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Abstract(s)
A democratização do ensino e a abertura da Escola a toda a população foi um passo dado no sentido do fim da exclusão de crianças e jovens, reconhecendo, assim, o seu direito à educação. No entanto, este processo enfrenta diferentes desafios, nomeadamente a difícil adaptação de muitos alunos à cultura escolar que, até então, lhes era desconhecida e que não considera a sua herança cultural ou as vivências individuais como conhecimento válido. É possível reconhecer que o ensino artístico especializado de música apresenta, por vezes, dinâmicas semelhantes. Em Portugal, por exemplo, o ensino de música é fortemente marcado pela tradição musical ocidental, abstendo-se de incluir qualquer outro tipo de repertório. O presente relatório de estágio encontra-se dividido em 3 capítulos. No primeiro capítulo, descrevemos a evolução do ensino artístico especializado de música desde 1983 até 2018 e efetuamos uma breve análise da evolução da disciplina de Formação Musical, da sua criação, no século XIX, até ao presente. No segundo capítulo escrevemos um relato e uma abordagem crítica pormenorizada, daquilo que foi a nossa prática de ensino supervisionada, no âmbito do Mestrado em Ensino de Música – Ramo Formação Musical (ESE/ESMAE - PP), tendo em mente a problemática abordada no terceiro capítulo: a ausência de repertório culturalmente próximo ou do gosto dos alunos, na disciplina de Formação Musical do Ensino Especializado de Música. Procuramos trazer para o debate educativo o reconhecimento da individualidade de cada estudante, no contexto escolar, e em particular no ensino de música. Defendemos, assim, um currículo, que seja consciente da dimensão cultural dos processos educativos e que potencie um repertório em que evidencia e valoriza as realidades pluriculturais associada às sociedades contemporâneas.
The democratization of Education in Portugal and the broader accessibility to it by the whole population was a definitive step towards the end of segregation and exclusion of children and teenagers from School, recognizing their right to an education. However, this process faces different challenges, notably how hard some students find it to adapt to the school culture that up until that point was unknown to them and doesn’t take into account their cultural heritage or their individual perceptions about reality as valid knowledge. It is possible to recognize similar patterns in artistic music education. In Portugal, for instance, this kind of education was to some extent influenced by a type of teaching originated from the Paris and Milan Conservatoire and is highly influenced by the Western European musical tradition, abstaining from including any other kind of music repertoire. The present work is divided in three chapters. In the first chapter, we describe the evolution of the artistic specialized music education in Portugal, from 1983 up to 2018, as well as the development of Formação Musical, since its inception, in the 19th century, until the shape it has today. In the second chapter we undertook a critical approach in reporting our student-teacher internship in Conservatório de Música de Vila do Conde, as part of the M.A. in Music Teaching – Formação Musical (ESE/EMAE - PP). Finally, in the third chapter, we address the lack of music culturally close to students, in the subject of Formação Musical and in artistic specialized music education. We seek to shed light on this issue and acknowledge the individuality of each student, particularly in music education. We stand for a curriculum conscious of the educational processes’ cultural dimension, that enhances musical repertoire and highlights the pluricultural realities associated with modern societies
The democratization of Education in Portugal and the broader accessibility to it by the whole population was a definitive step towards the end of segregation and exclusion of children and teenagers from School, recognizing their right to an education. However, this process faces different challenges, notably how hard some students find it to adapt to the school culture that up until that point was unknown to them and doesn’t take into account their cultural heritage or their individual perceptions about reality as valid knowledge. It is possible to recognize similar patterns in artistic music education. In Portugal, for instance, this kind of education was to some extent influenced by a type of teaching originated from the Paris and Milan Conservatoire and is highly influenced by the Western European musical tradition, abstaining from including any other kind of music repertoire. The present work is divided in three chapters. In the first chapter, we describe the evolution of the artistic specialized music education in Portugal, from 1983 up to 2018, as well as the development of Formação Musical, since its inception, in the 19th century, until the shape it has today. In the second chapter we undertook a critical approach in reporting our student-teacher internship in Conservatório de Música de Vila do Conde, as part of the M.A. in Music Teaching – Formação Musical (ESE/EMAE - PP). Finally, in the third chapter, we address the lack of music culturally close to students, in the subject of Formação Musical and in artistic specialized music education. We seek to shed light on this issue and acknowledge the individuality of each student, particularly in music education. We stand for a curriculum conscious of the educational processes’ cultural dimension, that enhances musical repertoire and highlights the pluricultural realities associated with modern societies
Description
Keywords
Formação musical Ensino especializado de música Música popular Repertório Music education Popular music Repertoire
Citation
Publisher
Instituto Politécnico do Porto. Escola Superior de Educação