Soundtrack Composition and Participatory Creativity in Secondary Education
DOI:
https://doi.org/10.7203/LEEME.49.24080Keywords:
Musical composition, Secondary Education, creative development, music activities.
Abstract
The creation of soundtracks assumes a transversal and participatory approach to creative action in the field of Secondary Education. With the aim of gaining a deeper understanding of the aspects that characterize the composition of soundtracks in Secondary Education, a project has been carried out in which two groups of third year Secondary Education students (14-15 years old) attending a center in the Community of Madrid (Spain) have participated. From an artographic perspective, and from a teaching, research, and artistic perspective, information was collected through participant and non-participant observation, video recordings, interviews, class diaries, and questionnaires. The results suggest a model of participatory creativity focused on a holistic approach through: (1) the active involvement of the students in the design, process, and results of the didactic project; (2) high motivation (individual-social); (3) positive emotions; (4) the environment through which meaningful musical experiences have been constructed; and (5) the collective identity generated through musical creation.
References
Amabile, T.M. (1996). Creativity in context: Update to the social psychology of creativity. Westfield Press.
Berkley, R. (2004). Teaching composing as creative problem solving: Conceptualising composing pedagogy. British Journal of Music Education, 21(3), 239-263. https://doi.org/10.1017/S026505170400587X
Bolden, B. (2009). Teaching composing in secondary school: a case study analysis. British Journal of Music Education, 26(2), 137-152. https://doi.org/10.1017/S0265051709008407
Burnard, P. (2007). Prelude: Provocations in creativity research. En L. Bresler (Ed.), International Handbook of Research in Arts education (pp.1175-1179). Springer.
Burnard, P. (2012). Musical Creativities in Practice. Oxford University Press.
Burnard, P. y Younker, B.A. (2004). Problem-solving and creativity: Insights from students’ individual composing pathways. International Journal of Music Education, 22(1), 59-76. https://doi.org/10.1177%2F0255761404042375
Burnard, P. y Dragovic, T. (2015). Collaborative creativity in instrumental group learning as a site for enhancing pupil wellbeing. Cambridge Journal of Education, 4(3), 371-392. https://doi.org/10.1080/0305764X.2014.934204
Chen, J.C.W. (2020). Mobile composing: Professional practices and impact on students’ motivation in popular music. International Journal of Music Education, 38(1), 147-158. https://doi.org/10.1177/0255761419855820
Chion, M. (1993). La audiovisión. Introducción a un análisis conjunto de la imagen y el sonido. Paidós.
Cohen, A.J. (2000). Film music. Perspectives from Cognitive Psychology. En J. Bhuler, C. Flinn y D. Newmeyer (Eds.), Music and Cinema (pp.360-377). University Press of New England.
Cohen, A.J. (2010). Music as a source of emotion in film. En P.N. Juslin y J.N. Sloboda (Eds.), Handbook of music and emotion Theory, Research, Apliccations (pp.249-272). Oxford University Press.
Cook, N. (1998). Analysing musical multimedia. Clarendon Press.
Cremades, R., Lorenzo, O. y Turcu, I. R. (2015). Raï music as a generator of cultural identity among young magrebies. International Review of the Aesthetics and Sociology of Music, 46(1), 175-184.
Cross, I., Laurence, F. y Rabinowitch, T.C., (2012). Empathy and Creativity in Group Musical Practices: Towards a Concept of Emphatic Creativity. En G. Welch y G. McPherson (Eds.), The Oxford Handbook of music education (pp.337-353). Oxford University Press.
Devaney, K. (2019). ‘Waiting for the wow factor’: Perspectives on computer technology in classroom composing. Journal of Music, Technology and Education, 12(2), 121-139. https://doi.org/10.1386/jmte_00002_1
DeNora, T. (2000). Music in everyday life. Cambridge 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. https://doi.org/10.1080/14613800500042109
Fautley, M. y Savage, J. (2011). Cross-curricular teaching and learning in the secondary school The arts Drama, Visual Art and Design. Routledge.
Fowler, A. (2014). Composing and performing in the key stage 3 classroom: A study using multi-trait, multi-method analysis. British Journal of Music Education, 31(1), 5-18. https://doi.org/10.1017/S0265051713000247
Glăveanu, V.P y Beghetto, R.A. (2020). Creative Experience: A Non-Standard Definition of Creativity. Creativity Research Journal, 33(2), 75-80. https://doi.org/10.1080/10400419.2020.1827606
González, J.M. (2015). Fundamentos de la semiótica de la música. En J.M. Pozuelo et al. (Eds.), De Re Poética. Homenaje al profesor D. Manuel Martínez Arnaldos (pp.383-401). Universidad de Murcia.
Hernández-Torrano, D. y Ibrayeva, L. (2020). Creativity and education: A bibliometric mapping of the research literature (1975–2019). Thinking Skills and Creativity, 35, 100625. https://doi.org/https://doi.org/10.1016/j.tsc.2019.100625
Hopkins, M.T. (2015). Collaborative composing in high school string chamber music ensembles. Journal of Research in Music Education, 62(4), 405-424. https://doi.org/10.1177/0022429414555135
Irwin, R.L. y Cosson, A. (Eds.) (2007). A/r/tography: Rendering self through arts-based living inquirí. Pacific Educational Press.
