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Sound creation and artistic language hybridization through the use of the collaborative creation system: Soundcool.
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... 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.
There are substantial similarities between deep learning and the processes by which knowledge advances in the disciplines. During the 1960s efforts to exploit these similarities gave rise to learning by discovery, guided discovery, inquiry learning, and Science: A Process Approach (American Association for the Advancement of Science, 1967). Since these initial reform efforts, scholars have learned a great deal about how knowledge advances. A mere listing of keywords suggests the significance and diversity of ideas that have come to prominence since the 1960s: Thomas Kuhn, Imre Lakatos, sociology of science, the "Science Wars," social constructivism, schema theory, mental models, situated cognition, explanatory coherence, the "rhetorical turn," communities of practice, memetics, connectionism, emergence, and self-organization. Educational approaches have changed in response to some of these developments; there is a greater emphasis on collaborative rather than individual inquiry, the tentative nature of empirical laws is more often noted, and argumentation has become an important part of some approaches. But the new "knowledge of knowledge" has much larger educational implications: Ours is a knowledge-creating civilization. A growing number of "knowledge societies" (Stehr, 1994), are joined in a deliberate effort to advance all the frontiers of knowledge. Sustained knowledge advancement is seen as essential for social progress of all kinds and for the solution of societal problems. From this standpoint the fundamental task of education is to enculturate youth into this knowledge-creating civilization and to help them find a place in it. In light of this challenge, both traditional education, with its emphasis on knowledge transmission, and the newer constructivist methods, appear as limited in scope if not entirely missing the point. Knowledge building, as elaborated in this chapter, represents an attempt to refashion education in a fundamental way, so that it becomes a coherent effort to initiate students into a knowledge creating culture. Accordingly, it involves students not only
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