Educación para la paz y violencia escolar a través de un proyecto musical en secundaria

  1. Cremades-Andreu, Roberto 1
  2. Lage Gómez, Carlos 1
  1. 1 Universidad Complutense de Madrid
    info

    Universidad Complutense de Madrid

    Madrid, España

    ROR 02p0gd045

Journal:
Publicaciones: Facultad de Educación y Humanidades del Campus de Melilla

ISSN: 1577-4147

Year of publication: 2018

Volume: 48

Issue: 2

Pages: 319-336

Type: Article

DOI: 10.30827/PUBLICACIONES.V48I2.8347 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

More publications in: Publicaciones: Facultad de Educación y Humanidades del Campus de Melilla

Abstract

One of the main difficulties educational institutions currently face is promoting peaceful coexistence in classrooms. This study addresses the mentioned challenge through a soundtrack music creation project about bullying, using cooperative composition and group improvisation as didactic strategies. The main purpose was to examine the aspects involved in this porcess related to peace education and school violence. The study was carried out in a first year of secondary education class (n= 14, 9 girls and 5 boys) and another third year of secondary education class(n=26, 17 girls and 9 boys) in the Community of Madrid. The conclusions reveal how the participation of the students in a musical creative space for learning promotes both individual and collective motivation, positive emotions, better class environment, increased well-being and a more cohesive group identity, which has improved the coexistence between the participants in this study.

