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Abstract(s)
O presente relatório é o resultado de uma caminhada percorrida na procura de ferramentas pedagógicas que contribuíram para a evolução do meu conhecimento como docente.
O trabalho está dividido em três capítulos: I. Guião de Observação da Prática Musical ; II. Prática Educativa Supervisionada e III. Projeto de investigação ‘ Transcrições para contrabaixo: benefício ou prejuízo para a técnica contrabaixística’.
O primeiro capítulo contempla a caraterização do Conservatório de Música do Porto, escola onde o estágio foi efetuado. É referido a oferta educativa fornecida aos alunos e qual a missão do conservatório.
O segundo capítulo contempla todas as informações relativas à prática do ensino supervisionada. É realizada uma reflexão sobre a prática pedagógica e encontram-se anexados os pareceres dos professores.
O terceiro capítulo aborda o tema da transcrição musical. Começando por definir o termo transcrição, fazendo a distinção deste com o “arranjo”, traçando o panorâma histórico das transcrições em geral e o papel do contrabaixo desde o seu aparecimento; é meu intuito distinguir obras originais e obras transcritas e explorar os aspetos necessários quando se realiza uma transcrição com um fim de dar resposta ao tema desta tese.
This report investigates some of result of a covered walk of education tools that contribute to the evolution of my knowledge as a teacher. This dissertation is divided in three chapters: I. Script of Observation of Musical Practice; II. Supervised Educational Practices and III. Research Project ‘Transcription for double bass: benefit or prejudice for the double bassists technique’. The first chapter contemplates the characterization of the Conservatory of Music of Porto, school where the stage was made. The educational offer provided to the students and the mission of the conservatory is mentioned. The second chapter covers all the information on the practice of supervised teaching. A reflection on the pedagogical practice is performed and the opinions of the teachers are attached. The third chapter discusses the concept of musical transcription. Beginning to define the term, make the comparison of this with the “arrangement”, tracing the history of transciptions and the role of the double bass its appearance is my intention to distinguish original works and transcribed works and to explore what the necessary aspects to take into account when performing a transcription.
This report investigates some of result of a covered walk of education tools that contribute to the evolution of my knowledge as a teacher. This dissertation is divided in three chapters: I. Script of Observation of Musical Practice; II. Supervised Educational Practices and III. Research Project ‘Transcription for double bass: benefit or prejudice for the double bassists technique’. The first chapter contemplates the characterization of the Conservatory of Music of Porto, school where the stage was made. The educational offer provided to the students and the mission of the conservatory is mentioned. The second chapter covers all the information on the practice of supervised teaching. A reflection on the pedagogical practice is performed and the opinions of the teachers are attached. The third chapter discusses the concept of musical transcription. Beginning to define the term, make the comparison of this with the “arrangement”, tracing the history of transciptions and the role of the double bass its appearance is my intention to distinguish original works and transcribed works and to explore what the necessary aspects to take into account when performing a transcription.
Description
Keywords
Música Ensino Contrabaixo Transcrição Arranjo Repertório Music Teaching Double bass Transcription Arrangement Repertoire