The challenges posed by contemporary society have amplified the issue of learning by placing it at the center of educational and political discourses. The development of autonomy, critical and creative thinking, research and cooperation skills, curiosity, learning to learn, all connected with debates born in the cognitive and sociocognitive psychology of Piaget, Bruner, Vigotsky and Bandura and in the ideas of the active school promoted by Dewey, not only configures guiding principles of curricular and ministerial discourses (e.g. aprendizagens essenciais), but also requires alternative and complementary models to the expositive, imitative and direct instruction. Problem-based Learning (PBL) is one of the possible paths. Although its study brings together scientific literature, the application to music education is far from being consolidated, particularly regarding the reflection, design and empirical treatment of action plans in line both with curricular purposes and ideals. Here, we propose possibilities to learn music by creating and composing, a path which, following the thoughts of authors such as Burnard, Hickey, Paynter, Priest, Webster and Wiggins, seems to meet the challenges of that model. In parallel with definitions and characteristics, the text presents the PBL as an organizer of the educational action, having in mind the analyses in the context of music. The specific objectives are the contribution to clarify the subject, including the relevance and justification of the proposal around the conception of a music learning model based on problems arising from didactic drawings elaborated from processes of composing; upgrade and substantiate, theoretically and empirically, the PBL educational model, highlighting the relationship and relevance between their assumptions and the research design carried out by the authors and integrated in the Portuguese secondary school. The text presents a bibliographical review on PBL, defining key concepts and highlighting publications of scientific, theoretical and empirical nature, general and musical, as well as portuguese ministerial documents. The information collected was organized into categories of analysis which constituted the architecture of the text. Sustaining the composition as a path of intervention which identifies itself with the model described, born from formulations developed in the classroom, was consolidated by the study of authors such as those above-mentioned. Descriptions on PBL definition and characteristics stand out, as well as learning process contemplating collaborative work and the teacher as a facilitator, and, less assertively, effects on knowledge acquisition. Empirical evidence falls upon long-term memory and social interaction gains, as well constraints focusing on the initial adaptation of teachers and students, time management, individual and group evaluation, definition of problems, their relationship with previous concepts, suggesting the need of further investigation. Regarding music education by composing, related ideas about thinking in sound, audiation, divergent and creative thinking, focus on the student, collaborative work, subjects inherent to challenge based learning, also are highlighted. As explicit and implicit in literature, learning music by composing resembles ways of solving problems. That is, thinking musically seeking solutions to challenges, being inherent to the creation process, justifies the development of the PBL as complementary to teacher-centered methods and a learning path.

The challenges posed by contemporary society have amplified the issue of learning by placing it at the center of educational and political discourses. The development of autonomy, critical and creative thinking, research and cooperation skills, curiosity, learning to learn, all connected with debates born in the cognitive and sociocognitive psychology of Piaget, Bruner, Vigotsky and Bandura and in the ideas of the active school promoted by Dewey, not only configures guiding principles of curricular and ministerial discourses (e.g. aprendizagens essenciais), but also requires alternative and complementary models to the expositive, imitative and direct instruction. Problem-based Learning (PBL) is one of the possible paths. Although its study brings together scientific literature, the application to music education is far from being consolidated, particularly regarding the reflection, design and empirical treatment of action plans in line both with curricular purposes and ideals. Here, we propose possibilities to learn music by creating and composing, a path which, following the thoughts of authors such as Burnard, Hickey, Paynter, Priest, Webster and Wiggins, seems to meet the challenges of that model. In parallel with definitions and characteristics, the text presents the PBL as an organizer of the educational action, having in mind the analyses in the context of music. The specific objectives are the contribution to clarify the subject, including the relevance and justification of the proposal around the conception of a music learning model based on problems arising from didactic drawings elaborated from processes of composing; upgrade and substantiate, theoretically and empirically, the PBL educational model, highlighting the relationship and relevance between their assumptions and the research design carried out by the authors and integrated in the Portuguese secondary school. The text presents a bibliographical review on PBL, defining key concepts and highlighting publications of scientific, theoretical and empirical nature, general and musical, as well as portuguese ministerial documents. The information collected was organized into categories of analysis which constituted the architecture of the text. Sustaining the composition as a path of intervention which identifies itself with the model described, born from formulations developed in the classroom, was consolidated by the study of authors such as those above-mentioned. Descriptions on PBL definition and characteristics stand out, as well as learning process contemplating collaborative work and the teacher as a facilitator, and, less assertively, effects on knowledge acquisition. Empirical evidence falls upon long-term memory and social interaction gains, as well constraints focusing on the initial adaptation of teachers and students, time management, individual and group evaluation, definition of problems, their relationship with previous concepts, suggesting the need of further investigation. Regarding music education by composing, related ideas about thinking in sound, audiation, divergent and creative thinking, focus on the student, collaborative work, subjects inherent to challenge based learning, also are highlighted. As explicit and implicit in literature, learning music by composing resembles ways of solving problems. That is, thinking musically seeking solutions to challenges, being inherent to the creation process, justifies the development of the PBL as complementary to teacher-centered methods and a learning path.

