Las motivaciones de los niños para aprender música en la Escuela de Música y Danza de Melilla

  1. Cremades Andreu, Roberto
  2. Herrera Torres, Lucía
  3. Lorenzo Quiles, Oswaldo
Revista:
Dedica. Revista de Educação e Humanidades

ISSN: 2182-018X 2182-0171

Año de publicación: 2011

Número: 1

Páginas: 293-318

Tipo: Artículo

DOI: 10.30827/DREH.V0I1.7171 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

Otras publicaciones en: Dedica. Revista de Educação e Humanidades

Objetivos de desarrollo sostenible

Resumen

The purpose of this study is to evaluate the motivations of children from 4-8 years old to begin their musical studies at the School of Music and Dance at the autonomous city of Melilla, since at this age range they are at a stage prior to taking specialized music studies. To this end, a semistructured interview was administered to 139 students (92 girls, 66.2%, and 47 boys, 33.8%), who studied the disciplines of Music and Mouvement, Introduction to Musical Language (�solfeggio�) and Musical Language at this institution. The main results show that children begin their musical studies by vocation, but at this age vocation for music is not clearly defined, so that parents exert a greater influence on children to begin music studies.

Referencias bibliográficas

  • Aguado, L. (2010). Escuela inclusiva y diversidad de modelos familiares. Revista Iberoamericana de Educación, 53, 6 (2010). Disponible en: http://www.rieoei.org/deloslectores/3377Aguado.pdf Consultado en 22/11/2010.
  • Anttila, M.; Juvonen, A. (2002). Kohti kolmannen vuosituhannen musiikkikasvatusta. Oy, Saarijärvi: Joensuu University Press.
  • Arriaga, C. (2006). Importancia de los condicionantes contextuales en la educación musical. Música y Educación, 68 (2006) 131-140.
  • Arriaga, C.; Madariaga, J. M. (2004). Condicionantes contextuales de la motivación para el aprendizaje de la música. Revista de Psicodidáctica, 17 (2004) 65-73.
  • Asmus, E. P. (1994). Motivation in music teaching and learning. The Quarterly Journal of Music Teaching and Learning, 5, 4 (1994) 5-32.
  • Bandura, A. (1993). Perceived self-efficacy in cognitive development and functioning. Educational Psychologist, 28 (1993) 117-148.
  • Brannen, J.; O´Brien, M. (1996). Children in families: Research and policy. London: Falmer Press.
  • Bresler, L.; Thompson, C. M. (2003). The arts in Children’s Lives. Context, Cultures, and Curriculum. Neerthelands: Kluwer Academic Publishers.
  • Buendía, L.; Colás, M. P.; Hernández, F. (1998). Métodos de Investigación en Psicopedagogía. Madrid: McGraw-Hill.
  • Burnard, P. (1999). Bodily intention in children’s improvisation and composition. Psychology of Music, 27, 2 (1999) 159-174.
  • Cabanach, R. G.; Valle, A.; Gerpe, M. G.; Rodríguez, S.; Piñeiro, I.; Rosario, P. (2009). Diseño y validación de un cuestionario de gestión motivacional. Revista de Psicodidáctica, 14, 1 (2009) 29-47.
  • Coletta, M.; Pascual, L. (2010). ¿Las emociones experimentadas por un alumno, mediante la ejecución de una obra musical, condicionan el aprendizaje? En L. I. Fillottrani; A. P. Mansilla (Eds.), Tradición y diversidad en los aspectos psicológicos, socioculturales y musicológicos de la formación musical, 39-56. Argentina: Sociedad Argentina para las Ciencias Cognitivas de la Música.
  • Creech, A. (2010). Learning a musical instrument: The case for parental support. Music Education Research, 12, 1 (2010) 13-32.
  • Cremades, R.; Lorenzo, O. (2007). Familia, música y educación informal. Música y Educación, 72 (2007) 35-46.
  • Denac, O. (2008). A Case Study of Preschool Children’s Musical Interests at Home and at School. Early Childhood Education Journal, 35 (2008) 439-444.
  • Díaz, M (2004). La música en la educación primaria y en las escuelas de música: La necesaria coordinación. Revista electrónica Complutense de Investigación en Educación Musical, 1, 2 (2004). Disponible en: www.ucm.es/info/reciem/v1n2.pdf Consultado en 22/10/2010.
