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Authors
Abstract(s)
O presente trabalho pretende tratar o processo e o resultado da experiência de Prática Educativa Supervisionada desenvolvida pela autora ao longo do ano lectivo de 2019/2020, no âmbito da realização do Mestrado em Ensino de Música. Desta forma, o trabalho de estágio, desenvolvido no Conservatório de Música
do Porto, nas classes de Violino e Conjunto de Cordas, encontra-se descrito neste documento através de informações detalhadas, grelhas e planificações, ao longo do segundo capítulo. O terceiro capítulo, que dá o título a este Relatório de Estágio, é subordinado ao tema “Possíveis estratégias para o ensino do violino partindo da experiência de um violinista barroco”. Através da obra de F. Geminiani (1751) “The art of playing on the violin” e outros exercícios explorados durante a minha própria experiência académica, elaborou-se um plano de ação com estratégias que visam não só ajudar a diminuição da tensão física durante a prática instrumental como adquirir consciência dos vários movimentos e condicionantes inerentes à prática instrumental. Em suma, o presente trabalho constitui uma análise e reflexão sobre várias questões relacionadas com o autoconhecimento do aluno e estratégias de ensino que lhe permitam desenvolver uma maior autonomia para o estudo do violino.
The present essay follows the process and the outcomes of the supervised educational practice experience developed by the author throughout the academic year 2019/2020, as part of the achievement of the master’s in music teaching. In this way, the internship work, developed at the Conservatório de Música do Porto in the Violin and String orquestra classes, is described in this document through detailed information, grids and plans, throughout the second chapter. The third chapter, which gives the title to this report, is subordinated to the theme “Possible strategies for teaching the violin inspired by the experience of a baroque violinist”. Based on the work of F. Geminiani (1751) “The Art of Playing on the Violin”, and other exercises explored during my own academic experience, an action plan was developed with strategies aiming to help reduce physical tension during instrumental practice and improve awareness of becoming aware of various movements and conditions inherent to the instrumental practice. In short, the present work constitutes an analysis and reflection on several issues related to the student's self-knowledge and teaching strategies that allow him to develop greater autonomy on the study of the violin.
The present essay follows the process and the outcomes of the supervised educational practice experience developed by the author throughout the academic year 2019/2020, as part of the achievement of the master’s in music teaching. In this way, the internship work, developed at the Conservatório de Música do Porto in the Violin and String orquestra classes, is described in this document through detailed information, grids and plans, throughout the second chapter. The third chapter, which gives the title to this report, is subordinated to the theme “Possible strategies for teaching the violin inspired by the experience of a baroque violinist”. Based on the work of F. Geminiani (1751) “The Art of Playing on the Violin”, and other exercises explored during my own academic experience, an action plan was developed with strategies aiming to help reduce physical tension during instrumental practice and improve awareness of becoming aware of various movements and conditions inherent to the instrumental practice. In short, the present work constitutes an analysis and reflection on several issues related to the student's self-knowledge and teaching strategies that allow him to develop greater autonomy on the study of the violin.
Description
Keywords
Ensino de violino Violino barroco Francesco Geminiani Consciência corporal Exercícios de arco Violin teaching Baroque violin Body awareness Bowing exercises