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Perspetivas de ensino do flautim: uma abordagem pedagógica para o ensino secundário
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| 8.7 MB | Adobe PDF |
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Abstract(s)
No âmbito do Mestrado em Ensino de Música da Escola Superior de Música e Artes do Espetáculo e Escola Superior de Educação, ambas do Instituto Politécnico do Porto, foi elaborado o presente Relatório de Estágio. O documento apresenta a descrição e reflexão acerca do trabalho desenvolvido no ano letivo de 2024/2025. A Prática de Ensino Supervisionada foi realizada no Conservatório de Música do Porto, com alunos da classe do professor Marco Pereira, e com a professora Anabela Freire em Classe de Conjunto – Música de Câmara.
O primeiro e segundo capítulos referem-se à caracterização do Conservatório, à descrição da Prática de Ensino Supervisionada, e caraterização dos envolventes. O terceiro capítulo inclui o Projeto de Investigação, denominado Perspetivas de Ensino do Flautim: Uma Abordagem Pedagógica para o Ensino Secundário, que pretende entender a perspetiva de professores e alunos acerca da importância e necessidade de incluir (ou não) o estudo do flautim nas aulas de flauta transversal do ensino especializado de música, a partir do ensino secundário, e a importância que o domínio da prática do flautim pode ter nos dias de hoje, para uma formação mais completa e adequada às exigências do mercado de trabalho. Para complementar o projeto, inicia-se o desenvolvimento de um método, com exercícios e estudos que apoiem os alunos no seu contacto com o flautim. O estudo pretende responder, por meio de revisão de literatura e da aplicação de dois questionários a alunos, ex-alunos e professores de flauta transversal, às seguintes questões – (1) Qual a perceção de alunos e professores acerca da necessidade de incluir aulas de flautim no Plano Curricular de Flauta transversal do Ensino Especializado de Música? (2) Qual a idade mais indicada para introduzir e aprofundar em aula o estudo do flautim e do seu repertório? (3) De um modo geral, são lecionadas aulas de flautim nas academias e conservatórios, em Portugal? (4) Quais as principais dificuldades e inseguranças dos alunos na prática do flautim?
No final abordam-se as conclusões e reflexões finais do estudo, e as suas implicações educacionais e relação com a prática docente.
This Internship Report was prepared as part of the Master's Degree in Music Teaching at the Escola Superior de Música e Artes do Espetáculo and Escola Superior de Educação, both of the Instituto Politécnico do Porto. The document presents a description and reflection on the work developed in the academic year 2024/2025. The Supervised Teaching Practice was carried out at the Porto Conservatory of Music, with students from Professor Marco Pereira's class, and with Professor Anabela Freire in Ensemble Class – Chamber Music. The first and second chapters refer to the characterization of the Conservatory, the description of the Supervised Teaching Practice, and the characterization of the surroundings. The third chapter includes the Research Project, entitled Teaching Perspectives of the Piccolo: A Pedagogical Approach for Secondary Education, which aims to understand the perspective of teachers and students regarding the importance and need to include (or not) the study of the piccolo in the flute classes of specialized music education, starting in secondary education, and the importance that mastering the practice of the piccolo can have today, for a more complete education that is suited to the demands of the job market. To complement the project, the development of a method is started, with exercises and studies that support students in their contact with the piccolo. The study aims to answer, through a literature review and the application of two questionnaires to students, former students and flute teachers, the following questions – (1) What is the perception of students and teachers regarding the need to include piccolo classes in the Flute Curricular Plan of Specialized Music Education? (2) What is the best age to introduce and deepen the study of the piccolo and its repertoire in class? (3) Are piccolo classes generally taught in academies and conservatories in Portugal? (4) What are the main difficulties and insecurities of students when practicing the piccolo? At the end, the conclusions and final reflections of the study are addressed, as well as their educational implications and relationship with teaching practice.
This Internship Report was prepared as part of the Master's Degree in Music Teaching at the Escola Superior de Música e Artes do Espetáculo and Escola Superior de Educação, both of the Instituto Politécnico do Porto. The document presents a description and reflection on the work developed in the academic year 2024/2025. The Supervised Teaching Practice was carried out at the Porto Conservatory of Music, with students from Professor Marco Pereira's class, and with Professor Anabela Freire in Ensemble Class – Chamber Music. The first and second chapters refer to the characterization of the Conservatory, the description of the Supervised Teaching Practice, and the characterization of the surroundings. The third chapter includes the Research Project, entitled Teaching Perspectives of the Piccolo: A Pedagogical Approach for Secondary Education, which aims to understand the perspective of teachers and students regarding the importance and need to include (or not) the study of the piccolo in the flute classes of specialized music education, starting in secondary education, and the importance that mastering the practice of the piccolo can have today, for a more complete education that is suited to the demands of the job market. To complement the project, the development of a method is started, with exercises and studies that support students in their contact with the piccolo. The study aims to answer, through a literature review and the application of two questionnaires to students, former students and flute teachers, the following questions – (1) What is the perception of students and teachers regarding the need to include piccolo classes in the Flute Curricular Plan of Specialized Music Education? (2) What is the best age to introduce and deepen the study of the piccolo and its repertoire in class? (3) Are piccolo classes generally taught in academies and conservatories in Portugal? (4) What are the main difficulties and insecurities of students when practicing the piccolo? At the end, the conclusions and final reflections of the study are addressed, as well as their educational implications and relationship with teaching practice.
Description
Keywords
Flautim Ensino secundário Professores Alunos Mercado de trabalho Piccolo Secondary education Teachers Students Job market