20 SES 02, What Is a Globalized Society, What Concepts Are Being Used and How Does That Effect the Interplay between Emotion, Identity, Intercultural Competences and Education?
This proposal informs about a Collaborative Action Research Study carried out in Spanish Secondary Schools in five cycles from 2008 to 2013. A series of didactic projects were designed, focused on the creation of music in conjunction with other visual art manifestations, such as cinema, photography, and painting (cross-modal perception). Students set posters, paintings or short films to music and composed soundtracks through the Free Improvisation or Cooperative Composition as didactic strategies. The purpose of the research was to analyse the teaching and learning processes in the creation of music and the pupils´ motivation within the projects aiming to better understand the learning for creativity processes and its implication for creative teaching in secondary education. The selection of the class year was due to the characteristics of Spanish secondary school education, curriculum, and the students’ psycho-evolutionary characteristics.
In this way, the use of visual aid had a didactic objective driven by various motives. First as a guide to composition, second as a source of motivation, and last, to encourage the consideration of the cross-cutting nature of the arts from the perspective of their ties as a reflexive element in which different languages merge into one unique artistic manifestation. The Projects were characterized by its transversally and constant evolution and adaptation to the contexts, considering it was the first time the pupils created music. The image represented a composition guide, a support in a complex process developed from the experimentation as strategy.
The beginning of the 21st century revealed the reconceptualization of musical creativity not just as a complex phenomenon occurring in individual minds socially and culturally situated (Csikszentmihalyi, 1999), but as a kind of social practice (Frith, 2012) that emerges in different forms (Burnard, 2012). Considering the role of the musical creativities in education as a revolution and a social priority (Craft, 2005), it could also be considered a transforming agent for music education, linked with a participatory approach from research and pedagogic perspective. It has strong implications for schools from the notion of music education as a social based practice in the search for meaningful and cross-curricular experiences. This approach implies as a consequence the necessity of the students´ democratic participation from an inclusive perspective. Thus, a transformation process in our classroom (Burnard, Apelgren & Cabaroglu, 2015) was proposed through an axis comprised of the musical creativities and the active participation of the students, considering the important role of the pupils´ motivation in the learning processes. We were immersed in a process in which students, teachers, and artists were involved in a social shared space for an experiential art interdisciplinary creation.
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