Bibliographic References

  • Allsup, R. E. (2003). Mutual learning and democratic action in instrumental music education. Journal of Research in Music Education, 51(1), 24-37.
  • Bailey, D. (2010). La improvisación: Su naturaleza y su práctica en la música. Madrid: Trea.
  • Ball, S. J. (2003). The teachers soul and the terrors of performativity. Journal of Education Policy, 18(2), 215-228.
  • Barrett, M. S. (2006). Inventing songs, inventing worlds: the ‘genesis’ of creative thought and activity in young children’s lives. International Journal of Early Years Education, 14(3), 201-220.
  • Barrett, M. S. (2000). ‘Windows, Mirrors and Reflections: A Case Study of Adult Constructions of Children’s Musical Thinking’. Bulletin of the Council for Research in Music Education, 142, 43-75.
  • Barrett, M. S. (1996). ‘Children’s Aesthetic Decision-making: An Analysis of Children’s Musical Discourse as Composers’. International Journal of MusicEducation, 28, 37-62.
  • 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.
  • Berkley, R. (2004). Teaching composing as creative problem solving: Conceptualising composing pedagogy. British Journal of Music Education, 21(3), 239–263.
  • Bickmore, K. (2011). Education for ‘peace’ in urban Canadian schools: Gender, culture, conflict, and opportunities to learn. In P. P.Trifonas& B. Wright (Eds.), Critical Issues in Peace and Education (pp. 88-103).New York, EEUU: Routledge.
  • Burnard, P. (2012a). Musical Creativities in Practice. Oxford: Oxford University Press.
  • Burnard, P. (2012b). Rethinking musical creativity. In O. Odena (Ed.), Musical Creativity: Insights From Music Education Research (pp.5-28). Aldershot, Hants: Ashgate.
  • Burnard, P. (2000). Examining Experiential Differences between Improvisation and Composition in Children’s Music-Making. British Journal of Music Education, 17(3), 227-245.
  • Burnard, P., & Dragovic, T. (2014) Collaborative creativity in instrumental group learning as a site for enhancing pupil wellbeing. Cambridge Journal of Education, 4(3), 371-392. doi:10.1080/0305764X.2014.934204.
  • Burnard, P., & Younker, B. A. (2004). Problem-solving and creativity: Insights from students’ individual composing pathways. International Journal of Music Education, 22(1), 59-76.
  • Burnard, P., & White, J. (2008). Creativity and performativity: counterpoints in British and Australian education. British Educational Research Journal, 34(2), 667-682.
  • Cáceres, P. (2008). Análisis cualitativo de contenido: Una alternativa metodológica alcanzable. Psicoperspectivas. Individuo y Sociedad, 2(1), 53-82. Recuperado de http://psicoperspectivas.cl/index.php/psicoperspectivas/article/download/3/3
  • Cremades, R., Lorenzo, O., & Herrera, L. (2010). Musical Tastes of Secondary School Students’ with Different Cultural Backgrounds: a Study in the Spanish North African City of Melilla. Musicae Scientiae, 14(1), 121-141.doi:10.1177/102986491001400105
  • Cochran-Smith, M., & Litle, S. L. (2009).Inquiry as Stance: Practitioner Research for the Next Generation. New York: Teachers College Press.
  • Consejería de Educación y Ciencia (2006). Orientaciones sobre el acoso escolar. Asturias: Consejería de Educación y Ciencia. Dirección General de Ordenación Académica e Innovación. Recuperado de https://www.educastur.es/documents/10531/40250/2015_guia_acoso.pdf/1cf00459-53ce-4f30-b4e9-b06edebbd650
  • Craft, A. (2005). Creativity in schools: tensions and dilemmas. Abingdon: Routledge.
  • Cremin, H. (2016). Peace education research in the twenty-first century: Three concepts facing crisis or opportunity? Journal of Peace Education, 13(1), 1-17. doi:10.1080/17400201.2015.1069736
  • Cremin, H. (2014). Peace Educator. Other Education: The Journal of Educational Alternatives, 3(2), 69-73.
  • Cremin, H., & Bevington, T. (2017). Positive Peace in Schools: Tackling conflict and creating a culture of peace in the classroom. London: Routledge.
  • Custodero, L. A. (2007). Origins and expertise in the musical improvisations of adults. British Journal of Music Education, 24(1), 77-98.
  • Defensor del Pueblo (2007). Informes, estudios y documentos. Violencia escolar: el maltrato entre iguales en la Educación Secundaria Obligatoria 1999-2006. Madrid: Defensor del pueblo. Recuperado de https://www.defensordelpueblo.es/wp-content/uploads/2015/05/2007-01-Violencia-escolar-el-maltrato-entre-iguales-en-la-Educaci%C3%B3n-Secundaria-Obligatoria-1999-2006.pdf
  • De la Herrán, A. (2009). Contribución al Concepto de Creatividad: Un Enfoque Paquidérmico (1ª parte). Revista Educación y Futuro, 21, 43-70.
  • Dillon, (2003). Collaborating and creating on music technologies. International Journal of Educational Research, 39, 893-897.
  • Espinosa, S. (2005). La creación sonora en tiempo real. Una propuesta colectiva para la escuela secundaria. Aula de innovación educativa, 145, 28-33.
  • Faulkner, R. (2003). Group composing: social perception from a social psychological study. Music Education Research, 5(2), 101-122.
  • Fautley, M. (2005). A New Model of the Group Composing Process of Lower Secondary School Students. Music Education Research, 7(1), 39-57.
  • Fautley, M. (2004). Teacher Intervention Strategies in the Composing Processes of Lower Secondary School Students. International Journal of Music Education, 22(3), 201-218.
  • Feldman, D. H., Csikszentmihalyi, M., & Gardner, H. (1994). Changing the world: A framework for the study of creativity. Westport, CT: Praeger.
  • Fernández, M. (2015). La educación en la encrucijada. Santillana: Madrid.
  • Folkestad, G. (1998). Compositional Strategies in Computer-Based Music Making. British Journal of Music Education, 15(1), 83-97.
  • Frith, S. (2012). Creativity as a social Fact. In D. J. Hargreves, R. Macdonald, & D. Miell (Eds.), Musical imaginations: multidisciplinary perspectives on creativity, performance and perception (pp. 62-72). New York: Oxford UniversityPress.
