Este texto se centra en un proceso de investigación llevado a cabo en un proyecto de creatividad musical colectiva en el plan de formación inicial de 142 futuros docentes de Educación Primaria. El objetivo del estudio es comprender cómo se conforman sus procesos de aprendizaje durante su paso por una experiencia musical creativa y potencialmente disruptiva. Para ello hemos utilizado una metodología de estudio de caso, que mediante análisis de contenido y de los discursos de informes del alumnado, grabaciones de clases y diarios de investigación nos ha permitido comprender las perspectivas del estudiantado desde una mirada profunda y reflexiva. Los principales resultados señalan que utilizar elementos creativos artísticos y musicales en Educación Superior resulta disruptivo para los estudiantes, que el alumnado mayoritariamente pasa de estados iniciales de incertidumbre y confusión a estados de motivación y de compromiso hacia la propia práctica, y que este tipo de proyectos que fomentan la creatividad en la Universidad a través de otros lenguajes como la música dinamizan y potencian aprendizajes más reales y significativos en docentes en formación.

Educational research is one of the many fields of knowledge that frequently use case studies as a research method, particularly when applying an interpretive approach. Based on literature reviews and a systematic analysis of current scientific literature, this paper examines the prevalence and characteristics of the case study as a methodology for research on MOOCs. Ninety-two documents were selected from the search results returned by two of the most prestigious scientific databases: Web of Science (WOS) and SCOPUS. Findings showed that (a) even when searching solely for case studies, quantitative research paradigms were more prevalent than interpretive approaches; (b) geographical distribution of these studies was partially biased; (c) case studies were less prevalent in these databases than other empirical investigations on MOOCs; (d) the data collection and data analysis methods most frequently used in the case studies were more aligned with a quantitative approach; and (e) there is still very little instructor-focused research using this methodology. In the light of these findings and their discussion, future directions for research using case study methodology are proposed, given the potential of this method to illustrate certain issues for which other approaches have proved inadequate or insufficient.

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Secondary education in Spain is being the most controversial educational stage in educational reform processes, in relation to youth cultures and ways of learning and knowing in the emerging digital society. We present the results of the application of a Delphi methodology, as the first phase of a broader research on disruptive practices in Secondary Education. Its aim was to gather the opinion of 20 experts on how educational innovation processes are perceived at this educational level, as well as the mediations on which they are based. The Delphi questionnaire was applied in 3 Spanish regions (Andalusia, Castile and Leon, Extremadura) and was carried out in two consecutive rounds. Subsequently, focus groups were held with these experts in each of the regions. The results are grouped around 4 axes: the school institution, learning in non-formal contexts, educational innovation and innovation culture, and technological mediation. The conclusions reveal the main limitations of Secondary Education in Spain: lack of curricular flexibility, leadership for change and openness to the community, technocentric vision of educational innovation and insufficient training in digital competence of teachers.

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This paper presents a Systematic Literature Review (SLR) about pedagogical innovation and disruption in music education. A rigorous SLR process was applied to the selection of papers related to innovative practices in music education at different educational levels and in a range of contexts. Although there are similar studies on innovation in education, there is no SLR on pedagogical innovation and disruption in music education using this method. The purpose of this study is to present an example of how to do an SLR and to share the findings of the review itself. We also provide a snapshot based on a tight SLR process of some instances of innovation in music education that, in some way, are drawing the paths to be followed in future investigations. According to the categories of innovation that we have established to analyze our corpus of papers, disruption is produced by modifying four fundamental factors in the act of learning (purpose and context learning, teacher/student relationship, and learner role). These factors can contribute to developing a more flexible and open curricula incorporating a holistic, collaborative, and interdisciplinary vision of learning. We consider that the value of this study lies in reflecting a systematic methodological process for the analysis of the scientific literature as well as the findings.

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