Person: Casas Mas, Amalia
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First Name
Amalia
Last Name
Casas Mas
Affiliation
Universidad Complutense de Madrid
Faculty / Institute
Educación-Centro Formación Profesor
Department
Didáctica de Lenguas, Artes y Educación Física
Area
Didáctica de la Expresión Musical
Identifiers
3 results
Search Results
Now showing 1 - 3 of 3
Item Function of private singing in instrumental music learning: a multiple case study of selfregulation and embodiment(Musicae Scientae, 2019) Casas Mas, Amalia; López-Íñiguez, Guadalupe; Pozo, Juan Ignacio; Montero, Ignacio; SAGEThis article aims to explore a range of largely embodied vocalisations and sounds produced by learners of string instruments and how they relate to the potential self-regulatory use provided by such vocalisations. This type of “singing” while learning to play an instrument may have similarities to the use of private speech in other types of learning tasks. This report describes a multiple case study based on the naturalistic observation of learners playing string instruments in different situations. We observed private rehearsals by six adult guitarists from different music cultures (classical, flamenco, and jazz) who had different approaches to learning (traditional and constructivist). In addition, we observed the one-to- one lessons of a constructivist cello teacher with a 7 year-old beginner and a 12-year-old student. All sessions were recorded. We applied the System for Analysing the Practice of Instrumental Lessons to the video lessons and/or practices and participant discourse for constant comparative analysis across all categories and participants. From the theoretical framework of private speech, we identified a set of qualities in private singing, such as whistling, humming, and guttural sounds, with different levels of audibility. Self-guidance and self-regulation appeared to be the functions underlying both psychomotor learning and reflective-emotional learning from an embodiment approach. Guitar learners from popular urban cultures seemed to use less explicit singing expression than classical guitar learners, the explicitness of which may be related to the instructional use of the notational system. In the one-to-one cello lessons, we observed a process of increasing internalisation from the younger to the older student. Both results are consistent with the literature on private speech, indicating that this process is a natural process of internalisation at higher literacy levels. Singing is not as frequent in music lessons as might be expected, and it is even less frequently used as a reflective tool or understood as an embodied process. The examples provided in this article shed light on the multiplicity of applications and on the potential benefits of private singing in instructional contexts as a powerful learning tool.Item The influence of music learning cultures on the construction of teaching-learning conceptions(British Journal of Music Education, 2014) Casas Mas, Amalia; Pozo, Juan Ignacio; Montero, IgnacioCurrent research in music education tends to emphasize. We aim for learning processes outside formal academic contexts, both to rethink and to renew academic educational formats. Our aim is to observe and describe three music learning cultures simultaneously, including formal, non-formal, and informal settings: Classical, Jazz, and Flamenco, respectively. We observed the conceptions of learning, teaching, and evaluation within the framework of implicit theories. We used multiple-choice questionnaires to infer the profiles of these conceptions in 30 guitarists who are starting on their professional careers in the three cultures and analysed whether there are related profiles. The results show that: (a) the Flamenco culture differs significantly from the others in the conception of teaching; (b) the three cultures are most alike in the conception of evaluation, for which conceptions are more sophisticated; (c) the classical culture is closer to constructive conceptions and farther from direct positions, while the opposite is true of Flamenco.Item El discurso sobre la práctica de un guitarrista de jazz semi-profesional: estudio de caso de aprendizaje musical constructivo(IASPM Journal (Journal Of The International Association For The Study Of Popular Music), 2015) Casas Mas, Amalia; Montero, Ignacio; Pozo, Juan IgnacioEsta investigación presenta un estudio de caso de un guitarrista de jazz, aprendiz semiprofesional con un enfoque constructivista del aprendizaje. Es un caso extraído de un Estudio de Caso Múltiple, y ha sido seleccionado por su relevancia y aportación a las nuevas formas de aprendizaje musical en la sociedad actual. Nuestro objetivo es explorar su discurso sobre la práctica musical destacando las fortalezas y debilidades tanto de la cultura del jazz a la que pertenece como de su concepción del aprendizaje. Su discurso se analiza cualitativamente con un sistema estructurado de categorías deductivas e inductivas. Mostramos una descripción detallada de las condiciones de aprendizaje, resultados y procesos psicológicos a lo largo de tres fases de preparación de un tema (inicial, media y final). Hay acuerdo con las investigaciones previas, y una mejora en la descripción del aprendizaje en música popular, matizando las diferencias significativas en la cultura del jazz respecto a otras culturas, y en lo que una práctica constructiva se diferencia de otras prácticas dentro del jazz. Puede ayudar a la comprensión de las diversas formas de aprender tanto a músicos populares como clásicos.