<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2184-0180</journal-id>
<journal-title><![CDATA[Convergências - Revista de Investigação e Ensino das Artes]]></journal-title>
<abbrev-journal-title><![CDATA[Revista Convergências]]></abbrev-journal-title>
<issn>2184-0180</issn>
<publisher>
<publisher-name><![CDATA[Escola Superior de Artes AplicadasInstituto Politécnico Castelo Branco]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-01802025000100083</article-id>
<article-id pub-id-type="doi">10.53681/c1514225187514391s.35.299</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[A proposal of music creation for all ages: a sound postcard back and forth]]></article-title>
<article-title xml:lang="es"><![CDATA[Una propuesta de creación musical para todas las edades: una postal sonora de ida y vuelta]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Galán]]></surname>
<given-names><![CDATA[María Elena Riaño]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Ribes]]></surname>
<given-names><![CDATA[Adolf Murillo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Cantabria Departamento de Educación Facultad de Educación]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidad de Valencia Instituto de Creatividad e Innovaciones Educativas ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2025</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2025</year>
</pub-date>
<volume>18</volume>
<numero>35</numero>
<fpage>83</fpage>
<lpage>100</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-01802025000100083&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-01802025000100083&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-01802025000100083&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Throughout the article, a transdisciplinary intervention proposal is presented based on a sound creation experience carried out by two art educators at the Botín Centre in Santander (Spain) and designed for the participation of groups of different ages, with and without any musical training. A postcard inspired by the architectural building of this contemporary art centre was designed, which served as a graphic score that, together with a decoding legend, facilitated the collective sound creation. Using a didactic and collaborative approach, the participants carried out fieldwork beforehand to collect sounds from the immediate environment and then manipulate and transform them using analogue and digital tools. The study used a qualitative ethnographic approach to analyse the interactions and creative experiences of 100 participants, divided into two groups: teachers with musical training and families with children aged 4-14. Five 1.5-hour sessions were held, two with teachers and three with families, following the same work phases in each session. The results obtained show different sound pieces housed in a QR code printed on the postcard itself, transformed into a sound postcard, as well as corroborating the idea that age, training or even socio-cultural condition need not be an impediment to participating in culture understood as a collective artistic construction.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen A lo largo del artículo se presenta una propuesta de intervención transdisciplinar basada en una experiencia de creación sonora realizada por dos arte-educadores en el Centro Botín de Santander (España) y concebida para la participación de grupos de diferentes edades, con y sin ningún tipo de formación musical. Se diseñó una postal inspirada en el propio edificio arquitectónico de este centro de arte contemporáneo, la cual sirvió como partitura gráfica que, junto a una leyenda de decodificación, facilitó la creación sonora colectiva. Desde un enfoque didáctico y colaborativo, los participantes hicieron un trabajo de campo previo de recogida de sonidos del entorno próximo y una posterior manipulación y transformación de estos mediante el uso de herramientas analógicas y digitales. El estudio empleó un enfoque cualitativo etnográfico para analizar las interacciones y experiencias creativas de 100 participantes, divididos en dos grupos: docentes con formación musical y familias con niños de 4 a 14 años. Se realizaron cinco sesiones de 1.5 horas, dos con docentes y tres con familias, siguiendo las mismas fases de trabajo en cada sesión. Los resultados obtenidos muestran diferentes piezas sonoras alojadas en un código QR impreso en la misma postal, transformada en postal sonora, además de corroborar la idea de que la edad, la formación o, incluso, la condición sociocultural no tiene por qué ser un impedimento para participar de la cultura entendida como una construcción artística colectiva.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[postcard]]></kwd>
<kwd lng="en"><![CDATA[musical creation]]></kwd>
<kwd lng="en"><![CDATA[graphic score]]></kwd>
<kwd lng="en"><![CDATA[collaborative learning]]></kwd>
<kwd lng="es"><![CDATA[postal sonora]]></kwd>
<kwd lng="es"><![CDATA[creación musical]]></kwd>
<kwd lng="es"><![CDATA[partitura gráfica]]></kwd>
<kwd lng="es"><![CDATA[aprendizaje colaborativo]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Allsup]]></surname>
<given-names><![CDATA[R. E]]></given-names>
</name>
</person-group>
<source><![CDATA[Remixing the Classroom. Toward an Open Philosophy of Music Education]]></source>
<year>2016</year>
<publisher-name><![CDATA[Indiana University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bautista]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Toh]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
