DOI: https://doi.org/10.7203/LEEME.46.17764

Cuando el barrio educa: aprendizaje situado y creación artística colaborativa como herramienta en la formación musical del futuro docente


Resumen


Este estudio describe y analiza una acción artístico-pedagógica en el ámbito de la formación inicial de docentes y desarrollada en un barrio desfavorecido de Palma de Mallorca, España. Participaron 65 estudiantes del Grado de Maestro de Educación Primaria en la asignatura de Música y 3 músicos expertos, responsables de diseñar e implementar la acción. A través de una metodología cualitativa de tipo descriptivo-interpretativo, los resultados muestran: 1) algunas características que determinaron el diseño de la acción como son el aprendizaje situado, la colaboración, la creatividad y el compromiso con la realidad social del barrio; y 2) aspectos emergentes a partir de las valoraciones de los participantes relacionados con las dimensiones metodológica, creativa y social. Las conclusiones sugieren que este tipo de acciones son una oportunidad en la formación, tanto disciplinar como pedagógica, de los futuros docentes, sean estos generalistas o especialistas de Música. Es necesario continuar indagando sobre estrategias docentes que les ayude a poner en práctica experiencias artísticas contextualizadas desde un enfoque creativo y colaborativo.


Palabras clave


Formación inicial; educación musical; creatividad; aprendizaje situado.

Texto completo:

PDF

Referencias


Abrahams, F., Rowland, M. y Kohler, K. (2012). Music education behind bars: Giving voice to the inmates and the students who teach them. Music Educators Journal, 98(4), 67-73. doi:10.1177/0027432112443711

Anderson, W.M. y Campbell, P.S. (Eds.) (2011). Multicultural perspectives in music education (Vol.3). Plymouth, England: Rowman and Littlefield Education.

Amatea, E.S., Cholewa, B. y Mixon, K.A. (2012). Influencing preservice teachers’ attitudes about working with low-income and/or ethnic minority families. Urban Education, 47, 801-834. doi:1177/0042085912436846

Aróstegui, J.L. y Cisneros-Cohernour, E. (2010). Reflexiones en torno a la formación del Profesorado de Música partir del análisis documental de los planes de estudio en Europa y América Latina. Profesorado. Revista de currículum y formación del profesorado, 14(2),179-189. Recuperado de: https://recyt.fecyt.es/index.php/profesorado/

Bartolome, S.J. (2017). Comparing field-teaching experiences: A longitudinal examination of preservice and first-year teacher perspectives. Journal of Research in Music Education, 65, 264-286. doi:10.1177/0022429417730043

Barrett, M.S., Zhukov, K. y Welch, G.F. (2019). Strengthening music provision in early childhood education: a collaborative self-development approach to music mentoring for generalist teachers. Music Education Research, 21(5), 529-548. doi:10.1080/14613808.2019.1647154

Biasutti, M. 2010. Investigating Trainee Music Teachers’ Beliefs on Musical Abilities and Learning: A Quantitative Study. Music Education Research, 12(1), 47-69. doi:10.1080/14613800903568262

Biasutti, M., Hennessy, S. y de Vugt-Jansen, E. (2015). Confidence Development in Non-music Specialist Trainee Primary Teachers After an Intensive Programme. British Journal of Music Education, 32(2), 143–161. doi:10.1017/S0265051714000291

Bresler, L. (1993). Music in a double-bind: Instruction by non-specialists in elementary schools. Bulletin of the Council of Research in Music Education, 104, 1-13. doi:10.1080/10632913.1994.9936375

Brinkman, D.J. (2010). Teaching creatively and teaching for creativity. Arts Education Policy Review, 111, 48-50. doi:10.1007/978-3-319-40956_7

Burnard, P. (2012). Musical Creativities in Practice. Oxford: Oxford University Press.

Caeiro, R.M. (2018). Aprendizaje basado en la Creación y Educación Artística: proyectos de aula entre la metacognición y la metaemoción. Arte, Individuo y Sociedad, 30(1), 159-177. doi:10.5209/ARIS.57043

Chou, H. (2007). Multicultural teacher education: Toward a culturally responsible pedagogy. Essays in Education, 21, 139-162. Recuperado de: https://openriver.winona.edu/cgi/viewcontent.cgi?article=1213&context=eie

Christophersen, C. (2013). Perspectives on the Dynamics of Power within Collaborative Learning in Higher Music Education. En H. Gaund y H. Westerlund (Eds.), Collaborative Learning Higher Music Education(pp.77-87). London, UK: Asgate.