Kemmis, S. (2010). Research for praxis: knowing doing. Pedagogy, Culture & Society, 18(1), 9-27. https://doi.org/10.1080/14681360903556756
Kokotsaki, D. y Newton, D.P. (2015). Recognizing creativity in the music classroom. International Journal of Music Education, 33(4), 491-508. https://doi.org/10.1177/0255761415607081
Lage-Gómez, C. y Cremades-Andreu, R. (2021). Group Identity in a Secondary School Classroom Constructed through Musical Creation. Croatian Journal of Education, 23(1), 35-61. https://doi.org/10.15516/cje.v23i1.3824
Lage-Gómez, C. y Cremades-Andreu, R. (2020). Theorising ‘Participatory Creativity’ in Music Education: Unpacking the Whole Process at a Spanish secondary school. Music Education Research, 22(1), 54-67. https://doi.org/10.1080/14613808.2019.1703922
Lage-Gómez, C. y Cremades-Andreu, R. (2019). Group improvisation as dialogue: Opening creative spaces in secondary music education. Thinking Skills and Creativity, 31, 232-242. https://doi.org/10.1016/j.tsc.2018.12.007
Lapidaki, E., Rokus de Groot, R. y Stagkos, P. (2012). Comunal creativity as sociomusical practice. En G. Welch y G. McPherson (Eds.), The Oxford Handbook of music education (pp.371-378). Oxford University Press.
Malbran, S. (2010). El modelo cross-modal aplicado a las artes temporales. En M.E. Riaño y M. Díaz (Eds.), Voz, Cuerpo y acción. Un espacio para la música (pp.75-82). Publican ediciones.
Menard, E.A. (2015). Music Composition in the High School Curriculum: A Multiple Case Study. Journal of Research in Music Education, 63(1), 114-136. https://doi.org/10.1177/0022429415574310
Miell, D. y Littleton, K. (Eds.) (2004). Collaborative Creativity: Contemporary Perspectives. Free Association Books.
Montoya, J.C. (2016). Clásicos populares gracias al cine: la banda sonora como agente generador de significados musicales. En S. Andrés (Ed.), Clásicos populares gracias al cine: la banda sonora como agente generador de significados musicales (pp.321-334). Ediciones Universidad de Salamanca.
Murillo, A., Riaño, M.E., y Berbel, N. (2019). The classroom as a sounding board for sonorous creation: New architectures and technological tools to bring the art of sound to education. Revista Electrónica de LEEME, 43, 1-18. https://doi.org/10.7203/LEEME.43.14007
Riaño, M.E., Murillo, A. y Tejada, J. (2022). Music education, creativity and technology: An exploratory study on teaching strategies and creative activities with ex novo software. Revista Electronica Educare, 26(1), 1-23. https://doi.org/10.15359/ree.26-1.3
Ruthmann, A. (2008). Whose agency matters? Negotiating pedagogical and creative intent during composing experiences. Research Studies in Music Education, 30(1), 43-58. https://doi.org/10.1177%2F1321103X08089889
Savage, J. y Fautley, M. (2011). The organisation and assessment of composing at Key Stage 4 in English secondary schools. British Journal of Music Education, 28(2), 135-157. https://doi.org/10.1017/S0265051711000040
Sawyer, R.K. y DeZutter, S. (2009). Distributed creativity: How collective creations emerge from collaboration. Psychology of Aesthetics, Creativity, and the Arts, 3(2), 81-92. http://dx.doi.org/10.1037/a0013282
Saether, E., Mbye, A. y Shayesteh, R. (2012). Intercultural Tensions and Creativity in Music. En G. Welch y G. McPherson (Eds.), The Oxford Handbook of music education (pp.354-370). Oxford University Press.
Seddon, F.A. (2012): Empathetic creativity in music making. En O. Odena (Ed.), Musical creativity: insights from music education (pp.133-147). Ashgate.
Spence, C. (2007). Audiovisual multisensory integration, Acoustical Science and Technology, 28(2), 61-70. https://doi.org/10.1250/ast.28.61
Tan, S. y Kelly, M. (2004). Graphic representations of short musical compositions. Psychology of Music, 32(2), 191-212. https://doi.org/10.1177%2F0305735604041494
Tobias, E.S. (2013). Composing, songwriting, and producing: Informing popular music pedagogy. Research Studies in Music Education, 35(2), 213-237. https://doi.org/10.1177/1321103X13487466
Veach, L.J. y Gladding, S.T. (2007). Using Creative Group Techniques in High Schools. The Journal for Specialists in Group Work, 32(1), 71-81. https://doi.org/10.1080/01933920600978570
Wenger, E. (2002). Comunidades de práctica. Ediciones Paidós Ibérica.
Downloads
Published
Issue
Section
License
Authors who have publications with this journal agree to the following terms:
a) Authors will retain their copyright and will grant the journal the right of first publication of their work, which will simultaneously be subject to the Creative Commons Attribution License that allows third parties to share the work as long as its author and first publication in this journal are indicated.
b) Authors may enter into other non-exclusive licensing arrangements for the distribution of the published version of the paper (e.g. depositing it in an institutional telematic archive or publishing it in a monographic volume) provided that initial publication in this journal is indicated.
c) Authors are allowed and encouraged to disseminate their work via the Internet (e.g. in institutional telematic archives or on their website) before and during the submission process, which may lead to interesting exchanges and increase citations of the published work.
d) They agree to act as reviewers, if requested by the journal's editorial team.
Language
Information