Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

In Chile, school culture is constructed on differentiating between feminine and masculine stereotypes. Hence, the current study aims to explore the vision of music teachers regarding the implementation of the gender perspective in boys-only schools. The constant comparative method is used deductively, as the theoretical framework helped to establish conceptual categories. The sample comprises two female music teachers who have participated individually and privately in a semi-structured interview to delve into teaching tasks applied in boys-only schools. Findings reveal the existence of a patriarchal ideology in music education, which is influenced by five dimensions: androcentric culture, musical stereotypes, emotional stereotypes, misogyny, and homophobia. In conclusion, the music industry nurtures and contaminates music education because androcentric culture emerges there.

En Hong Kong, el Education Bureau (EDB) examina la calidad de los servicios ofrecidos a niños en escuelas infantiles locales. Los informes de Revisión de Calidad (RC) de aquellas escuelas que superan el examen se publican en la web del EDB. Realizamos un análisis de contenido de 164 informes RC. El objetivo era investigar la correspondencia entre las actividades musicales mencionadas en dichos informes y los objetivos musicales recogidos en el currículo oficial. Desarrollamos un sistema de categorización utilizando enfoques inductivos y deductivos. Se obtuvo alta fiabilidad inter-jueces. Utilizamos MAXQDA para realizar análisis de frecuencias léxicas, descriptivos y de co-ocurrencias. Los términos más comúnmente identificados en los segmentos relativos a la música se centraban en el desarrollo de habilidades sensoriales infantiles a través de experiencias de canto, ritmo, pulso, movimiento y música instrumental. Sin embargo, encontramos escasas referencias a actividades centradas en el fomento de la creatividad y la auto expresión del niño y de la niña. Concluimos que los informes RC revelan importantes discrepancias entre el currículo oficial y las prácticas reales de aula, que los asesores de EDB parecen ignorar o desestimar. Las implicaciones se centran en la necesidad de resolver contradicciones entre currículo/práctica y de preparar mejor a los docentes para fomentar la creatividad musical infantil.

Los seres humanos nacen con habilidades que pueden sufrir cambios. Hay varios estudios que se centran en las relaciones entre las habilidades las musicales y las cognitivas. Sin embargo, la investigación de esta relación entre niños/as desfavorecidos/as es escasa. Este estudio ha analizado las relaciones entre habilidades musicales y cognitivas en niños/as en contexto de exclusión socioeconómica. En él, han participado 169 niños/as de segundo año de Educación Primaria de escuelas públicas sin educación musical. Sus habilidades musicales (de percepción) se midieron con las pruebas de Melodía, Ritmo y Memoria de la Montreal Battery for the Evaluation of Musical Abilities, y sus habilidades cognitivas con cinco subpruebas de WISC III (Analogías, Vocabulario, Cubos, Ordenamiento de Historias y Retención de Dígitos). El nivel de educación de los progenitores se obtuvo a partir de un cuestionario sobre el nivel socioeconómico (SES) de las familias. Los resultados revelan (1) pocas y débiles correlaciones entre habilidades musicales y cognitivas; (2) correlaciones más fuertes de SES con habilidades cognitivas que musicales; 3) retención de dígitos predice todas las habilidades musicales; 4) una clara distinción factorial entre habilidades musicales y cognitivas. Nuestros resultados sugieren que las habilidades musicales y cognitivas de los/as niños/as desfavorecidos/as, medidas con estos instrumentos, son parcialmente independientes en componentes de procesamiento.

The aim of this work is to know the thoughts of classical music performers about the role played by musical improvisation in their initial training. The sample is made up of 59 subjects with degrees in classical music performance or who are in the last year of these musical teachings and three specialists in improvisation. The research methodology used is quantitative and qualitative and uses the questionnaire and the in-depth interview as tools for data collection. The results obtained have allowed us to specify some of the most beneficial contributions of the practice of improvisation to the development of performative skills and abilities, and to organize them into three categories: cognitive, musical, and psychological. Thus, due to their importance, we highlight the development of creativity, the learning of harmony, the improvement of musical expressiveness, musical memory, and stage presence. The conclusion reached is that improvisation can be a very useful practice, which should accompany classical music performance students throughout their training process.

