Este artículo describe la experiencia de innovación docente y colaboración inter-universitaria (UB, UVIC, UManresa y UdG) llevada a cabo entre cuatro profesoras de diversos grados (Bellas Artes, Educación Infantil y Primaria, Educación Social, y Artes Escénicas), que reflexionan sobre cómo desbordar los marcos estancados en la enseñanza superior. MÉTODO: Las prácticas académicas descritas tienen como objetivo contribuir al campo de la investigación educativa basada en las artes, y fomentar en el alumnado una formación encarnada basada en la indagación de la experiencia de aprender. RESULTADOS: Partiendo de metodologías feministas y de pedagogías performáticas, y en colaboración con el equipo comisarial del Centro de Arte Contemporáneo Fabra y Coats de Barcelona, que nos invitó a exponer el proceso de trabajo, la experiencia permitió visibilizar y poner en valor las aportaciones del alumnado. DISCUSIÓN: La principal contribución de esta iniciativa es repensar el sentido de la enseñanza artística como un escenario de producción cultural (no solo de transmisión de saber), un modo de reflexionar de forma crítica (mediante métodos artísticos) sobre las maneras de aprender y estar en la universidad, de autorizarse como productores/as de conocimiento, de crear procesos artísticos colaborativos, y de generar prácticas situadas y transformadoras en el contexto (educativo, artístico, profesional). //Palabras clave Investigación educativa basada en las artes; Educación artística; Movimiento feminista; Innovación pedagógica; Enseñanza superior; Cooperación interuniversitaria. //Datos de la autora

The present study employed population-level educational records from 4 public school student cohorts (n ϭ 112,916; Grades 7-12) in British Columbia (Canada) to examine relationships between music education (any participation, type of participation, music achievement, and engagement level) and mathematics and science achievement in Grade 10 as well as English achievement in Grades 10 and 12, while controlling for language/cultural background, Grade 7 academic achievement, and neighborhood socioeconomic status. Music participation was related to higher scores on all 4 subjects and these relationships were stronger for instrumental music than vocal music (Cohen's d range: .28 to .44 [small-medium effect sizes] and .05 to .13 [null-small effect sizes]). School music achievement positively related to scores on all subjects; such relationships were stronger for achievement in instrumental music compared with vocal music. Higher levels of music engagement (number of courses) was related to higher exam scores on all subjects; this pattern was more pronounced for very high engagement in instrumental music (d range: .37 to .55; medium effect sizes) compared with vocal music (d range: .11 to .26; small effect sizes). The effect sizes of these group differences are greater than the effect sizes corresponding to average annual gains of students' academic achievement during high school-in other words, highly engaged instrumental music students were, on average, academically over 1 year ahead of their peers. The findings suggest that multiyear engagement in music, especially instrumental music, may benefit high school academic achievement. Findings and implications are discussed within the broader interdisciplinary literature on music learning. Educational Impact and Implications StatementThis large-scale study identified evidence of positive relationships between school music participation and high school exam scores in English, mathematics, and science using population-level educational records for over 110,000 students in British Columbia, Canada. Participation in school music (especially instrumental music) was related to higher exam scores, and students with higher levels of school music engagement had higher exam scores. The positive relationships between music engagement and academic achievement were independent of students' previous (Grade 7) achievement, sex, cultural background, and neighborhood socioeconomic status, and were of considerable magnitude: The group differences observed in our study were greater than average annual gains in academic achievement during high school. In other words, students highly engaged in music were, on average, academically over 1 year ahead of the peers not engaged in school music. In light of this study (the largest of its kind to date), as well as supporting evidence suggesting music learning in childhood may foster competencies (e.g., executive functioning) that support academic achievement, educators may consider the potential positive influence of school music on students' high sc...

The relationship between musical training and general intellectual capacity as well as academic achievement has been discussed in numerous contexts. In our study, we examined the relationship between participation and achievement in music and achievement in academic courses, based on data from three consecutive British Columbia student cohorts. Across the three cohorts, we consistently found that music participation was associated with generally higher academic achievement, and that Grade 11 music course scores predicted Grade 12 academic achievement scores in linear regression analyses. Our results support the notion that the time dedicated to music participation does not impede, but rather goes hand in hand with or even fosters academic excellence in other 'core' subjects.

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Objective: The purpose of this paper is to share the results of research into the experience of teacher risk-taking in the classroom. The development of children as risk-takers is featured prominently in curriculum documents and reports calling for the competencies of 21 st century learning. Teachers are expected to become 21 st century learners who model risk-taking. The repeated calls for the development of risk-taking students through the modeling of risk-taking teachers makes the experience of risk an important pedagogical question. However, 21 st century learning documents do not take up substantively the meaning of teacher risk-taking.Research Design: Phenomenological research is concerned with the unique and the individual and in that regard each teacher-participant represents particular perceptions of risk-taking experiences and responses to risk in the classroom. The six (6) teacher-participants responded to a call distributed widely to teaching staff in a Canadian school district. The inquiry relied on phenomenological interviews and experiential life world material. In this paper three phenomenological themes are described: risk and readiness; risk and the in-between spaces of pedagogy, and risk as exploration and finding a way. This research allows us to understand teachers' lived experience rather than assume the meaning of the terms risk and risk-taking.

While it seems many music educators share an enthusiasm for music festivals, others do not. Discrepancies seem to be rooted in the perceived educational outcomes in terms of musical knowledge gained, motivation, competition, psychological impact and social considerations. Advocates believe competitive festivals provide a 'superlative' motivational factor and elevate performance quality beyond what could otherwise be achieved. Students and directors are motivated by ratings, by the outstanding performances of their peers and by the constructive criticism of expert adjudicators. As a result, students practice more, they work together with elevated enthusiasm and they are more likely to work on minute music details. Whereas most of the existing literature focuses on teacher perspectives, we examine the issues solely from a student perspective. We administered a survey composed of 55 five point, Likert scale items to 528 students of diverse multicultural backgrounds to examine the educational and musical benefits, and detriments, that evolve from participation in a band festival and events leading up to the festival as well as social benefits, or detriments, associated with band festival participation. Adding credence to existing research, there is very strong student support in favour of band festivals. We learned that student attitudes on how they perform are likely dependent on their personal beliefs, as well as feedback they receive from their directors, adjudicators and other members of the audience (i.e. students, parents). In accordance with previous research, students enjoy receiving adjudicator comments. Students value band for more than festival participation and recognise the rich, diverse learning experiences that festivals offer. Moreover, students consider band festivals as a positive educational experience, and overall, the social nature of band festivals has a positive impact on adolescents. Festivals are exceptionally motivating to students, as they appreciate the competitive aspects of music festivals in terms of competition as being a motivational factor when practicing and performing. Participation in music festivals has a positive emotional impact on students, in that they develop a sense of pride and accomplishment after a good performance.

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