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Abstract(s)
Este relatório retrata o meu estágio enquanto professor de percussão, realizado durante o ano letivo 2019/2020 no Conservatório de Música do Porto e está dividido em três capítulos.
No primeiro capítulo, descreve-se a instituição onde o estágio foi realizado, enquanto que o segundo relata a Prática Educativa Supervisionada.
Por último, o terceiro capítulo é dedicado ao projeto de investigação subordinado ao tema “Leitura à primeira vista na marimba: o reconhecimento de padrões musicais no caminho para a autonomia”.
Neste capítulo, procura-se entender o papel que o reconhecimento de padrões musicais tem na leitura à primeira vista. Após uma descrição dos processos físicos e cognitivos implicados na leitura de uma partitura musical e uma exploração do processo de chunking e de reconhecimento de padrões, são citadas as perspetivas de autores como David Huron e John Sloboda sobre a aprendizagem de uma habilidade musical. Desta descrição conclui-se que a exposição repetida de um aluno a determinado estilo musical pode ajudá-lo a prever e reconhecer padrões recorrentes nesse mesmo estilo. Assim, o aluno tornar-se-á cada vez mais proficiente na leitura à primeira vista.
Finalmente, são apresentados excertos de obras originalmente escritas para marimba e que são tipicamente utilizadas nos Cursos Básicos de Instrumento, com o objetivo de munir os docentes de percussão da possibilidade de organizar o repertório que propõem aos seus alunos tendo em vista o desenvolvimento da sua capacidade de leitura.
This report portrays my internship as a percussion teacher during the academic year of 2019-2020 at Conservatório de Música do Porto and it is divided into three chapters. In the first chapter, I describe the institution where the internship took place, while in the second chapter I portray the internship itself (Prática Educativa Supervisionada). At last, the third chapter is devoted to the research project on the subject “Sight-reading at the marimba: recognizing musical patterns as a path to autonomy”. In this chapter the aim is to understand the role played by musical pattern recognition in the contexto of sight-reading. After describing the physical and cognitive processes involved in sightreading and examining the chunking and pattern recognition processes, I quote the perspectives of authors such as David Huron and John Sloboda on the process of learning a musical skill. From this exposition it follows that the repeated exposure of a student to a particular musical style can help him to predict and recognize recurring patterns in such style. Thus will the student become ever more proficient in sight-reading. Finally, I present some excerpts of compositions written originally for the marimba and commonly used during the first years of learning of this instrument. The aim is to equip the percussion teachers with the capacity of organizing the repertoire that they present to their students as a means of developing their sightreading abilities.
This report portrays my internship as a percussion teacher during the academic year of 2019-2020 at Conservatório de Música do Porto and it is divided into three chapters. In the first chapter, I describe the institution where the internship took place, while in the second chapter I portray the internship itself (Prática Educativa Supervisionada). At last, the third chapter is devoted to the research project on the subject “Sight-reading at the marimba: recognizing musical patterns as a path to autonomy”. In this chapter the aim is to understand the role played by musical pattern recognition in the contexto of sight-reading. After describing the physical and cognitive processes involved in sightreading and examining the chunking and pattern recognition processes, I quote the perspectives of authors such as David Huron and John Sloboda on the process of learning a musical skill. From this exposition it follows that the repeated exposure of a student to a particular musical style can help him to predict and recognize recurring patterns in such style. Thus will the student become ever more proficient in sight-reading. Finally, I present some excerpts of compositions written originally for the marimba and commonly used during the first years of learning of this instrument. The aim is to equip the percussion teachers with the capacity of organizing the repertoire that they present to their students as a means of developing their sightreading abilities.
Description
Keywords
Leitura à primeira vista Reconhecimento de padrões Chunking Percussão Marimba Ensino de música Sight-reading Pattern recognition Percussion Music teaching