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O presente relatório foi desenvolvido no âmbito do Mestrado em Ensino de Música – Ramo Instrumento, da Escola Superior de Música e Artes do Espetáculo (ESMAE), e encontra-se organizado em três capítulos principais.
No primeiro capítulo, é apresentada uma caracterização detalhada da Escola Artística do Conservatório de Música Calouste Gulbenkian, em Aveiro (EACMCGA), a instituição respetiva à Prática de Ensino Supervisionada. Neste capítulo são abordados o enquadramento histórico da instituição, as infraestruturas, a oferta formativa e a caracterização da comunidade.
No segundo capítulo, é descrito e analisado o percurso realizado no decorrer da Prática de Ensino Supervisionada (PES), decorrida na EACMCGA durante o ano letivo de 2025/2026. Abordam-se as diferentes fases da prática educativa – observação, cooperação e lecionação – a caracterização dos intervenientes, o repertório trabalhado e as principais atividades educativas desenvolvidas e assistidas, tanto no ensino individual de Flauta Transversal, como da Classe de Conjunto.
No terceiro capítulo, é desenvolvido o projeto de investigação denominado A Dislexia no Ensino de Música: dificuldades e estratégias a adotar. É uma investigação de natureza qualitativa que teve como objetivo principal compreender e analisar a manifestação da dislexia na aprendizagem de um instrumento musical e identificar as estratégias pedagógicas que mais se adequam ao perfil de alunos com dislexia. Para a recolha de dados foram realizadas três entrevistas semiestruturadas a professores de instrumento do ensino artístico especializado de música, cujos resultados foram analisados perante a literatura científica revista no início do capítulo. Os resultados obtidos mostram que a dislexia se manifesta no contexto musical através da leitura da notação, da coordenação motora e da perceção rítmica e que os professores desenvolvem estratégias pedagógicas consoante a sua experiência. Apesar de estas estratégias irem de encontro às abordadas na literatura, a investigação evidencia a necessidade de uma maior formação específica dos professores do ensino artístico especializado de música neste campo e de um enquadramento institucional e legislativo mais sólido neste contexto de ensino.
This report was produced as part of the Master’s Degree in Music Education – Instrumental Specialisation, at the Escola Superior de Música e Artes do Espetáculo (ESMAE), and is organized into three main chapters. The first chapter presents a detailed description of the Art School of the Calouste Gulbenkian Music Conservatory, in Aveiro (EACMCGA), the institution hosting the Supervised Teaching Practice. This chapter covers the historical background of the institution, its facilities, the educational provision and a description of the community. The second chapter describes and analyses the process undertaken during the Supervised Teaching Practice (PES), which took place at the EACMCGA during the 2025/2026 academic year. It addresses the different phases of educational practice – observation, collaboration and teaching – the profile of the participants, the repertoire worked on and the main educational activities carried out and observed, both in individual Transverse Flute tuition and in the Ensemble Class. The third chapter outlines the research project entitled ‘Dyslexia in Music Education: difficulties and strategies to be adopted’. This is a qualitative study whose main objective was to understand and analyse the manifestation of dyslexia in the learning of a musical instrument and to identify the teaching strategies best suited to the profile of students with dyslexia. To collect data, three semi-structured interviews were conducted with music teachers specialising in the arts, and the results were analysed in light of the scientific literature reviewed at the beginning of the chapter. The findings show that dyslexia manifests itself in the musical context through the reading of musical notation, motor coordination and rhythmic perception, and that teachers develop pedagogical strategies based on their experience. Although these strategies are in line with those discussed in the literature, the research highlights the need for more specific training for teachers in specialised music education in this field, and for a more robust institutional and legislative framework within this educational context.
This report was produced as part of the Master’s Degree in Music Education – Instrumental Specialisation, at the Escola Superior de Música e Artes do Espetáculo (ESMAE), and is organized into three main chapters. The first chapter presents a detailed description of the Art School of the Calouste Gulbenkian Music Conservatory, in Aveiro (EACMCGA), the institution hosting the Supervised Teaching Practice. This chapter covers the historical background of the institution, its facilities, the educational provision and a description of the community. The second chapter describes and analyses the process undertaken during the Supervised Teaching Practice (PES), which took place at the EACMCGA during the 2025/2026 academic year. It addresses the different phases of educational practice – observation, collaboration and teaching – the profile of the participants, the repertoire worked on and the main educational activities carried out and observed, both in individual Transverse Flute tuition and in the Ensemble Class. The third chapter outlines the research project entitled ‘Dyslexia in Music Education: difficulties and strategies to be adopted’. This is a qualitative study whose main objective was to understand and analyse the manifestation of dyslexia in the learning of a musical instrument and to identify the teaching strategies best suited to the profile of students with dyslexia. To collect data, three semi-structured interviews were conducted with music teachers specialising in the arts, and the results were analysed in light of the scientific literature reviewed at the beginning of the chapter. The findings show that dyslexia manifests itself in the musical context through the reading of musical notation, motor coordination and rhythmic perception, and that teachers develop pedagogical strategies based on their experience. Although these strategies are in line with those discussed in the literature, the research highlights the need for more specific training for teachers in specialised music education in this field, and for a more robust institutional and legislative framework within this educational context.
Descrição
Palavras-chave
Dislexia Estratégias pedagógicas Educação inclusiva Aprendizagem de instrumento Dificuldades de aprendizagem específicas Pedagogia musical Dyslexia Teaching strategies Inclusive education Learning to play an instrument Specific learning difficulties Music education