2

1º Semestre

Soc., Est. Cult. e Ges. das Act. Físicas e do Des.

5.5

Margarida da Conceição de Jesus Moura Fernandes

- To know the body as an expressive and communicative agent.
- To be aware of and to extend expressive body situations.
- To identify, to analyze and to apply specific terminology to each approach of non-verbal behavior.
- To explore and to relate the sense of musicality with the different expressive materials.
- To establish, to distinguish, and to articulate intrinsic and extrinsic relationships between music and movement.
- To elaborate and to select expressive sequences through movement factors and the relationship between them.
- To select specific musical accompaniments to different choreographic purposes.
- To exercise collective creation ability through the adaptation of the contents to new situations.
- To use expressive approaches in different contexts.

- Synesthetic, expressive, emotional, musical, psychomotor, and inter-relational dimensions of expressive body.
- Construction of expressive environments.
- Exploration of movement sequences.
- Role of the 'qualifiers' of the movement.
- Basic techniques of improvisation and composition.
- Work with various stimuli composition, created by students and/or provided by the teacher.
- Terminology specific of music.
- Accuracy of listening, listening-oriented.
- Major periods of musical repertoire and styles.
- Crossing of the specific terminological vocabularies of Music and Dance.
- Development of expressive and creative abilities through situations of improvisation and composition focused on the relationship between music and movement.

The model of continuous assessment focuses on the evaluation of each module: evolution (participation and attendance), apprehension and control of transmitted contents (theory and expressive practice) and also the realization of a group work of creative-expressive composition (GW). The final mark corresponds to the weighted average: MME (40%) + CEM (40%) + GW (20%). The final evaluation model includes a theoretical and practical exam about program contents. The end result is the arithmetic average of both. The student is approved with more than 9.4 values.

Forsythe, W. (2003). Improvisation technologies. A tool for the analytical dance eye. CD-ROM. Köln: ZKM Digital Arts Edition, 2nd ed.
Hodgins, P. (1992). Relationships between score and choreography in twentieth Century Dance: Music, movement and metaphor, New York, Mellen, [Cota FMH: DAN 169].
Marques, H. O. (1986). Dicionário de termos musicais, Lisboa, Editorial Estampa, 1986.
Monteiro, E. (2007). Experiências criativas do movimento: Infinita curiosidade. In Dança em Contextos Educativos. M. Moura e E. Monteiro Ed. FMH edições. Cruz Quebrada, 179-191.
Rooyackers, P. (2002). 101 Jogos dramáticos. Aprendizagem e diversão com jogos de teatro e faz-de-conta. Lisboa: Colecção Práticas Pedagógicas. ASA Editores SA.
Sawyer, E. (1985). Dance with the Music, Cambridge University Press [Cota FMH: DAN 169].
Tunley, D. (1982). Music and dance: fourth symposium of the musicological society of Australia, Department of Music-University of Western Australia, Nedlands [Cota FMH: DAN 393].