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Por Qué Enseñar Música No Es Suficiente: Educación Musical y su Red Nomológica
16 references·0 citing·34 second hop
Por Qué Enseñar Música No Es Suficiente: Educación Musical y su Red Nomológica (2019)Por Qué Enseñar Música No Es Suficiente: …Action, Criticism, and Theory for Music Education (2016)Action, Criticism, and Theory…The Oxford Handbook of Social Justice in Music Education (2015)The Oxford Handbook of Social…Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures (2015)Musical Learning and Teaching…The Changing Face of Individual Instrumental Tuition: Value, Purpose, and Potential (2012)The Changing Face of Individu…Practices, Virtue Ethics, and Music Education. (2012)Practices, Virtue Ethics, and…No One True Way: Music Education Without Redemptive Truth* (2009)No One True Way: Music Educat…My Music, Their Music, and the Irrelevance of Music Education (2009)My Music, Their Music, and th…Music, informal learning and the school: a new classroom pedagogy (2009)Music, informal learning and …The Application of Critical Pedagogy to Music Teaching and Learning: A Literature Review (2005)The Application of Critical P…The New Handbook Of Research On Music Teaching And Learning (2004)The New Handbook Of Research …La educación musical en el siglo XX (2004)La educación musical en el si…Piano Roles: A New History of the Piano (2000)Piano Roles: A New History of…In Search of Music Education (1998)In Search of Music EducationMusic talent, and performance: a conservatory cultural system (1988)Music talent, and performance…Instruments and Instrumental Teaching in the Early Italian Conservatoires (1965)Instruments and Instrumental …College Music Symposium (1962)College Music SymposiumOutline of a Theory of Practice (1977)Mind in Society: The Development of Higher Psychological Processes (1978)Outline of a Theory of Practice. (1980)Hearing the Voices of Adolescent Boys in Choral Music: A Self-Story (2006)Perspectives on Males and Singing (2012)Moviéndose en los márgenes: un estudio de caso sobre la identidad activista en la formación del profesorado de Música en Chile (2020)Situated Learning: Legitimate Peripheral Participation. (1994)Music Education at the Tipping Point (2007)Social Justice and Teacher Education (2016)Voice of Ireland? Children and music within asylum seeker accommodation (2018)The STEAM approach: Implementation and educational, social and economic consequences (2021)Self-Regulated Learning in Music Practice and Performance (2017)The use of cognitive apprenticeship in the learning and teaching of improvisation: Teacher and student perspectives (2019)Emotion Regulation Processes Can Benefit Self-Regulated Learning in Classical Musicians (2020)Informal music learning, improvisation and teacher education (2010)The YouTube Effect: How YouTube Has Provided New Ways to Consume, Create, and Share Music (2011)Using musical agency as a lens: Researching music education from the angle of experience (2011)Cognitive constraints on compositional systems (1992)Uniformity, Balance, and Smoothness in Atonal Voice Leading (2003)Action and Agency Revisited (2013)“To Play as if from the Soul of the Composer”: The Idea of the Performer in Early Romantic Aesthetics (2005)One-to-one tuition in a conservatoire: the perceptions of instrumental and vocal students (2009)Rethinking Giftedness and Gifted Education (2011)The Emergence of Women Composers in Italy, 1566–1700 (1986)Instrumental performance in the nineteenth century (2012)The performer and the composer (2012)Connections Between Performer and Teacher Identities in Music Teachers: Setting an Agenda for Research (2009)YouTube, fanvids, forums, vlogs and blogs: Informal music learning in a convergent on- and offline music community (2012)Unsafe suppositions? Cutting across cultures on questions of music's transmission (2001)The Good, the Bad, and the Ugly—Arts Partnerships in Canadian Elementary Schools (2003)A performer's creative processes: implications for teaching and learning musical interpretation (2008)Problems in comparative research: The example of omnivorousness (2005)Development and Adaptation of Expertise: The Role of Self-Regulatory Processes and Beliefs (2006)Self-efficacy and music performance (2006)
this work references cited by second hop

References

  • 2009Music, informal learning and the school: a new classroom pedagogy595 cited
  • 2004The New Handbook Of Research On Music Teaching And Learning554 cited
  • 1988Music talent, and performance: a conservatory cultural system374 cited
  • 2016Action, Criticism, and Theory for Music Education340 cited
  • 1962College Music Symposium299 cited
  • 2015The Oxford Handbook of Social Justice in Music Education291 cited
  • 2012The Changing Face of Individual Instrumental Tuition: Value, Purpose, and Potential68 cited
  • 1998In Search of Music Education56 cited
  • 2005The Application of Critical Pedagogy to Music Teaching and Learning: A Literature Review51 cited
  • 1965Instruments and Instrumental Teaching in the Early Italian Conservatoires45 cited
  • 2009No One True Way: Music Education Without Redemptive Truth*41 cited
  • 2000Piano Roles: A New History of the Piano40 cited
  • 2012Practices, Virtue Ethics, and Music Education.28 cited
  • 2015Musical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz Cultures26 cited
  • 2004La educación musical en el siglo XX24 cited

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2009
My Music, Their Music, and the Irrelevance of Music Education
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