  • Fundación ANAR (2016). I Estudio sobre Ciberbullying según los afectados. Madrid: Fundación ANAR y Mutua Madrileña.
  • Galtung, J. (1998). Tras la violencia, 3R: reconstrucción, reconciliación resolución. Afrontando los efectos visibles e invisibles de la guerra y la violencia. Bilbao: Bakeaz/GernikaGogoratuz.
  • Giglio, M. (2012). Cuando la colaboración creativa cambia la forma de enseñar. Santander: Ediciones Universidad Cantabria.
  • Gur-Zeév, I. (2011). Improvisation, violence and peace education. In P. P. Trifonas & B. Wright (Eds.), Critical Issues in Peace and Education (pp. 104-120). New York: Routledge.
  • Hargreaves, A., & Fullam, M. (2014).Capital profesional. Madrid: Morata.
  • Harris, I. (2009). A select bibliography for peace education. Peace and Change, 34(4), 571-576.
  • Herrera, L., Cremades, R., & Lorenzo, O. (2010). Preferencias musicales de los estudiantes de Educación Secundaria Obligatoria: influencia de la educación formal e informal. Cultura y Educación, 22(1), 37-51. doi:10.1174/113564010790935222
  • Hickey, M. (2009). Can improvisation be “taught”?: A call for free improvisation in our schools. International Journal of Music Education, 27, 285-299.
  • Hickey, M. (2015). Learning From the Experts. A Study of Free-Improvisation Pedagogues in University Settings. Journal of Research in Music Education, 62, 425-445.
  • Kasten, L. (2017). When Less Is More: Constructing a Parsimonious Concept of Interstate Peace for Quantitative Analysis. International Studies Review, 19(1), 28-52. doi: https://doi.org/10.1093/isr/vix002
  • Koutsoupidou, T., & Hargreaves, D. J. (2009). An experimental study of the effects ofimprovisation on the development of children’s creative thinking in music. Psychology of Music, 37(3), 251-278. doi: https://doi.org/10.1177/0305735608097246
  • Lapidaki, E., de Groot, R., & Stagkos, P. (2012). Comunal creativity as socio-musical practice. In G. Welch y G. McPherson (Eds.), The Oxford Handbook of music education (pp. 371-378). New York, EEUU: Oxford University Press.
  • Leung, B. W. (2004). A Framework For Undertaking Creative Music-Making Activities In Hong Kong Secondary Schools. Research Studies in Music Education, 23(1), 59-75. doi: https://doi.org/10.1177/1321103X040230010901
  • MacDonald, R. (2014). We are all musical: investigating improvisation as collaborative creativity. In M. S. Barrett(Ed.), Collaborative creative thought and practice in music (pp. 3-14). Farnham, Surrey, United Kingdom: Ashgate.
  • Major, A. (2007). Talking about composing in secondary school music lessons. British Journal of Music Education, 24(2), 165-178.
  • McGillen, C. W. (2004). In conversation with Sarah and Matt: perspectives on creating and performing original music. British Journal of Music Education, 21(3), 279-293.
  • Mcgillen, C., & McMillan, R. (2005). Engaging With Adolescent Musicians: Lessons In Song Writing, Cooperation And The Power of Original Music. Research Studies in Music Education, 25, 1-20.
  • Miell, D., & Littleton, K. (Eds.) (2004). Collaborative Creativity: Contemporary Perspectives. London: Free Association Books.
  • Moreno, M. C., Muñoz, V., Pérez, P. J., & Sánchez, I. (2004). Incidencia del maltrato entre iguales durante la adolescencia en España. Portularia. Revista de Trabajo Social, 4, 307-316. Recuperado de https://idus.us.es/xmlui/bitstream/handle/11441/23189/file_1.pdf?sequence=1
  • Odam, G. (2000). Teaching composing in secondary schools: the creative dream. British Journal of MusicEducation, 17(2), 109-127.
  • Oñate, A., & Piñuel, I. (2006). Informe Cisneros X: Acoso y violencia escolar en España. Madrid: Instituto de Innovación Educativa y Desarrollo Directivo.
  • Redondo, S., Navarro, E., Gutiérrez, S., & Iglesias, I. I. (2017). Mejora del aprendizaje en las organizaciones a través de comunidades virtuales. Revista Complutense de Educación, 28(1), 101. doi: http://dx.doi.org/10.5209/rev_RCED.2017.v28.n1.48973
  • Rusinek, G. (2012). Action-research on collaborative composition: An analysis of research questions and designs. In O. Odena (Ed.), Musical creativity: Insights from music education research (pp. 185-200). Ashgate, Farnham, UK.
  • Saether, E., Mbye, A., & Shayesteh, R. (2012). Intercultural Tensions and Creativity in Music. In G. Welch & G. McPherson (Eds.), The Oxford Handbook of music education (pp.354-370). New York, EEUU: Oxford University Press.
  • Sanz, A. L., & Molano, E. (2014). Bullying: What´s going on? A bibliographic review of last twelve months. Procedia – Social and Behavioral Sciences, 132, 269-276. doi: 10.1016/j.sbspro.2014.04.309
  • Saunders, L., & Somekh, B. (2009). Action Research and Educational Change: Teachers as innovators. In S. NoffkeyB. Somekh (Eds.), The Handbook of Educational Action Research (pp. 190-201). Thousand Oaks and London: Sage.
  • Sawyer, R. K. (2008). Learning music from collaboration. International Journal of Education, 47, 50-59. doi: https://doi.org/10.1016/j.ijer.2007.11.004
  • Sawyer, R. K. (2003). Group creativity: Music, theater, collaboration. Mahwah, NJ: Erlbaum.
  • Seddon, F. A. (2005). Modes of communication during Jazz improvisation. British Journal of Music Education, 22(1), 47-61.
  • Seddon, F. A. (2012). Empathetic creativity in music making”. In O. Odena (Ed.), Musical creativity: Insights from music education research (pp. 133-147). Farnham, UK: Ashgate Publishing.
  • Serrano, A., & Iborra, M. (2005). Informe, violencia entre compañeros en la escuela.Valencia: Goaprint.
  • Soares, J. (2012). The nature of the engagement of Brazilian adolescents in composing activities. In O. Odena (Ed.), Musical Creativity: Insights from Music Education Research (pp. 113-132). Ashgate, Farnham, UK: Ashgate.
  • Thompson, W (2009). Soundpainting, el arte de la composición en directo. Eufonía, 47, 77-83.
  • Thompson, W. (2006). Soundpainting: The art of live composition. Workbook 1. New York: Walter Thompson Orchestra.
Data source: Dialnet