  • Elliot, D. J. (2009). La comprensión musical, las obras musicales y la expresión de los sentimientos: Implicaciones para la educación. En D. J. Lines (Comp.), La educación musical para el nuevo milenio. El futuro de la teoría y la práctica de la enseñanza y el aprendizaje de la música, 123-136. Madrid: Ediciones Morata.
  • Ericsson, K. A. (1998). Basic capacities can be modified or circumvented by deliberate practice: A rejection of talents accounts of expert performance. Behavioral and Brain Sciences, 21 (1998) 413-414.
  • Estévez, J. F.; Pérez, M. J. (2007). Sistema de indicadores para el diagnóstico y seguimiento de la educación superior en México. México: Asociación Nacional de Universidades e Instituciones de Educación Superior.
  • Hallam, S. (2010). The power of music: Its impact on the intellectual, social and personal development of children and young people. International Journal of Music Education, 28, 3 (2010) 269-289.
  • Hallam, S. (2002). Musical motivation: Toward a model synthesizing the research. Music Education Research, 4, 2 (2002) 225-244.
  • Hallam, S. (2001). The development of expertise in young musicians: Strategy use, knowledge acquisition and individual diversity. Music Education Research, 3, 1 (2001) 7- 23.
  • Hallam, S. (2000). Understanding musical motivation. En W. Jankowski (Ed.), Czlowiek–muzyka– psychologia. A tribute to Professor Maria Manturewska, 358-377. Varsovia: Academia de Música Federico Chopin.
  • Hallam, S. (1998). The Predictors of Achievement and Dropout in Instrumental Tuition. Psychology of Music, 26, 2 (1998) 116-132.
  • Hallam, S. (1997). What do we know about practising? Toward a model synthesising the research literature. En H. Jørgenson; A. C. Lehmann (Eds.), Does practice make perfect? Current theory and research on instrumental music practice, 179-231. Oslo, Norway: Norges Musikhogskole.
  • Hamblen, K. A. (2002). Children’s contextual art knowledge: Local art and school art context comparisons. En L. Bresler; C. M. Thompson (Eds.), The arts in children’s lives. Context, culture and curriculum, 15-28. Netherlands: Kluwer Academic Publishers.
  • Hargreaves, D. J. (1991). Infancia y educación artística. Madrid: Morata.
  • Howe, M. J. A.; Davidson, J. W.; Moore, D. G.; Sloboda, J. A. (1998). Innate talents: Reality or myth? Behavioral and Brain Sciences, 21, 3 (1998) 399-407.
  • James, A. L.; Prout, A. (Eds.) (1997). Constructing and reconstructing childhood: Contemporary issues in the sociological study of childhood. London: Falmer Press.
  • Juslin, P. N.; Västfjäll, D. (2008). Emotional responses to music: The need to consider underlying mechanisms. Behavioral and Brain Sciences, 31 (2008) 559-575.
  • Kemp, A. M.; Mills, J. (2002). Musical Potencial. En R. Parncutt; G. McPherson (Eds.), The science & psychology of music performance: Creative strategies for teaching and learning, 3-16. Oxford: Oxford University Press.
  • Klinedinst, R. E. (1991). Predicting performance achievement and retention of fifth-grade instrumental students. Journal of Research in Music Education, 39, 3 (1991) 225-238.
  • Lahdes, E. (1997). Peruskoulun uusi didaktiikka. Helsinki: Otava.
  • Lehmann, A. C.; Sloboda, J. A.; Woody, R. H. (2007). Psychology for Musicians. Understanding and acquiring the skills. Oxford: Oxford University Press.
  • Ley Orgánica 1/1990, de 3 de octubre, de Ordenación General del Sistema Educativo. BOE de 4-10-1990.
  • Ley Orgánica 2/2006, de 3 de mayo, de Educación. BOE de 4-5-2006.
  • Marjanen, K. (2008). The belly-button chord: Musical experiences during pregnancy and their effect on mother-child interdependency. En L. Suthers (Ed.), Music in the early years: Research, theory and practice. Proceedings of the 13th International ISME, Early childhood music education, p. 110. Roma, Italia: International Society for Music Education (ISME).