The focus of this study lies in the need to debate theoretical and practical perspectives on the teaching, learning and assessment of music, specifically within the scope of the basic education curriculum, which can enhance and provide more effective responses to what is currently sought for quality education for all (UNESCO, 2015). In the context of the Music subject, there is a tendency to value forms of knowledge based on performative reproduction of music. That is, of products or responses resulting mainly from what the teacher taught and not so much from processes and results of what the student was able to learn based on the possibilities generated and focused on discovery, action and creativity. Thus, this project assumes a didactic thinking and acting, by a teacher-researcher (author of the project), directed to the development of creative-musical thinking in the subject of Music in Secondary School*. The principle “sound before symbol”/”sound before sign” (McPherson & Gabrielsson, 2002; Mills & McPherson, 2006), processes based on problem solving and the acquisition of specific music and transversal skills (collaborative work, communication, self/hetero evaluation) will be highlighted. This way, the didactic action of the teacher-researcher assumes a coherence between the triple teaching & learning & assessment, as advocated by several authors (e.g. Fernandes, 2009; Fautley, 2010). This presentation reports on the results obtained in the exploratory study even though it generically addresses the objectives and methods of all study.

The focus of this study lies in the need to debate theoretical and practical perspectives on the teaching, learning and assessment of music, specifically within the scope of the basic education curriculum, which can enhance and provide more effective responses to what is currently sought for quality education for all (UNESCO, 2015). In the context of the Music subject, there is a tendency to value forms of knowledge based on performative reproduction of music. That is, of products or responses resulting mainly from what the teacher taught and not so much from processes and results of what the student was able to learn based on the possibilities generated and focused on discovery, action and creativity. Thus, this project assumes a didactic thinking and acting, by a teacher-researcher (author of the project), directed to the development of creative-musical thinking in the subject of Music in Secondary School*. The principle “sound before symbol”/”sound before sign” (McPherson & Gabrielsson, 2002; Mills & McPherson, 2006), processes based on problem solving and the acquisition of specific music and transversal skills (collaborative work, communication, self/hetero evaluation) will be highlighted. This way, the didactic action of the teacher-researcher assumes a coherence between the triple teaching & learning & assessment, as advocated by several authors (e.g. Fernandes, 2009; Fautley, 2010). This presentation reports on the results obtained in the exploratory study even though it generically addresses the objectives and methods of all study.

Problem-based Learning (PBL), one of the most widespread student-centered teaching models,prioritizescooperative and challenge-based learning,withteachers actingas "facilitators", andformative assessmentprocesses. In music, the search for ways to enhance the (co)construction of learning and complementary responses to expository methods resonates with composition centered proposals,with some incorporated intoMusic Education curricula as in the Portuguese case. What characterizes PBL, what data exists on its application and what links can we establish with musical learning to systematize its implementation and study through composition reflectthe questions motivatingthis literature review. Thinking in sound, thinking in music, holistic learning, creative thinking,providethe constructs and references through which we discuss the foundations of thismodel. The summaries, in turn, produce the following conclusions: the study of PBL generates both benefits and constraints, and research on its theoretical principles continues to be far more abundant; composition initself represents a problem-solving process, and musical learning through composition, when viewed according to the aforementioned constructs, can take shape in a way that aligns with PBL;itworksas a guiding model for musical and educational planning, action and research, particularly through composition.

