A Basis for Music Education

Swanwick, Keith

doi:10.4324/9780203422434

Cited by 140 publications

(115 citation statements)

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“…In past decades, important theories and models were developed to discuss music creativity and the framework in which it appears and develops (Csikszentmihalyi, 1996;Elliott, 1995;Sheridan & Byrne, 2002;Swanwick, 1979;Webster, 1992Webster, , 1994Webster, , 2002Webster, , 2003. Researchers have been concerned with the processes by which people-and especially pupils-engage in musical creative activities of composition (e.g.…”

Section: Creativity In Music Educationmentioning

confidence: 99%

Creativity in Greek Music Curricula and Pedagogy: An Investigation of Greek Music Teachers’ Perceptions

Zbainos¹,

Anastasopoulou²

2012

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Creativity's enhancement through education has been widely discussed and promoted in Greece, especially in the past few decades. In the music domain, teaching philosophy and practice seem to focus on ways that can encourage children to learn and apply their knowledge through creative music activities. This paper reports on the outcomes of a study undertaken with 112 general music teachers of different ages and scientific backgrounds, who teach in 235 primary and secondary schools in Greece. Being the first time that such research is being conducted in Greece, the main aim of the study was to reveal how Greek music teachers think, feel about, and influence pupils' creativity and the teaching conditions that may enhance or inhibit it. It is believed that such a study may contribute to the development of creativity enhancement projects through music teaching. The findings suggest that creativity is associated by Greek music teachers with a natural gift that cannot be addressed in all students, and can only be partly taught in music classroom. They also indicate that teachers do not have an explicit understanding of music creativity as well as creativity assessment, since most of them tend to assess students' creative performance on the basis on non musical criteria (i.e. participation, eagerness, etc.). Results also show that creative musical activities are more often applied in primary education, while in secondary education they are successively replaced by music theory and history. Finally, teachers' negative views about the music curriculum, textbooks and number of teaching hours are identified. Such findings lead to suggestions for numerous changes in music teachers' education, establishing training in teaching for creativity as a fundamental priority.

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Section: Creativity In Music Educationmentioning

confidence: 99%

Creativity in Greek Music Curricula and Pedagogy: An Investigation of Greek Music Teachers’ Perceptions

Zbainos¹,

Anastasopoulou²

2012

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“…O "fazer música" aqui está baseado em três pilares que são a escuta, a criação musical e a performance. Na verdade, essas três modalidades são a estrutura central do modelo C(L)A(S)P do educador inglês Keith Swanwick (1979). Nesse modelo integrador, o autor ressalta que a experiência e o conhecimento musical devem acontecer contemplando todos esses lados, o que favorece o equilíbrio entre as modalidades do "fazer música" .…”

Section: As Oficinas: Planejamentos E Desafiosunclassified

Contribuições de Paulo Freire para a Educação Musical: análise de dois projetos pedagógico-musicais brasileiros

Feichas

Narita

2015

Cuad. Músic. Artes Vis. Artes Escén.

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Nos dois projetos apresentados buscamos a "voz" dos educandos por meio de análise de documentos produzidos por eles mesmos, particularmente seus relatórios de participação nos projetos. Além desses relatórios, no segundo projeto, foram analisados vídeos e áudios das práticas musicais e das práticas pedagógico-musicais, materiais pedagógicos preparados pelos educandos em portfólios online e postagens em fóruns de discussões.

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“…De facto, é importante assinalar as várias e diferentes maneiras em que as pessoas realmente se relacionam e identificam com a música (Swanwick, 1979), e os professores necessitam de encontrar um método para que os alunos participem de uma forma mais activa nas aulas.…”

Section: Introductionunclassified

O Lugar de Outras Tipologias Musicais no Ensino Artístico Especializado da Música em Portugal

Oliveira

Ribeiro

2017

R Est Inv Psico y Educ

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ResumoO objetivo deste artigo é contribuir para uma projeção futura do Ensino Artístico Especializado (EAE) da Música em Portugal e permitir a reflexão crítica sobre o seu funcionamento até aos nossos dias. Neste sentido, irá realizar-se um estudo de caso múltiplo para explorar as tipologias musicais que se lecionam em 3 conservatórios públicos do EAE, utilizando como método de pesquisa o inquérito por questionário e a entrevista para descrever os resultados obtidos na investigação de campo. Procura-se, assim, saber se há ou não outras tipologias musicais nos conservatórios públicos do EAE da música em Portugal, e responder, ou não, a uma lacuna que se pensa acompanhar o currículo e programas nas escolas de música. Palavras-chave: ensino artístico especializado, música, tipologias musicais, programas, diversidade. AbstractThe purpose of this article is contributing to a future projection of the Specialized Artistic Education of Music (SAE) in Portugal and allow a critical reflection on its operation up to the present day. Thus, a multiple case study will be carried out to explore the musical typologies taught in 3 public music conservatories of the Specialized Artistic Education, using as a research method the questionnaire survey and the interview to describe the results obtained in the research field. It is therefore sought to know whether or not there are other types of music in the public conservatories of the SAE of Music in Portugal, and whether or not to respond to a gap that is thought to accompany the curricula and programs in music schools.

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A Basis for Music Education

Cited by 140 publications

References 0 publications

Creativity in Greek Music Curricula and Pedagogy: An Investigation of Greek Music Teachers’ Perceptions

Creativity in Greek Music Curricula and Pedagogy: An Investigation of Greek Music Teachers’ Perceptions

Contribuições de Paulo Freire para a Educação Musical: análise de dois projetos pedagógico-musicais brasileiros

O Lugar de Outras Tipologias Musicais no Ensino Artístico Especializado da Música em Portugal

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