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Curriculum integration from a STEAM transdisciplinary perspective represents a profound challenge. This study delves into a transdisciplinary approach to primary education and the role of the arts through two STEAM projects in a programme for gifted students in Madrid (Spain). Participants include 111 students from eight groups (11-12 years old), five teachers and four external professionals. The teachers fulfill the dual role of both teacher and researcher, using participant and non-participant observation, video recordings, interviews and classroom journals and questionnaires. All the findings have been triangulated and coded by means of Activity Theory, using Atlas.ti8 software and statistical analysis. The results show the significance of learning and the creation of meaningful experiences as being related to a high degree of motivation and satisfaction, and to the integration of diverse areas in a participatory process in which the arts play a disciplinary and integrating role. A transdisciplinary STEAM approach is presented that could be paradigmatic for the field of primary education.

Creativity has been described as an indissociable component of music education, complex to conceptualize and often overgeneralized. This article provides an overview of existing research on musical creativities in secondary education between 1990 and 2020. A total of 76 articles published in peer-reviewed journals are reviewed according to PRISMA (Preferred Reporting Items for Systematic reviews and Meta-Analyses) guidelines. To present and discuss the results, several dimensions of creativity research have been clustered into five categories: product, person/group, creative process, context, and domain. The 22.37% of the articles focus on the creative process, 14.47% on the context, 13.16% on the person/group perspective, and 1.32% on the product. The 48.68% of the studies focus on the domain perspective, showing an emphasis on specific activities traditionally associated with musical creativity like composing or improvising. Music listening is not present, and various forms of musical creativities are underrepresented. Over these three decades, an increasing orientation on teaching and learning within a sociocultural framework can be observed. In addition, the pedagogical challenges concern an expanded vision of creativity, albeit based on a specific and precisely defined framework.

Recibido: 17 de Mayo de 2017 / Aceptado: 30 de Octubre de 2017 Resumen. El presente artículo explora los procesos de aprendizaje en la improvisación colectiva a través de un estudio de Investigación Acción centrado en la musicalización de una serie de cuadros de una pintora profesional (de reconocido prestigio). El estudio se desarrolló en un Instituto de Enseñanza Secundaria de una localidad madrileña a lo largo de 14 sesiones con un grupo de 3º de ESO (28 estudiantes), durante el tercer trimestre del curso 2010-2011, como un ciclo de un estudio de investigación. Las preguntas de investigación se agruparon en torno al análisis de los procesos de aprendizaje, aspectos emergentes, además de estimar la pertinencia de este procedimiento como una estrategia efectiva para utilizar en el aula de música en secundaria. Para la recogida de los datos se emplearon la observación participante y no participante, grabaciones audiovisuales, entrevistas y encuestas. En la discusión se plantea la naturaleza holística del aprendizaje determinada por la identidad del grupo, motivación, las emociones positivas, el ambiente y bienestar, enmarcada en el desarrollo de un proyecto didáctico transversal. Palabras clave. Improvisación colectiva; investigación acción; educación secundaria; creatividades musicales; experiencia musical significativa.