Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures

Autores
Casas Mas, Amalia; Pozo, Juan Ignacio; Scheuer, Nora
Año de publicación
2015
Idioma
inglés
Tipo de recurso
artículo
Estado
versión publicada
Descripción
This study analyzes the discourse of musicians from three different cultures of musical learning, ranging from the more formal classical European culture, through the jazz culture, to the less formal flamenco culture in Roma communities. It is based on cultural studies of learning and education and the implicit conceptions theory. Thirty-one semi-professional guitarists were interviewed about learning and teaching music. We applied the lexicometrical method using correspondence analysis. We found significant lexical differences among the three cultures for all the three educational dimensions analyzed (teaching, learning, and evaluation). We describe literal answers from the most representative participants from each culture (using the automatic selection of modal response procedure according to χ2 distance) and a qualitative analysis of their full answers. Finally, we project a distribution of the three cultures of learning onto a factorial plane, which summarizes distribution of the three cultures of learning according to two axes that we have interpreted in terms of (a) locus of control (self-others) and (b) phenomenology (analytical–emotional distance–conceptual–explicit knowledge/sensory–involvement–embodied–implicit knowledge), respectively. The discourse of classical and flamenco participants expressed other-regulated learning, although classical participants were closer to an explicit, conceptual pole, whereas flamenco participants were closer to an implicit, embodied pole. The discourse of jazz participants lay in between the other two, closer to the explicit pole, but including characteristic language about self-regulation.
Fil: Casas Mas, Amalia. Universidad Autónoma de Madrid; España
Fil: Pozo, Juan Ignacio. Universidad Autónoma de Madrid; España
Fil: Scheuer, Nora. Universidad Nacional del Comahue. Centro Regional Universitario Bariloche; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Patagonia Norte; Argentina
Materia
CULTURAL PSYCHOLOGY
LEARNER
MUSICAL LEARNING
SOCIAL COGNITION
TEACHER
Nivel de accesibilidad
acceso abierto
Condiciones de uso
https://creativecommons.org/licenses/by-nc-sa/2.5/ar/
Repositorio
CONICET Digital (CONICET)
Institución
Consejo Nacional de Investigaciones Científicas y Técnicas
OAI Identificador
oai:ri.conicet.gov.ar:11336/127133

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spelling Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz CulturesCasas Mas, AmaliaPozo, Juan IgnacioScheuer, NoraCULTURAL PSYCHOLOGYLEARNERMUSICAL LEARNINGSOCIAL COGNITIONTEACHERhttps://purl.org/becyt/ford/5.1https://purl.org/becyt/ford/5https://purl.org/becyt/ford/6.4https://purl.org/becyt/ford/6https://purl.org/becyt/ford/5.9https://purl.org/becyt/ford/5This study analyzes the discourse of musicians from three different cultures of musical learning, ranging from the more formal classical European culture, through the jazz culture, to the less formal flamenco culture in Roma communities. It is based on cultural studies of learning and education and the implicit conceptions theory. Thirty-one semi-professional guitarists were interviewed about learning and teaching music. We applied the lexicometrical method using correspondence analysis. We found significant lexical differences among the three cultures for all the three educational dimensions analyzed (teaching, learning, and evaluation). We describe literal answers from the most representative participants from each culture (using the automatic selection of modal response procedure according to χ2 distance) and a qualitative analysis of their full answers. Finally, we project a distribution of the three cultures of learning onto a factorial plane, which summarizes distribution of the three cultures of learning according to two axes that we have interpreted in terms of (a) locus of control (self-others) and (b) phenomenology (analytical–emotional distance–conceptual–explicit knowledge/sensory–involvement–embodied–implicit knowledge), respectively. The discourse of classical and flamenco participants expressed other-regulated learning, although classical participants were closer to an explicit, conceptual pole, whereas flamenco participants were closer to an implicit, embodied pole. The discourse of jazz participants lay in between the other