Group improvisation as dialogue: Opening creative spaces in secondary music education

Lage-Gómez, Carlos; Andreu, Roberto Cremades

doi:10.1016/j.tsc.2018.12.007

Cited by 40 publications

(28 citation statements)

References 16 publications

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“…Research on musical creativity has shown that projects involving collaboration yield better student learning outcomes (Muhonen, 2014;Sawyer, 2004), that projects may become even more creativity-fostering when other agents (e.g., artists, musicians, teachers) actively collaborate with students (Lage & Cremades, 2019;Ruokonen, 2018), and that it is urgent to enhance the teaching and learn-ing of music in formal education settings (Cremin & Chappell, 2019). However, due to numerous reasons, music teachers around the world continue to find it challenging to design and implement curriculum units that foster collaborative musical creativity (Bautista et al, 2018;Tan et al, 2019;Veloso, 2017).…”

Section: Discussionmentioning

confidence: 99%

“…For example, Lage and Cremades (2019) conducted an action-research collaborative project that involved secondary school students, artists, researchers, and teachers. Adopting artography (Irwin, 2013) as a framework, the authors found that music creative spaces are determined by various interconnected factors, including active involvement and wellbeing, emergence of group flow and positive emotions, and high levels of motivation.…”

Section: Pedagogical Keys To Foster Musical Creativitymentioning

confidence: 99%

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Collaborative Musical Creativity between Students and Adults: The Sonorous Paella

Giménez

Galán

Bautista

2021

Creativity. Theories – Research - Applications

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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.

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Section: Discussionmentioning

confidence: 99%

Section: Pedagogical Keys To Foster Musical Creativitymentioning

confidence: 99%

Collaborative Musical Creativity between Students and Adults: The Sonorous Paella

Giménez

Galán

Bautista

2021

Creativity. Theories – Research - Applications

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“…Ever since Plato defined participation as a metaphysical concept relating sensible objects and ideas, it has been addressed in the literature on education as (1) a means to instil democracy in the heart of education (Saiz-Linares, 2019) and ( 2) a means to promote student motivation and satisfaction (Lage-Gómez & Cremades-Andreu, 2019. Classroom participation involves several dimensions, ranging from teaching strategies to promote student learning to being an educational goal in its own right.…”

Section: Participation In the Classroommentioning

confidence: 99%

“…Od Platonove definicije sudjelovanja kao metafizičkoga koncepta koji povezuje opipljive predmete i ideje, sudjelovanje se u literaturi o obrazovanju spominje kao (1) sredstvo usađivanja demokracije u srce obrazovanja (Saiz-Linares i sur., 2019) i ( 2) sredstvo promocije motivacije i zadovoljstva učenika (Lage-Gómez i Cremades-Andreu, 2019. Učioničko sudjelovanje uključuje nekoliko dimenzija: od strategija poučavanja s ciljem promocije učenja do samog obrazovnoga cilja.…”

Section: Sudjelovanje U Učioniciunclassified

Group Identity in a Secondary School Classroom Constructed through Musical Creation / Oblikovanje grupnoga identiteta glazbenim stvaranjem u srednjoj školi

Lage-Gómez

Andreu

2021

Croatian Journal of Education

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Music plays an important role in the construction of identity in adolescence. However, few studies have explored the relationship between the formation of group identities in adolescence and musical creation as an experiential group activity in secondary school. Therefore, the aim of the present study was to shed light on the formation of group identities in the classroom and determine the factors involved in this process. An educational project focusing on participatory musical creation was carried out in three Spanish secondary schools, involving 267 students. Data were collected by means of participant and non-participant observation, a classroom diary, a questionnaire and video recordings, analysed within the framework of activity theory. The results revealed the influence of a number of interconnected determinants on the formation of group identity in the classroom: (1) student involvement in all stages of the project; (2) the construction of meaningful musical experiences through the students’ role as musicians; (3) the classroom climate; (4) the emergence of positive emotions; (5) high motivation to learn; and (6) student identification with their own music. These results indicate the useful role of music creation in the formation of group identity. Keywords: activity theory; creative learning; music; participation; secondary education---Glazba ima važnu ulogu u izgradnji identiteta tijekom adolescencije. Unatoč tome, malo je studija istraživalo odnos između oblikovanja grupnih identiteta u adolescenciji i glazbenoga stvaranja kao iskustvene grupne aktivnosti u srednjoj školi. Stoga je cilj ovoga istraživanja bio osvijetliti oblikovanje grupnih identiteta u razredu i utvrditi čimbenike uključene u taj proces. Proveden je obrazovni projekt s fokusom na participacijsko glazbeno stvaranje u tri srednje škole u Španjolskoj. U projektu je sudjelovalo 267 učenika. Podatci su sakupljeni metodama sudioničkoga promatranja, promatranja bez sudjelovanja, razrednoga dnevnika, upitnika i videozapisa, a analizirani su unutar okvira teorije aktivnosti. Rezultati pokazuju utjecaj određenoga broja međusobno povezanih faktora na oblikovanje grupnoga identiteta u učionici: (1) učenički angažman u svim stadijima projekt, (2) stvaranje značajnih glazbenih iskustava kroz učeničke uloge glazbenika, (3) razredno ozračje, (4) javljanje pozitivnih emocija, (5) visoka motivacija za učenje i (6) poistovjećivanje učenika s vlastitom glazbom. Navedeni rezultati otkrivaju pozitivno djelovanje glazbenoga stvaralaštva na oblikovanje grupnoga identiteta. Ključne riječi: glazba; kreativno učenje; sudjelovanje; srednjoškolsko obrazovanje; teorija aktivnosti.

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“…A 2019 study, "Group Improvisation as Dialogue: Opening Creative Spaces in Secondary Music Education" by Carlos Lage-Gómez and Roberto Cremades-Andreu, illustrated this type of freedom in action: Secondary students engaged in dialogue through musical improvisations experienced increased motivation and agency in their learning, cultivated an accepting classroom environment, and developed empathy toward other students. 13 Dialogue can occur in different ways in a musical setting. Through the use of musical dialogue in the classroom, students may have the opportunity to explore and experiment with their own musical ideas through the improvisational techniques used among different methodologies.…”

Section: Dialoguementioning

confidence: 99%

Caring and Connectivity: A Framework for Active Caring in the Music Classroom

Watts¹,

Eldreth²,

Grant³

et al. 2020

Music Educators Journal

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In an age where caring for others may seem like a relic of a bygone era, we all must be reminded of the importance of active caring in the classroom and beyond. This article explores the work of Nel Noddings, an educational scholar at the forefront of caring research, and her four dimensions for bringing active caring into the classroom. Modeling, dialogue, practice, and confirmation provide teachers with concrete starting points for reflecting on the ways in which they cultivate caring in their music classrooms and how they develop caring relationships with students that reflect the ways they need and want to be cared for. Music educators often work with the same students over the course of many years—it is to our advantage to use this time to teach caring and teach with care.

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Group improvisation as dialogue: Opening creative spaces in secondary music education

Cited by 40 publications

References 16 publications

Collaborative Musical Creativity between Students and Adults: The Sonorous Paella

Collaborative Musical Creativity between Students and Adults: The Sonorous Paella

Group Identity in a Secondary School Classroom Constructed through Musical Creation / Oblikovanje grupnoga identiteta glazbenim stvaranjem u srednjoj školi

Caring and Connectivity: A Framework for Active Caring in the Music Classroom

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