Competencias creativas en el aula de música = Creative competences in music classes

En el marco de las competencias profesionales del educador musical, la creatividad ocupa una posición que a menudo ha sido definida como sistémica. La labor del educador y/o formador en el aula de música requiere, de forma genérica, el despliegue de competencias que incorporen la creatividad. En este artículo se presentan los resultados de un trabajo realizado con dos muestras de alumnos, de tercer curso de magisterio y de un curso postgrado. Se ofrecen y se analizan los datos recogidos con la finalidad de desplegar un mapa que integre competencias creativas genéricas, específicas y disciplinares

Clown, processo criativo : rito de iniciação e passagem

Universidade Estadual de Campinas . Faculdade de Educação Física

Emotion and performance

The study of emotions in organizational settings has attained considerable prominence in recent years, but I critical issue remains unresolved. This is the relationship between emotion and performance. in this special issue, 5 articles address this topic from a variety of viewpoints. Two are theoretical essays that deal, respectively, with emotion and creativity and the relationships between individual and team performance. Three are empirical studies that canvass the emotion-performance nexus across levels of analysis: within person, between persons, and in groups. Between them, the 5 articles present a strong case for the nexus of emotions and performance, but, more important, they provide a platform for potentially fruitful future research in this burgeoning area.

Interfaces inovadores para a aprendizagem musical

Mestrado em Engenharia Informática

A arte contemporânea enquanto elemento facilitador da auto valorização dos jovens perante as suas criações artísticas

Dissertação apresentada à Escola Superior de Educação de Lisboa para obtenção de grau de mestre em Educação Artística, na Especialização de Artes Plásticas na Educação

An explaratory study on the relationship between Employee innovation and the rewards systems supporting innovation ; a case study of Medtronic Galway

The aim of this thesis is to explore the relationship between innovation and reward system supporting innovation. The empirical evidence came from a case study in Medtronic, Galway, a medical device company. This study incorporates the literature surrounding innovation and rewards and will attempt to identify a link both theoretically and practically between both.

Stuka (Plastyka, Muzyka): una veu a favor de l'educació a través de l'art

Traducció comentada del pròleg d¿un llibre on la seva autora, amb motiu de presentar les propostes dels seus estudiants sobre activitats integrades de plàstica i música per a l¿escola i l'institut, ens parla de la necessitat d¿activar la situació creadora en els individus per millorar el seu excel-lent procés educatiu, a la manera com ho feien els antics.

Más recursos emprendedores

Article que ofereix un recull de bibliografia relacionada amb l'educació emprenedora

Balancing creativity and risk intelligence in professional knowledge-intensive business services

The main strengths of professional knowledge-intensive business services (P-KIBS) are knowledge and creativity which needs to be fostered, maintained and supported. The process of managing P-KIBS companies deals with financial, operational and strategic risks. That is why it is reasonable to apply risk management techniques and frameworks in this context. A significant challenge hides in choosing reasonable ways of implementing risk management, which will not limit creative ability in organization, and furthermore will contribute to the process. This choice is related to a risk intelligent approach which becomes a justified way of finding the required balance. On a theoretical level the field of managing both creativity and risk intelligence as a balanced process remains understudied in particular within KIBS industry. For instance, there appears to be a wide range of separate models for innovation and risk management, but very little discussion in terms of trying to find the right balance between them. This study aims to shed light on the importance of well-managed combination of these concepts. The research purpose of the present study is to find out how the balance between creativity and risk intelligence can be managed in P-KIBS. The methodological approach utilized in the study is strictly conceptual without empirical aspects. The research purpose can be achieved through answering the following research supporting questions: 1. What are the characteristics and role of creativity as a component of innovation process in a P-KIBS company? 2. What are the characteristics and role of risk intelligence as an approach towards risk management process implementation in a P-KIBS company? 3. How can risk intelligence and creativity be balanced in P-KIBS? The main theoretical contribution of the study conceals in a proposed creativity and risk intelligence stage process framework. It is designed as an algorithm that can be applied on organizational canvas. It consists of several distinct stages specified by actors involved, their roles and implications. Additional stage-wise description provides detailed tasks for each of the enterprise levels, while combining strategies into one. The insights driven from the framework can be utilized by a vast range of specialists from strategists to risk managers, and from innovation managers to entrepreneurs. Any business that is designing and delivering knowledge service can potentially gain valuable thoughts and expand conceptual understanding from the present report. Risk intelligence in the current study is a unique way of emphasizing the role of creativity in professional knowledge-intensive industry and a worthy technique for making profound decisions towards risks.

