Creatividad participativa en la composición de bandas sonoras en Educación Secundaria

  1. Lage-Gómez, Carlos 1
  2. Centeno Osorio, José Luis 2
  3. Cremades-Andreu, Roberto 1
  1. 1 Facultad de Educación, Universidad Complutense de Madrid
  2. 2 Facultad de Ciencias Jurídicas, Sociales y Humanidades.  Universidad Internacional de la Rioja
Revista:
Electronic Journal of Music in Education

ISSN: 1575-9563

Año de publicación: 2022

Título del ejemplar: REVISTA ELECTRÓNICA DE LEEME

Número: 49

Páginas: 50-66

Tipo: Artículo

DOI: 10.7203/LEEME.49.24080 DIALNET GOOGLE SCHOLAR lock_openAcceso abierto editor

Otras publicaciones en: Electronic Journal of Music in Education

Resumen

La creación de bandas sonoras supone una aproximación transversal y participativa a la acción creativa en el ámbito de la Educación Secundaria. Con el objetivo de profundizar en la comprensión de los aspectos que caracterizan la composición de bandas sonoras en Secundaria, se ha implementado un proyecto en el que han participado dos grupos de tercero de la ESO (14-15 años) de un centro de la Comunidad de Madrid (España). Desde una perspectiva artográfica, y mediante la perspectiva docente, investigadora y artística, se recogió la información a través de la observación participante y no participante, grabaciones de vídeos, entrevistas, diarios de clase y cuestionarios. Los resultados muestran un modelo de creatividad participativa centrado en una aproximación holística a través de: (1) la implicación activa del alumnado en el diseño, proceso y resultados del proyecto didáctico, (2) la elevada motivación (individual-social), (3) las emociones positivas, (4) el ambiente a través del cual se han construido experiencias musicales significativas y (5) la identidad colectiva generada a través de la creación musical.