  • Marsh, H. W.; Trautwein, U.; Ludtke, O.; Koller, O.; Baumert, J. (2005). Academic self-concept, interest, grades, and standardized test scores: Reciprocal effects models of causal ordering. Child Development, 76, 2 (2005) 397-416.
  • McPherson, G. E. (2009). The role of parents in children's musical development. Psychology of Music, 37, 1 (2009) 91-110.
  • McPherson, G. E. (2005). From child to musician: Skill development during the beginning stages of learning an instrument. Psychology of Music, 33, 1 (2005) 5-35.
  • McPherson, G. E.; Davidson, J. W. (2002). Musical practice: Mother and child interactions during the first year of learning an instrument. Music Education Research, 4, 1 (2002) 141-156.
  • Ministerio de Cultura (2009). Anuario de Estadísticas Culturales 2009. Madrid: Ministerio de Cultura. Disponible en: http://www.mcu.es/estadisticas/MC/NAEC/2009/Capitulos2009.html Consultado en 06/10/2010.
  • Morgan, L. (1998). Children’s Collaborative Composition: Communication through Music. United Kingdom, University of Leicester: Tesis doctoral inédita.
  • North, A. C.; Hargreaves, D. J. (2008). The social and applied psychology of music. Oxford: Oxford University Press.
  • O’Connor, P.; Haynes, A.; Kane, A. C. (2004). Relational discourses. Social ties with family and friends. Childhood, 11, 3 (2004) 361-382.
  • Orden de 30 de julio, por la que se regulan las condiciones de creación y funcionamiento de las Escuelas de Música y Danza. BOE de 22-08-1992.
  • Paterson, J. (2008). Why choose music? A study in parental motivation toward formal music learning and the cultural beliefs regarding its benefits. Australia, University of Sydney: Doctoral Thesis Unpublished.
  • Pérez, R. M. (2006). La educación musical en nuestra sociedad actual. Revista digital Investigación y Educación, 25, 2 (2006). Disponible en: http://www.csi-csif.es/andalucia/modules/mod_sevilla/.../25080103.pdf Consultado en 04/04/2010.
  • Pliego, V. (2003). Conservatorios elementales y escuelas de música. TE, Trabajadores/as de la Enseñanza, 245 (2003) p. 29.
  • Rodríguez, I. (2006). Redefiniendo el trabajo cualitativo con niños: El uso de la entrevista de grupo aplicada al estudio de la tecnología. Empírica: Revista de metodología de ciencias sociales, 12 (2006) 65-88.
  • Salkind, N. J. (1999). Métodos de investigación, 3ª Ed. México: Prentice Hall.
  • Schellenberg, E. G. (2008). The role of exposure in emotional responses to music. Behavioral and Brain Sciences, 31 (2008) 594-595.
  • Sichivitsa, V. O. (2007). The influences of parents, teachers, peers and other factors on students’ motivation in music. Research Studies in Music Education, 29 (2007) 55-68.
  • Sichivitsa, V. O. (2003). College choir members’ motivation to persist in music: Application of the Tinto model. Journal of Research in Music Education, 51, 4 (2003) 330-341.
  • Sichivitsa, V. O. (2004). Music motivation: A study of fourth, fifth, and sixth graders’ intentions to persist in music. Contributions to Music Education, 31, 2 (2004) 27-41.
  • Sloboda, J.; Howe, M. J. A. (1991). Biographical precursors of musical excellence: An interwiew study. Psychology of music, 19, 1 (1991) 3-21.
  • Smith, B. P. (2005). Goal orientation, implicit theory of ability, and collegiate instrumental music practice. Psychology of Music, 33, 1 (2005) 36-57.
  • Welch, G.; Hallam, S.; Lamont, A.; Swanwick, K.; Green, L.; Hennessy, S.; Cox, G.; O’Neill, S.; Farrell, G. (2004). Mapping Music Education Research in the UK. Psychology of Music, 32, 3 (2004) 239-290.
  • Yoon, K. S. (1997). Exploring children’s motivation for instrumental music. En Biennal Meeting of the Society for Research in Child Development. Washington, D. C. (EEUU).