¿Cómo se utilizan las partituras en la enseñanza y el aprendizaje de la música?

Casas, Amalia; Pozo, Juan Ignacio

doi:10.1174/113564008783781503

Cited by 27 publications

(23 citation statements)

References 10 publications

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“…Teaching would be conceived as a complex system of interactions among musical contents, instrument, teacher and student, the aim of which would no longer be to reproduce a certain kind of sound, but rather, to construct mental abilities enabling learners to manage their own mental activity to produce the sound appropriate to their communicative goals (Casas & Pozo, 2008;Marín, et al, in press;Torrado & Pozo, 2008;Bautista, et al, 2011). Conceptions of teaching, learning and evaluation at music conservatories: the role of teaching experience A study by Torrado (2003;Torrado & Pozo, 2008) on teachers of string instruments at Spanish conservatories identified the three implicit theories described (direct, interpretative and constructive), and found, as did other studies conducted in other domains (e.g. Martín, Pozo, Mateos, Martín & Pérez Echeverría, submitted;Olafson & Schraw, 2006;Tsai, 2002) that teachers do not hold the same conception regarding all the dimensions of their teaching practice (e.g.…”

Section: Introductionmentioning

confidence: 99%

The older, the wiser?Profiles of string instrument teachers with different experience according to their conceptions of teaching, learning, and evaluation

López-Íñiguez

Pozo

Dios

2013

Psychology of Music

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Esta es la versión de autor del artículo publicado en: This is an author produced version of a paper published in: knowledge needed for producing the correct sound. Our main aim is to study the conceptions of teaching-learning held by 53 teachers of string instruments at elementary levels, and to test how they are affected by the variable teaching experience (in three groups: a) less than 7 years; b) 7 to 14 years, and c) more than 14 years). We also want to determine whether these conceptions give rise to consistent profiles in three different pedagogical dimensions: teaching, learning and evaluation.We collected data by means of a multiple choice questionnaire, and applied cluster analysis, correlations, ANOVA and post hoc tests. In agreement with prior research, we found three distinct profiles in the answers to the whole questionnaire: direct, interpretative and constructive; although teachers' beliefs were more constructive regarding teaching and evaluation than regarding learning. In contrast to much research on teaching expertise in different domains, younger teachers tended to focus their teaching beliefs to a greater extent on their students, and therefore hold more complex positions regarding teaching and learning music.

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Section: Introductionmentioning

confidence: 99%

The older, the wiser?Profiles of string instrument teachers with different experience according to their conceptions of teaching, learning, and evaluation

López-Íñiguez

Pozo

Dios

2013

Psychology of Music

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“…In the context of this sequence, learning progress materialises in the form of an increase in score-reading skills; interpretation in the sense proposed by Casas and Pozo (2008) as the process of reading and comprehending a piece before moving on to its musical production. This process gradually enables the group to make decisions in relation to their own musical composition.…”

Section: Discussionmentioning

confidence: 99%

Sharing meanings in the music classroom

2010

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This work explores the study of interaction through discourse as a means for analysing and understanding the process of teaching and learning music. Over the course of a didactic sequence, we assess classroom conversations dealing with the analysis of a music score constituted as the reference for the process of creating a joint music composition. The group is made up of a teacher and second-year elementary pupils (aged 9-10 years) at a music school. Eight categories of discourse are identified that help to understand the strategies used to construct shared musical meanings. This knowledge is important for practitioners when reflecting on the teaching-learning process. It is also useful for teacher training.Resume Ce travail explore l'étude de l'interaction à travers le discours comme moyen d'analyser et de comprendre le processus d'enseignement-apprentissage de la musique. Nous avons analysé, au cours d'une séquence didactique, des conversations en classe portant sur l'analyse d'une partition qui constitue la référence pour le processus de création Eur J Psychol Educ (2010) 25:49-65

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“…The most common representations in a certain group are generalized in an "epidemiological" way (Sperber, 2005), between cultural and flexible individual boundaries. It is interesting to look at the systems of representation and how they are conveyed to the members who join the society (Casas & Pozo, 2008), as well as to observe the relationships with different systems of representation in other cultures of learning.…”

Section: Culture Of Musical Learning and Self-regulationmentioning

confidence: 99%

Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures

Casas‐Mas

Pozo

Scheuer

2015

Journal of Cross-Cultural Psychology

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This study analyzes the discourse of musicians from three different cultures of musical learning, ranging from the more formal classical European culture, through the jazz culture, to the less formal flamenco culture in Roma communities. It is based on cultural studies of learning and education and the implicit conceptions theory. Thirty-one semi-professional guitarists were interviewed about learning and teaching music. We applied the lexicometrical method using correspondence analysis. We found significant lexical differences among the three cultures for all the three educational dimensions analyzed (teaching, learning, and evaluation). We describe literal answers from the most representative participants from each culture (using the automatic selection of modal response procedure according to χ 2 distance) and a qualitative analysis of their full answers. Finally, we project a distribution of the three cultures of learning onto a factorial plane, which summarizes distribution of the three cultures of learning according to two axes that we have interpreted in terms of (a) locus of control (self-others) and (b) phenomenology (analytical-emotional distance-conceptual-explicit knowledge/sensoryinvolvement-embodied-implicit knowledge), respectively. The discourse of classical and flamenco participants expressed other-regulated learning, although classical participants were closer to an explicit, conceptual pole, whereas flamenco participants were closer to an implicit, embodied pole. The discourse of jazz participants lay in between the other two, closer to the explicit pole, but including characteristic language about self-regulation. Keywords learner, teacher, musical learning, cultural psychology, social cognitionResearch into music over the past 15 years has shown growing interest in the non-formal and the informal realms, with the aim of evaluating how they could be applied to teaching within institu-

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¿Cómo se utilizan las partituras en la enseñanza y el aprendizaje de la música?

Cited by 27 publications

References 10 publications

The older, the wiser?Profiles of string instrument teachers with different experience according to their conceptions of teaching, learning, and evaluation

The older, the wiser?Profiles of string instrument teachers with different experience according to their conceptions of teaching, learning, and evaluation

Sharing meanings in the music classroom

Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures

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