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Música e identidade de género: conceções a respeito de papéis sociais na sala de música
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Com este relatório de estágio propõe-se relatar e tecer considerações sobre a
experiência da prática de ensino supervisionada, realizada com turmas de 6º e 7º anos
do 2º e 3º ciclo do ensino básico, na Escola Básica Pedro Jacques de Magalhães, em
Alverca, durante o ano letivo de 2014/2015. No relatório serão descritas e comentadas
as aulas lecionadas e observadas ao longo do ano do estágio, assim como a
implementação da componente de investigação proposta para a prática de ensino
supervisionada.
A componente de investigação teve como objetivo compreender que
pressupostos e noções de senso-comum apresentam os/as alunos/as quando
confrontados com a realidade genderizada da experiência musical. Para tal utilizei o
método descritivo, onde analisei as respostas dadas a um questionário respondido por
três turmas do 6º ano do ensino básico, num total de 78 alunos/as. O questionário
serviu para entender de que forma a música contribui para a construção de
identidades na escola e no meio envolvente, percebendo que conceções têm os/as
alunos/as sobre música e género. Foi pedido aos/as alunos/as que fizessem uma
apreciação sobre comportamentos musicais específicos e que os categorizassem como
sendo de “rapaz”, de “rapariga” ou de “ambos igualmente”.
The aim of this internship report is to state and comment on the experience of the supervised teaching practise which took place during the school year of 2014/2015 with 6th and 7th grade classes of the second and third cycle of primary education in Escola Básica Pedro Jacques de Magalhães, in Alverca. The taught classes, which were observed throughout the internship year, will be described and commented in the report as well as the implementation of the research component suggested for the practise of supervised teaching. The purpose of the research component was to understand what presumptions and common sense notions the students had when faced with the gendered reality of musical experience. To do so, I have used the descriptive method in which I analysed the answers given in a questionnaire by three classes of the 6th grade of primary education, in a total of 78 students. The questionnaire was important in order to understand in what way music contributes to the construction of identities in school and in the surrounding environment, recognising what conceptions these students have about music and gender. The students were asked to make an assessment of specific musical behaviours and to therefore characterise them as being “boy”, “girl” or “both”.
The aim of this internship report is to state and comment on the experience of the supervised teaching practise which took place during the school year of 2014/2015 with 6th and 7th grade classes of the second and third cycle of primary education in Escola Básica Pedro Jacques de Magalhães, in Alverca. The taught classes, which were observed throughout the internship year, will be described and commented in the report as well as the implementation of the research component suggested for the practise of supervised teaching. The purpose of the research component was to understand what presumptions and common sense notions the students had when faced with the gendered reality of musical experience. To do so, I have used the descriptive method in which I analysed the answers given in a questionnaire by three classes of the 6th grade of primary education, in a total of 78 students. The questionnaire was important in order to understand in what way music contributes to the construction of identities in school and in the surrounding environment, recognising what conceptions these students have about music and gender. The students were asked to make an assessment of specific musical behaviours and to therefore characterise them as being “boy”, “girl” or “both”.
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Educação musical no ensino básico Música Género Eucação Musical education in primary education Music Gender Education