Craft, A. (2005). Creativity in Schools: Tensions and Dilemmas. Abingdon: Routledge.

Craft, A. (2012). Childhood in a digital age: creative challenges for educational futures. London Review of Education, 10(2), 173-190. doi: 10.1080/14748460.2012.691282

Creswell, J.W. (2013). Research design: qualitative, quantitative, and mixed methods approaches(Vol.4th). Thousand Oaks (California): SAGE.

Dey, I. (2005). Qualitative Data Analysis. A User-Friendly Guide for Social Scientists. London: Routledge.

de Vries, P. (2013) Generalist teachers' self-efficacy in primary school music teaching. Music Education Research, 15(4), 375-391. doi:10.1080/14613808.2013.829427

de Vries, P. (2014). Music without a Music Specialist: A Primary School Story. International Journal of Music Education, 33(2), 210-221. doi:10.1177/0255761413515818

Doberneck, D.M., Glass, C.R. y Schweitzer, J. (2010). From rhetoric to reality: A typology of publically engaged scholarship. Journal of Higher Education Outreach Engagement, 14, 5-35. doi:10.1080/1461380990010206

Elisondo, R., Donolo, D. y Rinaudo, M.C. (2013). The Unexpected and Education: Curriculums for Creativity. Creative Education, 4(12), 11-15. doi:10.4236/ce.2013.412A2002

Gibbs, G. (2012). Análisis de datos cualitativos en investigación cualitativa. Madrid: Morata.

Hammersley, M. y Atkinson, P. (2009). Etnografía. Métodos de investigación. Barcelona: Paidós Básica.

Harris, A. y de Bruin, L.R. (2018). Training teachers for twenty-first century creative and critical thinking: Australian implications from an international study. Teaching Education, 29(3), 234-250. doi:10.1080/10476210.2017.1384802

Harris, A. (2014). The creative turn. Rotterdam: Sense Publishers.

Haston, W. y Russell, J.A. (2012). Turning into teachers: Influences of authentic context learning experiences on occupational identity development of preservice music teachers. Journal of Research in Music Education, 59, 369-392. doi:10.1177/002242911414716

Henley, J. (2015). Music: Naturally Inclusive, Potential Exclusive?  En J.M. Deppeler, T. Loreman, R.A.L. Smith y L. Florian (Eds.), Inclusive Pedagogy Across the Curriculum, Vol. 6 (pp.161-186). Bingley: Emerald Publishing Group Limited.

Hennessy, S. (2017). Approaches to Increasing the Competence and Confidence of Student Teachers to Teach Music in Primary Schools. Education, 3-13, 45(6), 689-700. doi:10.1080/03004279.2017.1347130.

Hernández-Ponce, L.E., Rodríguez, J.C. y Giménez, C. (2011). La posibilidad del cambio social: aproximación psicosocial a los conceptos de agencia, empoderamiento y participación. Temas de coyuntura, 62, 79-102. Recuperado de: http://revistasenlinea.saber.ucab.edu.ve/temas/index.php/temasdecoyuntura/article/view/1183

Hickey, M. (2012). Music outside the lines: Ideas for composing in K-12 music classrooms. Oxford, UK: Oxford University Press.

Hutchins, E. (1995). Cognition in the Wild. Cambridge, MA: MIT Press.

Iyer, V. (2002). Embodied mind, situated cognition, and expressive microtiming in African-American music. Music Perception, 19(3), 387-414. doi:10.1525/mp.2002.19.3.387

Kenny, A. (2015). Beginning a journey with music education: Voices from pre-service primary teachers. Music Education Research, 19(2), 111-122. doi:10.1080/14613808.2015.1077801

Kenny, A., Finneran, M. y Mitchell, E. (2015). Becoming an Educator in and Through the Arts: Forming and Informing Emerging Teachers’ Professional Identity. Teaching and Teacher Education, 49, 159-167. doi:10.1016/j.tate.2015.03.004

Lave, J. y Wenger, E. (1991). Situated Learning. Legitimate Peripheral Participation.Cambridge: Cambridge University Press.

Leman, M. (2007). Embodied Music Cognition and Mediation Technology. Cambridge: MIT Press.

