The awareness of the last 20 years about embodied cognition is directing multidisciplinary attention to the musical domain and impacting psychological research approaches from the 4E (embodied, ...embedded, enactive, and extended) cognition. Based on previous research regarding musical teaching and learning conceptions of 30 young guitar apprentices of advanced level in three learning cultures: Western classical, jazz, and flamenco of oral tradition, two participants of flamenco with polarised profiles of learning (reproductive and transformative) were selected as instrumental cases for a prospective
design. Discourse and practice of the two flamenco guitarists were analysed in-depth to describe bodily issues and verbal discourse on the learning practice in their natural contexts. Qualitative analysis is performed on the posture, gestures, verbal discourse, and musical practice of the participants through the System for the Analysis of Music Teaching and Learning Practices (SAPIL). The results are organised attending: (a) the
mind through differential postures and gestures of flamenco participants that showed a fusion among verbal, body language, and musical discourse with respect to the musical literacy cultures; (b) the
mind and a detailed description of circumstances and relationships of the two flamenco participants, and how music is embedded in their way of life, family and social context, and therefore transcends musical activity itself; (c) the
mind, regarding the active processes that make differences between the reproductive and the transformative flamenco apprentices, then tentative relationship are observed in the discourse of each apprentice and the way in which they practice; finally, (d) the
mind through the bodily, technical and symbolic tools they use during learning. Flamenco culture of oral tradition made use of listening, and temporary external representations instead of notational, but also the body played a central role in a holistic rhythm processing through multimodality, such as singing, playing, and dancing. Conclusions point out the embodied mind as a result of the culture of learning reflected through the body and the gesture in instrumental learning.
Current research on choral practice has studied various aspects of interpretation and different strategies for improving rehearsal. This article considers the amateur choral rehearsal as a setting ...for teaching and learning music. It analyses choir conductor profiles that may be related to conceptions of teaching and learning and their possible relationship with the implicit theories of teaching and learning. A questionnaire was administered to 41 conductors, considering three variables (expert/non-expert, teacher/non-teacher, and children’s/adult choir conductor). Quantitative evaluation through different cluster analyses showed three conductor profiles: Traditionals, including conductors who use little supervision, few different ways of representation other than corporeal, poor difficulty management and greater use of repetition during the rehearsal; a Focus on Reading profile, conductors who, in addition to using moderately complex processes, rely heavily on reading the score; and finally a Focus on Learning and Representation profile including non-experts and teachers, who use different representation modes in the rehearsal (corporeal, audio, visual, combined) and other complex processes such as transferring learning or metacognition. We also found significant differences among conductors for score processing levels. Finally, some features common to all three profiles characterise the choral environment as a peculiar field of musical learning, which may suggest some strategies for learning music.
En el artículo se revisan las culturas de aprendizaje musical desde una mirada psicológica y social en distintos contextos tanto de tradición oral como escrita. La construcción de conocimiento y el ...uso de diferentes herramientas psicológicas de aprendizaje de acuerdo a los diferentes objetivos que sirven son analizadas desde el modelo socio-histórico. Estableceremos la noción de continuo entre los polos de aprendizaje formal e informal y veremos lo que supone para el aprendizaje formal la comprensión y la ampliación de herramientas de mediación del aprendizaje informal musical en la cognición. Finalmente daremos algunas claves para facilitar el entendimiento de la cultura de aprendizaje informal y su incorporación a las instituciones educativas.
The COVID-19 lockdown in education institutions required music teachers to use ICT to continue teaching. This research study, with the use of a Likert type online questionnaire, analyses the ICT ...activities carried out during this period and the learning conceptions they reflect. The questionnaire consisted of the description of activities which varied, depending on the learning promoted (reproductive or constructive), the learning outcomes (verbal, procedural, or attitudinal), the type of assessment to which the activities were directed, and the presence of cooperative activities. The teachers had to indicate the frequency with which they carried out these activities. The questionnaire was completed by 254 instrumental music teachers from different types of institutions and different levels. The main study outcome was that teachers used reproductive activities more frequently than constructive ones. We also found that most activities were those favouring verbal learning and assessment. The cooperative activities were the least frequent. Finally, through a cluster analysis, we identified three teaching profiles depending on the frequency and type of ICT used: Passive, Active, and Interpretative. The variable that produced the most consistent differences was previous ICT use.
Instrumental music teaching; Distance music education; ICT educational uses; Reproductive learning; Constructive learning; COVID-19.
