Marcelo Giglio

• PhD
• Professor at Haute École Pédagogique BEJUNE

Giglio, M., Melfi, G., & Matthey, M.-P. (2012). Adhésion aux réformes éducatives en cours et répercussions prévues dans l’activité de formation des enseignants. Entre innovations et réformes dans la formation des enseignants. Actes de la recherche de la HEP-BEJUNE(9), 109-128.

Cet ouvrage examine, à partir de chantiers empiriques, les questions posées par la conception des dispositifs au long de parcours de formation professionnelle. Il s’adresse au monde de la recherche, mais aussi aux étudiant·e·s, aux praticien·ne· s engagé·e ·s dans l’ingénierie de formation ou dans l’ingénierie de curricula de professionnalisation e...

This paper describes a three-stage method for teachers and researchers to collaborate and co-create ideas for future practice, to improve collaborative lifelong learning. Using a thematic network group, practitioner-researchers and practitioners associated with the European Association for Practitioner Research on Improving Learning (EAPRIL) came t...

https://uasjournal.fi/in-english/practitioner-researchers-visions-of-education-learning/ In this Special Issue The European Association for Practitioner Research on Improving Learning (EAPRIL) joins forces with the Journal of Finnish Universities of Applied Sciences (UAS Journal) to highlight practitioner-researchers’ visions of future education a...

Tessaro, W., Gerard, F., & Giglio, M. (2017). Changements curriculaires : un levier pour les pratiques évaluatives des enseignants ?. E-JIREF, 3(1 & 2), 51-60. Téléchargé le de http://admee.ulg.ac.be/journal/index.php/ejiref/article/view/115

Creative collaboration in classroom needs for teachers’ to develop a specific activity in order to enable pupils to learn and create actively. They often have to deploy a specific « creative scaffolding » (Giglio, 2015). One important dimension is to plan and support individual moments of work as a condition for a fruitfull collaboration. In this c...

Comment les élèves et les étudiants peuvent-ils apprendre à interagir avec l’autre ? Comment peuvent-ils interagir avec l’autre pour apprendre ? Comment les enseignants organisent-ils les différentes formes d’interaction dans une dynamique discursive au sein de leurs classes ? Les différents regards de la psychologie sociale et culturelle sur l’éco...

The widespread dissemination of a certain interpretation of the work of Vygotsky, Bruner, and the researchers who have drawn inspiration from these authors, has turned into a commonplace vision, a social representation of teacher-student interaction that is neither faithful to its inspiration nor to reality?. We will begin by sketching this commonp...

The sociocultural paradigm emphasised the social conditions of learning. It was regularly invoked in order to promote a pedagogy of group work. Although many research showed positive effects on learners due to cooperative or collaborative dynamics, teachers can be reluctant to use group work. This preliminary study is designed to better understand...

This chapter presents a literature review on collaboration to learn with some illustrations to design adequate collaborative settings to promote learning in the classroom. From a socio-cultural approach of education, the authors present the way teacher and students participate together in several discur-sive activities to elaborate a shared underst...

his article presents and studies an approach to research, innovation and professional training of teachers. Teaching practice in a context of creativity and collaboration between pupils can be clearly differentiated from traditional teaching models and consequently from teacher education. Centred on the thematic range of lessons, several examples s...

Resultado de una profunda investigación. Marcelo Giglio repiensa algunas prácticas de larga data instituidas en el ámbito pedagógico musical, dando cuenta del lugar que se le otorga a temas nada menores como motivación y creatividad. Estas temáticas no son expuestas por el autor desde meras especulaciones o teoricismos, sino como una propuesta peda...

Creative Collaboration in Teaching focuses on the question of how best to facilitate creative collaboration among students in the classroom setting—with a focus on music composition and from the perspective of social-cultural psychology. This book is comprehensive, cutting-edge and scholarly in its approach. Marcelo Giglio's attention to music and...

After having developed a pedagogical model based on reflective and creative collaboration, I proceeded to observe these types of lessons in order to see what happens when different people apply this pedagogy in different settings. Up until this point, I had taken on several roles: that of an evaluator of teachers and that of a professor of pedagogy...

