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Advisor(s)
Abstract(s)
A Educação Musical ou Formação Musical, com esta ou uma qualquer outra designação, é um domínio disciplinar que, muito embora seja um elemento curricular constante na construção formal do ensino superior de música, regista uma presença valorativa irregular no campo em causa. Uma presença que apelido de volúvel face ao reconhecimento variável que lhe é consignado, em termos de autonomia programática, de identidade formativa e de dimensão curricular, nas múltiplas formações superiores existentes.
Em nosso entender, são vários os fatores que contribuem para esta quase subalternidade disciplinar, designadamente, i) o papel central da aprendizagem da prática instrumental individual ou coletiva nos currículos do ensino de música; ii) a configuração curricular histórica e pedagógica desta disciplina como uma unidade de saber anexa a uma outra formação principal; iii) a forte componente de carácter tarefeiro e treino a que o ensino da disciplina recorre sistematicamente; iv) a ausência de uma investigação sobre a teoria e às práticas neste domínio; v) ou a (co) existência de uma pluralidade de perfis formativos que lecionam e abordam a disciplina de uma forma específica, o que por si só é uma mais valia interessante, malgrado ser desconhecida dos demais docentes deste domínio.
É precisamente este último fator, o desconhecimento do trabalho que é efetuado pelos inúmeros docentes que
lecionam esta unidade curricular no ensino superior de música nacional, acrescido de um pequeno ato cívico
comemorativo do cinquentenário do 25 de abril, que nos impulsionou e justificou a realização da Escola de Outono do presente ano com o seguinte título: “O que andamos para aqui chegar...” Perspetivas e práticas sobre a educa/forma(ção) musical no ensino superior. [...]
Music Theory and Aural Skills, with this or any other designation, is a disciplinary domain that, although it is a constant curricular element in the formal construction of higher music education, registers an irregular evaluative presence in the field of music training. A presence that I call volatile in view of the variable recognition that is assigned to it, in terms of programmatic autonomy, training identity and curricular dimension, in the multiple existing higher education courses. In my opinion, there are several factors that contribute to this almost disciplinary subalternity, namely, i) the central role of learning individual or collective instrumental practice in music teaching curricula; ii) the historical and pedagogical curricular configuration of this subject as a unit of knowledge attached to another main course; iii) the strong component of a task and training character that the teaching of the subject uses systematically; iv) the absence of research on theory and practices in this field; v) or the (co)existence of a plurality of training profiles that teach and approach the subject in a specific way, which is in itself interesting and an benefit, despite being unknown to other teachers in this field. It is precisely this last factor, the lack of knowledge of the work that is carried out by the numerous professors who teach this curricular unit in the national music higher education, added by a brief civic act commemorating the fiftieth anniversary of the 25th of April, that motivated us and justified the holding of the This year’s Autumn School with the following title: “What we’ve been doing to get here…” Perspectives and practices on music theory and aural training in higher education
Music Theory and Aural Skills, with this or any other designation, is a disciplinary domain that, although it is a constant curricular element in the formal construction of higher music education, registers an irregular evaluative presence in the field of music training. A presence that I call volatile in view of the variable recognition that is assigned to it, in terms of programmatic autonomy, training identity and curricular dimension, in the multiple existing higher education courses. In my opinion, there are several factors that contribute to this almost disciplinary subalternity, namely, i) the central role of learning individual or collective instrumental practice in music teaching curricula; ii) the historical and pedagogical curricular configuration of this subject as a unit of knowledge attached to another main course; iii) the strong component of a task and training character that the teaching of the subject uses systematically; iv) the absence of research on theory and practices in this field; v) or the (co)existence of a plurality of training profiles that teach and approach the subject in a specific way, which is in itself interesting and an benefit, despite being unknown to other teachers in this field. It is precisely this last factor, the lack of knowledge of the work that is carried out by the numerous professors who teach this curricular unit in the national music higher education, added by a brief civic act commemorating the fiftieth anniversary of the 25th of April, that motivated us and justified the holding of the This year’s Autumn School with the following title: “What we’ve been doing to get here…” Perspectives and practices on music theory and aural training in higher education
Description
Keywords
Música Didática da música Centro de Investigação em Psicologia da Música e Educação Musical Educação artística Music Artistic education
Citation
Publisher
Instituto Politécnico do Porto. Escola Superior de Educação. Centro de Investigação em Psicologia da Música e Educação Musical. Instituto de Etnomusicologia - Centro de Estudos em Música e Dança