Este estudo enquadra-se num Doutoramento em Educação e tem como objetivo discutir possibilidades didáticas de ensino de música no currículo do 3º Ciclo, centradas na aprendizagem e aluno, concretamente, o modelo da Aprendizagem Baseada em Problemas e a criação e composição como um caminho para o seu desenvolvimento. A procura de estratégias de avaliação formativa consentâneas com os princípios da abordagem enunciada, constituindo principal problema e foco de estudo, delineou a investigação-ação realizada, através da qual se pretendeu averiguar e interpretar, pela voz dos atores, representações significativas daquele modelo de aprendizagem. O estudo desenvolveu-se durante um ano letivo e centrou-se numa turma do oitavo ano lecionada pela professora-investigadora. Participaram também os restantes professores de Música da escola que desenvolveram, em duas turmas, uma experiência orientada de acordo com os princípios em estudo. Como técnicas e instrumentos de recolha de dados, utilizaram-se o inquérito por entrevista, a filmagem de aulas e o diário da professora-investigadora. Os dados obtidos dos alunos apontaram para uma valorização do trabalho de grupo, pela partilha de opiniões, esclarecimento de dúvidas, interajuda, e desenvolvimento da confiança e criatividade. A avaliação foi destacada pelo feedback da professora nas atividades visto como positivo para a aprendizagem e pela participação dos alunos na construção do seu processo de avaliação tida como novidade. A visão dos professores ressaltou a promoção do “saber ouvir” e “saber criar”, considerando que as tarefas realizadas permitiram aos alunos saírem da sua “zona de conforto”, com vista à construção de saberes ao longo do tempo, e à partilha de aprendizagens e avaliação. Perspetivando ainda como inovações a metodologia de trabalho e avaliação, reforçaram como benefícios o desenvolvimento de aprendizagens através da composição (e restantes domínios de forma holística), do trabalho de grupo com promoção da autonomia, e da descentralização do processo de avaliação do professor.

This article presents a study conducted in a Portuguese school over the course of an academic year, led by a teacher-researcher in an eighth grade music class (average of 13 years old). The study also involved the participation of two other schoolteachers for the implementation of a supervised activity. It is problematised whether the intersection of Problem-Based Learning and composition in an authentic assessment approach, constitutes a conceptual and pedagogical pathway for the development of critical, creative, and holistic thinking, as well as cooperation and the assessment of learning. The researcher conducted interviews with pupils and teachers, following an action-research approach. The results indicated possibilities for teaching focused on learning through composition and cooperative work, including a shared assessment within this framework. The benefits reflected the development of musical, creative, social, and problem-solving skills, while the constraints were linked to the pupils' adaptation to the planned strategies and the complexity of learning assessment. The implications of the study lie in the possibility of adapting the conceptual/organisational framework to other pedagogical contexts and addressing additional assessment criteria.

The focus of this study lies in the need to discuss, theoretical and practical perspectives, on Music teaching, learning and assessment process, specifically within the scope of basic education internationally and nationally. This attempts to enhance and provide more effective responses to what is currently sought for quality education for all (UNESCO, 2015). In the context of the Music school subject, there is a tendency to value forms of knowledge transmission based on performative reproduction of music (Priest, 1998; McPherson, 2005; Mills & McPherson, 2006). That is, a tendency to look at products resulting mainly from what the teacher taught, and not so much on processes and results of what the student are able to learn based on the possibilities generated and focused on discovery, action and creativity. Thus, this PhD project assumes a didactic thinking and acting, by a teacher-researcher (author of the project), directed to the development of creative-musical thinking in the subject of Music in Secondary School (namely in Portugal at the “3rd Cycle of Basic Education”). The principle “sound before symbol”/”sound before sign” (McPherson & Gabrielsson, 2002; Mills & McPherson, 2006), and the valuing of processes based on problem solving and the acquisition of specific music and transversal skills (group work, communication, self/hetero evaluation) will be highlighted. The didactic perspective and action of the teacher-researcher assumes a coherence between the triple teaching & learning & assessment, as advocated by several authors (e.g. Fernandes, 2009; Fautley, 2010). This presentation reports on the results obtained so far, and which includes a short state of the art, an exploratory study carried out in a school (Vasconcelos, Caspurro & Costa, 2016), and the main study with a design of action research.