized environments and their respective formative elements in the participants' narratives (PODESTÁ; BERG, 2018;
COSTA, 2014; WILLE, 2005; LIBÂNEO, 2000; ARROYO, 2000; GREEN, 2001; 2012; FEICHAS, 2006); and c) understand how the research participants perceive (or not) the institutionalized and non-institutionalized environments in their teacher education, and whether they are aware of the presence and interrelation between both, as well as their impacts. For data production, we were inspired by the educational biography, a procedure from the field of (auto)biographical research (GONTIJO, 2019; ALMEIDA; LOURO, 2019; ALMEIDA, 2019; 2020; 2022; PASSEGGI, 2016; 2020; 2021; DINIZ-PEREIRA, 2019; MOTA; BRAGANÇA, 2019; ABRAHÃO, 2011) developed by Pierre Dominicé and Marie-Christine Josso (2002; 2010) and in music-educational biography (ALMEIDA, 2019), a methodological research procedure equally inspired by educational biography, and presents itself as an alternative for the training of music educators. The Discourse Analysis (ORLANDI, 2009; LIMA, 2017;
BRANDÃO, 1993; BRASIL, 2011; CONTIERO, 2018; SILVA; RABAY, 2020; CUNHA, et al., 2017) was used to interpret and analyze the data achieved. The research participants selected varied experiences to share through their life narratives with a focus on formation and collective narrative interview. In these, we found traces of coloniality, hindering dialogues and musical and teaching doings in their formative processes. To overcome these, one of the participants cited the need for a bridge, as a decolonial action. And by understanding that the bets of the (auto)biographical paradigm point to a recognition of the subject's autonomy, to the respect for the human, the individualities and the personal and complex characteristics of this individual, and seeks to reconstitute the empirical and autobiographical subject excluded from modern science (PASSEGGI, 2016; 2020), we understand the practice of (auto)biographical research as the possible bridge, because they have been moving in this direction, of building bridges, providing dialogues and contributing to the awareness of formative processes.
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