<name>
<surname><![CDATA[Mancenido]]></surname>
<given-names><![CDATA[Z.]]></given-names>
</name>
<name>
<surname><![CDATA[Wong]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Student-Centered Pedagogies in the Singapore Music Classroom: A Case Study on Collaborative Composition]]></article-title>
<source><![CDATA[Australian Journal of Teacher Education]]></source>
<year>2018</year>
<volume>43</volume>
<numero>11</numero>
<issue>11</issue>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Binkhorst]]></surname>
<given-names><![CDATA[E]]></given-names>
</name>
<name>
<surname><![CDATA[Dekker]]></surname>
<given-names><![CDATA[T. D]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Agenda for Co-Creation Tourism Experience Research]]></article-title>
<source><![CDATA[Journal of Hospitality Marketing and Management]]></source>
<year>2009</year>
<volume>18</volume>
<numero>2-3</numero>
<issue>2-3</issue>
<page-range>311-27</page-range></nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bishop]]></surname>
<given-names><![CDATA[L]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Collaborative musical creativity: how ensembles coordinate spontaneity]]></article-title>
<source><![CDATA[Frontiers in Psychology]]></source>
<year>2018</year>
<volume>9</volume>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bourriaud]]></surname>
<given-names><![CDATA[N]]></given-names>
</name>
</person-group>
<source><![CDATA[Estética relacional]]></source>
<year>2017</year>
<publisher-name><![CDATA[Adriana Hidalgo editora]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Brondum]]></surname>
<given-names><![CDATA[L]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Graphic notation, indeterminacy and improvisation: Implementing choice within a compositional framework]]></article-title>
<source><![CDATA[Open Cultural Studies]]></source>
<year>2018</year>
<volume>2</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>639-53</page-range></nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Burnard]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Dragovic]]></surname>
<given-names><![CDATA[T]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Collaborative creativity in instrumental group music learning as a site for enhancing pupil wellbeing]]></article-title>
<source><![CDATA[Cambridge Journal of Education]]></source>
<year>2015</year>
<volume>45</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>371-92</page-range></nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Campos]]></surname>
<given-names><![CDATA[A. C.]]></given-names>
</name>
<name>
<surname><![CDATA[Mendes]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
<name>
<surname><![CDATA[Oom Do Valle]]></surname>
<given-names><![CDATA[P]]></given-names>
</name>
<name>
<surname><![CDATA[Scott]]></surname>
<given-names><![CDATA[M]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Co-creation of Tourist Experiences: A Literature Review]]></article-title>
<source><![CDATA[Current Issues in Tourism]]></source>
<year>2018</year>
<volume>21</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>369-400</page-range></nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Corradini]]></surname>
<given-names><![CDATA[M]]></given-names>
</name>
</person-group>
<source><![CDATA[Crear. Didáctica de las operaciones mentales]]></source>
<year>2011</year>
<publisher-name><![CDATA[Narcea]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Daly]]></surname>
<given-names><![CDATA[S. R.]]></given-names>
</name>
<name>
<surname><![CDATA[Mosyjowski]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Seifert]]></surname>
<given-names><![CDATA[C. M]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Teaching creative process across disciplines]]></article-title>
<source><![CDATA[The Journal of Creative Behaviour]]></source>
<year>2016</year>
<volume>53</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>5-17</page-range></nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Delalande]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Vidal]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Reibel]]></surname>
<given-names><![CDATA[G]]></given-names>
</name>
</person-group>
<source><![CDATA[La música es un juego de niños]]></source>
<year>1995</year>
<publisher-name><![CDATA[Ricordi]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Delalande]]></surname>
<given-names><![CDATA[F]]></given-names>
</name>
</person-group>
<source><![CDATA[Las conductas musicales]]></source>
<year>2013</year>
<publisher-name><![CDATA[Editorial Universidad de Cantabria]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[DeVito]]></surname>
<given-names><![CDATA[D]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Technology and music collaboration for people with significant disabilities]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Mantie]]></surname>
<given-names><![CDATA[R]]></given-names>
</name>
<name>
<surname><![CDATA[Ruthman]]></surname>
<given-names><![CDATA[A]]></given-names>
</name>
</person-group>
<source><![CDATA[Oxford Handbook of Technology and Music Education]]></source>
<year>2017</year>
<page-range>404-12</page-range><publisher-name><![CDATA[Oxford University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Duxbury]]></surname>
<given-names><![CDATA[N]]></given-names>
</name>
<name>
<surname><![CDATA[Richards]]></surname>
<given-names><![CDATA[G]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Towards a Research Agenda for Creative Tourism: Developments, Diversity, and Dynamics]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Duxbury]]></surname>