In this chapter, I describe what happens when the teachers approach and interact with the observed groups. From this second vantage point, I set out to observe if teachers approach the group, if they notice what the students are doing, and if they interact with them. It is worth mentioning that we have already described what happens when teachers d...

To advance these studies, we need to explore further these observations about creative activities, collaboration between students, meta-reflection, and creative teaching/learning processes in schools. Further work is needed in music education, as well as in other arts and disciplines. Here I propose a series of studies for those researchers and stu...

Pedagogical sequences are temporal arrangements, specific to one or more educational disciplines, in which the teacher identifies the curricular content (the object of learning) and transforms it into teachable knowledge (didactic transposition (Brousseau, 1998; Chevallard, 1985)). For musical production scenarios, I propose “flexible pedagogical s...

These activities, which are all implemented during the course of one lesson, are not easily carried out. They require that teachers learn how to manage the tasks in a way that encourages creativity and learning. Teachers should arrange the setting of the musical production activity, including the layout of furniture and space, so that it is adapted...

The experiments, results, and decisions of the first two research stages described in the previous chapters allowed for the construction of a pedagogical model based on student creativity. They also gave participating teachers the information that they needed to develop the third stage of our research, which we will describe throughout the next cha...

In the second stage, I gave flexible pedagogical sequences to teachers-in-training in a Swiss teacher education program and to a fellow music teacher who works in a secondary school in Argentina, so that they could try these sequences with their own students. During this stage (second level of research), we observed the gaps between student and tea...

In the first stage of investigation, I tried the flexible pedagogical sequences in a classroom with students between the ages of 11 and 13 in three schools in Canada, Switzerland, and Argentina (first level of research). During this stage, the sequences were implemented and modified. This chapter is about the observations made during this stage, an...

In this chapter, I describe the types of collaboration that take place between students as they compose a piece of music, as observed in the lessons described above. Although this collaboration requires a certain level of teacher involvement, this section focuses mainly on identifying the different forms of student collaboration during the composit...

A number of methodologies and pedagogical approaches to music education developed at the beginning of the 20th century. These were founded by the pedagogues Emile Jacque-Dalcroze (1865–1950) and Edgar Willems (1890–1978) in Switzerland, Maurice Martenot (1898–1980) in France, Carl Orff (1895–1982) in Germany, Zoltán Kodaly (1882–1967) in Hungary, a...

In this chapter, I identify some of the difficulties related to focusing on musical creativity in schools. I believe that these are important and propose discussing them through the research literature. In the realm of music education, student creative activity has traditionally been studied through personal lessons outside of the context of the cl...

I begin this chapter by talking about the beneficial effects of creativity and the difficulty of making a space for it in the classroom. Below, I analyse the space assigned to creativity in the curricula of the four regions involved in this study: the Province of Buenos Aires (Argentina), the State of Minas Gerais (Brazil), the Province of Quebec (...

Creating, performing, and listening to music are human activities that can be carried out in different ways. Consequently, music education requires an approach that allows performers to express themselves with sound in different ways according to the moment and their desires.

In Chapter 12, I examined the different types of creative collaboration amongst students from the student perspective, including everything from the distribution of labour to the final rehearsal, as well as the conception, organization, and composing of the musical piece. In Chapter 13, I identify, from the educator’s perspective, the teaching prac...

In this chapter, I present a methodological approach predicting, implementing, and observing (PIO). Before each lesson, we documented what we expected to happen. This is how we recorded what we called our “predictions” (Ps); named as such because they entail notes written beforehand about what we thought would occur during each lesson. Afterwards,...

Arriving at the end of this book, I can now revisit some of the aspects of our work in different fields. Allow me, then, to review our most important results concerning the processes of teaching through creative work. How do students interact with each other and how do teachers interact with students when we introduce creative and reflective collab...

This book is the result of work done over a period of four years, of studies conducted in distant geographic spaces that provided the context for a rich experience with more than 280 students, seven teachers, six different places, and three languages in four different countries (Argentina, Brazil, Canada, and Switzerland). This experiment is an ada...

This experimental study observes whether stimulating and supporting pupils' discussion by recording with MP3 and listening to the playback can improve their creative musical productions in a second musical improvisation. Thirty-one groups of three pupils (11-12 years old) are observed by two groups (control and experimental groups). In the scholarl...

