Music as a Tool for Promoting Environmental Awareness. Experiences of Undergraduate Education Students on the Production of Video Tales in the COVID-19 Pandemic

This paper elaborates on the didactic implementation of musical theater with undergraduate education students. Students had to select, prepare, justify, design, elaborate, rehearse, stage, and record an educational tale that targets ecological and environmental values in its main plot or storyline. Due to the COVID-19 pandemic, the implementation of this didactic proposal went online, and the interactions between students took place through video calls. This study surveyed a sample of 86 participants (n = 86) from a population of 116 students (N = 116) from the Faculty of Education of Albacete (UCLM) to investigate the advantages and disadvantages of carrying out this activity in an online format. The main challenges exposed the complexity of coordinating a team in a completely online format, problems related to physical isolation, and the limited access to a high-quality internet connection. The reported benefits included the development of digital competences, the interactions through social media, and creative thinking. Most students viewed this activity as didactically innovative and 98.84% agreed that musical tales and musical theater can be useful for promoting environmental awareness

A opinião dos alunos de Educação Musical da Licenciatura em Educação Básica sobre o impacto do COVID-19 na atividade educativa do conto musical

Introduction. In Spain, due to COVID-19, a state of alarm was declared forcing a change from face-to-faceteaching to an online model. This article reflects on this sudden transition and its impact on the didactic resource of the musical tale, understood as a story or a play with musical elements, an interdisciplinary approachaimed at acquiring key competences.Methodology. In the third year of the bachelor’s degree in Primary Education, students conducted an onlinegroup project based on a musical tale, which in previous editions was performed face-to-face. A sample of 86participants from a population of 116 students of the Faculty of Education in Albacete (uclm) was surveyed toexamine students’ views on this digital transition.Results. The efforts that Musical Education faculty made for smoothly transitioning to an online methodology was positively valued, although a preference in favor of face-to-face teaching over online teaching wasreported. Benefits and drawbacks were identified in the staging of a musical fable in an online format, andother aspects that highlighted its didactic value. 90.1 % of the surveyed students expressed feeling adequatelyprepared to take this activity to a school class.Conclusions. The musical fable as a didactic resource was positively valued by students, and its implementation to the online format was satisfactory.Introducción: En España, con motivo del COVID-19, se declaró un estado de alarma que obligó a transformar ladocencia presencial en un modelo telemático. El presente artículo reflexiona sobre esta súbita transición y surepercusión en el recurso didáctico del cuento musical, entendido como una narración o representación teatralcon presencia de aspectos musicales y un enfoque interdisciplinar dirigido a adquirir competencias clave.Metodología: En el tercer curso del Grado en Educación Primaria, los alumnos realizaron un trabajo grupalsobre el cuento musical en formato telemático, que en ediciones anteriores era presencial. Para conocer laopinión del alumnado sobre la transición digital citada se encuestó a una muestra de 86 participantes de unapoblación de 116 alumnos de la Facultad de Educación de Albacete (uclm).Resultados: Se valoró positivamente el esfuerzo del profesorado de Educación Musical en la transición a lametodología telemática, aunque se reportó una preferencia de la docencia presencial frente a la virtual. Seidentificaron dificultades y beneficios clave en la realización del cuento musical en formato no presencial, asícomo otros aspectos que resaltan el valor didáctico del mismo. El 90,1 % del alumnado encuestado expresósentirse preparado para llevar al aula de Primaria esta actividad.Conclusiones: El recurso didáctico del cuento musical fue positivamente valorado por los estudiantes, siendosatisfactoria su implementación en formato digital.Introdução. Na Espanha, devido ao COVID-19, foi declarado um estado de alarme que obrigou à transformação do ensino presencial num modelo telemático. Este artigo reflete sobre essa transição repentina e seu impacto no recurso didático do conto musical, entendido como uma narração ou performance teatral com presença de aspectos musicais e uma abordagem interdisciplinar voltada à aquisição de competências chave.   Metodologia. No terceiro ano da Licenciatura em Educação Básico, os alunos realizaram um trabalho de grupo sobre o conto musical em formato telemático, que nas edições anteriores tinha sido presencial. Para conhecer a opinião dos alunos sobre a referida transição digital, foi pesquisada uma amostra de 86 participantes de uma população de 116 alunos da Faculdade de Educação de Albacete (uclm). Resultados. O esforço dos professores de Educação Musical na transição para a metodologia telemática foi valorizado positivamente, embbora tenha sido expressada uma preferência pelo ensino presencial ao ensino virtual. Identificaram-se as principais dificuldades e benefícios na realização do conto musical em formato não presencial, além de outros aspectos que destacam seu valor didático. Um 90,1 % dos alunos inquiridos expressaram sentir-se preparados para levar essa atividade para a sala de aula da Primária. Conclusões. O recurso didático do conto musical foi valorizado positivamente pelos alunos, sendo sua realização em formato digital satisfatória

