ABSTRACT

This article examines the perspectives and feelings of children in the first two years of a music workshop developed with pupils from a state school in northern Portugal. The study followed a participatory action research design, with data including field notes, two group interviews with the children, children’s artefacts, such as texts or paintings, and their musical compositions. The results detail how an informal, collaborative and creative approach to music learning seems to open the space for a ‘pedagogy of interruption’ (Biesta 2010 Biesta, Gert J. J. 2010. Good Education in an Age of Measurement: Ethics, Politics, Democracy. 1 edition. London: Paradigm. [Google Scholar]), which, in turn, suggests the development of what O’Neill (2012a) terms ‘transformative music engagement’. This article identifies this transformation process through the three major themes that emerge from data analysis: (a) the shifts the children report as occurring in their modes of connecting and relating with music and music education, (b) the deep engagement they began displaying towards collaborative music-making activities, and (c) their personal and social development.

摘要

本文考察了与葡萄牙北部一所公立学校的学生一起开设的音乐工作室头两年的儿童的观点和感受。该研究遵循参与式行动研究设计，数据包括实地笔记、对儿童的两组访谈、儿童手工艺品，如文字或绘画，以及他们的音乐作品。结果详细说明了一种非正式、协作和创造性的音乐学习方法似乎如何为“中断教学法”开辟了空间（Biesta 2010 比斯塔，格特 JJ 2010 年。衡量时代的良好教育：伦理、政治、民主。1 版。伦敦：范式。 [Google Scholar] )，这反过来又暗示了 O'Neill (2012a) 所说的“变革性音乐参与”的发展。本文通过数据分析中出现的三个主要主题确定了这一转变过程：(a) 儿童报告发生在他们与音乐和音乐教育的联系和关联模式中的转变，(b) 他们开始表现出的深度参与合作音乐制作活动，以及 (c) 他们的个人和社会发展。