<given-names><![CDATA[N]]></given-names>
</name>
<name>
<surname><![CDATA[Richards]]></surname>
<given-names><![CDATA[G]]></given-names>
</name>
</person-group>
<source><![CDATA[A Research Agenda for Creative Tourism]]></source>
<year>2019</year>
<page-range>1-14</page-range><publisher-name><![CDATA[Edward Elga]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ellsworth]]></surname>
<given-names><![CDATA[E]]></given-names>
</name>
</person-group>
<source><![CDATA[Places of Learning: Media, Architecture, Pedagogy]]></source>
<year>2005</year>
<edition>1</edition>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Escóssia]]></surname>
<given-names><![CDATA[L]]></given-names>
</name>
</person-group>
<source><![CDATA[O Coletivo como Plano de Coengendramento do Indivíduo e da Sociedade]]></source>
<year>2014</year>
<publisher-name><![CDATA[UFS Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Galiana]]></surname>
<given-names><![CDATA[J. L]]></given-names>
</name>
</person-group>
<source><![CDATA[La libre improvisación musical. Fuente inagotable de inteligencia emocional]]></source>
<year>2024</year>
<publisher-name><![CDATA[EdictOràlia Música]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gallagher]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Prior]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Listening walks: A method of multiplicity]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Bates]]></surname>
<given-names><![CDATA[C]]></given-names>
</name>
<name>
<surname><![CDATA[Rhys-Taylor]]></surname>
<given-names><![CDATA[A]]></given-names>
</name>
</person-group>
<source><![CDATA[Walking through social research]]></source>
<year>2017</year>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gallagher]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Prior]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Needham]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Holmes]]></surname>
<given-names><![CDATA[R]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Listening differently: A pedagogy for expanded listening]]></article-title>
<source><![CDATA[Br Educ Res J]]></source>
<year>2017</year>
<volume>43</volume>
<page-range>1246-65</page-range></nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gershon]]></surname>
<given-names><![CDATA[W. S]]></given-names>
</name>
</person-group>
<source><![CDATA[Sound curriculum: Sonic studies in educational theory, method, y practice]]></source>
<year>2017</year>
<publisher-name><![CDATA[Taylor y Francis]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gershon]]></surname>
<given-names><![CDATA[W. S]]></given-names>
</name>
</person-group>
<source><![CDATA[Sensuous curriculum: Politics and the senses in education]]></source>
<year>2019</year>
<publisher-name><![CDATA[IAP]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Green]]></surname>
<given-names><![CDATA[L]]></given-names>
</name>
</person-group>
<source><![CDATA[Music on deaf ears. Musical meaning, ideology and education society]]></source>
<year>1988</year>
<publisher-name><![CDATA[Manchester University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Green]]></surname>
<given-names><![CDATA[L]]></given-names>
</name>
</person-group>
<source><![CDATA[Music, informal learning and the school: A new classroom pedagogy]]></source>
<year>2008</year>
<publisher-name><![CDATA[Ashgate]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hemlin]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Allwood]]></surname>
<given-names><![CDATA[C.M.]]></given-names>
</name>
<name>
<surname><![CDATA[Martin]]></surname>
<given-names><![CDATA[B]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Creative knowledge environments]]></article-title>
<source><![CDATA[Creativity Research Journal]]></source>
<year>2008</year>
<volume>20</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>196-210</page-range></nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hoffmann]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Ivcevic]]></surname>
<given-names><![CDATA[Z.]]></given-names>
</name>
<name>
<surname><![CDATA[Brackett]]></surname>
<given-names><![CDATA[M]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Creativity in the Age of Technology: Measuring the Digital Creativity of Millennials]]></article-title>
<source><![CDATA[Creativity Research Journal]]></source>
<year>2016</year>
<volume>28</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>149-53</page-range></nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Karlsen]]></surname>
<given-names><![CDATA[S]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Using musical agency as a lens: Researching music education from the angle of experience]]></article-title>
<source><![CDATA[Research Studies in Music Education]]></source>
<year>2011</year>
<volume>33</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>107-21</page-range></nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kaschub]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Smith]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
</person-group>
<source><![CDATA[Minds on Music. Composition for creative and critical Thinking]]></source>
<year>2009</year>
<publisher-name><![CDATA[Roman y Littlefield Publishers]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kenny]]></surname>
<given-names><![CDATA[A]]></given-names>
</name>
</person-group>
<source><![CDATA[Communities of musical practice]]></source>