La Educación Infantil que queremos: investigaciones y experiencias [Early Childhood Education that we want: research and experiences]

Resumen:La Educación Infantil es la primera etapa educativa en la vida escolar pero su significado va más allá de la mera referencia formativa a los primeros años del niño. Así, podemos decir que se fundamenta en la consecución de unas competencias básicas y fundamentales que permanecen a lo largo de toda la formación educativa, incluida la superior. Además, en ella se inician varios procesos exclusivamente humanos como son el desarrollo intelectual, el de unas habilidades y destrezas físicas y cognitivas, el de un rico mundo interior de afectos y sentimientos; en pocas palabras: comienza el proceso de crecimiento personal en todas sus dimensiones: racional, biológica, sensorial, estética, afectiva, creadora y moral.El aula de Infantil debe ser un espacio vital en el que se aprende, se educa, se participa, se imagina, se ríe, se crea y se sueña.Este Monográfico ofrece unas propuestas para que dirijamos nuestro pensamiento hacia el niño, su mundo, los agentes familiares y sociales que lo rodean, con el propósito de lograr mejoras en las buenas prácticas educativas infantiles. Los artículos presentados se agrupan en cinco bloques temáticos: el aula de Infantil, los contenidos educativos, la diversidad, algunas aportaciones internacionales y la formación de educadores.Creemos que es un completo prisma que permite lanzar diferentes miradas, desde varias perspectivas, con el propósito de aportar ideas creativas, actividades didácticas, medidas de intervención en el aula, para ayudarnos a entender la compleja y rica realidad del mundo infantil.Palabras clave: Educación Infantil, recursos didácticos, diversidad escolar  Abstract:Early Childhood Education is the first preschool period in school life but its meaning goes beyond the formative achievements of the early years. So, we can say it base on the achievement of the key competences and crucial that lasts all the scholar life, including higher education. Furthermore, in this initial stage different processes start that are entiry exclusively dedicated to humans like the intellectual development, physical and cognitive dimensions, a great affections and emotions world; in short: it’s the beginning of the process of personal growth in all its aspects: rational, biologic, sensitive, static, emotional, creative and moral.A pre-primary classroom must be a living space for children to learn, to be educated, to participate, to imagine, to laugh and to dream.This monographic provides resources to focus our thoughts on the kid, its world, its social life, for the purpose of realize improvement and the best practice in pre- primary education. The articles submitted are grouped in five different topics: pre-school class, educational establishments, variety, different international contributions and professional training.We think this is an interesting proposal which allows different perspectives with the determination of giving creative ideas, didactic activities, intervention methods for the classroom and to help us how to understand the rich and difficult children’s world.Keywords: Early Childhood Education, didactic resources, scholar diversit

The Patronato de Misiones Pedagógicas, the Frente de Juventudes and the Sección Femenina: key institutions in the history of Spanish music education in primary schools

