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

Ano de publicación: 2022

Título do exemplar: REVISTA ELECTRÓNICA DE LEEME

Número: 49

Páxinas: 50-66

Tipo: Artigo

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

Outras publicacións en: Electronic Journal of Music in Education

Resumo

The creation of soundtracks assumes a transversal and participatory approach to creative action in the field of Secondary Education. With the aim of gaining a deeper understanding of the aspects that characterize the composition of soundtracks in Secondary Education, a project has been carried out in which two groups of third year Secondary Education students (14-15 years old) attending a center in the Community of Madrid (Spain) have participated. From an artographic perspective, and from a teaching, research, and artistic perspective, information was collected through participant and non-participant observation, video recordings, interviews, class diaries, and questionnaires. The results suggest a model of participatory creativity focused on a holistic approach through: (1) the active involvement of the students in the design, process, and results of the didactic project; (2) high motivation (individual-social); (3) positive emotions; (4) the environment through which meaningful musical experiences have been constructed; and (5) the collective identity generated through musical creation.

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.