Les pages de ce livre présentent plusieurs enquêtes et études sur les réactions et actions des enseignants et des formateurs d’enseignants à un changement de curriculum scolaire. Ces études ont été réalisées dans les cantons de Berne (partie francophone), du Jura et de Neuchâtel (Suisse) depuis l’année 2009 jusqu’au début de l’année 2013. "Ce livr...

Les pages de ce livre présentent plusieurs enquêtes et études sur les réactions et actions des enseignants et des formateurs d’enseignants à un changement de curriculum scolaire. Ces études ont été réalisées dans les cantons de Berne (partie francophone), du Jura et de Neuchâtel (Suisse) depuis l’année 2009 jusqu’au début de l’année 2013. “Ce livre...

Today, creative pedagogical practices in Music Teacher Education need an intense dialogue between the worlds of practice and practice research in order to respond to constantly evolving educational, artistic and cultural needs. How can we develop favourable conditions to improve the creative learning of music? What are the dimensions that should be...

Offering a brand new approach to teaching music in the primary classroom, Teaching Music Creatively provides training and qualified teachers with a comprehensive understanding of how to effectively deliver a creative music curriculum. Exploring research-informed teaching ideas, diverse practices and approaches to music teaching, the authors offer w...

Offering a brand new approach to teaching music in the primary classroom, "Teaching Music Creatively" provides training and qualified teachers with a comprehensive understanding of how to effectively deliver a creative music curriculum. Exploring research-informed teaching ideas, diverse practices and approaches to music teaching, the authors offer...

Exhaustivo y renovador trabajo de investigación, desde la perspectiva de la psicología sociocultural, llevado a cabo en Suiza, Argentina, Canadá y Brasil, que ofrece herramientas pedagógicas a los docentes para fomentar la creatividad en su alumnado a través de una metodología colaborativa en la que la producción musical está intrínsecamente relaci...

Comment les innovations et les réformes éducatives sont-elles vécues au sein de la communauté enseignante ? Comment les enseignants s’adaptent-ils à ces changements ? Quelle est la perception des enseignants et des formateurs d’enseignants en ce qui concerne le changement de curricula scolaires ? Quelles sont les pistes pour l’enseignement et la fo...

Cet article propose une approche méthodologique pour développer une activité pédagogique (en l'occurrence une séquence didactique) et, en même temps, en faire l'occasion pour l'enseignant, le formateur ou le chercheur (qui sont parfois la même personne) d’acquérir de nouvelles connaissances. Cette démarche se fait en quatre temps qui se répètent en...

Cet article propose une approche méthodologique pour développer une acti-vité pédagogique (en l'occurrence une séquence didactique) et, en même temps, en faire l'occasion pour l'enseignant 3 , le formateur ou le chercheur (qui sont parfois la même personne) d'acquérir de nouvelles connaissances. Cette démarche se fait en quatre temps qui se répèten...

Dans cet article 4 , les auteurs proposent trois approches méthodologiques considérées et utilisées dans des projets de recherche mettant en lien recherche et formation d'enseignants. Ils présentent une réflexion sur la posture des formateurs chercheurs et leur relation particulière avec le terrain professionnel de l'enseignement et de la formation...

Dans cet article, d'une part, nous présentons une proposition pédagogique conçue, testée et mise en pratique dans le cadre d'une recherche dans différents pays: Argentine, Brésil, Canada et Suisse et, d'autre part, nous proposons quelques constats réflexifs sur l'expérimentation de cette proposition durant trois leçons de musique par une enseignant...

Marcelo Giglio est musicien, compositeur, enseignant, formateur et chercheur. Il s'est produit dans plusieurs pays d'Amérique latine, d'Europe et aux États-Unis. Il a enseigné à l'Université de Rosario, puis à l'Université de San Martin en Argentine. Il a enseigné aux niveaux préscolaires, primaire, secondaire, tertiaire ainsi qu'au conservatoire d...

This study offers an comparative analysis on the Music Education designs in the educative systems of the seven French-speaking cantons of Switzerland. A parametric conceptual structure was conceived starting from the cul- tural and educational contexts of each canton. Some differ- ences are observed concerning the name to designate this discipline,...