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Abstract(s)
O presente relatório de estágio está baseado na minha prática educativa integrada na variante jazz do curso secundário de música do Conservatório de Música do Porto. Essa prática não se foca apenas no tipo de aula individual, mas também em aulas de combo e treino auditivo. O relatório de Estágio pretende ser uma reflexão acerca do ensino do jazz com o objectivo de melhorar os métodos de ensino deste estilo musical. O projecto de investigação foca-se na questão da importância do treino auditivo como ferramenta para a improvisação.
Na minha prática como docente de instrumento, combo e treino auditivo tenho assistido muitas vezes a uma “desvalorização” do treino auditivo por parte dos alunos. Este deve acompanhar o estudo do instrumento e não deve ser visto como algo separado deste. A importância de reconhecer e reproduzir intervalos, chordscales, reconhecer acordes, progressões harmónicas, forma bem como ser capaz de improvisar utilizando apenas a voz no sentido de se conseguir cantar o que se ouve interiormente mostra-se como uma ferramenta essencial para se ser um músico de jazz.
The present report is based on my educational practice integrated in the jazz variant of the secondary course of music of the Conservatory of Music of Porto. This practice focuses not only on the individual class type but also on combo lessons and ear training. The report aims to be a reflection on the teaching of jazz with the aim of improving the teaching methods of this musical style. The research project focuses on the question of the importance of auditory training as a tool for improvisation. In my practice as an instrument teacher, combo and ear training I have often witnessed a "devaluation" of the ear training by the students. This should accompany the study of the instrument and should not be seen as something separate from this. The importance of recognizing and reproducing intervals, chordscales, recognizing chords, harmonic progressions, as well as being able to improvise using only the voice in the sense of being able to sing what we gear, is an essential tool for be a jazz musician.
The present report is based on my educational practice integrated in the jazz variant of the secondary course of music of the Conservatory of Music of Porto. This practice focuses not only on the individual class type but also on combo lessons and ear training. The report aims to be a reflection on the teaching of jazz with the aim of improving the teaching methods of this musical style. The research project focuses on the question of the importance of auditory training as a tool for improvisation. In my practice as an instrument teacher, combo and ear training I have often witnessed a "devaluation" of the ear training by the students. This should accompany the study of the instrument and should not be seen as something separate from this. The importance of recognizing and reproducing intervals, chordscales, recognizing chords, harmonic progressions, as well as being able to improvise using only the voice in the sense of being able to sing what we gear, is an essential tool for be a jazz musician.
Description
Keywords
Treino auditivo Progressões harmónicas Improvisação Jazz Ear training Harmonic progression Improvisation