SAPEA: A System for the Analysis of Instrumental Learning and Teaching Practices

Pozo, Juan Ignacio; Echeverría, María del Puy Pérez; López-Íñiguez, Guadalupe; Casas‐Mas, Amalia

doi:10.1007/978-981-19-0634-3_6

Cited by 5 publications

(8 citation statements)

References 44 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Other noteworthy findings include the absence of music listening in our participants’ beliefs regarding creativity and variations in their perspectives compared with those of participants in other studies. We attribute these differences to the specific context (one-to-one music teaching) and the geographical location (Spain) of our participants, as previous studies in similar contexts have also highlighted traditional conceptions in delivering one-to-one music teaching (Mateos-Moreno & Erlanson, 2023; Pozo et al, 2022). Finally, future qualitative investigations may reveal additional categories and specificities within one-to-one music teaching, while quantitative examination may offer insights into the generalizability of our findings.…”

Section: Discussionmentioning

confidence: 98%

Exploring Spanish studio music teachers’ views on topics related to creativity

Mateos-Moreno,

Garcia-Perals

2024

Research Studies in Music Education

View full text Add to dashboard Cite

While creativity is a primary focus in music education, its exploration within the realm of music studio teaching is considerably less extensive compared with other educational contexts. Moreover, the related research is predominantly focused on creativity in developing music skills. In the present study, we explore how Spanish instrumental music teachers ( n = 10) perceive creativity and its development among students in the music studio, in the absence of predefined limitations (i.e., with respect to various forms and definitions of creativity inherent in the music studio as perceived from their viewpoint). By means of a case study methodology, we gathered data over a one-year period through a questionnaire, in-depth interviews, participants’ written essays, and researchers’ journal entries following observations of the participants’ teaching practices. Subsequently, qualitative analysis was conducted using thematic analysis. Among our main results, we found tensions between our participants’ theories and their practices, evidence for an underlying individual-centered theory of creativity, both positive and negative attitudes toward the development of creativity among their students, and ignorance of creativity in music listening. Our study implications emphasize the urgency of implementing strategies to enhance teacher self-awareness and underscore the need for further investigation into music studio teaching with a specific focus on creativity.

show abstract

Section: Discussionmentioning

confidence: 98%

Exploring Spanish studio music teachers’ views on topics related to creativity

Mateos-Moreno,

Garcia-Perals

2024

Research Studies in Music Education

View full text Add to dashboard Cite

show abstract

“…Table 2 shows the criteria used for analyzing the three dimensions studied. These criteria are supported by the System for the Analysis of Practices of Instrumental Learning (SAPEA), developed by our research group (Pozo et al, 2022). Each group's rehearsal was observed to assign it to a different analysis category.…”

Section: Discussionmentioning

confidence: 99%

“…This study analyzed the type of learning and interaction practices in different music groups. The methodology therefore had to be a multiple-case analysis (Pozo et al, 2022; see also Corbalán et al, 2023). At the same time, we wanted the comparisons between the groups to yield quantitative data, so we generated a system of analysis categories that would make such comparisons possible.…”

Section: Methodsmentioning

confidence: 99%

“…Finally, flamenco music groups typically participate in the production phase but use orality as the main symbolic code. This mode of production is referred to as the artisanal mode of production (Pozo et al, 2022).…”

Section: Musical Production Structures As Learning Activitiesmentioning

confidence: 99%

“…Underlying different understandings of music learning are deep and implicit conceptions or beliefs (Bonastre et al, 2017) concerning what is to be learned in learning music (outcomes), the mental activity that manages learning (processes), and the social organization of teaching tasks and activity conditions (Pozo, 2022).…”

Section: Group Music Learning: What How and With Whom Does One Learn?mentioning

confidence: 99%

See 2 more Smart Citations

The influence of musical production structures in group learning management

Baño¹,

Pozo

2023

Research Studies in Music Education

Self Cite

View full text Add to dashboard Cite

Despite research indicating the advantages of collaborative learning, most formal music education continues to be in an individual format. However, collaborative strategies have been observed in other musical cultures. Through this research, we wished to study the differences in the management of group practices between three musical cultures (classical, modern, and flamenco), checking whether they originate in the formal/informal nature of their cultural tools or their mode of musical production. For this purpose, we analyzed three musical groups belonging to these three musical cultures. Each group comprised four musicians. Recordings of the rehearsal sessions and three dimensions of learning (outcomes, processes, and conditions) were categorically analyzed using the system for the analysis of instrumental learning developed by our research group. Chi-square and adjusted standardized residuals analyses demonstrated that the learning outcomes in each culture differed according to the cultural tool used (literacy, orality, or mimetic), but that the processes and social interaction differed according to the mode of musical production. The findings suggested that those who approach music from open production structures, such as modern musicians, are more collaborative than those who approach it from closed structures, such as classical and flamenco musicians. We conclude by reflecting on the origin of these production structures, highlighting the need to work from different modes of musical production in educational spaces.

show abstract

Analysis of Teaching Practices During the COVID-19 Pandemic: Teachers’ Goals and Activities in Virtual Classrooms

2022

View full text Add to dashboard Cite

To research teachers’ priorities on what was to be taught and learned during the COVID-19 lockdown, we asked Spanish Primary and Secondary teachers to choose and describe the activity they preferred among those carried out with their students during the pandemic. Our interest was to investigate what really happened in the classrooms, the type of learning favored by the practices (reproductive vs. constructive), and the agreement between the teacher’s goals and their teaching We obtained 272 activities that we analyzed according to the proposed goals, the types of learning worked (verbal, procedural, and attitudinal), and the kind of teaching promoted (content or student-centered). Results showed that most teachers proposed content-centered activities, oriented above all to verbal learning. There were clear differences between the proposed goals, partly student-centered, and what was really taught, essentially content-centered. We obtained two teaching profiles, one reproductive and the other constructive.

show abstract

SAPEA: A System for the Analysis of Instrumental Learning and Teaching Practices

Cited by 5 publications

References 44 publications

Exploring Spanish studio music teachers’ views on topics related to creativity

Exploring Spanish studio music teachers’ views on topics related to creativity

The influence of musical production structures in group learning management

Analysis of Teaching Practices During the COVID-19 Pandemic: Teachers’ Goals and Activities in Virtual Classrooms

Contact Info

Product

Resources

About