<year>2016</year>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Krueger]]></surname>
<given-names><![CDATA[P. J]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Doing ethnography in music education]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Conway]]></surname>
<given-names><![CDATA[C. M]]></given-names>
</name>
</person-group>
<source><![CDATA[Approaches to qualitative research: Oxford handbook of qualitative research in American music education]]></source>
<year>2020</year>
<volume>1</volume>
<page-range>105-6</page-range><publisher-name><![CDATA[Oxford University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lage]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Cremades]]></surname>
<given-names><![CDATA[R]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Group improvisation as dialogue: Opening creative spaces in secondary music education]]></article-title>
<source><![CDATA[Thinking skills and creativity]]></source>
<year>2019</year>
<volume>31</volume>
<page-range>232-42</page-range></nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Labelle]]></surname>
<given-names><![CDATA[B]]></given-names>
</name>
</person-group>
<source><![CDATA[Acoustic Territories, Sound Culture and Everyday Life]]></source>
<year>2010</year>
<publisher-name><![CDATA[Continuum]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B32">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Levisohn]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Schiphorst]]></surname>
<given-names><![CDATA[T]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Embodied engagement: Supporting movement awareness in ubiquitous computing systems]]></article-title>
<source><![CDATA[Ubiquitous Learning]]></source>
<year>2011</year>
<volume>3</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>97-111</page-range></nlm-citation>
</ref>
<ref id="B33">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Martin]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Toward authentic electronic music in the curriculum: connecting teaching to current compositional practices]]></article-title>
<source><![CDATA[International Journal of Music Education]]></source>
<year>2012</year>
<volume>30</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>120-32</page-range></nlm-citation>
</ref>
<ref id="B34">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mills]]></surname>
<given-names><![CDATA[S]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Voice: Sonic geographies of childhood]]></article-title>
<source><![CDATA[Children&#8217;s Geographies]]></source>
<year>2017</year>
<volume>15</volume>
<numero>6</numero>
<issue>6</issue>
<page-range>664-77</page-range></nlm-citation>
</ref>
<ref id="B35">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Murillo]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Rian&#771;o]]></surname>
<given-names><![CDATA[M.E.]]></given-names>
</name>
<name>
<surname><![CDATA[Berbel]]></surname>
<given-names><![CDATA[N]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[El aula como caja de resonancia para la creacio&#769;n sonora: nuevas arquitecturas y herramientas tecnolo&#769;gicas para acercar el arte sonoro al a&#769;mbito educativo]]></article-title>
<source><![CDATA[Revista Electro&#769;nica de LEEME]]></source>
<year>2019</year>
<volume>43</volume>
<page-range>1-18</page-range></nlm-citation>
</ref>
<ref id="B36">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Murillo]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Rian&#771;o]]></surname>
<given-names><![CDATA[M.E.]]></given-names>
</name>
<name>
<surname><![CDATA[Bautista]]></surname>
<given-names><![CDATA[A]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Collaborative Musical Creativity between Students and Adults: The Sonorous Paella]]></article-title>
<source><![CDATA[Creativity. Theories - Research - Applications]]></source>
<year>2021</year>
<volume>8</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>32-52</page-range></nlm-citation>
</ref>
<ref id="B37">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Murillo]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Riaño]]></surname>
<given-names><![CDATA[M. E]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Play Box: un artefacto sonoro para abordar la experimentación sonora en las aulas. Estudio exploratorio basado en una intervención de creación electroacústica en la formación inicial de profesorado]]></article-title>
<source><![CDATA[Revista Interuniversitaria De Formación Del Profesorado]]></source>
<year>2023</year>
<volume>98</volume>
<numero>37.3</numero>
<issue>37.3</issue>
</nlm-citation>
</ref>
<ref id="B38">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Nancy]]></surname>
<given-names><![CDATA[J]]></given-names>
</name>
</person-group>
<source><![CDATA[El arte hoy]]></source>
<year>2014</year>
<publisher-name><![CDATA[Prometeo Libros]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B39">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Nouri]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Farsi]]></surname>
<given-names><![CDATA[S]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The current state of arts education in Iran: A case study in two elementary schools using educational criticism]]></article-title>
<source><![CDATA[International Journal of Art and Design Education]]></source>
<year>2018</year>
<volume>37</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>125-36</page-range></nlm-citation>
</ref>
