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Jordi Albert Ph.D.

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Pedagogue

Education is my other love. When I was young, I never thought I would dedicate my life to anything related to education, but in order to combine my musical studies with a university career, I decided to study Music Education.

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En pocos meses estaba completamente enamorado de la educación. Desde ese momento, hace ya 24 años, comencé a pensar cómo podía aplicar a las clases de trompeta aquello que aprendía en la universidad. Y lo hice desde ese momento y hasta la fecha. He sido profesor de trompeta, pedagogía general, didáctica de la música, etc en Conservatorios Superiores, Conservatorios de grado medio, escuelas de música, Facultades de Música y en Proyectos sociales.

Me interesó, y me sigue interesando, observar a las personas aprender. Me parece algo fascinante. Comencé a observar la manera en la que mis compañeros y yo aprendíamos a tocar los instrumentos musicales. La manera en la que resolvíamos dificultades, a qué se debía un desarrollo mayor de unos al respecto de otros.

Comencé a observar hace más de 20 años cómo aprendían los autodidactas o las personas que participaban en entornos no formales (como las bandas de música en aquel tiempo). Quedaba anonadado con las historias de vida de personas que “no habían estudiado” (en un entorno formal como el conservatorio) pero tocaban genial.

Me especialicé más tarde en pedagogía general, y concretamente en diseño curricular. Aquel era un mundo increíble. Tuve la oportunidad de trabajar como director en dos procesos de diseño curricular nacional (Guatemala y México).

Y luego trabajé en la administración educativa como director de Facultad, coordinador académico, etc. ¡Uf! qué trabajo más difícil. He visto el fenómeno educativo desde diferentes perspectivas durante todos estos años.

En 2012 inicié, de manera formal, una investigación muy profunda en torno a las dificultades de aprendizaje que se presentan al aprender instrumentos musicales. Primero con la trompeta, luego con otros instrumentos de viento metal y, finalmente con la mayoría de instrumentos. Desarrollé teorías propias en torno a la manera en la que aprendemos a tocar un instrumento, por qué se pueden presentar dificultades y cómo antederlas (o prevenirlas). En 2014 fundé un centro de atención especializada por el que han pasado más de 500 músicos.

He podido compartir mi experiencia en más de 200 cursos y conferencias por diferentes partes del mundo. Desde el Conservatorio Superior de París, la Universidad de Florida, o el Real Conservatorio de Madrid hasta muchos pueblos de la geografía española, mexicana o colombiana. Y en todos los casos, por igual, ha sido una experiencia fascinante.

JordiAlbertStudio

It is a center of attention for musicians from different educational backgrounds who find themselves in one of these situations:

  • They want to improve their performance in training or music practice.
  • They face a health problem that interacts with the practice of their instrument.
  • They have developed learning difficulties with the instrument.

If you are interested in learning more you can write to me at info@jordialbert.com.

Teacher trainings

As a summary of the above experience, I have designed several teacher training courses that may be useful for music teachers interested in learning new resources.

Towards a pedagogy of humanly compatible musical instruments

Synopsis: There is currently a wealth of information from different disciplines such as psychology, neuroscience, general pedagogy, music pedagogy, neuromotor skills. The pedagogy of musical instruments must let go of its past anchors (without renouncing the positive aspects) in order to consolidate a new vision of music pedagogy. This course presents a series of collective reflections on the existing body of knowledge to motivate teachers towards methodological or paradigmatic change where appropriate.

Duration: between 8 and 20 hours.

Biomechanical and neuromotor aspects in music pedagogy

Synopsis: The current knowledge surrounding movement issues has been extremely developed by neuromotor science in recent years. This, together with the knowledge of biomechanics, can be tremendously useful in developing a kind of instrument to develop methodological resources, support evaluation, etc. This course presents this information with a practical application for the attention of learning difficulties, injury prevention or high-performance development.

Duration: between 20 and 80 hours (depending on the number of instrumentalists and teachers of different instruments participating).

Class programming design: a vision from the philosophy of education, curriculum design, and evaluation theories

Synopsis: This course is oriented to the design of class programs really applicable to the classroom as a main tool. Unfortunately, there is a distancing of music faculty from the design or assessment instruments. This is because they may not be useful when they have not been properly prepared or designed. Music teachers are not reluctant to use them as long as they can be useful in the classroom. The course presents the different theories with their practical application and a model of mastery of the musical instrument developed by the teacher that allows the elaboration of the programming in a very simple way. As a result, class programs are worked on and corrected.

Duration: between 30 and 120 hours (depending on the number of instrumentalists and teachers of different instruments participating).

Integration projects of the arts in preschool, primary, and secondary education

Synopsis: In recent years, Dr. Jordi Albert has directed arts integration projects in preschool, primary and secondary schools. As director of the Research Center for the Integrated Learning of Arts, Languages and Content, he is dedicated to developing methodological strategies, teacher training and educational research projects in basic education centers. This course addresses the theoretical principles that support such integration as well as concrete strategies to be applied in basic education centers.

Duration: between 20 and 80 hours.

Trumpet workshops

As a result of all the information I have been able to collect to date I have designed trumpet workshops and masterclasses with a variable duration (depending on the needs of each conservatory or institution) in which different aspects are worked (below) thinking at all times that the student can take a product applicable to the study at home.

  • Study techniques.
  • Practical warm-up exercises.
  • Practical exercises to work on basic skills on the trumpet: breathing cycle, position with the instrument, sound production, etc.
  • Complex skills exercises: Exercises of “flexibility”, articulation, or legato with speed or high difficulty.
  • Individualized attention to cases in public or private sessions.

Conferences

With a duration of 1 hour and 30 minutes per conference (70 minutes + 20 minutes of questions).

What can music educators learn from Ping Pong coaches?

A comparison between the way Ping Pong coaches and teachers of a musical instrument organize training and development projects.

The mastery of the musical instrument: a theoretical model with many applications in the instrument classroom

The theoretical model of musical instrument mastery developed by Dr. Albert is presented through simple examples and in a very visual way. Practical applications are shown for personal training design or for student follow-up.

Training tactics for high performance in music

They are shown in a set of training tactics and/or study techniques that favor faster skill development. Some classical strategies such as the progressive incorporation of difficulty to the exercises are compared with other more novel strategies such as reversal learning or the design of self-regulated exercises.

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