Modle de fiche de lecture

Rfrence (auteurs, titre, lieu et maison ddition, date ddition, nombre de pages, collection)

Localisation

Sujet

Mots cls

Rsum (position de lauteur, ses arguments, son hypothse, ses ides importantes, conclusion)

Dfinitions retenir

Citations (phrases pertinentes)

Commentaires personnels

Exemple:

Rfrence (auteurs, titre, lieu et maison ddition, date ddition, nombre de pages, collection)

Gouzouasis, P., & Bakan, D. (2011). The future of music making and music education in a transformative digital world. The University of Melbourne refereed e-journal, 2(2), 21.

Localisation

http://education.unimelb.edu.au/__data/assets/pdf_file/0003/1106229/012_GOUZOUASIS.pdf

Sujet

Enqute sur limpact de lutilisation des technologies numriques sur lducation musicale.

Mots cls

Musique, ducation musicale, technologies, re numrique, Web 2.0.

Rsum (position de lauteur, ses arguments, son hypothse, ses ides importantes, conclusion) Lutilisation des technologies a boulevers les influences musicales de nos socits de multiples gards, en dcuplant les possibilits dans la manire dapprendre, denseigner ou de pratiquer la musique. Les utilisateurs du web participatif[footnoteRef:1], comme YouTube ou Facebook, par exemple, peuvent diriger et crer leurs propres apprentissages dans un contexte informel. Lauteur ne prsente pas dargument ou dhypothse, mais prsente plutt les faits de la ralit numrique actuelle sur lapprentissage musical. Dabord, il numre diffrentes technologies et plateformes musicales qui servent des fins pdagogiques. Puis, il souligne limportance pour les professeurs de sadapter aux technologies qui font partie du quotidien de leurs lves. Enfin, il explique le phnomne de la nativit numrique sur le plan pdagogique. [1: Traduction littrale de lexpression participatory Internet. ]

Dfinitions retenir

Citations (phrases pertinentes)

The rapid development of digital music media made possible the removal of the corporate middleman and distribution system from the marketing formula that had been in place since the 1950s, and encouraged do-it-yourself, indy artists to produce and distribute their own music. The resulting cultural shift created fertile ground for a new folk culture of music creation. p.3YouTube, Facebook and other social networking tools, as well as hand held devices (e.g., iPhone, iPad, Android phones, Samsung Galaxy Tab) have forever changed the ways that music is created, listened to, and distributed (Kot, 2009). New digital technologies provide tools, networks, and creative ways of producing and recording sound that are already in use, that could, and we argue should, be integrated fully into emerging music educational practice. p.3The difference is that today, what we have traditionally considered as non-musicians can become musicians. p.5[...] it seems that people want to teach the ways that they were taught and ignore new developments. They recapitulate their own learning in their practices rather than become innovators. p.7Spending just a few hours on YouTube it becomes self-evident that digital media enables students to learn on their own or in small collaborative groups to compose, rehearse, perform, critically evaluate, and listen to music, and that this is indeed what is happening if not generally in music classrooms where the traditionalist model of teacher-directed, transmissive, rote teaching-to-learn strategies prevail. p.10Adolescents of today who aspire to learn music, who are highly engaged with music making, are more than mere amateursthey are digital natives, expert gamers, self-motivated learners, and self-directed learners. p.10For millions of adolescents and adults [...] school education is no longer needed in many music learning contexts. p.11

Commentaires personnels Article trs intressant pour connatre les diffrents outils technologiques disponibles des fins pdagogiques. Il y a beaucoup dinformations sur limplication de ces technologiques sur lducation musicale, et les enjeux que les enseignants auront faire face en ce 21e sicle.