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Solfejos autógrafos de compositores portugueses: Análise e contextualização
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| 58.71 MB | Adobe PDF |
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Abstract(s)
O presente relatório de estágio, realizado no âmbito do Mestrado em Ensino de Música, com especialização em Formação Musical e Classes de Conjunto, reflete a Prática de
Ensino Supervisionada desenvolvida durante o ano letivo de 2024-2025 e o Projeto de Investigação desenvolvido sobre o livro Solfejos Autógrafos de Compositores Portugueses.
O primeiro capítulo contextualiza a instituição que acolheu o estágio, a Escola de Música Óscar da Silva, apresentando a sua missão, objetivos, valores e oferta formativa. Antes
reflete sobre a ludicidade enquanto dimensão estruturante no ensino da Formação Musical, evidenciando o jogo e a brincadeira como ferramentas pedagógicas promotoras
da motivação, da criatividade e da autonomia dos alunos.
O segundo capítulo apresenta o percurso construído ao longo da Prática de Ensino Supervisionada, descrevendo as experiências vividas nas disciplinas de Formação Musical
e Coro. Através das etapas de observação, planificação, lecionação, avaliação e reflexão, foi possível articular teoria e prática pedagógica, enfrentando desafios concretos em sala
de aula e desenvolvendo estratégias de ensino diferenciadas para cada desafio. Esta dimensão prática permitiu consolidar competências profissionais, aprofundar metodologias de intervenção e promover uma aprendizagem musical significativa, inclusiva e centrada no aluno. O terceiro capítulo dedica-se ao Projeto de Investigação sobre o livro Solfejos Autógrafos de Compositores Portugueses, editado em 1921 por Tomás Borba. A análise documental e de conteúdo das fontes, aliada à contextualização histórica dos compositores envolvidos, permitiu compreender algumas das práticas e preocupações do ensino musical no início do século XX, estabelecendo pontes com a realidade educativa contemporânea. Este estudo evidencia a relevância pedagógica e histórica deste património, contribuindo para valorizar a herança cultural portuguesa no ensino da música.
The present report, carried out within the scope of the master’s degree in music teaching, specialization in Music Education and Ensemble Classes, reflects the Supervised Teaching Practice developed during the 2024–2025 academic year and the Research Project on the book Solfejos Autógrafos de Compositores Portugueses. The first chapter contextualizes the host institution, the Óscar da Silva Music School, presenting its mission, objectives, values, and educational offer. It also reflects on Ludic Pedagogy as a structuring dimension in the teaching of Music Theory, highlighting play and games as pedagogical tools that foster students’ motivation, creativity, and autonomy. The second chapter presents the path built throughout the Supervised Teaching Practice, describing the experiences in the subjects of and Music Education Choir. Through the stages of observation, planning, teaching, assessment, and reflection, it was possible to articulate theory and pedagogical practice, addressing concrete classroom challenges and developing differentiated teaching strategies for each one. This practical dimension allowed the consolidation of professional skills, the deepening of intervention methodologies, and the promotion of meaningful, inclusive, and student-centered musical learning. The third chapter focuses on the Research Project on the book Solfejos Autógrafos de Compositores Portugueses, edited in 1921 by Tomás Borba. The documentary and content analysis of the sources, combined with the historical contextualization of the contributing composers, made it possible to understand some of the practices and concerns of music education in early 20th-century Portugal, while establishing bridges with contemporary educational realities. This study highlights the pedagogical and historical relevance of this heritage, contributing to the appreciation of Portuguese cultural legacy within music education.
The present report, carried out within the scope of the master’s degree in music teaching, specialization in Music Education and Ensemble Classes, reflects the Supervised Teaching Practice developed during the 2024–2025 academic year and the Research Project on the book Solfejos Autógrafos de Compositores Portugueses. The first chapter contextualizes the host institution, the Óscar da Silva Music School, presenting its mission, objectives, values, and educational offer. It also reflects on Ludic Pedagogy as a structuring dimension in the teaching of Music Theory, highlighting play and games as pedagogical tools that foster students’ motivation, creativity, and autonomy. The second chapter presents the path built throughout the Supervised Teaching Practice, describing the experiences in the subjects of and Music Education Choir. Through the stages of observation, planning, teaching, assessment, and reflection, it was possible to articulate theory and pedagogical practice, addressing concrete classroom challenges and developing differentiated teaching strategies for each one. This practical dimension allowed the consolidation of professional skills, the deepening of intervention methodologies, and the promotion of meaningful, inclusive, and student-centered musical learning. The third chapter focuses on the Research Project on the book Solfejos Autógrafos de Compositores Portugueses, edited in 1921 by Tomás Borba. The documentary and content analysis of the sources, combined with the historical contextualization of the contributing composers, made it possible to understand some of the practices and concerns of music education in early 20th-century Portugal, while establishing bridges with contemporary educational realities. This study highlights the pedagogical and historical relevance of this heritage, contributing to the appreciation of Portuguese cultural legacy within music education.