Aviso: para depositar documentos, por favor, inicia sesión e identifícate con tu cuenta de correo institucional de la UCM con el botón MI CUENTA UCM. No emplees la opción AUTENTICACIÓN CON CONTRASEÑA
 

Study of an interdisciplinary didactic model in a secondary education music class

Loading...
Thumbnail Image

Full text at PDC

Publication date

2018

Advisors (or tutors)

Editors

Journal Title

Journal ISSN

Volume Title

Publisher

Routledge journals, Taylor & Francis LTD
Citations
Google Scholar

Citation

Cuervo, L. (2018). Study of an interdisciplinary didactic model in a secondary education music class. Music Education Research, 20(4), 463-479. https://doi.org/10.1080/14613808.2018.1433148

Abstract

This study was carried out within the framework of a pedagogical project. It compares the results obtained from the application of two different didactic models for learning and practicing musical composition in a Secondary Education class: the traditional teacher centered method (designated as the control group, CG), and an interdisciplinary model based on a holistic style (designated as the experimental group, EG). Both methodologies focused on identical musical composition content, but latter applied an open ended interdisciplinary approach, based on synchronized learning in several subjects. A quasi-experimental design was used in this research. Pre- and post-test questionnaires were applied to measure the progress in composing skills in both groups. The questions focused on various tasks with verbal and figurative content to evaluate the progress of the student’s ability to explore sound parameters, their knowledge and acquisition of musical elements and the improvement of aesthetic understanding the students developed during the process. Data were analyzed by means of standardized quantitative tests and by qualitative triangulation. Analysis of this data provided evidence that students were able to obtain meaningful understanding by connecting the Music contents with other school subjects and their own personal realities. The integrative qualities of the experience fostered the self-sufficiency and self-confidence and fostered by the student’s creativity and motivation. Moreover, interdisciplinary learning led to an improvement in critical thinking skills.