The syllabi of the Primary Education degree include a compulsory subject related to basic aspects of music teaching. The purpose is to provide future generalist teachers with tools to use music as another didactic resource in the classroom. The main objective of this study is to analyze the self-perception of specific musical competences of the students of this subject., specifically in the Primary Education degree of the University of Barcelona. An evaluation of programs has been carried out through an ad hoc questionnaire, applied before and after the completion of the subject, to a sample of 72 students. The results obtained indicate the acquisition of basic musical skills by the students who did not have out-of-school musical knowledge, but there are some factors that could be improved, such as the low score in musical skills that require more time for their consolidation or the little evolution of the students who did have previous musical knowledge. Based on the analysis of the results, some proposals for improvement are made that may be applicable not only to the subject analyzed here but also to other subjects that work similar in other universities.

Intonation is one of the main challenges violin students face throughout their studies. This paper aims to determine the impact of Equal Temperament on the intonation ability of violin students in two music conservatories located in the Spanish Autonomous Region of Extremadura. With this aim of realizing a non-experimental quantitative study, a cross-sectional exploratory study has been carried out in order to gather and measure information concerning the variable object of study of intonational ability. Results suggest that, despite comparatively high scores obtained in the realm of Just Intonation, the students’ intonation ability behaves similarly in the domain of Equal Temperament. Keys which tend to be more in tune have also been established, along with the non-tempered nature of the instrument.

The creation of soundtracks assumes a transversal and participatory approach to creative action in the field of Secondary Education. With the aim of gaining a deeper understanding of the aspects that characterize the composition of soundtracks in Secondary Education, a project has been carried out in which two groups of third year Secondary Education students (14-15 years old) attending a center in the Community of Madrid (Spain) have participated. From an artographic perspective, and from a teaching, research, and artistic perspective, information was collected through participant and non-participant observation, video recordings, interviews, class diaries, and questionnaires. The results suggest a model of participatory creativity focused on a holistic approach through: (1) the active involvement of the students in the design, process, and results of the didactic project; (2) high motivation (individual-social); (3) positive emotions; (4) the environment through which meaningful musical experiences have been constructed; and (5) the collective identity generated through musical creation.

In the context of vocal education, the most common pedagogical resource tends to be the verbal exchange between teacher and student. It is often difficult, however, for the participants to select the terms to be used in this discourse, as the concepts expressed are often complex and open to varying interpretations.  The aim of this research is to attempt to form a consensus on some of these concepts in order to use them to build a scale to assess the quality of the lyrical singing voice. After several months of internal debate among the authors, multiple potential versions of the scale were developed and then distributed in the form of a questionnaire to 22 experts in the field in order to gather their input and create the most reliable possible scale. Finally, a smaller discussion was held with seven participants and key investigators. The final scale was then configured by defining 12 parameters, with the construction of visually perceptual scale featuring binary oppositions of adjectives divided into 10 sections. This scale that resulted from this process is considered a valid instrument for the perceptual assessment of the lyrical singing voice.

Although there are many works dedicated to the study of either educational legislation or textbooks, only a few are devoted to their joint research. In the present study, we aimed to investigate how the national regulations regarding the mandatory contents related to music in Early Childhood Education in the stage of 3 to 6 years are reflected in textbooks in Spain. By means of a multistage mixed methodology, including analyses based on grounded theory, content analysis, as well as cluster and variance analyses, our results provide evidence for: 1) a modern music education philosophy underlying the national Spanish regulations, 2) discrepancies between this philosophy and its development in textbooks, and 3) the existence of different publisher profiles regarding the treatment of contents in music. Finally, we discuss the implications of our results regarding the use of textbooks at this educational stage and in relation to music education.

 Vocal or instrumental practice is a human activity that is exercised in many different situations. In addition to the musical production that takes place in professional or amateur groups (such as choral groups, orchestras or instrumental or vocal groups of different styles), it is also practiced in the family environment, at the different educational levels of general education and in university studies. However, musical expression is specifically present in Music Schools and in Professional and Higher Conservatories, since they stand out for their intensity in this practice, for their teaching function and for the professional projection exercised by Higher Conservatories.