A carregar...
Publicação
Adenda ao relatório de estágio prática de ensino supervisionada
| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 4.05 MB | Adobe PDF |
Autores
Orientador(es)
Resumo(s)
A presente adenda ao Relatório de Estágio desenvolvido no âmbito do Mestrado em Ensino da Música centra-se na Prática de Ensino Supervisionada na especialidade de Classes de Conjunto. O trabalho desenvolveu-se sobretudo através da observação de aulas da disciplina de Combo, complementada por momentos de cooperação e lecionação acompanhada. Este percurso permitiu articular os conhecimentos adquiridos no mestrado com a prática pedagógica real, evidenciando a importância da escuta ativa, do trabalho vocal, da análise harmónica, da prática rítmica e da improvisação na aprendizagem do jazz em ensemble.
A observação das estratégias da professora cooperante — nomeadamente o uso da demonstração instrumental, a fragmentação dos conteúdos e a promoção de um ambiente seguro de aprendizagem — permitiu identificar práticas eficazes para o desenvolvimento da autonomia, criatividade e coesão do grupo. A lecionação possibilitou aplicar estes princípios, reforçando a necessidade de ajustar metodologias às características do ensemble e orientar o processo musical de forma progressiva.
Foram identificadas dificuldades como a heterogeneidade técnica dos alunos, instabilidade rítmica, desafios na afinação e a ausência de um baixista, fatores que funcionaram como oportunidades de reflexão e ajustamento pedagógico. A PES contribuiu, assim, para a consolidação de uma identidade profissional crítica e fundamentada, reforçando competências essenciais à prática docente e ao ensino especializado da música.
This addendum to the Internship Report developed within the Master’s Degree in Music Teaching focuses on the Supervised Teaching Practice (PES) in the speciality of Ensemble Classes. The work was carried out mainly through the observation of Combo classes, complemented by collaborative participation and supervised teaching. This process made it possible to articulate the knowledge acquired throughout the master’s programme with real pedagogical practice, highlighting the importance of active listening, vocal work, harmonic analysis, rhythmic awareness, and improvisation in the learning of jazz in ensemble settings. The observation of the cooperating teacher’s strategies — namely instrumental demonstration, content segmentation, and the creation of a supportive learning environment — allowed the identification of effective practices for fostering student autonomy, creativity, and group cohesion. The teaching moments provided opportunities to apply these principles, reinforcing the need to adjust methodologies to the characteristics of the ensemble and to guide musical development in a progressive and structured way. Several challenges were identified, such as heterogeneous technical levels, rhythmic instability, difficulties with intonation, the absence of a bass player, and the need to strengthen individual responsibility and autonomous study. These limitations became opportunities for reflection and pedagogical refinement, encouraging adaptive decision-making. Overall, the Supervised Teaching Practice contributed decisively to the development of a reflective and well-grounded professional identity. The experience strengthened essential competencies for specialised music teaching and confirmed the relevance of supervised practice as a core component of teacher training, supporting an informed, conscious, and learner-centred pedagogical approach.
This addendum to the Internship Report developed within the Master’s Degree in Music Teaching focuses on the Supervised Teaching Practice (PES) in the speciality of Ensemble Classes. The work was carried out mainly through the observation of Combo classes, complemented by collaborative participation and supervised teaching. This process made it possible to articulate the knowledge acquired throughout the master’s programme with real pedagogical practice, highlighting the importance of active listening, vocal work, harmonic analysis, rhythmic awareness, and improvisation in the learning of jazz in ensemble settings. The observation of the cooperating teacher’s strategies — namely instrumental demonstration, content segmentation, and the creation of a supportive learning environment — allowed the identification of effective practices for fostering student autonomy, creativity, and group cohesion. The teaching moments provided opportunities to apply these principles, reinforcing the need to adjust methodologies to the characteristics of the ensemble and to guide musical development in a progressive and structured way. Several challenges were identified, such as heterogeneous technical levels, rhythmic instability, difficulties with intonation, the absence of a bass player, and the need to strengthen individual responsibility and autonomous study. These limitations became opportunities for reflection and pedagogical refinement, encouraging adaptive decision-making. Overall, the Supervised Teaching Practice contributed decisively to the development of a reflective and well-grounded professional identity. The experience strengthened essential competencies for specialised music teaching and confirmed the relevance of supervised practice as a core component of teacher training, supporting an informed, conscious, and learner-centred pedagogical approach.
Descrição
Palavras-chave
Estágio Prática de ensino Piano Jazz Combo Aprendizagem Internship Teaching practice Learning