Research Projects

Organizational Units

Journal Issue

Description

Referencias bibliográficas: • Ackerman, Ph., 2005. “Ability Determinants of Individual Differences in Skilled Performance.” In Cognition and Intelligence. Identifying the Mechanisms of the Mind, edited by R., Stenberg, and J., Pretz, 142–160. Cambridge: Cambridge University Press. • Azzara, Chr., 2002. “Improvisation.” In The New Handbook of Research on Music Teaching and Learning, edited by Richard, Colwel, and Carol, Richardson, 171–188. Oxford: Oxford University Press. • Bartell, D. S., and K. M., Vespia. 2009. “Teaching and Learning in the ‘Interdisciplinary Discipline’ of Human Development.” In Exploring Signature Pedagogies: Approaches to Teaching Disciplinary Habits of Mind, edited by R., Gurung, N., Chick, and A., Haynie, 139–160. Sterling, VA: Stylus. • Berkley, R., 1999. “Teaching Composing as Creative Problem Solving: Conceptualising Composing Pedagogy.” British Journal of Music Education 21 (3): 239–263. doi: 10.1017/S026505170400587X • Berkley, R., 2001. “Why Is Teaching Composing so Challenging? A Survey of Classroom Observation and Teachers” Opinions” British Journal of Music Education 18 (2): 119–138. doi: 10.1017/S0265051701000225 • Bohm, D., 1998. On Creativity. Edited by Lee, Nichol. London: Routledge. • Boix-Mansilla, V., and H., Gardner. 2000. “On Disciplinary Lenses and Interdisciplinary Work.” In Interdisciplinary Curriculum Challenges of Implementation, edited by S., Wineburg, and P., Grossman, 161–198. New York: TC Press. • Boix-Mansilla, V., W., Miller, and H., Gardner. 2003. “Interdisciplinary Approaches and Interdisciplinary Work.” Revista pensamiento educativo 32: 11–48. • Bolden, B., 2009. “Teaching Composing in Secondary School: A Case Study Analysis.” International Journal of Community Music 26 (2): 137–152. • Bruce, A., C., Lyall, J., Tait, and R., Williams. 2004. “Interdisciplinary Integration in Europe: The Case of the Fifth Framework Programme.” Futures 36 (4): 457–470. doi: 10.1016/j.futures.2003.10.003 • Burnard, P., 2000. “Examining Experiential Differences between Improvisation and Composition in Children’s Music-making.” British Journal of Music Education 17 (3): 227–245. doi: 10.1017/S0265051700000310 • Burnard, P., and B. A., Younker. 2004. “Problem-solving and Creativity: Insights from Students’ Individual Composing Pathways.” International Journal of Music Education 22 (1): 59–76. doi: 10.1177/0255761404042375 • Davis, S. G., 2005. “That Thing You Do: Compositional Processes of a Rock Band.” International Journal of Education in the Arts 6 (16): 1–19. • Dimitrov, D., 2009. Quantitative Research in Education. Intermediate & Advanced Methods. New York: Whittier Publications. • Elliot, D. J., 1995. Music Matters: A New Philosophy of Music Education. New York: Osford University Press. • Fautley, M., 2005. “A New Model of the Group Composing Process of Lower Secondary School Students.” Music Education Research 7 (1): 39–57. doi: 10.1080/14613800500042109 • Fautley, M., and J., Savage. 2011. Cross-curricular Teaching and Learning in the Secondary School. The Arts. London: Routledge. • Folkestad, G., D. J., Hargreaves, and B., Lindström. 1996. “Compositional Strategies in Computer-based Music-making.” British Journal of Music Education 15 (1): 83–97. doi: 10.1017/S0265051700003788 • Gardner, H., 1985. The Mind’s New Science. New York: Basic books. • Gardner, H., and V., Boix-Mansilla. 1994. “Teaching for Understanding-Within and Across the Disciplines.” Educational Leadership 51: 1–14. • Gibbs, Gr., 2012. El análisis de datos cualitativos en investigación cualitativa. Madrid: Morata, D.L. • Gordon, E., 1980. Learning Sequences in Music: Skill, Content and Patterns. Chicago, IL: GIA. • Gruhn, W., and Fr., Rauscher. 2002. “The neurobiology of Music Cognition and Learning.” In The New Handbook of Research on Music Teaching and Learning, edited by R., Colwell, and C., Richardson, 445–461. Oxford: Oxford University. • Hayes, H., 1998. Interdisciplinary Curriculum: Design and Implementation. Alexandria, VA: Association for Supervision and Curriculum Development. • Hee Kim, K., 2006. “Can We Trust Creativity Tests? A Review of the Torrance Tests of Creative Thinking (TTCT).” Creativity Research Journal 18 (1): 3–14. doi: 10.1207/s15326934crj1801_2 • Hickey, M., 2002. “Creativity Research in Music, Visual Art, Theater and Dance.” In The new Handbook of Research on Music Teaching and Learning, edited by R., Colwell, and C., Richardson, 398–415. Oxford: Oxford University. • Hogenes, M., B., van Oers, R. F. W., Diekstra, and M., Sklad. 2016. “The Effects of Music Composition as a Classroom Activity on Engagement in Music Education and Academic and Music Achievement: A Quasi-experimental Study.” International Journal of Music Education 34 (1): 32–48. doi: 10.1177/0255761415584296 • Kennedy, M. A., 2004. “Opening The Doors To Creativity: A Pre-service Teacher Experiment.” Research Studies in Music Education 23: 32–41. doi: 10.1177/1321103X040230010301 • Lowe, A., 1998. “Integration of Music and French: A Successful Story/L’intégration de la musique et du français: une réussite pédagogique.” International Journal of Music Education os-32 (1): 33–52. doi: 10.1177/025576149803200104 • Merriam, S., 2002. “Assessing and Evaluating Qualitative Research.” In Qualitative Research in Practice: Examples for Discussion and Analysis, edited by S., Merriam and Associates, 18–33. San Francisco, CA: John Wiley & Sons, Inc. • Pellegrino, K., 2014. “Music-making as Data.” In The Oxford Handbook of Qualitative Research in American Music Education, edited by C. M., Conway, 307–324. New York: Oxford University Press. • Phillips, K., 2008. Exploring Research in Music Education & Music Therapy. New York: Oxford University Press. • Punch, K., 2009. Research Methods in Education. London: SAGE. • Repko, A. F., 2009. “Transforming an Experimental Innovation into a Sustainable Academic Program at the University of Texas–Arlington.” In The Politics of Interdisciplinary Studies: Essays on Transformations in American Undergraduate Programs, edited by T., Augsburg, and S., Henry, 144–162. Jefferson, NC: McFarland. • Seddon, F. A., and S. A., O’Neill. 2003. “Creative Thinking Processes in Adolescent Computer-based Composition: An Analysis of Strategies Adopted and the Influence of Instrumental Music Training.” Music Education Research 5 (2): 125–137. doi: 10.1080/1461380032000085513 • Thompson, K. M. C., 1991. “Assesing the Creative Effectiveness of Two Approaches to Teaching Art at the Middle School.” Unpublished doctoral diss., Univeristy of Georgia, Athens. • Torrance, E. P., 1974. Torrance Tests of Creative Thinking. Lexington: Peronnel Press. • Vess, D., and S., Linkon. 2002. “Navigating the Interdisciplinary Archipelago: The Scholarship of Interdisciplinary Teaching and Learning.” In Disciplinary Styles of Research in the Scholarship of Teaching and Learning, edited by M. T., Huber, and S. P., Morreale, 87–106. Sterling, VA: Stylus. • Webster, P., 1988. “Creative Thinking in Music: Approaches to Research.” In Music Education in the United States: Contemporary Issues, edited by J., Gates, 66–81. Tuscaloosa: University of Alabama Press. • Webster, P., 1992. “Research on Creative Thinking in Music.” In Handbook of Research on Music Teaching and Learning, edited by R., Colwell, 266–280. New York: Schirmer. • Webster, P., 2002. “Creative Thinking in Music: Advancing a Model.” In Creativity and Music Education, edited by T., Sullivan, and L., Willingham, 16–33. Edmonton, AB: Canadian Music Educators’ Association. • Wiggins, J. H., 2001. Teaching for Musical Understanding. New York: McGraw-Hill. • Wiggins, J. H., 2007. “Compositional Process in Music.” In International Handbook of Research in Arts Education, edited by L., Bresler, 453–470. Dordrecht: Springer Netherlands.

Keywords

Collections