Through the obtained data, it was possible to observe that all teenagers listen to music and, in general, reported many ways of accessing it (such as computers), which they declared to listen in any place, but usually in their homes. Considering the data, we noticed that home is still the main place were the teenagers listen to their favorite music, while other places, as the street, school and others are their second choice. The figures below summarize the answers (homens=men, mulheres = women):
Figure 1: Data Chart by Gender of What Teenagers Report to Listen to Music
Figure 2: Data Chart by Gender of Where Teenagers Report They Listen to Music The data here presented, specially focusing on where they listen to music, lead us to reflect in what Folkestad (2002) says: “musical identity do not just depends on age, gender or musical predilection, but is a result of cultural, ethnic, religious, and national (sic) contexts in which people live” (p. 23). Based in this idea, it is curious
notice that some teenagers describe not just the places, but also with whom they listen to music in this space, such as “In Baía7 [sic] with my cousins.”
It is hard to find somebody who doesn't relate with music: listening, singing, dancing, playing an instrument, whatever it is in various moments and for many reasons. It is clear that the choices are, too, connected to the context which the young ones are inserted, and due to that we can verify that exist a big amount of forró listeners, a music extremely widespread and consumed in Ceará's countryside. In this paper we do not intend to enter the differences about male and female, however we noticed the visible inclination of men to forró while the women seem to refer more often to pop music. Apparently the church also influences women’s lives, who reported that they listen to gospel music in their homes and in churches that they attend.
In our countryside context, where the contact with classical music is small or does not exist, three answers referring to this type of music (all given by female participants) seem to be peculiar, what may sound as funny or doubtful, because is possible that the participants tried to impress or to please somebody (like the researchers). Also is noteworthy the rhythm funk, that just had entries from men. This is a little curious, because this music explores the femininity and women sexuality/sensuality, what would led us to think that women would present more often this rhythm, what in fact did not happened.
Regarding choices, the musical identity is always linked to listening and influences, which are changing on a regular basis. To close the present study, we try to outline the following musical identity of the young people from Ceará's countryside: they're teenagers who usually bond music to pleasure and leisure; who listen to music at their home and within social and relational contexts; who frequently point out the mainstream music as their favorite, in which few were the cases that showed themselves as peculiar, that is, those who can break away from this influence of mainstream music.
A possible social reflect of this reality are the popular parties (free or paid) held in the region. In Sobral city, for instance, is typical that musical artists of rhythms here referred - especially the forró - are invited to perform in big open festivals, always in outstanding places, with a public of thousands. On the other hand, we observe that the artists who do not perform this kind of music have spaces to perform that are not much of prominent places, what diminish, in our view, the public access to other music that are not in the media. Furthermore, in the answers given by the teenagers, we perceived the absence of the school as a place to listen to music, which is the most fruitful place for music education in Brazil. In conclusion, outlining identities will always be a hard goal to achieve, because the identity changes each day, each choice and each song.
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7Baía is a mistype for Bahía, which is a northeastern Brazilian state.
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