Publicado 2022-01-01
Palabras clave
- Educación secundaria; educación musical; aprendizaje colaborativo; creatividad.
Resumen
El desarrollo de la creatividad a través del trabajo grupal tiene especial relevancia en contextos formales de educación musical. Este estudio describe y analiza una unidad didáctica de composición rítmica grupal –dentro de la asignatura de Música– poniendo énfasis en elementos relacionados con la creatividad y el aprendizaje colaborativo. Se utilizó un estudio de caso y los participantes fueron 16 estudiantes de educación secundaria en un colegio chileno. A través de actividades reflexivas, creativas e interpretativas, el alumnado alcanzó los objetivos de aprendizaje propuestos. Durante el proceso se observaron elementos que coinciden con las características de las prácticas pedagógico-creativas en la educación formal; son considerados relevantes para fortalecer saberes vinculados con la creatividad y son consistentes con las definiciones y características del aprendizaje colaborativo.
Citas
- Amabile, Teresa (1996). Creativity in context: Update to the social psychology of creativity, Oxford: Oxford University Press.
- Arias, Fidias (2012). El proyecto de investigación. Introducción a la metodología científica, 6a ed., Caracas: Editorial Episteme.
- Asterhan, Christa y Schwarz, Baruch (2010). “Online moderation of synchronous e argumentation”, International Journal of Computer-Supported Collaborative Learning, vol. 5, núm. 3, pp. 259-282.
- Banaji, Shakuntala; Burn, Andrew y Buckingham, David (2010). The rhetorics of creativity: A review of the literature, Londres: Arts Council England.
- Barrett, Margaret (1998). “Children composing: A view of Aesthetic Decision-Making”, en B. Sundin, G. Mc Pherson y G. Folkestad (eds.), Children Composing, Lund: Lund University.
- Barrett, Margaret (2005). “A systems view of musical creativity”, en D. Elliott (ed.), Praxial music education: Reflections and dialogues, Nueva York: Oxford University Press.
- Borrás, Fedra y Gómez, Isabel (2010). “Dos experiencias de aprendizaje cooperativo: clase de instrumento y conjunto instrumental”, Eufonía, núm. 50, pp. 109-120.
- Borůvková, Radka y Emanovský, Petr (2016). “Small group learning methods and their effect on learners’ relationships”, Problems of Education in the 21st Century, vol. 70, pp. 45-58.
- Burnard, Pamela (1999). Into different worlds: Children’s experience of musical improvisation and composition, tesis de doctorado, Reading: University of Reading.
- Burnard, Pamela (2016). “Rethinking ‘musical creativity’ and the notion of multiple creativities in music”, en O. Odena (ed.), Musical creativity: Insights from music education research, Glasgow: Taylor and Francis.
- Creech, Andrea; Papageorgi, Ioulia y Welch, Graham (2010). “Concepts of ideal musicians”, Journal of Research in Music Performance, primavera, pp. 1-18.
- Cremin, Teresa y Chappell, Kerry (2019). “Creative pedagogies: A systematic review”, Research Papers in Education, publicado: 24 de octubre, pp. 1-33. DOI: 10.1080/02671522.2019.1677757
- Cropley, Arthur (1997). “Fostering creativity in the classroom: General principles”, en M. Runco (ed.), Handbook of Creativity Research, Cresskill: Hampton Press.
- Dillenbourg, Pierre (1999). “What do you mean by collaborative learning?”, en P. Dillenbourg (ed.), Collaborative-learning: Cognitive and computational approaches, Oxford: Elsevier.
- Espeland, Magne (2007). Compositional process as discourse and interaction: A study of small group music composition processes in a school context, tesis de doctorado, Copenhague: Danish University of Education.
- Fautley, Martin (2005). “A new model of the group composing process of lower secondary school students”, Music Education Research, vol. 7, núm. 1, pp. 39-57.
- Gillies, Robyn y Boyle, Michael (2008). “Teachers’ discourse during cooperative learning and their perceptions of this pedagogical practice”, Teaching and Teacher Education, vol. 24, núm. 5, pp. 1333-1348.
- Green, Lucy (2002). How popular musicians learn, Aldershot: Ashgate.
- Hallam, Susan (2010). “Music education: The role of affect”, en P. Juslin y J. Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications, Oxford: Oxford University Press.
- Johnson, David; Johnson, Roger y Holubec, Edythe (1999). El aprendizaje cooperativo en el aula, Barcelona: Paidós Educador.
- Kaendler, Celia; Wiedmann, Michael; Rummel, Nikole y Spada, Hans (2015). “Teacher competencies for the implementation of collaborative learning in the classroom: A framework and research review”, Educational Psychology Review, vol. 27, núm. 3, pp. 505-536.
- Martin, Jeffrey (2005). “Composing and improvising”, en D. Elliott (ed.), Praxial music education: Reflections and dialogues, Nueva York: Oxford University Press.
- Mineduc (2016). Música: Programa de Estudio Primero Medio. Decreto Exento N° 1264/2016, Santiago, Chile: Ministerio de Educación.
- Odam, George (2000). “Teaching composing in secondary schools: The creative dream”, British Journal of Music Education, vol. 17, núm. 2, pp. 109-127.
- Odena, Oscar (2012). “Perspectives on musical creativity: Where next?”, en O. Odena (ed.), Musical creativity: Insights from music education research, Aldershot: Ashgate.
- Odena, Oscar; Plummeridge, Charles y Welch, Graham (2005). “Towards an understanding of creativity in music education: A qualitative exploration of data from English secondary schools”, Bulletin of the Council for Research in Music Education, núm. 163, pp. 9-18.
- Paynter, John (2002). “Music in the school curriculum: Why bother?”, British Journal of Music Education, vol. 19, núm. 3, pp. 215-226.
- Paynter, John y Aston, Peter (1970). Sound and silence: Classroom projects in creative music, Cambridge: Cambridge University Press.
- Roschelle, Jeremy y Teasley, Stephanie (1995). “The construction of shared knowledge in collaborative problem solving”, en C. O’Malley (ed.), Computer supported collaborative Learning, Berlín: Springer.
- Van de Pol, Janneke; Volman, Monique y Beishuizen, Jos (2010). “Scaffolding in Teacher– Student interaction: A decade of research”, Educational Psychology Review, vol. 22, núm. 3, pp. 271-296.
- Van de Pol, Janneke; Volman, Monique; Oort, Frans y Beishuizen, Jos (2015). “The effects of scaffolding in the classroom: Support contingency and student independent working time in relation to student achievement, task effort and appreciation of support”, Instructional Science, vol. 43, núm. 5, pp. 615-641.
- Van Leeuwen, Anouschka y Janssen, Jeroen (2019). “A systematic review of teacher guidance during collaborative learning in primary and secondary education”, Educational Research Review, vol. 27, pp. 71-89.
- Webster, Peter (2009). “Part 8: Composition and improvisation”, en S. Hallam, I. Cross y M. Thaut (eds.), The Oxford Handbook of Music Psychology, Oxford: Oxford University Press.
- Weisberg, Robert (1986). Creativity, genius, and other myths, Nueva York: Freeman.
- Wiggins, Jackie (2003). “A frame for understanding children’s compositional processes”, en M. Hickey (ed.), Why and how to teach music composition: A new horizon for music education, Reston: MENC.
- Wilson, Graene y MacDonald, Raymond (2005). “The meaning of the blues: Musical identities in talk about jazz”, Qualitative Research in Psychology, vol. 2, núm. 4, pp. 341-363.
