Papers by Maria-Cecilia Jorquera-Jaramillo
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Free and openly accessible videos have as yet not been treated per se as raw data for music-educa... more Free and openly accessible videos have as yet not been treated per se as raw data for music-education research purposes. Bearing in mind (1) the potential of audiovisual records for the study of musical school culture in all its aspects, (2) the advantages of sharing that type of audiovisual data between researchers and from a variety of disciplines, and (3) the wealth of data available in open-space video websites such as Youtube.com that includes, inter alia, music classes in formal and informal settings, promotional clips for music-education initiatives or marketing music classes, and schools' celebrations – we embarked on this pilot study aiming to examine the value of online user-generated videos as raw data for music education research, specifically early childhood musical behaviours and instructional models in music teaching. The data was gathered from YouTube videos found under the terms "kindergarten year-end celebration," probably uploaded by the kindergarten...
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Revista Electrónica de LEEME, 2004
Puede parecer extrano que en la actualidad se pretenda proponer un analisis de los metodos histor... more Puede parecer extrano que en la actualidad se pretenda proponer un analisis de los metodos historicos o de los metodos activos, ya que estos son tipicos de un periodo historico preciso; Por lo tanto, debe haber suficiente claridad sobre su papel, sus caracteristicas y otros aspectos de ellos. Sin embargo, la realidad no es exactamente esto, ya que no se cuenta en el campo de la educacion musical con estudios sistematicos de los metodos activos y por lo tanto consideramos necesario llevar a cabo este analisis. En la mayoria de las ocasiones en que se han abordado los metodos activos, se han apreciado mas en terminos de las soluciones que podrian ofrecer al profesor de educacion musical para el aula, es decir por el valor de lo que podriamos llamar el Libro de recetas Para la ensenanza, y menos frecuentemente han sido estudiados desde un punto de vista educativo.
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Quisiera comenzar estas reflexiones con aquello que es uno de los mitos centrales entre quienes p... more Quisiera comenzar estas reflexiones con aquello que es uno de los mitos centrales entre quienes practican musica a nivel profesional, en especial entre los musicos formados en los conservatorios de musica: para dedicarse a la musica se debe poseer talento. Esta conviccion ha llevado muchas personas a excluirse de la posibilidad de vivencias musicales, asi sean estas de cualquier naturaleza. En el pasado, por ejemplo, era comun que los profesores de musica en la ensenanza escolar obligatoria dejaran de lado a los supuestos "desafinados", impidiendo a estos cualquiera posibilidad de participacion en el canto o en otras actividades musicales. La exclusion de los desafinados del canto junto a otras personas estaria fundada en la creencia que "se nace musical", hecho que no considera en lo mas minimo cualquier posibilidad de aprendizaje. Si quisieramos verdaderamente dar fundamentos biologicos a esta actitud, esto resulta absurdo, porque el uso canoro de la voz no es ...
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Revista Electrónica de LEEME, 1998
Es probable que las observaciones que aqui escribo y que resultan de mi breve estadia en Chile en... more Es probable que las observaciones que aqui escribo y que resultan de mi breve estadia en Chile en elinvierno de 1994 no sean novedosas para quienes viven establemente alli, pero asimismo es posible imaginarque en muchas circunstancias necesitamos oir nuestras mismas observaciones hechas por quien suponemos"imparcial", porque ve las cosas "desde afuera". Mi caso es precisamente este: chilena que vive en elexterior. De modo que espero que lo que aqui escribo pueda ser util.
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Voces y Silencios. Revista Latinoamericana de Educación, 2012
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Musica D Ara, 2001
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Revista musical chilena, 2010
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REVISTA INTERNACIONAL DE EDUCACIÓN MUSICAL, 2017
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Revista Electrónica Complutense de Investigación en Educación Musical - RECIEM, 2017
Los cambios producidos por la Sociedad y la Economía del Conocimiento están presentes también en ... more Los cambios producidos por la Sociedad y la Economía del Conocimiento están presentes también en las políticas educativas que reducen la importancia de las enseñanzas artísticas y la música en los currículos. En este artículo se revisa la bibliografía sobre la educación musical actual, encontrándose dos enfoques contrapuestos: económico y ciudadano. El segundo se incluye en una educación que pretende desarrollar las múltiples facetas del ser humano para participar en la sociedad actual. La música contribuye a este enfoque ciudadano, pero para ello se necesita elaborar un pensamiento filosófico sobre educación musical capaz de fundamentarla y que responda a temas relevantes, generando conocimiento y acción a través de la música para producir cambios.
