Content uploaded by María Elena Riaño
Author content
All content in this area was uploaded by María Elena Riaño on Dec 26, 2017
Content may be subject to copyright.
A preview of the PDF is not available
Sound creation and artistic language hybridization through the use of the collaborative creation system: Soundcool.
Figures
Figures - uploaded by María Elena Riaño
Author content
All figure content in this area was uploaded by María Elena Riaño
Content may be subject to copyright.
... The interface of Soundcool (see Figure 4) is a modular system visualized and managed from a computer, connected with mobile devices via WIFI. Soundcool significantly expands the aesthetic possibilities of sound, offering an array of sonorous choices (Berbel, Murillo, Sastre, & Riaño, 2017). ...
... In the Preparation section, the three soloist instruments (guitar, transverse flute, and percussion) conveyed meanings related to specific symbols in the graphic score. Concurrently, the students in charge of the ICT devices produced background sounds that contributed rich timbrical textures (Berbel et al., 2017), resembling the sound of a busy kitchen. In the Stir-fry section, the participants focused on the small dots represented in the graphic score, which were interpreted as rice grains. ...
... They all felt free to contribute their ideas and openly share their opinions, which allowed the group to reach creative solutions (Jacobs, 2018). Moreover, all participants shared that this project had helped them to open their minds towards contemporary music styles (Berbel et al., 2017). Opportunities to explore, experiment, and improvise with sound were valued very positively, in particular by students, as they had had limited experience in these matters before. ...
While creativity is a key element of contemporary curriculum frameworks around the world, it is still insufficiently fostered in formal education settings. This study analyzes a project for collaborative musical creativity, entitled The Sonorous Paella. Participants (N = 12) were eight Year 4 secondary students, two professional musicians, an artist-in-residence, and a music teacher. Drawing on a graphic musical score, the participants worked together for 1.5 months to produce a group composition and performance. They were provided with various sound producers (instruments, everyday objects, technological devices) and were encouraged to flexibly utilize the physical space to maximize collaborative participation. Field notes and pictures taken during working sessions and rehearsals, audio recordings from the final concert, and individual interviews with all participants were qualitatively analyzed. In response to the three study objectives, we conclude that: (1) the design of this collaborative project was consistent with current research-based creativity discourses; (2) drawing on the quality and originality of the final concert, the project fostered the musical creativity of the group; and (3) participants’ perceptions of and opinions about their creativity learning processes were unanimously positive. Our final aim is to inspire music teachers in designing curriculum units that foster collaborative musical creativity.
Previous chapters have reviewed the state of the art in digital music education, in terms of available technologies and their relation with learning theories, as well as conceptual frameworks for organizing technology-mediated learning. Based on this discussion, in this chapter, we propose a Taxonomy for Digital Music Learning Resources (TDMLR) aimed at serving as a theoretical instrument to investigate the multidimensional classification of resources, as well as a practical tool to help educators identify the most suitable approaches and applications described in the scientific literature depending on their needs.
En el presente artículo mostramos los resultados obtenidos en una investigación de carácter cuantitativo llevada a cabo con docentes de música de secundaria (alumnado de 12-16 años de edad) de la Comunidad Autónoma del País Vasco (España). El principal objetivo de este estudio es conocer el posicionamiento del profesorado ante la música contemporánea y su utilización en el aula. Se analiza su conocimiento y valoración de las estéticas musicales de los siglos XX y XXI, su uso en la práctica docente y su opinión sobre sus posibilidades didácticas. Se relacionan estas características con otras propias del profesorado y la docencia en esta etapa educativa. El desconocimiento de los docentes de los nuevos lenguajes, su formación musical y su actitud influyen en el uso de la música contemporánea. Los docentes que tienen un mejor posicionamiento ante la música contemporánea la utilizan más en el aula.
Abstract
In this article we present the results of the quantitative research we carried out amongst teachers of Secondary Education (pupils age range 12-16) in The Basque Autonomous Community, Spain. The main objective of the study was to find out how the teaching staff feels about contemporary music and its use in the classroom. The investigation analyzes the teacher’s knowledge and evaluation of the musical aesthetics of the 20th and 21st centuries. It also looks at the practical use of contemporary music in the classroom, the didactic potential it offers teachers, as well as an analysis of the relationship between these characteristics and other intrinsic characteristics of teaching music at this level. A general lack of knowledge amongst teachers is evident. Another observation is that the teachers’ musical education has had a positive influence on the use of contemporary music, as does having an open and enthusiastic attitude towards the new languages. The teachers who have a more favourable view of contemporary music use it more frequently in the classroom.
