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O canto na integração dos alunos
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Neste trabalho, é apresentada, numa primeira parte, uma breve contextualização histórica da Educação Musical no contexto escolar português, bem como uma descrição da atual organização curricular da disciplina de Educação Musical. Ainda nesta fase, é também realizada uma breve reflexão sobre a diversidade social vivenciada nas escolas e como a prática coral poderá ajudar na integração de todos os alunos. Para isso, foi necessário realizar uma análise das metodologias dos pedagogos que considero mais relevantes que defendem a importância do canto nas suas metodologias da Educação Musical, tais como Edgar Willems, Zoltan Kodály, Emile Jacques-Dalcroze e Justine Bayard Ward. O canto não é só uma ferramenta/instrumento a colocar em prática nas aulas de Educação Musical. É, muitas vezes, uma forma privilegiada de se estabelecer uma comunicação e relação afetiva com um público-alvo, neste caso, os discentes. A segunda parte deste relatório diz respeito à Prática de Ensino Supervisionada, tendo como principal objetivo a descrição e reflexão das aprendizagens observadas e praticadas ao longo do estágio que me levaram a adquirir novos conhecimentos e competências fundamentais no exercício da função docente, especificamente na área da Educação Musical.
To begin with a brief historical contextualization of Music Education in the Portuguese context, as well as a description of the current curricular organization of Music Education will be presented. It will also be made a brief reflexion about social diversity experienced at schools and how choral practice can help with integration of all students. Firstly, it was necessary to carry out an analysis of the methodologies used by the most relevant pedagogues who defend the importance of singing in Music Education, such as Edgar Willems, Zoltan Kodály, Emile Jacques-Dalcroze and Justine Bayard Ward. Singing is not just a tool/instrument to be put into practice in Music Education classes. It is often a privileged way to establish communication and an affective relationship with the target audience, in this case, the students. The second part of this report refers to Supervised Teaching Course, having as the main goal the description and reflexion of the all the learning exercise put into practice throughout the internship, which led me to acquire new fundamenrtal knowledge and skills, as a teacher, specifically in Music Education.
To begin with a brief historical contextualization of Music Education in the Portuguese context, as well as a description of the current curricular organization of Music Education will be presented. It will also be made a brief reflexion about social diversity experienced at schools and how choral practice can help with integration of all students. Firstly, it was necessary to carry out an analysis of the methodologies used by the most relevant pedagogues who defend the importance of singing in Music Education, such as Edgar Willems, Zoltan Kodály, Emile Jacques-Dalcroze and Justine Bayard Ward. Singing is not just a tool/instrument to be put into practice in Music Education classes. It is often a privileged way to establish communication and an affective relationship with the target audience, in this case, the students. The second part of this report refers to Supervised Teaching Course, having as the main goal the description and reflexion of the all the learning exercise put into practice throughout the internship, which led me to acquire new fundamenrtal knowledge and skills, as a teacher, specifically in Music Education.
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Palavras-chave
Ensino de música Ensino Básico Canto Educação Musical Professor Reflexivo Integração Social Prática Coral Prática de Ensino Supervisionada Musical Education Reflective Teacher Social Integration Singing Choral Practice Supervised Teaching Practice