Person:
Lage Gómez, Carlos

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First Name
Carlos
Last Name
Lage Gómez
URI
https://hdl.handle.net/20.500.14352/77014
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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Now showing 1 - 4 of 4
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    Group improvisation as dialogue: opening creative spaces in secondary music education
    (Thinking Skills and Creativity, 2019) Lage Gómez, Carlos; Cremades Andreu, Roberto
    Dialogue is inherently a form of improvisation, focussed on its relational nature and on the syntactic properties of its relationships. In the field of music education, group improvisation is considered as an emerging, reflexive and creative practice. However, research into secondary education has been limited. In this article, we present the results of a Collaborative Action Research study in Spanish Secondary education. The aim of this study was to gain a better understanding of group improvisation as a dialogic practice in secondary education, and the factors that determine the music creative space for learning. Data collection included observation, interviews, classroom diary, classroom assessments, questionnaires, video and audio recordings. We drew on the perspective of artography, in which artist, researcher and teacher co-exist, to codify, analyse and triangulate data. Findings show how the music creative space in group improvisation is determined by the following connected aspects: (a) active student involvement and wellbeing; (b) the students’ identification with the music; (c) the emergence of group flow and positive emotions manifested from both a multi-dimensional and a dual perspective; (d) a high level of motivation emerging in different forms; and (e) significant musical experiences from students’ role as musicians.
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    La música que escuchan las nuevas generaciones: preferencias y estereotipos
    (Revista española de pedagogía, 2024) Cremades Andreu, Roberto; Lage Gómez, Carlos; Campollo Urkitza, Arantzazu; Hargreaves, David J.
    Para los jóvenes, la música no solo es un objeto de consumo estético; también cumple una función social, a la que atribuyen diversos valores que influencian su identidad y sus relaciones sociales. Así, el objetivo de este artículo es evaluar cómo se estructuran sus preferencias musicales y qué diferencias existen en función del género y del rango de edad, además de estudiar qué estereotipos asocian a los estilos que más escuchan según dichas variables. Para ello, se utilizó un cuestionario actualizado y adaptado de Cremades et al. (2010), al que respondieron 1020 jóvenes adolescentes de un distrito de la ciudad de Madrid: 540 mujeres (52.9 %) y 480 hombres (47.1 %) de entre 12 y 20 años. Los resultados ponen de manifiesto qué estilos de música popular urbana prefieren los jóvenes. Asimismo, que los de mayor edad escuchan un rango más amplio de estilos y que las mujeres se decantan por las tendencias musicales y la música latina. Respecto a los estereotipos, «generación», «personalidad» y «comportamiento » son los que más asocian a sus preferencias, lo cual se relaciona con el desarrollo de la propia identidad del adolescente. Como conclusión, creemos que, a partir del conocimiento sobre el significado que le dan los jóvenes a la música, es preciso potenciar su escucha y capacidad crítica desde el aula de música, como una forma de construir oyentes competentes, con conocimientos musicales y sociales suficientes de la música que prefieren.
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    Transdisciplinary integration and its implementation in primary education through two STEAM projects
    (Journal of Educational Development/ Infancia y Aprendizaje, 2021) Lage Gómez, Carlos; Ros, Germán; Taylor and Francis Group; Fundación Infancia y Aprendizaje
    Curriculum integration from a STEAM transdisciplinary perspective represents a profound challenge. This study delves into a transdisciplinary approach to primary education and the role of the arts through two STEAM projects in a programme for gifted students in Madrid (Spain). Participants include 111 students from eight groups (11–12 years old), five teachers and four external professionals. The teachers fulfill the dual role of both teacher and researcher, using participant and non-participant observation, video recordings, interviews and classroom journals and questionnaires. All the findings have been triangulated and coded by means of Activity Theory, using Atlas.ti8 software and statistical analysis. The results show the significance of learning and the creation of meaningful experiences as being related to a high degree of motivation and satisfaction, and to the integration of diverse areas in a participatory process in which the arts play a disciplinary and integrating role. A transdisciplinary STEAM approach is presented that could be paradigmatic for the field of primary education.
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    Toward conceptualizations of musical creativities in secondary education: an integrative literature review between 1990 and 2020
    (Research Studies in Music Education, 2023) Lage Gómez, Carlos; Chatelain, Sabine; Cremades Andreu, Roberto
    Creativity has been described as an indissociable component of music education, complex to conceptualize and often overgeneralized. This article provides an overview of existing research on musical creativities in secondary education between 1990 and 2020. A total of 76 articles published in peer-reviewed journals are reviewed according to PRISMA (Preferred Reporting Items for Systematic reviews and Meta-Analyses) guidelines. To present and discuss the results, several dimensions of creativity research have been clustered into five categories: product, person/group, creative process, context, and domain. The 22.37% of the articles focus on the creative process, 14.47% on the context, 13.16% on the person/group perspective, and 1.32% on the product. The 48.68% of the studies focus on the domain perspective, showing an emphasis on specific activities traditionally associated with musical creativity like composing or improvising. Music listening is not present, and various forms of musical creativities are underrepresented. Over these three decades, an increasing orientation on teaching and learning within a sociocultural framework can be observed. In addition, the pedagogical challenges concern an expanded vision of creativity, albeit based on a specific and precisely defined framework.