Francis Dubé

• PhD in Music Education; MMUS (piano performance); BMUS (piano performance)
• Managing Director at Université Laval

O presente artigo tem por objetivo analisar o impacto do curso de música da Rede CUCA na vida de jovens da periferia de Fortaleza/Ceará/Brasil em situação de vulnerabilidade social. O texto é um recorte dos resultados da pesquisa intitulada “Estudo sobre as práticas musicais em espaços não institucionalizados no Canadá e no Brasil: formação humana...

The ability to identify weaknesses and improvements in performance without a teacher's feedback, conceptualised here as efficient self-evaluation, is an important aspect of self-regulated music practice. However, the concurrent efforts required to perform and monitor the performance for feedback represent a challenge for any learner. Videotaping th...

A didática da música ainda se constitui como uma área de pesquisa relativamente recente na educação musical (BOURG, 2021). No entanto, a diversidade atual das práticas musicais, a ampliação recente dos contextos escolares e extraescolares para o ensino de instrumentos musicais (NASCIMENTO, 2022), bem como a indução forçada por uma epidemia ao ensin...

Learning-game co-creation is a pedagogical activity where learners draw on their knowledge of a specific topic to collaboratively create a learning game that peers can later use to gain a new understanding of a topic (Kafai & Burke, 2015; Kangas, 2010). Indeed, this approach offers important learning opportunities, as students call upon their acqui...

Sight-singing is an inescapable component of music training in higher education and is often challenging for students. However, some strategies could help students perform. Yet, the extent to which students can use strategies to improve their sight-singing performance remains unclear. This article asks two questions to fill this gap: (1) Which stra...

Sight-singing is prevalent in aural skill classes, where learners differ in experience and cognitive abilities. In this research, we investigated whether musical experience, level of study, and working memory capacity (WMC) can predict sight-singing performance and if there is a correlation between WMC and performance among some subgroups of partic...

The authors in this article each bring a particular insight to the overarching question of how pedagogical and facilitation approaches can deepen and strengthen a lifelong value attached to music learning and engagement in leisure music activities. It is argued that when learner voice is privileged and social connections are embedded in pedagogical...

Developing musicians are expected to accumulate many hours of self-regulated practice to attain expertise on a musical instrument. The ability to choose appropriate strategies based on the internal and external feedback obtained while performing in the absence of the teacher’s support constitutes an important aspect of self-regulated practice. Neve...

Many school-aged children learn music in studio settings, and those lessons often include musical dictation. Nevertheless, we conducted most research about dictation w among college-level students. Therefore, we do not know how independent music teachers experience dictation with children. In this paper, we addressed four questions: (1) What are th...

Philosophers, composers, and musicians have long argued whether instrumental music finds meaning in its formal structure and musical content (Hanslick, 1986) or through reference to extra-musical elements, like narratives, emotions, or memories (Meyer, 1956). While the use of extra-musical elements appears grounded in individual musicians’ prioriti...

For approximately the past 30 years, we have been witnessing a re-emergent interest in learner voice from researchers, teachers, policymakers, and students themselves. This widespread movement foreshadows the potential for a shift of paradigm from a unilateral top-down directivity to an inclusive and dialogical decision-making process in school sys...

Developing musicians typically engage in self-regulated practicing during the time that passes between lessons with their teachers. An important aspect of self-regulated practice is the ability to identify and correct areas of development in performance in the absence of a teacher’s feedback, but the effort required to perform as well as monitor a...

ISSN 2010-3093 RESEARCH BRIEF SERIES

This research aimed to identify, describe and categorize cognitive strategies related to sight-singing within aural skills education. Using a constant comparative method, we carried out a thematic content analysis using NVivo to categorize strategies in a broad range of sources, including six interviews, five scientific publications, two profession...

This poster describes the context, aims, and method of my PhD project.

The growing interest in musical improvisation is exemplified by the body of literatures evidencing the positive impacts of improvisation learning on the musical apprentice’s aptitudes and the increasing presence of improvisation in Western classical concert halls and competitions. However, high-level Western classical music improvisers’ thinking pr...

The growing interest in musical improvisation is exemplified by the body of literatures evidencing the positive impacts of improvisation learning on the musical apprentice’s aptitudes and the increasing presence of improvisation in Western classical concert halls and competitions. However, high-level Western classical music improvisers’ thinking pr...

In North America, aural skills (AS) are usually taught to children during the instrumental music lessons. While learning musical dictation and sight-singing can be difficult for some learners, the use of appropriate technological tools could facilitate the process. However, the use of information and communication technologies (ICT) by music teache...

