The article aims to analyze the expression that higher education pedagogy has been assuming in research. For this purpose, the work done by Kuzhabekova, Hendel & Chapman (2015) was taken as a starting point and methodological inspiration. In this paper, the authors analyze the scientific production between 2002 and 2011, selecting publications that focus on the themes of higher education. In the study, the journals with the highest number of articles in this field are listed, the years with the most publications, the most prolix researchers, and a mapping of their countries of origin and institutional affiliation. In the work presented here, the topic was narrowed down, circumscribing the analysis to texts that deal with pedagogy of higher education, an area that requires a significant investment, both by the challenges that are currently posed at this level of education, and by the need to (re)think about the pedagogical formation of the teachers who work there. For this purpose, the analysis comprised an exhaustive survey of the articles published between 2012 and 2018, in the ten main publications identified in the previous study. The results show that the peak of publications occurred in 2014, having declined in recent years, with the most prominent magazine being Teaching in Higher Education. The highest percentage of articles comes from the United Kingdom, a country with a long tradition in the pedagogical training of its teachers, followed by Australia and the USA.

This paper examines how the idea of musical genius, a mythical notion used as a device for musical practices, facilitates a split between the genius of an innate learner and that of an apprentice, thus creating an ambiguous discursive space. Genius was firstly a matter of nature, but also most discussed under the topic of nurture, that is, education. In order to understand how this nature and nurture ambiguousness developed in specific terms for the musical genius I focussed on analysing historical documents on the main resources for genius-building. In this article, these resources are considered the raw material for the embodying of the genius in every single person. What I discovered about the term ‘genius’ and its contradictory uses to support both elitist and democratic schooling made me realise that it is treated as an argument to advocate the merits of music and to take concrete steps in implementing educational excellence. The term ‘genius’ can serve any pedagogical purpose and encompass contradictory ideas, potentially serving unlimited purposes. Genius can be applied to the best of students, but equally to virtually anyone. In future studies the question will be whether this reading fits the scenario in other European countries.

This article sets up a collaborative narrative of three elements from the Group Study on Participatory and Artistic Processes in Research and Education (GEPPAIE), composed of researchers in academic and professional development (professors, doctoral and master's students in Education areas). It begins with a question: how have we experienced, as a higher education study group, our meeting spaces for the production of emancipatory knowledge about research, especially about arts-based research? This question unfolds into others and drives us to what has already been produced collectively, but also boosts the new writings and reflections in this text. It is also part of Ana Serra Rocha's PhD, focused on the problematization of The book’s experience as a place of epistemological reflection in artistic education, aiming at a broader reflection in the field of artistic education and in doctoral studies. It speculates on the participatory processes of collaborative creation and on some issues that have been debated at GEPPAIE, namely of a relational and methodological nature, with a view to (des/re)construction of knowledge and its forms of written and visual representation.

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RESUMO Propomos uma discussão historicamente situada acerca da organização e administração, na cultura ocidental, de um saber inteiramente escolar, caracterizado pelos princípios da ordem e da uniformidade, e que se expressa em monografias - de tipo compendiário e manualístico -, produzidas para circular unicamente nos estabelecimentos de ensino. A análise recuará até ao espaço universitário do Renascimento e aos primeiros debates sobre a premência de um dispositivo de sistematização do conhecimento, onde Petrus Ramus aparece como uma personagem conceptual e onde se descobre um diagnóstico seminal assente sobre um gesto educativo como supondo uma dupla articulação: (i) o currículo é o invariante que permite racionalizar todo conhecimento através de disciplinas unidas num plano de estudos, ao passo que (ii) o método constitui a possibilidade de estabilizar e simplificar, de articular e graduar todos os conteúdos escolares.

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This discussion about Portuguese music education, between the end of the 19 th century and the beginning of the 20 th century, a time when the demand for musical learning was rarefied, seeks to introduce the hypothesis of a biopolitical understanding of the technology of genius. This concept crossed several branches of education, albeit through different modalities -which allows us to ask whether the artistic regulation of the populations was conducted by the same technology. The question arises from the identification of different educational settings, pedagogical practices and artistic incidences that seem to bifurcate the genius into national and individual. Music education (primary, secondary and normal) was encouraged by the State through choral singing practices, given its possibility of reaching the entire population. For the great mass, the incorporation of the national genius was enabled -with its public manifestations of musical, linguistic, emotional, and corporal repertoire. Conservatoire music education was directed, however, to a small part of the population, which would be qualified for musical execution and creation. The incentive of (individual) musical genius reflected a global productivity of rarefaction of opportunities, allowed for the identification of some of these techniques possible within the pedagogy of instruments of great demand, such as the piano. Thus, despite this differentiation, curricula and school practices refer to genius as a univocal technology, facilitated by different pedagogical techniques of subject regulation.

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