Hurry up and slow down : education to close the ingenuity gap /

To explore the idea of education to close the ingenuity gap I use Thomas Homer-Dixon's work to define ingenuity. The notion that the supply of ingenuity to solve our technical and social problems is not keeping pace with the ingenuity required to solve those problems is called the ingenuity gap. Man-made technological developments are increasing the density, intensity, and pace of globalisation. People must reorganise decision-making organisations and problem-solving methods to pragmatically combat the growing ingenuity gap. John Dewey's work illustrates the fundamental attitudes for the thinking and judgment associated with educating for ingenuity. Howard Gardner's idea that truth, beauty, and morality ought to form the core values and tenets of the philosophy of educating for ingenuity is integral to this thesis. The act of teaching facilitates the invitation to the communication necessary to foster ingenuity. John Novak-discusses the five relationships of educational leadership that enhance an environment of ingenuity. The International Baccalaureate (IB) is an existing model of global education, one that defines some of the school experiences and academic development of core values of educating for ingenuity. Expanding upon the structure of the IB and other research within this thesis, I speculate upon what my school, where educating for ingenuity so as to close the ingenuity gap is the goal, would be like.

Creativity and the working artist/teacher : the relationships

The purpose of this qualitative study was to understand the relationships between creativity and the working artist/teacher employed by an art college. The topic emerged from my job as an instructor at The Ontario College of Art which was used as the primary data resource and provided the highest caliber of professionals to chose from. Existent data were used to facilitate the study generated by the research of Cawelti, Rappaport, and Wood (1992). The data were generated by a group of 5 faculty members from The University of Northern Iowa, recognized for their expertise in the arts (a painter, a poet, a sculptor, a novelist, and a photographer). They were asked to respond to the following statement: "In as much detail as you like, list the things that you did, thought, or felt the last time you created an artistic product. II Cawelti, Rappaport, and Wood (1992) produced three models of the creative process, each building on the previous, with the resultant third,being in my opinion, an excellent illustration (text/visual) of the creative process. Model three (Appendix D) presented a "multi-dimensional view of the creative process: time, space, observatility, and consciousnessll (p. 90). Model three utilized a visual mapping device along the bottom of the page linked to text segments above. Both the visual and the text were interrelated so that they harmonized into a comprehensive "picture." The parti'cipants of this qualitative study were asked to consider model three from their professional perspective as artist/teachers. The interpretive sciences directed the methodology. The hermeneutic circle of continuous reflection from the whole to the part and back to the whole was an important aspect of the data analyses. Four members of the Foundation Department at The Ontario College of Art were the key participants. A series of conversational interviews was the primary source of data collection, this was augmented by observation, fie,ldnotes, and follow up telephone interviews. Transcripts of interviews were returned to participants for reflection and the telephone was used to discuss any additional -points raised. Analysis consisted of coding and organizing data according to emerging themes. These themes formed the basis for the narrative stories. The text of the narrative stories were given back to each participant for further comment. Revisions were made until both the researcher and the participants felt that the stories reflected reality. The resultant whole was critiqued from the researcher's perspective. The significance of this study was discussed as it pertains to the working artist/teacher and areas in need of further study are pointed out.

