000135721 001__ 135721
000135721 005__ 20240614091947.0
000135721 0247_ $$2doi$$a10.1080/10632913.2022.2076269
000135721 0248_ $$2sideral$$a129698
000135721 037__ $$aART-2022-129698
000135721 041__ $$aeng
000135721 100__ $$0(orcid)0000-0002-1309-4726$$aZamorano-Valenzuela, Felipe Javier
000135721 245__ $$aApproaching innovation in music teacher education for secondary education: The case of Spain
000135721 260__ $$c2022
000135721 5060_ $$aAccess copy available to the general public$$fUnrestricted
000135721 5203_ $$aAlthough teaching would seem to be exclusively coupled to each country’s economic and technological development, it can also be associated with social transformation, provided that it promotes social innovation: in other words, new ways of conceiving society. This leads us to ask how music teachers are being trained in terms of innovation, a concept that plays a decisive role in our current knowledge-based society and economy. This article seeks to obtain an overview of the goals and structures associated with the concept of innovation as featured in the Master’s Degree for secondary-school music teaching in Spain. We analyzed the Spanish legislation and the Master’s Degree programs of 26 Spanish universities. Our results evidence a lack of consensus regarding which objectives should be pursued and which innovative practices should be prioritized. We nevertheless note a tendency to view innovation merely as an exercise designed to help teachers and students adapt to existing school reality by proposing activities and projects in the area of digital technology, along with examples of “good practices”. We conclude that educational innovation needs to make fundamental progress, not only in terms of its presuppositions, but also in its actions, which should lead to the development of critical, creative attitudes that can foster true social transformation. © 2022 Taylor & Francis Group, LLC.
000135721 536__ $$9info:eu-repo/grantAgreement/ES/MINECO/EDU2017-84782
000135721 540__ $$9info:eu-repo/semantics/openAccess$$aby-nc$$uhttp://creativecommons.org/licenses/by-nc/3.0/es/
000135721 592__ $$a0.557$$b2022
000135721 593__ $$aVisual Arts and Performing Arts$$c2022$$dQ1
000135721 593__ $$aEducation$$c2022$$dQ2
000135721 594__ $$a2.2$$b2022
000135721 655_4 $$ainfo:eu-repo/semantics/article$$vinfo:eu-repo/semantics/acceptedVersion
000135721 700__ $$0(orcid)0000-0003-3704-3533$$aSerrano, Rosa M.$$uUniversidad de Zaragoza
000135721 7102_ $$13001$$2189$$aUniversidad de Zaragoza$$bDpto. Expres.Music.Plást.Corp.$$cÁrea Didáctica Expres. Musical
000135721 773__ $$g(2022), 1-11$$tArts Education Policy Review$$x1063-2913
000135721 8564_ $$s292458$$uhttps://zaguan.unizar.es/record/135721/files/texto_completo.pdf$$yPostprint
000135721 8564_ $$s491213$$uhttps://zaguan.unizar.es/record/135721/files/texto_completo.jpg?subformat=icon$$xicon$$yPostprint
000135721 909CO $$ooai:zaguan.unizar.es:135721$$particulos$$pdriver
000135721 951__ $$a2024-06-14-08:58:47
000135721 980__ $$aARTICLE