Person:
Casas Mas, Amalia

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First Name
Amalia
Last Name
Casas Mas
URI
https://hdl.handle.net/20.500.14352/77078
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
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2014 - 20153
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Now showing 1 - 3 of 3
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    Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures
    (Journal of Cross-Cultural Psychology, 2015) Casas Mas, Amalia; Pozo, Juan Ignacio; Scheuer, Nora; Journal of Cross-Cultural Psychology
    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.
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    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, Ignacio
    Current 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.
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    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 Ignacio
    Esta 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.