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espanolLos diferentes contextos formativos � disciplinares, laborales, institucionales y de siste... more espanolLos diferentes contextos formativos � disciplinares, laborales, institucionales y de sistemas educativos �, en los que se desarrolla la actividad de los docentes son tanto conformadores como catalizadores selectivos � por inhibicion de algunos y favorecedores de otros � de los procesos de surgimiento, cristalizacion primera, desarrollo y adaptaciones de la identidad del docente y de sus concepciones didacticas sobre su actuacion en el aula. Los objetivos de esta investigacion plantean: a) Buscar evidencias que ayuden a entender y conformar una vision unitaria u holistica de dichos procesos de construccion de la identidad profesional, sea cual sea el contexto concreto en que se desenvuelve. Para ello se ha buscado una amplia muestra de profesionales docentes en ejercicio � con una variada experiencia en el mismo � y de estudiantes avanzados de carreras educativas. En conjunto abarcan los campos disciplinares de la educacion primaria y secundaria especializada en musica, de la ...
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The code of the discipline, teacher knowledge, training models as well as teaching models are the... more The code of the discipline, teacher knowledge, training models as well as teaching models are the bases of this study. The sociogenetic analysis of music education delivered the following models: academic, practical, communicative-recreational, and the complex model. The purpose of this study was to diagnose the conceptions that a group of primary education students had on music, their distinction between sound and noise, and their teaching and learning theories. The students’ conceptions on music were mostly academic, and those on sound/noise were mainly practical. Very few students showed varied and rich conceptions embracing different models. As conceptions have their roots in commonsense knowledge, teacher education should help students to reach awareness about their own conceptions. Teacher educators should reflect on methodologies that enable the development of these conceptions.
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Para poder establecer si es posible formular una didáctica instrumental, será necesario antes exa... more Para poder establecer si es posible formular una didáctica instrumental, será necesario antes examinar algunas posiciones, en particular lo que nos ofrece la tradición de la enseñanza instrumental y lo que nos proponen el debate y las investigaciones en el campo de la Pedagogía sobre los mismos temas. Precisamente, el interés por la didáctica instrumental es relativamente reciente, a pesar de existir amplitud de textos sobre cada instrumento específico, en los cuales es posible leer entre líneas la Didáctica de cada autor, es decir su teoría implícita. Si tomamos en cuenta que la Didáctica es un saber que estudia la práctica de la enseñanza-aprendizaje, podríamos entonces comenzar a delinear una posible definición de qué se podría entender por didáctica instrumental
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ABSTRACT En: Investigación en la Escuela Sevilla 2006, n. 58 ; p. 69-78 Se analiza la educación, ... more ABSTRACT En: Investigación en la Escuela Sevilla 2006, n. 58 ; p. 69-78 Se analiza la educación, de principios del siglo XXI, con raíces en la tradición de la enseñanza musical académica, esencialmente aristocrática y ligada a las prácticas religiosas. La enseñanza obligatoria precisa de un planteamiento que considere las vivencias musicales de los alumnos. Por ello, debe tener una aproximación semiótica más adecuada, Bibliografía al final
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The elements of teachers’ professionalism from the postmodern perspective, established during the... more The elements of teachers’ professionalism from the postmodern perspective, established during the last two decades of the XX century, should be reviewed because of their inconsistency regarding research data and because of the theoretical gaps of this proposal. Following
Baumann, conceptions of professional identity as flexible according to contingencies and professional culture, or even to the teaching profession itself, confined and atomized into the individual view on working activity, lead the teaching activity to be defined as a ‘semi-profession’ or ‘liquid profession’. This is completely incompatible with permanent identity
crises of teachers with no educational training, and with the historical struggle for professionalism in education. Furthermore, the surprising absence of ethics as a research element to be included into the construct of professional identity is opposed to its high value in comprehending deeply the relation between all the elements. Departing from a dialogical and complexity theoretical background, categories for analysis of identity, professional culture and personal ethics as a teacher are defined. A clear consistency between professional identities based on education, professional cultures connected to a critical attitude and innovation of the
profession as a means for social transformation, and ethics of total commitment to the profession itself has been found. Initial education oriented to pervading into these categories is proposed as crucial in order to construct a useful, flexible and well-based professionalism,
summing up, to lead to a music education profession devoted to service.