Music education in Spain was regulated and structured in the late twentieth century by means of the Educational Act LOGSE (1990) although, previously, there were several attempts to start an educational musicality among children and youth. In the following pages we show a brief but clarifying, context of educational legislation about music education produced during the twentieth century focused primarily on the Spanish primary education.The main objective of this article is to highlight the performances of acculturation and music education carried out during the first third of the last century. For that, we want to emphasize the great innovation that even on a European level was carried out, on the one hand, by the Patronato de Misiones Pedagógicas, driven by the second Spanish Republic, under the ideology of Free Institution of Education and on the other hand, by the Sección Femenina, with a decisive role played by both itinerant chairs and the professorships Jose Antonio and the Frente de Juventudes, sponsored by the Franco dictatorship.We used as a research method the analysis of information, maintaining objectivity and accuracy in our interpretations showed.La educación musical en España quedaba regulada y estructurada a finales del siglo XX con la LOGSE (1990) aunque, anteriormente, hubo diversos intentos por iniciar una musicalización educativa entre niños y jóvenes. En las páginas que siguen mostramos una breve, pero aclaradora, contextualización en base a la legislación educativo-musical producida durante el siglo XX centrada, fundamentalmente, en la escuela primaria española, siendo el objetivo principal del presente artículo destacar las actuaciones de culturización y enseñanza musical llevadas a cabo durante los dos primeros tercios del pasado siglo, poniendo de relieve la gran innovación que, incluso a nivel europeo, supuso la actuación, por un lado, del Patronato de Misiones Pedagógicas, impulsado por la II República española bajo el ideario de la Institución Libre de Enseñanza, y, por otro lado, de la Sección Femenina, destacando el papel jugado por las llamadas Cátedras Ambulantes y Cátedras José Antonio y la del Frente de Juventudes, ambas organizaciones auspiciadas por la dictadura franquista./nEl método de investigación empleado ha sido el análisis de información, manteniendo la objetividad y la precisión en las interpretaciones presentadas

Key documents from European Union about Music Education in compulsory education

The European Union, assuming UNESCO guidelines on the importance of Art Education in children’s integral development, has spent decades working for the full inclusion of this area of knowledge in the curricula of its member States and asking their educational institutions for a series of reports containing the current status of this matter in the educational systems of the twenty-eight, in order to know its configuration in their educational rules, and to launch appropriate proposals for improvement that will allow to consolidate its presence in the national curricula. Our work is based on collecting and analyzing most significant aspects published in these texts and selecting those which, due to their specific content, reflect the EU position on Music Education in basic teachings, providing a brief overview of the eleven documents they offer, in our view, the most relevant aspects of educational music policies that are being developed on the EU scale, how these ones have influenced national curricula and general conclusions derived from this analytical process

Musication: un recurso TIC para docentes de Música: Musication: an ICT resource for music teachers

Music Education is structured in two main axes: perception and expression. While perception is linked to listening to the sound fact and all that it implies, expression involves performing, interpreting, creating, in short, putting music into practice through singing, instrumentation, body percussion or other means. The purpose of this study is to identify the musical elements present in the videos of the Youtube channel Musication that groups a large number of musicomovigrams for PAD (Percussion of Determined Height) and PAI (Percussion of Indeterminate Height) instruments. Likewise, they have been classified according to their level of difficulty (low, medium and high) resulting in a catalog with 97 music libraries according to three stages of education, Infant, Primary and Secondary. To this end, a collection form created ad hoc has been created previously validated by a committee of experts. The channel allocates most of its music libraries to the interpretation of PAD instruments with a large presence of the Boomwhackers. Although, others are also proposed, although to a lesser extent, for tuned bells (PAD), small percussion instruments (PAI), as well as body percussion. The inclusion of the American cipher is another of the distinctive features of Musication's proposals along with the inclusion of melodic, rhythmic, textual reinforcements and musical signs that facilitate interpretation. Of the total of the proposals it has been considered that 27 can be included in a classroom of Early Childhood Education or in the first courses of Primary, 55 in the rest of the stage of Primary Education and only 15 present a high difficulty so it would be advisable to work them in the last courses of Primary or in Secondary classrooms.La finalidad de este estudio es identificar los elementos musicales más significativos presentes en los vídeos del canal de Youtube Musication que agrupa un gran número de musicomovigramas para instrumentos PAD (Percusión de Altura Determinada) y PAI (Percusión de Altura Indeterminada). Se ha llevado a cabo una metodología cualitativa basada en la curación de contenidos a través del análisis de los vídeos, se han clasificado según su nivel de dificultad (baja, media y alta), dando como resultado un catálogo con 97 musicomovigramas acordes a tres etapas de educación, Infantil, Primaria y Secundaria. Para ello, se ha creado una ficha de recogida creada ad hoc previamente validada por un comité de expertos. Los resultados evidencian que el canal destina la mayoría de sus musicomovigramas a la interpretación de instrumentos PAD con una gran presencia de los Boomwhackers, si bien también se proponen, aunque en menor medida, otros para campanas afinadas (PAD), instrumentos de pequeña percusión (PAI), así como de percusión corporal. La inclusión del cifrado americano es otro de los rasgos distintivos de las propuestas de Musication junto con la inclusión de refuerzos melódicos, rítmicos, textuales y signos musicales que facilitan la interpretación. Del total de las propuestas, 27 pueden incluirse en un aula de Educación Infantil o en los primeros cursos de Primaria, 55 en el resto de la etapa de Primaria y solo 15 presentan una dificultad elevada, por lo que sería recomendable trabajarlos en los últimos cursos de Primaria o en aulas de Secundaria. Palabras clave: Educación musical; musicomovigramas; Youtube; Musication.    Abstract: The purpose of this study is to identify the most significant musical elements present in the videos of the YouTube channel Musication, which brings together musicomovigrams for PAD (Percussion of Determined Pitch) and PAI (Percussion of Indeterminate Pitch) instruments. A qualitative methodology based on content curation is carried out through the analysis of the videos, which have been classified according to their level of difficulty (low, medium and high) resulting in a catalog with 97 musicomovigrams in the three stages of education, Infant, Primary and Secondary. For this, an ad hoc collection sheet has been created, previously validated by a committee of experts. The results show that the channel allocates most of its musicomovigramas to the interpretation of PAD instruments with a large presence of the Boomwhackers. Although to a lesser extent, others are also proposed for tuned bells (PAD), small percussion instruments (PAI), as well as body percussion. The inclusion of the American cipher is another of the distinctive features of Musication's proposals along with the inclusion of melodic, rhythmic, textual reinforcements and musical signs that facilitate interpretation. In conclusion, it has been considered that 27 out of the total number of proposals can be included in an Early Childhood Education classroom or in the first years of Primary Education, 55 in the rest of the Primary Education and only 15 present a high difficulty and so it would be advisable to work on them in the last years of Primary or in Secondary classrooms. Keywords: Music education; musicmovementgram; Youtube; Musication

