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

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

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Citations (phrases pertinentes)
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Exemple :

Rfrence (auteurs, titre, lieu et maison ddition, date ddition, nombre de pages, collection)
Gouzouasis,P.,&Bakan,D.(2011).Thefutureofmusicmakingandmusiceducationina
transformativedigitalworld.TheUniversityofMelbournerefereedejournal,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 participatif1, 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.
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.3
YouTube, 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

1 Traduction littrale de lexpression participatory Internet .

could, and we argue should, be integrated fully into emerging music educational practice. p.3
The 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.7
Spending 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.10
Adolescents 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.10
For 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.