two, closer to the explicit pole, but including characteristic language about self-regulation.Fil: Casas Mas, Amalia. Universidad Autónoma de Madrid; EspañaFil: Pozo, Juan Ignacio. Universidad Autónoma de Madrid; EspañaFil: Scheuer, Nora. Universidad Nacional del Comahue. Centro Regional Universitario Bariloche; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Patagonia Norte; ArgentinaSAGE Publications2015-10info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501info:ar-repo/semantics/articuloapplication/pdfapplication/pdfhttp://hdl.handle.net/11336/127133Casas Mas, Amalia; Pozo, Juan Ignacio; Scheuer, Nora; Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures; SAGE Publications; Journal Of Cross-cultural Psychology; 46; 9; 10-2015; 1191-12250022-0221CONICET DigitalCONICETenginfo:eu-repo/semantics/altIdentifier/doi/10.1177/0022022115603124info:eu-repo/semantics/altIdentifier/url/https://journals.sagepub.com/doi/10.1177/0022022115603124info:eu-repo/semantics/openAccesshttps://creativecommons.org/licenses/by-nc-sa/2.5/ar/reponame:CONICET Digital (CONICET)instname:Consejo Nacional de Investigaciones Científicas y Técnicas2025-10-15T15:42:46Zoai:ri.conicet.gov.ar:11336/127133instacron:CONICETInstitucionalhttp://ri.conicet.gov.ar/Organismo científico-tecnológicoNo correspondehttp://ri.conicet.gov.ar/oai/requestdasensio@conicet.gov.ar; lcarlino@conicet.gov.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:34982025-10-15 15:42:46.56CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicasfalse
dc.title.none.fl_str_mv Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures
title Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures
spellingShingle Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures
Casas Mas, Amalia
CULTURAL PSYCHOLOGY
LEARNER
MUSICAL LEARNING
SOCIAL COGNITION
TEACHER
title_short Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures
title_full Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures
title_fullStr Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures
title_full_unstemmed Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures
title_sort Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures
dc.creator.none.fl_str_mv Casas Mas, Amalia
Pozo, Juan Ignacio
Scheuer, Nora
author Casas Mas, Amalia
author_facet Casas Mas, Amalia
Pozo, Juan Ignacio
Scheuer, Nora
author_role author
author2 Pozo, Juan Ignacio
Scheuer, Nora
author2_role author
author
dc.subject.none.fl_str_mv CULTURAL PSYCHOLOGY
LEARNER
MUSICAL LEARNING
SOCIAL COGNITION
TEACHER
topic CULTURAL PSYCHOLOGY
LEARNER
MUSICAL LEARNING
SOCIAL COGNITION
TEACHER
purl_subject.fl_str_mv https://purl.org/becyt/ford/5.1
https://purl.org/becyt/ford/5
https://purl.org/becyt/ford/6.4
https://purl.org/becyt/ford/6
https://purl.org/becyt/ford/5.9
https://purl.org/becyt/ford/5
dc.description.none.fl_txt_mv This study analyzes the discourse of musicians from three different cultures of musical learning, ranging from the more formal classical European culture, through the jazz culture, to the less formal flamenco culture in Roma communities. It is based on cultural studies of learning and education and the implicit conceptions theory. Thirty-one semi-professional guitarists were interviewed about learning and teaching music. We applied the lexicometrical method using correspondence analysis. We found significant lexical differences among the three cultures for all the three educational dimensions analyzed (teaching, learning, and evaluation). We describe literal answers from the most representative participants from each culture (using the automatic selection of modal response procedure according to χ2 distance) and a qualitative analysis of their full answers. Finally, we project a distribution of the three cultures of learning onto a factorial plane, which summarizes distribution of the three cultures of learning according to two axes that we have interpreted in terms of (a) locus of control (self-others) and (b) phenomenology (analytical–emotional distance–conceptual–explicit knowledge/sensory–involvement–embodied–implicit knowledge), respectively. The discourse of classical and flamenco participants expressed other-regulated learning, although classical participants were closer to an explicit, conceptual pole, whereas flamenco participants were closer to an implicit, embodied pole. The discourse of jazz participants lay in between the other two, closer to the explicit pole, but including characteristic language about self-regulation.
