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Advisor(s)
Abstract(s)
A Formação Musical tem vindo a servir-se, ao longo dos anos, de muito e variado reportório musical que se cinge a um período curto da história da música, abrangendo essencialmente os séculos XVIII e XIX e esquecendo, quase por completo, a música contemporânea.
A presente investigação pretende apresentar algumas propostas de excertos musicais do século XX – isto é, obras de diferentes compositores a partir de 1900 – que possam ser utilizadas em contexto de práticas letivas em formação musical, com o objetivo de mostrar como pode a formação musical apropriar-se da linguagem estética e do material desse período. Simultaneamente, foi analisada a reação dos discentes face ao reportório introduzido ao longo das aulas.
A metodologia utilizada no desenvolvimento deste projeto partiu da observação direta por parte do professor estagiário e do professor cooperante da reação dos alunos às atividades propostas, bem como da realização de inquéritos aos alunos após cada uma das atividades relevantes para esta investigação.
Através da análise obtida, comprovou-se que a música contemporânea tem espaço na disciplina de Formação Musical e que é possível enquadrar diversos conteúdos nesse mesmo reportório.
Deste modo, este relatório de estágio está organizado em três capítulos. No primeiro, é caracterizada a instituição onde foi realizado o estágio – Academia de Música de Espinho – bem como o seu projeto educativo. No segundo capítulo é feita uma reflexão sobre a prática de ensino supervisionada. Por último, no terceiro capítulo é apresentado o projeto de investigação, partindo de uma análise da realidade atual da Formação Musical.
Musical Training has been serving itself, throughout the years, of an abundant and varied musical repertoire limited to a short period of music’s history, covering essentially the 18th and 19th centuries and almost completely ignoring contemporary music. This research endeavor aims to propose some musical excerpts from the 20th century - in other words, different composers’ work from 1900 onwards - that may be used in the teaching context in musical training, with the purpose of showing how musical training could utilise the aesthetic language and the material from this period. Furthermore, the student’s reaction towards the repertoire introduced in the training was analysed. The methodology utilised in the development of this project was based on direct observations, made by the intern teacher and the cooperating teacher, of the students’ reactions to the activities proposed, as well as on surveys to the students after each of the relevant activities for the research. Through the analysis of the results, it was proven that contemporary music has its place in Musical Training and that this repertoire allows to study different subjects. This research report is organised in three chapters. In the first chapter, the institute where the internship was conducted - Academia de Música de Espinho - is characterised, as well as its educational project. In the second chapter, a reflection is made about the practice of supervised teaching. Finally, in the third chapter, the research project is presented, starting with the analysis of the current state of Musical Training.
Musical Training has been serving itself, throughout the years, of an abundant and varied musical repertoire limited to a short period of music’s history, covering essentially the 18th and 19th centuries and almost completely ignoring contemporary music. This research endeavor aims to propose some musical excerpts from the 20th century - in other words, different composers’ work from 1900 onwards - that may be used in the teaching context in musical training, with the purpose of showing how musical training could utilise the aesthetic language and the material from this period. Furthermore, the student’s reaction towards the repertoire introduced in the training was analysed. The methodology utilised in the development of this project was based on direct observations, made by the intern teacher and the cooperating teacher, of the students’ reactions to the activities proposed, as well as on surveys to the students after each of the relevant activities for the research. Through the analysis of the results, it was proven that contemporary music has its place in Musical Training and that this repertoire allows to study different subjects. This research report is organised in three chapters. In the first chapter, the institute where the internship was conducted - Academia de Música de Espinho - is characterised, as well as its educational project. In the second chapter, a reflection is made about the practice of supervised teaching. Finally, in the third chapter, the research project is presented, starting with the analysis of the current state of Musical Training.
Description
Keywords
Formação musical Prática pedagógica Reportório Século XX Observação Musical Training Pedagogical Practice Repertoire 20th Century Observation
Citation
Publisher
Instituto Politécnico do Porto. Escola Superior de Educação