This chapter explores the links between ipsative assessment and self-regulated music practice. It presents results from a study in which 16 college-level classical guitarists learned the same piece of music for ten practice sessions. On four occasions they recorded a rehearsal performance of the piece on camera and provided self-evaluative comments...

Despite a growing interest in Western classical improvisation among researchers, educators and musicians in recent decades, research insights on expert improvisers' learning pathways are scarce. In order to further understanding this phenomenon, we formulated the following research question: “What characterizes the learning pathways of Western clas...

This study aims to review the current knowledge about cogni7ve strategies related to solfège learning with college-level music students and to develop a comprehensive categoriza7on system for aural skills teachers and researchers.

Virtual reality exposure is increasingly used as a method of treatment for anxiety disorders. This exploratory study examines a virtual reality exposure training (VRET) conceived for the treatment of music performance anxiety (MPA). The aim is to obtain first-level knowledge in the music field concerning VRET. This article analyzes how MPA, concent...

Contexte : Plusieurs études nous confirment que l’enseignement de la formation auditive (FA) a encore sa place au sein de la formation musicale. Toutefois, de nombreux obstacles peuvent nuire à la réussite des élèves. Or, pour l’instant, nous en savons très peu sur l’enseignement de la FA dispensé aux jeunes musiciens puisque les articles scientifi...

Music performance anxiety affects numerous musicians, with many of them reporting impairment of performance due to this problem. This exploratory study investigated the effects of virtual reality exposure training on students with music performance anxiety. Seventeen music students were randomly assigned to a control group (n=8) or a virtual traini...

Cette recherche porte sur l’enseignement-apprentissage de l’improvisation musicale classique. Afin d’offrir une perspective en profondeur de cet objet d’étude, des entrevues semi-dirigées ont été menées auprès de N = 15 participants, au sujet de leur processus d’apprentissage, de production et d’enseignement de l’improvisation. Différentes composan...

This article is about the knowledge and teaching strategies that can be applied to develop instrument students’ metacognitive skills. First, the various components of metacognition that instrument teachers must integrate into their pedagogy to guide their students in their metacognitive development are discussed. Then, the pedagogical modes which s...

Este artículo tiene como objetivo proponer un marco conceptual para ayudar al maestro de música a integrar la improvisación musical en su acto pedagógico. Para desarrollar este marco, primero se llevó a cabo una revisión y análisis de la literatura disponible sobre el tema de la improvisación musical, prestando especial atención en los modelos teór...

Les recherches théoriques et empiriques sur l’improvisation musicale n’offrent toujours pas de réponse satisfaisante à la question qui préoccupe le plus les praticiens, à savoir : « Comment l’improvisation peut-elle être enseignée de manière efficace ? ». Pour répondre à cette question, nous avons effectué une analyse des écrits scientifiques porta...

Cet article a pour objectif de proposer un cadre conceptuel visant a aider le professeur d’instrument a integrer l’improvisation musicale a son acte pedagogique. Pour elaborer ce cadre conceptuel, nous avons d’abord effectue la recension et l’analyse de la litterature accessible sur l’improvisation musicale, en portant une attention toute particuli...

Cet article porte sur les connaissances et les stratégies pédagogiques à mettre en action afin de développer les habiletés métacognitives du musicien en formation. Nous expliquons d’abord les diverses composantes de la métacognition que le professeur d’instrument doit intégrer à son acte pédagogique pour guider l’élève sur le plan métacognitif. Nou...

Les technologies numériques sont désormais bien implantées dans les programmes d’éducation musicale. Toutefois, les musiciens éducateurs ne disposent pas encore de fondements philosophiques tenant compte des changements provoqués par l’utilisation des TIC en enseignement de la musique. Cet article a pour objectif d’exposer les principaux enjeux phi...

Cette étude exploratoire porte sur l’apprentissage mnémonique de partitions de piano à l’aide de repères microstructuraux. Ce type de repères s’acquiert en prenant conscience de différentes micro-informations, tant sur le plan de la notation musicale que de sa réalisation instrumentale. Ils permettent d’identifier les singularités de la partition e...

Cette étude visait à s’informer de quelle manière des professeurs de piano enseignant au pré-collégial décrivent des attitudes posturales qu’ils jugent saines d’enseigner à leurs élèves afin d’éviter qu’ils se blessent en jouant. Les réponses reçues ont été classifiées en fonction de leur possibilité à mener aux postures et aux positions saines exp...