In todasas expression forms the idea of if thinking Brazil and answering who we are eque future we want stops the country, became present. Let us come back now toward the educational question. Exactly in a country where aarte, and music in special, if had made/makes so present, why to noutilizar it na classroom? Especially to treat to history and in especficoda Brazilian identity. Popular music is one of the strongest aspects naidentificao, as much in how much international the national scope, of brasilidade ede mark of the Brazilian. Then why not to use it as source to think ahistria, culture and identity of the place that it represents? Comorecurso still didactic E. The transformaestericas and the magnifying of the field, as well as of the used sources peloshistoriadores, mainly from the theoretical chain of new history, make possible the use of the art as expression of the culture and historical source to aser worked.
Teixeira Rabbit says that: The documentoartstico-cultural one is a historical document as another one any, in the measure emque is a product of a mediation of subjective historical experience objective comestruturas of the socioeconmica sphere. The processes of mediaocultural, diversified nature, involve the diverse actions of aproximaoentre social individuals and groups and the workmanships of cultua, saw production, medias cultural, criticize of institucional art, actions. 6 Still in relation to the use of music as fontehistrica and didactic resource, Martins 7 Blacksmith deals with the question offering a series of practical examples of as trabalharcom songs in the school. Beyond this author, Napolitano Landmarks, that also segueessa research line, reflects on theoretical and metodolgicas questions dautilizao of musics in the education of history. According to Napolitano, ' ' Each time more, everything is to see and to hear, and this phenomenon, already secular, cannot more passardespercebido for the historians, those specialized mainly emhistria of century XX' '.