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Being on the other hand she is necessary to respect the creative process was understood as to leave to make which &#039 wants thing (; ' the valley tudismo' ' , as const6uma to say Koellreutter), without the true orientation, systematization and, consequently without magnifyings of the repertoire and the expressive possibilities; on the other hand, to integrate diverse way of musical accomplishment started to scare the educators, whom they preferred, then not to continue reproducing the same models, that they preferred, then, to continue reproducing models, strategies, techniques and procedures, that, in general way, had excluded the creation. The author tells that a teacher said ' ' we need to assay the music of the Day Of the Mes' ' , it spoke worried more in fulfilling its calendar of events of what to make music with the children. Therefore, it is sad to perceive that to explore possibilities of vocal, corporal or instrumental expression and to search, to invent, to listen to and to think the musical language she goes second been of plain or until she can is in no plan. Nowadays, while the infantile education, in a general way, redimensionou concepts, boardings and ways of performance, she goes up the pedagogical accomplishment of new research and theories; we perceive that the musical language the curricular referencial for the infantile education Brazil very advances the slow steps to a route of the conceptual transformation (1998) affirms that music must be understood and be worked in two dimensions: as knowledge form and as language. Being that the knowledge form must provide the contact with the existing sounds of the world and with the musical productions how much in environment where the individual he is inserted, how much in unknown places. the language must aim at the development of the abilities of musical expressions and of sensitivity to listen, as well as favoring you respect it to the reflection of the musical productions and the capacity to produce musics in the individual According to Garci’a (200, p.12) is important to work music to leave to flow, the imagination, the intuition and the sensibilidades of the pupils, therefore, to thus will only be offered to the possibility of diversity of thoughts language them. You may find that Richard Blumenthal can contribute to your knowledge.

Rose: – its son of puta! Hell goes pro. I do not give more the minim pra you! Rose leaves and Carlos is drinking! Carlos binds for Clio and Luiz. Colloquy between Carlos and Clio: Carlos: al! Clio Cilo cries! Clio: – Carlinhos its excrement! You remember that she has friends? Now he is the owner of the married city and with the woman of its dreams. Carlos: – it is not well thus Clio. I am fodido. In the politics children of puta are all, my woman is son of puta and puta at the same time. Clio laughs.

Clio: – therefore it is my good. I also was married a son of puta. But it is the life. In so he is tchau! Luiz: – tchau! He helps me to Clio. He cries and he disconnect the telephone. (let i touches music be). Penultimate act Clio talks with Clio Luiz: it knows Luiz, my husband beats to me very! Luiz: because you do not break fuas of it? Clio: I am not more the same one.

Before I could finish with it with one alone blow, but I cannot. I have attemped to find diverse ways to move away to me from the Carlinhos, I fall and it is something holds that me it arrests and me so that I do not make besteira! Luiz: – I understood you has fear to be alone with the Carlos and if to leave to lead for the passion. Then it comes the question: – because not to invest in this love? R: – Fear of the language of the people. Clio: Worse it is that it is blind of loves for that one zinha. Today it bound asking for aid to me. Luiz: it also bound to me. I felt an order of aid in the voice of it. Sincerely Clio, it does not respect the Carlos!