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El presente artículo contextualiza el origen de la expresión «buenas prácticas» en el ámbito econ... more El presente artículo contextualiza el origen de la expresión «buenas prácticas» en el ámbito económico, además de estudiar las orientaciones que se han desarrollado en educación. Se examinan los significados atribuidos por diferentes autores a la expresión y las consecuencias de ellos para la educación y se estudia la presencia de la expresión, su significado y su uso en el ámbito de la educación musical. También se revisa la literatura disponible en torno a las actuaciones educativas de éxito, su contexto de aplicación y la presencia de estas en educación musical.
This article contextualizes the origin of the expression ‘good practice’ in economy. The orientations in education developed from it are studied. The meanings assigned by different authors and their consequences in education are analysed. Finally, the presence of the expression, its meaning and use in music education are analysed. Furthermore, literature on successful educational actions is reviewed and its use in music education.
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Papers by Maria-Cecilia Jorquera-Jaramillo
Baumann, conceptions of professional identity as flexible according to contingencies and professional culture, or even to the teaching profession itself, confined and atomized into the individual view on working activity, lead the teaching activity to be defined as a ‘semi-profession’ or ‘liquid profession’. This is completely incompatible with permanent identity
crises of teachers with no educational training, and with the historical struggle for professionalism in education. Furthermore, the surprising absence of ethics as a research element to be included into the construct of professional identity is opposed to its high value in comprehending deeply the relation between all the elements. Departing from a dialogical and complexity theoretical background, categories for analysis of identity, professional culture and personal ethics as a teacher are defined. A clear consistency between professional identities based on education, professional cultures connected to a critical attitude and innovation of the
profession as a means for social transformation, and ethics of total commitment to the profession itself has been found. Initial education oriented to pervading into these categories is proposed as crucial in order to construct a useful, flexible and well-based professionalism,
summing up, to lead to a music education profession devoted to service.
This article contextualizes the origin of the expression ‘good practice’ in economy. The orientations in education developed from it are studied. The meanings assigned by different authors and their consequences in education are analysed. Finally, the presence of the expression, its meaning and use in music education are analysed. Furthermore, literature on successful educational actions is reviewed and its use in music education.
Baumann, conceptions of professional identity as flexible according to contingencies and professional culture, or even to the teaching profession itself, confined and atomized into the individual view on working activity, lead the teaching activity to be defined as a ‘semi-profession’ or ‘liquid profession’. This is completely incompatible with permanent identity
crises of teachers with no educational training, and with the historical struggle for professionalism in education. Furthermore, the surprising absence of ethics as a research element to be included into the construct of professional identity is opposed to its high value in comprehending deeply the relation between all the elements. Departing from a dialogical and complexity theoretical background, categories for analysis of identity, professional culture and personal ethics as a teacher are defined. A clear consistency between professional identities based on education, professional cultures connected to a critical attitude and innovation of the
profession as a means for social transformation, and ethics of total commitment to the profession itself has been found. Initial education oriented to pervading into these categories is proposed as crucial in order to construct a useful, flexible and well-based professionalism,
summing up, to lead to a music education profession devoted to service.
This article contextualizes the origin of the expression ‘good practice’ in economy. The orientations in education developed from it are studied. The meanings assigned by different authors and their consequences in education are analysed. Finally, the presence of the expression, its meaning and use in music education are analysed. Furthermore, literature on successful educational actions is reviewed and its use in music education.