Starting from the general principles identified by the Legislative Decree no. 60 of 2017 (eg. Art. 1, “Humanistic culture and artistic knowledge are guaranteed to pupils, in order to emphasize the centrality of man, affirming his dignity, needs, rights and values ​​”, and art. 4 “the educational institutions, within the scope of their autonomy, foresee, in the three-year plan of the training offer, theoretical and practical activities to study, produce, listen to music and exchange experiences, in the artistic and musical fields, also through laboratory activities”), the research was necessary to create the opportunity to implement “active music education”, a teaching method supported by a coherent and innovative pedagogical vision. This vision is also integrated with the observation of cultural phenomena, youth musical movements, as well as innovations in language and expressive techniques. Experience is essential for any type of learning, and even more for the aesthetic musical experience. Producing and listening to music have a significant part in revitalizing relationships in the educating community, proving to be decisive in the co-construction of a positive perception of the time spent at school. It also contributes to the development of civic awareness, critical perspectives, and disciplinary and transdisciplinary skills.

Objectives

• To bring out ongoing innovation processes, training and supporting teachers and educators in systematic documentation that stimulates the circularity between practice and reflection, between action and transformation in the relationship;
• Building connections between experiences consistent with the theoretical framework, encouraging cooperation and contamination starting from transferable and reinterpretable ideas, with the overall aim of rethinking, extending and rooting laboratory teaching in musical practice;
• To grasp needs and propose sustainable technological solutions for the implementation of innovative practices in the described pedagogical framework.

Research questions

• Can we derive from the descriptions of the experiments carried out the first signs of a shared culture of music laboratory teaching? What data are there to support the opportunity to extend and enhance music laboratory teaching?
• How can the school of the second cycle address the expressive needs of adolescents in the musical field? What musical workshops can be held in secondary school to encourage intergenerational comparison, the maturation of transdisciplinary skills and combat marginalization and abandonment?

Participants

Teachers of all types of schools and levels.