The influence of music learning cultures on the construction of teaching-learning conceptions

Abstract

A m a l i a C a s a s -M a s ,1 J u a n I g n a c i o P o z o 2 a n d I g n a c i o M o n t e r o Current research in music education tends to put the emphasis on learning processes outside formal academic contexts, both to rethink and to renew academic educational formats. Our aim is to observe and describe three music learning cultures simultaneously, including formal, non-formal and informal settings: Classical, Jazz and Flamenco, respectively. We observed the conceptions of learning, teaching and evaluation within the framework of implicit theories. We used multiple-choice questionnaires to infer the profiles of these conceptions in 30 guitarists who are starting out on their professional careers in the three cultures and analysed whether there are related profiles. The results show that: (a) the Flamenco culture differs significantly from the others in the conception of teaching; (b) the three cultures are most alike in the conception of evaluation, for which conceptions are more sophisticated; (c) the classical culture is closer to constructive conceptions and farther from direct positions, while the opposite is true of Flamenco.

Function of private singing in instrumental music learning: A multiple case study of self-regulation and embodiment

“…Of the 31 initial participants, we selected two from each culture who held the most polarised conceptions (traditional versus constructive), as shown by their answers to a multiple-choice questionnaire (Casas-Mas, Pozo, et al, 2014). Casas-Mas, Montero, et al (2015) define these approaches to learning according to certain epistemological, ontological and conceptual assumptions that are explained in the next section.…”

“…In this regard, we have found diverse educational conceptions and practices in different cultural realms (e.g., Pozo et al, 2006). We therefore decided to study different cultures of learning music: (i) classical (academic, based in music conservatories, formal, uses musical scores as a learning tool); (ii) jazz (not always academic, non-formal, uses schematic music notation [chart]); and (iii) flamenco (informal teaching and learning contexts, usually with family, uses oral transmission) (Casas & Pozo, 2008; Casas-Mas, Pozo, & Montero, 2014; Casas-Mas, Pozo, et al, 2015).…”

El discurso sobre la práctica de un guitarrista de jazz semi-profesional: Estudio de caso de aprendizaje musical constructivo

“…Además, es crucial el hecho de primar procesos de transferencia del conocimiento y la comprensión versus la mera repetición. Sin embargo, en la música popular seguramente podemos mostrar matices a esta afirmación, o gradientes de autonomía; como vemos en Casas-Mas, Pozo y Montero (2014), esta variable está muy diferenciada entre el jazz y la cultura de flamenco, e incluso diferenciada dentro del mismo jazz en el caso de contextos con concepciones más reproductivas o directas. Tal y como defienden algunos autores (Bathgate, SimsKnight y Schunn 2012), podríamos aplicar las conclusiones de este trabajo para promover que los estudiantes sean estimulados a adoptar estrategias metacognitivas y analíticas que les faciliten "la autonomía" durante la práctica de aprendizaje instrumental.…”

Listen to the tastemakers: Building an urban arts high school music curriculum

“…They both embrace a philosophy of learning by doing, and create connections with students through popular music. Both pedagogies seek to disrupt top-down music education practices that render pupils’ role in the classroom passive by giving students an active role in the formation of their own learning (Casas-Mas, Pozo, & Montero, 2014). Their philosophies resonate with the critical approaches of other popular music pedagogies; for instance, as punk pedagogy proponent Torrez (2012) writes, by dismantling “hierarchical forms of domination, the educator–learner understands the importance in practicing counter-hegemony as a necessary act for liberation” (p. 140).…”