Mayorga, M.J. y Madrid, D. (2010). Modelos didácticos y Estrategias de enseñanza en el Espacio Europeo de Educación Superior. Tendencias Pedagógicas, 15(1), 91-111. Recuperado de: https://dialnet.unirioja.es/servlet/articulo?codigo=3221568

Marsh, K. y Young, S. (2006). Musical play. En G.E. McPherson (Ed.), The child as musician. A handbook of musical development (pp.298–310). New York: Oxford University Press.

Marsh, K. y Marsh, K.M. (2008). The musical playground: Global tradition and change in children's songs and games. New York: Oxford University Press.

McKoy, C. (2013). Effects of selected demographic variables on music student teachers’ self-reported cross-cultural competence. Journal of Research in Music Education, 60, 375-394. doi:10.1177/0022429412463398

Mota, G. (2015). Twenty-five Years of Music Teacher Education in Portugal – Revisiting History. En S. Figueiredo, J. Soares, y R.F. Schambeck (Eds.), The Preparation of Music Teachers: A Global Perspective(pp.241–264). Florianópolis: UDESC (Grupo de Pesquisa Música e Educação).

Murillo, A., Riaño, M. E. y Berbel, N. (2019). El aula como caja de resonancia para la creación sonora: nuevas arquitecturas y herramientas tecnológicas para acercar el arte sonoro al ámbito educativo. Revista Electrónica de LEEME, 43,1-18 doi:10.7203/LEEME.43.14007

O’Neill, S.A. (2012). Personhood and music learning: Connecting perspectives and narratives, Research to practice. Waterloo, Ontario, Canada: Canadian Music Educators’ Association.

O’Neill, S.A. (2014). Mind the gap: Transforming music engagement through learner-centred informal music learning. The Recorder: Journal of the Ontario Music Educators’ Association, 56(2), 18-22. Recuperado de: https://www.researchgate.net/publication/273319581

O’Neill, S.A. (2015). Youth Empowerment and Transformative Music Engagement. En C. Benedict, P. Schmidt, G. Spruce y P. Woodford (Ed.), The Oxford Handbook of Social Justice in Music Education (pp.388-405). New York: Oxford University Press.

O’Neill, S.A. (2016). Transformative music engagement and musical Flourishing. En G. McPherson (Ed.), The child as musician. A handbook of musical development (pp.606-625). Oxford: Oxford University press.

Regelski, T.A. (2005). Music and music education: theory and practice to "make a difference". En D.K. Lines (Ed.), Music Education for the New Millenium (pp. 21-45). Oxford: Blackwell Publishing.

Reynolds, A.M., Jerome, A., Preston, A.L. y Haynes, H. (2005). Service-learning in music education: Participants’ reflections. Bulletin of the Council for Research in Music Education, 165, 79-91. Recuperado de: https://www.jstor.org/stable/40319272

Robinson, N.R. (2016). Developing a critical consciousness for diversity and equity among preservice music teachers. Journal of Music Teacher Education, 26, 11-26. doi:10.1177/1057083716643349

Salvà-Tomàs, P.A., Jaume-Adrover, M. y Berbel-Gómez, N. (2019). Passat, present i desig de futur del Nou Llevant- Soledat Sud: projecte artístic transdisciplinar ‘Re-habitar el Barrio’. Anuari d’Educació de les Illes Balears 2019, 2019, 252-266. Recuperado de: https://bit.ly/36LtcTC

Vergara, J.J. (2015). Aprendo porque quiero. El Aprendizaje Basado en Proyectos (ABP), paso a paso. Madrid: SM.

Wegerif, R. (2013). Dialogic: Education for the Internet Age. London: Routledge.

Wilson, G.B. y MacDonald, R.A.R. (2012). The sign of silence: negotiating musical identities in an improvising ensemble. Psychology of Music, 40(5), 1-16. doi:10.1177/0305735612449506

Young, G. (2018). Creative Interdisciplinary in the arts. En N.H. Hensel (Ed.), Exploring, Experiencing, and Envisioning Integration in US Arts Education (pp.15-26). Los Angeles: Palgrave.


Enlaces refback

  • No hay ningún enlace refback.


Copyright (c) 2022 Noemy Berbel Gómez, Adolf Murillo Ribes, María Elena Riaño Galán