Creativity and the schizophrenia spectrum unveiled : the similarities and the differences

This study examined the commonalities and the differences between creativity and the schizophrenia spectrum. The variables measured as potential commonalities and differences were creativity, schizotypy, cognitive inhibition, spatial ability, balancing skills, positive and negative presence, absorption, mystical experiences, childhood abuse, and neuroticism. Three community groups were recruited, consisting of 31 artists, 10 people with schizophrenia, and 31 comparisons matched for gender and age with the artists. A larger student group consisting of 102 students was also recruited in order to examine the correlations among the same variables within a larger, more normative, group. The largest commonality between the artist and the schizophrenic groups, who represented the extreme end of the schizophrenia spectrum, was the propensity to mystical experiences. The greatest differences between the artist and the schizophrenic groups were that the artists were higher in creativity, performed better on spatial abilities, had better balance, had more positive states of presence, and were lower in neuroticism than the schizophrenic group. In the student group, creativity was correlated with spatial ability, positive presence, absorption, and mystical experiences. In addition, creativity was significantly related to two facets of schizotypy, unusual experiences and impulsive nonconformity. In other words, students high in certain facets of schizotypy, who may share certain characteristics with those who have schizophrenia, are higher in creativity, but people who are on the extreme end of the schizophrenia spectrum, who have been diagnosed with schizophrenia, are not. The differences between the artist and schizophrenic groups on spatial ability, balance, sense of presence, and neuroticism may help to determine whether mystical experiences help to integrate creative work or destabilize and disorganize the sense of self. It may be that mystical experiences can be used more positively by the creative individuals than people with schizophrenia, in that artists and people high in creativity were higher in positive traits such as positive presence and lower on negative variables such as neuroticism, and introvertive anhedonia.

Educación de la capacidad creativa

La finalidad de este taller no es únicamente mostrar los conocimientos adquiridos sobre: El Arte Abstracto; sino, aplicar métodos y técnicas de trabajo a través de contenidos diversos, reflejados en los temas transversales: - Respetar las culturas diferentes a la nuestra. - Concienciar del cuidado del Medio Ambiente

La Creatividad como método didáctico en las asignaturas de proyectos de diseño

En la primera parte del estudio se describen los principios generales que sirven de base a la producción de ideas y se determinan los criterios para incrementar la creatividad en los estudiantes de estas asignaturas, dentro de la docencia en proyectos. En la segunda parte se establecen tres métodos donde quedan englobadas las diferentes técnicas de creatividad, que servirán de base para su clasificación: los denominados métodos de rastreo, los métodos basados en la exteriorización espontánea y los métodos combinatorios. En la tercera parte se describen las técnicas seleccionadas y su implementación. Se presentan los estudios realizados a partir de diversas aplicaciones de técnicas de creatividad a proyectos docentes de diseño e ingeniería, mostrando y analizando los resultados obtenidos. Para ello se realizaron diversas propuestas de proyectos, centrando el estudio en tres, el diseño de un reloj de sobremesa, un juguete de madera y un envase. Respecto al método de rastreo se eligió la técnica de las “analogías” para su implementación. En lo que respecta a los métodos basados en la exteriorización espontánea la técnica principal fue el brainstorming en algunas de sus más diversas configuraciones, entre ellas el brainstorming clásico y el braindrawing y se aplicaron algunos aspectos propios de la sinéctica. En lo que concierne a los métodos combinatorios se trabajó la caja de zwicky

Creatividad en la escuela y libre expresión: iniciación al lenguaje plástico y visual mediante la exploración

Los dibujos de los niños son como sus relatos, sus movimientos, sus gestos, sus canciones inventadas (Coll, Elkonin, Freire, Gardner, Heathcote, Lowenfeld, Moll, Monereo, Read, Vygotsky). Expresan lo que viven, y cómo lo viven, su entorno, sus gustos, intereses, miedos… Aprenden a comunicarlo en los lenguajes que aprenden de los adultos, tanto verbales como corporales, visuales, musicales. Para entender el mundo adulto, ellos nos imitan, copian nuestros elementos y nos cuentan sus cosas. Pero poco a poco van eligiendo unos elementos y desechando otros que no les gustan o no les convencen, y se quedan con un lenguaje particular y propio, personalizado, de todos aquellos que han aprendido