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Publication
O jazz e a sua InfluĂȘncia no ensino da trompa em Portugal
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Authors
Abstract(s)
O presente relatĂłrio de estĂĄgio descreve, primeiramente, o percurso e experiĂȘncias pedagĂłgicas decorridas durante o perĂodo de PrĂĄtica de Ensino Supervisionada do Mestrado em Ensino de MĂșsica da Escola Superior de Artes Aplicadas de Castelo Branco. A segunda parte reporta o projeto de investigação, que tem como principal objetivo explorar a interseção entre o jazz e o ensino da trompa no contexto portuguĂȘs.
O relato da PrĂĄtica de Ensino Supervisionada apresenta uma descrição, anĂĄlise e reflexĂŁo sobre as experiĂȘncias pedagĂłgicas do autor como docente de trompa e classe de conjunto na Academia de MĂșsica de Castelo de Paiva, no ano letivo 2023/2024. O estĂĄgio incidiu sobre um aluno do 8.Âș grau e um quarteto de trompas, para os quais se procuraram explorar metodologias de ensino adaptadas Ă s necessidades dos estudantes. A instituição de acolhimento, com um ambiente rico em recursos, proporcionou uma base sĂłlida para o desenvolvimento pedagĂłgico, incluindo oferta curricular abrangente em cursos de iniciação, bĂĄsico e secundĂĄrio, em regimes articulado e supletivo.
O projeto de investigação reportado na segunda parte centra-se no estudo da presença e evolução da trompa no jazz em Portugal. Embora tradicionalmente associada Ă mĂșsica clĂĄssica, a trompa ganhou espaço no jazz a partir dos anos 1940, com mĂșsicos como Julius Watkins (1921-1977). Este gĂ©nero, caracterizado pela improvisação e complexidade harmĂłnica, representa um desafio e uma oportunidade pedagĂłgica para trompistas. A presente investigação explora o jazz como potencial ferramenta para o enriquecimento da aprendizagem da trompa em Portugal, promovendo criatividade, adaptabilidade tĂ©cnica e exploração de novos repertĂłrios. O estudo explora ainda a possibilidade de integração do jazz nos currĂculos e a necessidade de formação especializada para. Para esse efeito, foram conduzidos questionĂĄrios e entrevistas a mĂșsicos e pedagogos renomados, foram recolhidos planos curriculares de instituiçÔes musicais portuguesas, e foi organizado um estudo prĂĄtico com dois alunos, com idades entre os 15 e os 17 anos, com a finalidade de compreender o impacto do jazz no desenvolvimento tĂ©cnico e expressivo de alunos de trompa.
ApĂłs a analise dos resultados das metodologias adotadas, Ă© possĂvel afirmar que existe um certo nĂvel de interesse por parte dos alunos em aprender algo diferente, alĂ©m das bases clĂĄssicas que geralmente sĂŁo lecionadas nas escolas de mĂșsica portuguesas.
Abstract: This research focuses on the theme "Jazz and Its Influence on French Horn Teaching in Portugal." It explores the intersection between jazz and French horn education in the Portuguese context, divided into two main parts. The first part describes the Supervised Teaching Practice carried out at the Academia de MĂșsica de Castelo de Paiva, while the second examines the influence of jazz on the pedagogy and performance of the horn. The Supervised Teaching Practice details the author's pedagogical experiences as a horn and ensemble class teacher. The practicum focused on an 8th-grade horn student and a horn quartet, addressing teaching techniques tailored to the students' needs. Highlights include detailed lesson planning, post-class reflections, and the integration of diverse repertoires. The Academia de MĂșsica de Castelo de Paiva, with its resource-rich environment, provided a solid foundation for pedagogical development, offering a comprehensive curriculum spanning introductory, basic, and secondary courses in both articulated and supplementary systems. The second part of the study centres on the presence and evolution of the horn in jazz. Although traditionally associated with classical music, the horn began to gain prominence in jazz in the 1940s, with musicians like Julius Watkins. This genre, characterized by improvisation and harmonic complexity, represents both a challenge and a pedagogical opportunity for horn players. The dissertation explores how jazz enriches horn learning in Portugal, fostering creativity, technical adaptability, and exploration of new repertoires. The study also highlights the integration of jazz into curricula and the need for specialized teacher training through various research methodologies. To this end, surveys and interviews were conducted with renowned musicians and educators, curricular plans from Portuguese music institutions were collected, and a practical study with two students, with ages between 15 and 17, was organized to understand the impact of jazz on the technical and expressive development of horn students. After analyzing the results of the methodologies adopted, it is possible to affirm that there is a certain level of interest from the students in learning something different, in addition to the classical bases that are generally taught in Portuguese music schools.
Abstract: This research focuses on the theme "Jazz and Its Influence on French Horn Teaching in Portugal." It explores the intersection between jazz and French horn education in the Portuguese context, divided into two main parts. The first part describes the Supervised Teaching Practice carried out at the Academia de MĂșsica de Castelo de Paiva, while the second examines the influence of jazz on the pedagogy and performance of the horn. The Supervised Teaching Practice details the author's pedagogical experiences as a horn and ensemble class teacher. The practicum focused on an 8th-grade horn student and a horn quartet, addressing teaching techniques tailored to the students' needs. Highlights include detailed lesson planning, post-class reflections, and the integration of diverse repertoires. The Academia de MĂșsica de Castelo de Paiva, with its resource-rich environment, provided a solid foundation for pedagogical development, offering a comprehensive curriculum spanning introductory, basic, and secondary courses in both articulated and supplementary systems. The second part of the study centres on the presence and evolution of the horn in jazz. Although traditionally associated with classical music, the horn began to gain prominence in jazz in the 1940s, with musicians like Julius Watkins. This genre, characterized by improvisation and harmonic complexity, represents both a challenge and a pedagogical opportunity for horn players. The dissertation explores how jazz enriches horn learning in Portugal, fostering creativity, technical adaptability, and exploration of new repertoires. The study also highlights the integration of jazz into curricula and the need for specialized teacher training through various research methodologies. To this end, surveys and interviews were conducted with renowned musicians and educators, curricular plans from Portuguese music institutions were collected, and a practical study with two students, with ages between 15 and 17, was organized to understand the impact of jazz on the technical and expressive development of horn students. After analyzing the results of the methodologies adopted, it is possible to affirm that there is a certain level of interest from the students in learning something different, in addition to the classical bases that are generally taught in Portuguese music schools.
Description
RelatĂłrio de estĂĄgio apresentado Ă Escola Superior de Artes Aplicadas do Instituto PolitĂ©cnico de Castelo Branco para cumprimento dos requisitos necessĂĄrios Ă obtenção do grau de Mestre em Ensino da MĂșsica â Instrumento e MĂșsica de Conjunto.
Keywords
Trompa Jazz Ensino vocacional da mĂșsica Portugal Horn Music education