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Abstract(s)
Este relatório foi realizado no âmbito da unidade curricular de Prática de Ensino Supervisionada, do Mestrado em Ensino de Música, da ESMAE/ ESE (IPP). No primeiro capítulo pretende-se contextualizar a comunidade escolar da Jobra e, especificamente, o curso profissional de instrumentista de jazz da Art’J. No segundo capítulo é exposta toda a atividade desenvolvida no contexto da prática de ensino supervisionada, as observações, planificações, aulas lecionadas e consequentes reflexões. No terceiro capítulo apresenta-se o projeto de investigação: compreender o conceito de play by ear e as suas implicações na aprendizagem; recolha de estratégias, métodos e técnicas de ensino-aprendizagem sobre a internalização de estruturas harmónicas na improvisação vocal. A recolha e análise de dados é consequência da procura de conhecimento a partir da revisão bibliografia, da concretização de um inquérito por questionário na mesma instituição escolar do capítulo II, e da realização de uma entrevista ao músico João Paulo
Esteves da Silva.
A investigação analisa a ligação da aprendizagem teórico-musical com o desenvolvimento de habilidades auditivas, a partir da prática cantada; a importância do canto na aprendizagem musical, e no desenvolvimento do pensamento musical na improvisação instrumental; limitações das referências sensoriais no canto; conceptualização do som na improvisação vocal e fundamento do estudo harmónico; exercícios e estratégias de ensino-aprendizagem sobre harmonias tonais e não funcionais, no contexto da improvisação vocal.
This report was carried out within the scope of the curricular unit of Supervised Teaching Practice, of the Master in Music Education, at ESMAE/ESE (IPP). The first chapter intends to contextualize the Jobra school community and, specifically, Art’J's professional jazz instrumentalist course. The second chapter exposes all the activity developed in the context of supervised teaching practice, observations, planning, classes taught and consequent reflections. The third chapter presents the research project: understanding the concept of play by ear and its implications for learning; collection of teaching-learning strategies, methods and techniques on the internalization of harmonic structures in vocal improvisation. The collection and analysis of data is a consequence of the search for knowledge based on a literature review, carrying out a questionnaire survey in the same school as in Chapter II, and conducting an interview with musician João Paulo Esteves da Silva. The investigation analyzes the connection of theoretical-musical learning with the development of listening skills, based on singing practice; the importance of singing in musical learning and in the development of musical thinking in instrumental improvisation; limitations of sensory references in singing; conceptualization of sound in vocal improvisation and foundation of harmonic study; exercises and teaching-learning strategies on tonal and non-functional harmonies in the context of vocal improvisation.
This report was carried out within the scope of the curricular unit of Supervised Teaching Practice, of the Master in Music Education, at ESMAE/ESE (IPP). The first chapter intends to contextualize the Jobra school community and, specifically, Art’J's professional jazz instrumentalist course. The second chapter exposes all the activity developed in the context of supervised teaching practice, observations, planning, classes taught and consequent reflections. The third chapter presents the research project: understanding the concept of play by ear and its implications for learning; collection of teaching-learning strategies, methods and techniques on the internalization of harmonic structures in vocal improvisation. The collection and analysis of data is a consequence of the search for knowledge based on a literature review, carrying out a questionnaire survey in the same school as in Chapter II, and conducting an interview with musician João Paulo Esteves da Silva. The investigation analyzes the connection of theoretical-musical learning with the development of listening skills, based on singing practice; the importance of singing in musical learning and in the development of musical thinking in instrumental improvisation; limitations of sensory references in singing; conceptualization of sound in vocal improvisation and foundation of harmonic study; exercises and teaching-learning strategies on tonal and non-functional harmonies in the context of vocal improvisation.
Description
Keywords
Play by ear Improvisação Habilidades auditivas Teoria musical Canto Feedback motor Estruturas harmónicas Improvisação vocal Improvisation Listening skills Musical theory Voice Motor feedback Harmonic structures Vocal improvisation