La relación entre la psicología y la música no ha sido todo lo cercana que se podría esperar. La psicología de la música en su mayor parte se sigue entendiendo como cuantativa-experimental. Este ...estudio revisa el planteamiento de Wundt y Seashore, considerados fundadores de la psicología como ciencia y de la psicología de la música respectivamente, acerca de cómo abordar los procesos superiores, en los que encontraríamos el hecho artístico. Se muestra cómo pese a la importancia que se les atribuye a sus logros, han prevalecido por encima de todos precisamente los más afines al paradigma positivista, cuando en realidad su enfoque era mucho más amplio. En este contexto se explica el reciente nacimiento de la Asociación Española de Psicología de la Música y la Interpretación musical (AEPMIM), hecho tardío muy condicionado por la precaria situación de la disciplina en España. Por último se presentan algunas reflexiones acerca del actual paradigma de la cognición musical y cómo enriquecerlo para hacerlo más musical y no casi absolutamente psicológico, implicando a los músicos de forma más directa, ampliando la difusión del conocimiento más allá de los propios expertos y con el objetivo de cambiar la realidad como otra de las responsabilidades de las asociaciones de psicología de la música.
This study analyzes the discourse of musicians from three different cultures of musical learning, ranging from the more formal classical European culture, through the jazz culture, to the less formal ...flamenco culture in Roma communities. It is based on cultural studies of learning and education and the implicit conceptions theory. Thirty-one semi-professional guitarists were interviewed about learning and teaching music. We applied the lexicometrical method using correspondence analysis. We found significant lexical differences among the three cultures for all the three educational dimensions analyzed (teaching, learning, and evaluation). We describe literal answers from the most representative participants from each culture (using the automatic selection of modal response procedure according to χ2 distance) and a qualitative analysis of their full answers. Finally, we project a distribution of the three cultures of learning onto a factorial plane, which summarizes distribution of the three cultures of learning according to two axes that we have interpreted in terms of (a) locus of control (self-others) and (b) phenomenology (analytical–emotional distance–conceptual–explicit knowledge/sensory–involvement–embodied–implicit knowledge), respectively. The discourse of classical and flamenco participants expressed other-regulated learning, although classical participants were closer to an explicit, conceptual pole, whereas flamenco participants were closer to an implicit, embodied pole. The discourse of jazz participants lay in between the other two, closer to the explicit pole, but including characteristic language about self-regulation.
Sociomusical identity pursues integrative goals, as it establishes bridges between musical identities from a perspective based on transculturation and post-ethnicity. The current study aims to ...observe the influence of social groups in the construction of sociomusical identity, using a simple random sample comprised of 417 students who attend Chilean schools classified in a condition of social vulnerability. The chosen nonexperimental quantitative method is survey research, as two scales were applied to measure musical activities in different social groups. Results indicated that the musical performance variable explains social differences in the distribution of sociomusical capital because, just as Western culture fosters the musician-listener dualism, it also causes gaps in sociomusical identity. In conclusion, differentiation points in sociomusical identity are linked to social matters concerning musical performance, as school-goers' musical practice is not encouraged inside nor outside of schools.
En este trabajo se hace una revisión del concepto «educación» con base en su rednomológica a partir de los trabajos de Esteve (1979, 1983, 2010). El objeto dela red es comenzar a delimitar las claves ...lingüísticas básicas alrededor deltérmino «educación» a partir de la pedagogía y ser conscientes de susconsecuencias que tanto condicionan el proceso educativo. A partir de losmétodos activos de enseñanza musical como principales referentes de la pedagogíamusical moderna, y algunos rasgos característicos de la enseñanza musicalformal, se configura la difusa red nomológica en la educación musical. Seconstata su difícil compatibilidad con la red de «educación» dadas las inmensasimprecisiones terminológicas en el área, derivadas de la gran distancia todavíaexistente entre la música y la ciencia educativa. Se presenta un planteamiento(Bowman, 2002, 2009, 2012) que puede implementar la red genérica de educación enel contexto musical mediante un enfoque educativo más inclusivo basado envalores como inicio de un camino que, por un lado, convierta a los profesionalesde la enseñanza musical en verdaderos profesionales de la educación y produzcapersonas con sentido crítico implicadas en la sociedad para construir una vidamejor.
En este trabajo se hace una revisión del concepto «educación» con base en su red
nomológica a partir de los trabajos de Esteve (1979, 1983, 2010). El objeto de
la red es comenzar a delimitar las ...claves lingüísticas básicas alrededor del
término «educación» a partir de la pedagogía y ser conscientes de sus
consecuencias que tanto condicionan el proceso educativo. A partir de los
métodos activos de enseñanza musical como principales referentes de la pedagogía
musical moderna, y algunos rasgos característicos de la enseñanza musical
formal, se configura la difusa red nomológica en la educación musical. Se
constata su difícil compatibilidad con la red de «educación» dadas las inmensas
imprecisiones terminológicas en el área, derivadas de la gran distancia todavía
existente entre la música y la ciencia educativa. Se presenta un planteamiento
(Bowman, 2002, 2009, 2012) que puede implementar la red genérica de educación en
el contexto musical mediante un enfoque educativo más inclusivo basado en
valores como inicio de un camino que, por un lado, convierta a los profesionales
de la enseñanza musical en verdaderos profesionales de la educación y produzca
personas con sentido crítico implicadas en la sociedad para construir una vida
mejor.
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