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PhD Student
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
3810-193 Aveiro
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Tel: (+351) 234 370 389 (ext. 23700)



Maria João Vasconcelos is Professor of Musical Education of the Secondary School and, currently, Research Fellow of FCT, finding herself developing a PhD Project in Education (Supervision and Evaluation), welcomed by the Research Units of the University of Aveiro INET-md and CIDTFF. She holds a master’s degree in Musical Sciences (Ethnomusicology), from UNL-FCSH, and a degree in Music Education Teachers from Basic Education, from IPC-ESEC. In addition to these qualifications, she has the General Violin Course and the 8th Degree of Musical Training of the Conservatory of Aveiro Calouste Gulbenkian. Is also author of publications in the areas of Music/Education and was philharmonic music (flute/piccolo) for many years.

Doctoral Project
Music Education in Secondary School: didactic contributions to quality education
Helena Caspurro and Nilza Costa
The problem of this study lies in the need to discuss theoretical and practical perspectives on the teaching, learning and evaluation of music, specifically within the scope of the basic education curriculum, which can enhance and give more effective answers to what is now desired for a quality education for all (UNESCO, 2015). Thus, this project assumes a didactic thinking and action, by a teacher-researcher (author of the project), directed to the development of creative-musical thinking, in the discipline of Music, raising the principle "sound before symbol"/"sound before sign" (McPherson & Gabrielsson, 2002; Mills & McPherson, 2006) and valuing processes supported by problem solving and acquiring specific (music) and cross-cutting skills (group work, communication, self/hetero evaluation). Thus, the didactic action of the teacher-researcher assumes a coherence between the triple teaching&learning&evaluation, as advocated by several authors (e.g. Fernandes, 2009; Fautley, 2010). In the context of the music discipline, one can also see a tendency towards the valorization of forms of knowledge based on the performative, or even theoretical, reproduction of music. That is, from products or responses resulting mainly from what the teacher taught, and not so much of processes and results of what the student was able to learn, with the teacher and his peers, based on the possibilities generated and focused on discovery, action and creativity.