Recibido: 15 de noviembre de 2012
Aceptado: 11 de marzo de 2013
La concepción actual del desarrollo profesional docente incorpora la formación inicial, el acompañamiento de los docentes noveles en su incorporación a la escuela, y la formación permanente. Este artículo se centra en el segundo eslabón de esa cadena, el acompañamiento a los profesores principiantes, más concretamente en la modalidad de "mentoría", en la que el acompañante es un docente experimentado, y no un asesor interno o externo con otro tipo de perfil profesional. Tras definir el concepto y proceso general de mentoría y su potencial para la adecuada inserción en la profesión docente y, en consecuencia, para la calidad de la enseñanza, nos centraremos en el análisis de las competencias básicas que ha de tener el profesor experimentado para ser mentor, desde la lógica que desaconseja pensar que cualquier docente puede ser un buen mentor, y considerando los parámetros comunes que afectan a cualquier actividad educativa, formativa u orientadora en la actualidad.
The interdisciplinary field of the learning sciences encompasses educational psychology, cognitive science, computer science, and anthropology, among other disciplines. The Cambridge Handbook of the Learning Sciences is the definitive introduction to this innovative approach to teaching, learning, and educational technology. This dramatically revised second edition incorporates the latest research in the field, includes twenty new chapters on emerging areas of interest, and features contributors who reflect the increasingly international nature of the learning sciences. The authors address the best ways to design educational software, prepare effective teachers, organize classrooms, and use the internet to enhance student learning. They illustrate the importance of creating productive learning environments both inside and outside school, including after-school clubs, libraries, museums, and online learning environments. Accessible and engaging, the Handbook has proven to be an essential resource for graduate students, researchers, teachers, administrators, consultants, educational technology designers, and policy makers on a global scale.
Traducción de: The Kind of Schools We Need. Personal Essays
Traducción de: The Disciplined Mind Desde un enfoque multidisciplinario, el autor de este libro reflexiona sobre la relación del proceso educativo con el momento histórico y cultural que lo produce. Posteriormente aborda las diversas manera en que el humano adquiere el conocimiento y lo representa en su mente; para concluir, estudia los problemas de la educación dentro y fuera del aula.
Barcelona: Fundación Bofil Check online: http://www.debats.cat/ca/debats/leducacio-en-un-mon-de-diaspores Barbero, M Ciudad Educativa
- Z J Bauman
Bauman, Z. (2008). L'educació en un montón de diàpores. Debats d'Educació 11. Barcelona: Fundación Bofil. Check online:
http://www.debats.cat/ca/debats/leducacio-en-un-mon-de-diaspores
Barbero, M.J. (2009). Ciudad Educativa: De una Sociedad con sistema educativo a una sociedad de saberes compartidos. En
Educación Expandida, pp. 103-118. Zemos 98. Avaliable in: (Checked 31 june 2017)
1008
La música tras la oreja. De la música experimental a el arte sonoro en España
- Ll Barber
- M Palacios
Barber, Ll., & Palacios, M. (2009). La música tras la oreja. De la música experimental a el arte sonoro en España. Madrid:
Fundación Autor.
En: Ni Arte ni educación. Una experiencia en la que lo pedagógico vertebra lo artístico
- L Camnitzer
Camnitzer, L. (2017). Ni arte ni Educación. En: Ni Arte ni educación. Una experiencia en la que lo pedagógico vertebra lo
artístico. Grupo de Educación de Matadero Madrid. Madrid: Catarata.
Rizoma: introducción
- G Deleuze
- F Guattari
Deleuze, G., & Guattari, F. (1977). Rizoma: introducción: Madrid: Pre-Textos.
Blended Learning para el aprendizaje en nuevas tecnología aplicadas a la educación: un estudio de Caso (tesis doctoral inédita)
- M C Llorente
Llorente, M.C. (2008). Blended Learning para el aprendizaje en nuevas tecnología aplicadas a la educación: un estudio de
Caso (tesis doctoral inédita). Sevilla: Universidad de Sevilla.