<ref id="B40">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[O&#8217;Dell]]></surname>
<given-names><![CDATA[T]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Experiencescape]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[O&#8217;Dell]]></surname>
<given-names><![CDATA[P]]></given-names>
</name>
<name>
<surname><![CDATA[Billing]]></surname>
<given-names><![CDATA[T]]></given-names>
</name>
</person-group>
<source><![CDATA[Experiencescapes: Tourism, Culture, and Economy]]></source>
<year>2010</year>
<page-range>11-33</page-range><publisher-name><![CDATA[Copenhagen Business School Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B41">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Oliveira]]></surname>
<given-names><![CDATA[A. M]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Arte socialmente engajada e práticas de colaboração: ações movidas pelos afectos]]></article-title>
<source><![CDATA[Art Sensorium: Revista Interdisciplinar Internacional de Artes Visuais]]></source>
<year>2020</year>
<volume>07</volume>
<numero>01</numero>
<issue>01</issue>
<page-range>58-72</page-range></nlm-citation>
</ref>
<ref id="B42">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pardo]]></surname>
<given-names><![CDATA[H]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Geekonomia]]></article-title>
<source><![CDATA[Un radar para producir en el postdigitalismo]]></source>
<year>2010</year>
<publisher-name><![CDATA[Publicaciones Universitat de Barcelona]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B43">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Philo]]></surname>
<given-names><![CDATA[C]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Childhood is measured out by sounds and sights and smells, before the dark of reason grows: Children&#8217;s geographies at 12]]></article-title>
<source><![CDATA[Children&#8217;s Geographies]]></source>
<year>2016</year>
<volume>14</volume>
<numero>6</numero>
<issue>6</issue>
<page-range>623-40</page-range></nlm-citation>
</ref>
<ref id="B44">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Reybrouck]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Verschaffel]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
<name>
<surname><![CDATA[Lauwerier]]></surname>
<given-names><![CDATA[S]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Children&#8217;s graphical notations as representational tools for musical sense-making in a music-listening task]]></article-title>
<source><![CDATA[British Journal of Music Education]]></source>
<year>2009</year>
<volume>26</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>189-211</page-range></nlm-citation>
</ref>
<ref id="B45">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ruokonen]]></surname>
<given-names><![CDATA[I]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[I - from dreams to reality&#8217;: A case study of developing youngsters self-efficacy and social skills through an arts educational project in schools]]></article-title>
<source><![CDATA[International Journal of Art y Design Education]]></source>
<year>2018</year>
<volume>37</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>480-92</page-range></nlm-citation>
</ref>
<ref id="B46">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Schafer]]></surname>
<given-names><![CDATA[R.M]]></given-names>
</name>
</person-group>
<source><![CDATA[El paisaje sonoro y la afinación del mundo]]></source>
<year>2013</year>
<publisher-name><![CDATA[Intermedio]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B47">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sawyer]]></surname>
<given-names><![CDATA[R. K]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Group creativity: musical performance and collaboration]]></article-title>
<source><![CDATA[Psychology of Music]]></source>
<year>2006</year>
<volume>34</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>148-65</page-range></nlm-citation>
</ref>
<ref id="B48">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Toop]]></surname>
<given-names><![CDATA[D]]></given-names>
</name>
</person-group>
<source><![CDATA[Resonancia siniestra]]></source>
<year>2010</year>
<publisher-name><![CDATA[Caja Negra Editorial]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B49">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Vecchi]]></surname>
<given-names><![CDATA[V]]></given-names>
</name>
</person-group>
<source><![CDATA[Art and creativity in Reggio Emilia. Exploring the role and potential of ateliers in early childhood Education]]></source>
<year>2010</year>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B50">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Watts]]></surname>
<given-names><![CDATA[L. L.]]></given-names>
</name>
<name>
<surname><![CDATA[Steele]]></surname>
<given-names><![CDATA[L. M.]]></given-names>
</name>
<name>
<surname><![CDATA[Song]]></surname>
<given-names><![CDATA[H]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Re-examining the relationship between need for cognition and creativity: Predicting creative problem solving across multiple domains]]></article-title>
<source><![CDATA[Creativity Research Journal]]></source>
<year>2017</year>
<volume>29</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>21-8</page-range></nlm-citation>
</ref>
<ref id="B51">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Wegerif]]></surname>
<given-names><![CDATA[R]]></given-names>
</name>
</person-group>
<source><![CDATA[Dialogic: Education for the Internet Age]]></source>
<year>2013</year>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