Fil: Casas Mas, Amalia. Universidad Autónoma de Madrid; España
Fil: Pozo, Juan Ignacio. Universidad Autónoma de Madrid; España
Fil: Scheuer, Nora. Universidad Nacional del Comahue. Centro Regional Universitario Bariloche; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Patagonia Norte; Argentina
description This study analyzes the discourse of musicians from three different cultures of musical learning, ranging from the more formal classical European culture, through the jazz culture, to the less formal flamenco culture in Roma communities. It is based on cultural studies of learning and education and the implicit conceptions theory. Thirty-one semi-professional guitarists were interviewed about learning and teaching music. We applied the lexicometrical method using correspondence analysis. We found significant lexical differences among the three cultures for all the three educational dimensions analyzed (teaching, learning, and evaluation). We describe literal answers from the most representative participants from each culture (using the automatic selection of modal response procedure according to χ2 distance) and a qualitative analysis of their full answers. Finally, we project a distribution of the three cultures of learning onto a factorial plane, which summarizes distribution of the three cultures of learning according to two axes that we have interpreted in terms of (a) locus of control (self-others) and (b) phenomenology (analytical–emotional distance–conceptual–explicit knowledge/sensory–involvement–embodied–implicit knowledge), respectively. The discourse of classical and flamenco participants expressed other-regulated learning, although classical participants were closer to an explicit, conceptual pole, whereas flamenco participants were closer to an implicit, embodied pole. The discourse of jazz participants lay in between the other two, closer to the explicit pole, but including characteristic language about self-regulation.
publishDate 2015
dc.date.none.fl_str_mv 2015-10
dc.type.none.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
http://purl.org/coar/resource_type/c_6501
info:ar-repo/semantics/articulo
format article
status_str publishedVersion
dc.identifier.none.fl_str_mv http://hdl.handle.net/11336/127133
Casas Mas, Amalia; Pozo, Juan Ignacio; Scheuer, Nora; Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures; SAGE Publications; Journal Of Cross-cultural Psychology; 46; 9; 10-2015; 1191-1225
0022-0221
CONICET Digital
CONICET
url http://hdl.handle.net/11336/127133
identifier_str_mv Casas Mas, Amalia; Pozo, Juan Ignacio; Scheuer, Nora; Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures; SAGE Publications; Journal Of Cross-cultural Psychology; 46; 9; 10-2015; 1191-1225
0022-0221
CONICET Digital
CONICET
dc.language.none.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv info:eu-repo/semantics/altIdentifier/doi/10.1177/0022022115603124
info:eu-repo/semantics/altIdentifier/url/https://journals.sagepub.com/doi/10.1177/0022022115603124
dc.rights.none.fl_str_mv info:eu-repo/semantics/openAccess
https://creativecommons.org/licenses/by-nc-sa/2.5/ar/
eu_rights_str_mv openAccess
rights_invalid_str_mv https://creativecommons.org/licenses/by-nc-sa/2.5/ar/
dc.format.none.fl_str_mv application/pdf
application/pdf
dc.publisher.none.fl_str_mv SAGE Publications
publisher.none.fl_str_mv SAGE Publications
dc.source.none.fl_str_mv reponame:CONICET Digital (CONICET)
instname:Consejo Nacional de Investigaciones Científicas y Técnicas
reponame_str CONICET Digital (CONICET)
collection CONICET Digital (CONICET)
instname_str Consejo Nacional de Investigaciones Científicas y Técnicas
repository.name.fl_str_mv CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicas
repository.mail.fl_str_mv dasensio@conicet.gov.ar; lcarlino@conicet.gov.ar
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