Referencias bibliográficas

  • Amabile, T.M. (1996). Creativity in context: Update to the social psychology of creativity. Westfield Press.
  • Berkley, R. (2004). Teaching composing as creative problem solving: Conceptualising composing pedagogy. British Journal of Music Education, 21(3), 239-263. https://doi.org/10.1017/S026505170400587X
  • Bolden, B. (2009). Teaching composing in secondary school: a case study analysis. British Journal of Music Education, 26(2), 137-152. https://doi.org/10.1017/S0265051709008407
  • Burnard, P. (2007). Prelude: Provocations in creativity research. En L. Bresler (Ed.), International Handbook of Research in Arts education (pp.1175-1179). Springer.
  • Burnard, P. (2012). Musical Creativities in Practice. Oxford University Press.
  • Burnard, P. y Younker, B.A. (2004). Problem-solving and creativity: Insights from students’ individual composing pathways. International Journal of Music Education, 22(1), 59-76. https://doi.org/10.1177%2F0255761404042375
  • Burnard, P. y Dragovic, T. (2015). Collaborative creativity in instrumental group learning as a site for enhancing pupil wellbeing. Cambridge Journal of Education, 4(3), 371-392. https://doi.org/10.1080/0305764X.2014.934204
  • Chen, J.C.W. (2020). Mobile composing: Professional practices and impact on students’ motivation in popular music. International Journal of Music Education, 38(1), 147-158. https://doi.org/10.1177/0255761419855820
  • Chion, M. (1993). La audiovisión. Introducción a un análisis conjunto de la imagen y el sonido. Paidós.
  • Cohen, A.J. (2000). Film music. Perspectives from Cognitive Psychology. En J. Bhuler, C. Flinn y D. Newmeyer (Eds.), Music and Cinema (pp.360-377). University Press of New England.
  • Cohen, A.J. (2010). Music as a source of emotion in film. En P.N. Juslin y J.N. Sloboda (Eds.), Handbook of music and emotion Theory, Research, Apliccations (pp.249-272). Oxford University Press.
  • Cook, N. (1998). Analysing musical multimedia. Clarendon Press.
  • Cremades, R., Lorenzo, O. y Turcu, I. R. (2015). Raï music as a generator of cultural identity among young magrebies. International Review of the Aesthetics and Sociology of Music, 46(1), 175-184.
  • Cross, I., Laurence, F. y Rabinowitch, T.C., (2012). Empathy and Creativity in Group Musical Practices: Towards a Concept of Emphatic Creativity. En G. Welch y G. McPherson (Eds.), The Oxford Handbook of music education (pp.337-353). Oxford University Press.
  • Devaney, K. (2019). ‘Waiting for the wow factor’: Perspectives on computer technology in classroom composing. Journal of Music, Technology and Education, 12(2), 121-139. https://doi.org/10.1386/jmte_00002_1
  • DeNora, T. (2000). Music in everyday life. Cambridge University Press.
  • Fautley, M. (2005). A New Model of the Group Composing Process of Lower Secondary School Students. Music Education Research, 7(1), 39-57. https://doi.org/10.1080/14613800500042109
  • Fautley, M. y Savage, J. (2011). Cross-curricular teaching and learning in the secondary school The arts Drama, Visual Art and Design. Routledge.
  • Fowler, A. (2014). Composing and performing in the key stage 3 classroom: A study using multi-trait, multi-method analysis. British Journal of Music Education, 31(1), 5-18. https://doi.org/10.1017/S0265051713000247
  • Glăveanu, V.P y Beghetto, R.A. (2020). Creative Experience: A Non-Standard Definition of Creativity. Creativity Research Journal, 33(2), 75-80. https://doi.org/10.1080/10400419.2020.1827606
  • González, J.M. (2015). Fundamentos de la semiótica de la música. En J.M. Pozuelo et al. (Eds.), De Re Poética. Homenaje al profesor D. Manuel Martínez Arnaldos (pp.383-401). Universidad de Murcia.
  • Hernández-Torrano, D. y Ibrayeva, L. (2020). Creativity and education: A bibliometric mapping of the research literature (1975–2019). Thinking Skills and Creativity, 35, 100625. https://doi.org/https://doi.org/10.1016/j.tsc.2019.100625
  • Hopkins, M.T. (2015). Collaborative composing in high school string chamber music ensembles. Journal of Research in Music Education, 62(4), 405-424. https://doi.org/10.1177/0022429414555135
  • Irwin, R.L. y Cosson, A. (Eds.) (2007). A/r/tography: Rendering self through arts-based living inquirí. Pacific Educational Press.
  • Kemmis, S. (2010). Research for praxis: knowing doing. Pedagogy, Culture & Society, 18(1), 9-27. https://doi.org/10.1080/14681360903556756
  • Kokotsaki, D. y Newton, D.P. (2015). Recognizing creativity in the music classroom. International Journal of Music Education, 33(4), 491-508. https://doi.org/10.1177/0255761415607081
  • Lage-Gómez, C. y Cremades-Andreu, R. (2021). Group Identity in a Secondary School Classroom Constructed through Musical Creation. Croatian Journal of Education, 23(1), 35-61. https://doi.org/10.15516/cje.v23i1.3824
  • Lage-Gómez, C. y Cremades-Andreu, R. (2020). Theorising ‘Participatory Creativity’ in Music Education: Unpacking the Whole Process at a Spanish secondary school. Music Education Research, 22(1), 54-67. https://doi.org/10.1080/14613808.2019.1703922
  • Lage-Gómez, C. y Cremades-Andreu, R. (2019). Group improvisation as dialogue: Opening creative spaces in secondary music education. Thinking Skills and Creativity, 31, 232-242. https://doi.org/10.1016/j.tsc.2018.12.007
  • Lapidaki, E., Rokus de Groot, R. y Stagkos, P. (2012). Comunal creativity as sociomusical practice. En G. Welch y G. McPherson (Eds.), The Oxford Handbook of music education (pp.371-378). Oxford University Press.
  • Malbran, S. (2010). El modelo cross-modal aplicado a las artes temporales. En M.E. Riaño y M. Díaz (Eds.), Voz, Cuerpo y acción. Un espacio para la música (pp.75-82). Publican ediciones.
  • Menard, E.A. (2015). Music Composition in the High School Curriculum: A Multiple Case Study. Journal of Research in Music Education, 63(1), 114-136. https://doi.org/10.1177/0022429415574310
  • Miell, D. y Littleton, K. (Eds.) (2004). Collaborative Creativity: Contemporary Perspectives. Free Association Books.
  • Montoya, J.C. (2016). Clásicos populares gracias al cine: la banda sonora como agente generador de significados musicales. En S. Andrés (Ed.), Clásicos populares gracias al cine: la banda sonora como agente generador de significados musicales (pp.321-334). Ediciones Universidad de Salamanca.
  • Murillo, A., Riaño, M.E., y Berbel, N. (2019). The classroom as a sounding board for sonorous creation: New architectures and technological tools to bring the art of sound to education. Revista Electrónica de LEEME, 43, 1-18. https://doi.org/10.7203/LEEME.43.14007
  • Riaño, M.E., Murillo, A. y Tejada, J. (2022). Music education, creativity and technology: An exploratory study on teaching strategies and creative activities with ex novo software. Revista Electronica Educare, 26(1), 1-23. https://doi.org/10.15359/ree.26-1.3
  • Ruthmann, A. (2008). Whose agency matters? Negotiating pedagogical and creative intent during composing experiences. Research Studies in Music Education, 30(1), 43-58. https://doi.org/10.1177%2F1321103X08089889
  • Savage, J. y Fautley, M. (2011). The organisation and assessment of composing at Key Stage 4 in English secondary schools. British Journal of Music Education, 28(2), 135-157. https://doi.org/10.1017/S0265051711000040
  • Sawyer, R.K. y DeZutter, S. (2009). Distributed creativity: How collective creations emerge from collaboration. Psychology of Aesthetics, Creativity, and the Arts, 3(2), 81-92. http://dx.doi.org/10.1037/a0013282
  • Saether, E., Mbye, A. y Shayesteh, R. (2012). Intercultural Tensions and Creativity in Music. En G. Welch y G. McPherson (Eds.), The Oxford Handbook of music education (pp.354-370). Oxford University Press.
  • Seddon, F.A. (2012): Empathetic creativity in music making. En O. Odena (Ed.), Musical creativity: insights from music education (pp.133-147). Ashgate.
  • Spence, C. (2007). Audiovisual multisensory integration, Acoustical Science and Technology, 28(2), 61-70. https://doi.org/10.1250/ast.28.61
  • Tan, S. y Kelly, M. (2004). Graphic representations of short musical compositions. Psychology of Music, 32(2), 191-212. https://doi.org/10.1177%2F0305735604041494
  • Tobias, E.S. (2013). Composing, songwriting, and producing: Informing popular music pedagogy. Research Studies in Music Education, 35(2), 213-237. https://doi.org/10.1177/1321103X13487466
  • Veach, L.J. y Gladding, S.T. (2007). Using Creative Group Techniques in High Schools. The Journal for Specialists in Group Work, 32(1), 71-81. https://doi.org/10.1080/01933920600978570
  • Wenger, E. (2002). Comunidades de práctica. Ediciones Paidós Ibérica.