1.To develop a greater awareness of the importance of Musical Expression as a factor of integral development.
2.To implement vocabulary that facilitates the application of some features of the musical universe.
3.To experiment with specific learning situations in children involving expressive experiences ranging from simple
aquisition to application.
4. To implement small projects that emphasize music as a factor of socialization, group dynamics, personality development, and approximation betweeen different areas of knowledge and cultural enrichment.
5. To develop personal skills that facilitate the acquisition of professional skills, motivation and confidence in fostering musical experiences with children.
• Reflection on the concept "Music" and definition of other fundamental concepts;
• Musical Profile of the child;
• Analysis of the musical education program and inherent curriculum guidelines;
• Characteristics of sound: pitch, duration, dynamics, timbre, form, rhythm and melody;
• Games of exploration: the body and instruments;
• Experimentation, development and creation;
• Hearing development;
• Expression and musical creation;
• Representation of sound;
• The importance of music in child development;
• The analysis of the cultural heritage related to childhood;
• Exploration of opportunities for interaction with the environment and other areas.
Musical Expression classes are conducted in theoretical-practical sessions. Through a survey of the musical expression of students, their tastes and levels of musical training, as well as the assessment of needs relating to work conditions, project-based instructional practice will be directed mainly towards the organization of musical experiences for children.
The different instructional activities will be accompanied by theoretical and critical reflections in order to support and integrate the options made in the context of teaching practice.
Summative assessment of student performance is based on the following:
1- Participation and degree of involvement in the various activities (10% of the final mark);
2- Collection and presentation of rhymes and songs (30% of the final mark),
3- Attendance (25% of the final mark)
4- Group work (35% of the final mark).
CANAL, M aria Fernanda (2002). Vivamos a Música. A forma mais divertida de nos aproximarmos da Música. Ler, brincar, escutar e aprender. Setúbal: Marina Editores.
HENRIQUES, Luis (1988). Instrumentos musicais. Lisboa: Fundação Calouste Gulbenkian.
MENESES, José; DUARTE, Rogério & COUTINHO, Fernando (2000): As minhas expressões. 1º e 2º anos. Gaia: Gailivro (CD ou K7)
OLIVEIRA, Ernesto Vieira de (1986). Instrumentos Musicais Populares dos Açores. Lisboa: Fundação Calouste Gulbenkian.
STORMS, Ger (1991). 100 Jogos Musicais. Edições Asa. Colecção práticas pedagógicas
TORRES, Rosa Maria (1998). As Canções Tradicionais Portuguesas no Ensino da Música. Contribuição da Metodologia de Zoltán Kodály. Lisboa: Caminho
TRIAS, Núria; PÉREZ, Susana & FILELLA, Luis. (2002): Jogos de Música e de Expressão Corporal. Barcelona: Âncora Editora
WILLEMS, Edgar. As bases psicológicas da Educação Musical. Edições pro-música Bienne