OTRA EDUCACIÓN MUSICAL: LA ESCUELA MUNICIPAL DE MÚSICA Y DANZA DE INIESTA (CUENCA-ESPAÑA)

This research analyzes the operation of the Municipal School of Music and Dance of Iniesta (EMMDI), a municipality in Cuenca (Spain), from its beginnings to the present. A mixed methodological design has been applied, using quantitative and qualitative techniques, to analyze aspects such as the number of students enrolled, by sex and instrumental specialty; the funding received by the City Council of the town and various teaching experiences lived by teachers. These aspects make up a model that is usually common to the different schools of music of small municipalities spread throughout the Spanish geography. Thanks to them, it is possible to bring music education to a large sector of the population that, for reasons of physical remoteness, or because they do not meet the requirements established in legislation, cannot access the formal education taught in conservatories. In addition to the pertinent bibliographical review and checking the municipal council archive, 8 interviews have been carried out with teachers and 6 with adult students to find out their degree of satisfaction, difficulties and experiences. Between 2015/16 and 2018/19 academic years, the EMMDI has had 811 student enrollments, undoubtedly relevant data to raise awareness of the artistic-cultural importance of these non-formal education centers and the economic need required by the schools of music.La presente investigación pretende analizar el funcionamiento de la Escuela Municipal de Música y Danza de Iniesta (EMMDI), municipio de Cuenca (España), desde sus inicios. Se ha aplicado un diseño metodológico mixto, usando técnicas cuantitativas y cualitativas, para analizar aspectos como el número de matrículas en los sucesivos cursos, por sexo y especialidad instrumental; financiación recibida por el Ayuntamiento y las diversas experiencias vividas por el profesorado. Estos aspectos configuran un modelo común a las diferentes escuelas de música de pequeños municipios extendidos por toda la geografía española. Gracias a ellos, es posible acercar la educación musical a un amplio sector de población que, por lejanía física, o por no cumplir los requisitos establecidos en la legislación vigente, no puede acceder a las enseñanzas formales de los conservatorios. Además de la revisión bibliográfica y consulta del archivo del Ayuntamiento municipal se han realizado 8 entrevistas al profesorado y 6 a alumnos adultos para conocer su grado de satisfacción, dificultades y experiencias. Entre el curso 2015/16 y el 2018/19 la EMMDI ha contado con 811 matriculaciones, sin duda un dato relevante para concienciar de la importancia artístico-cultural que poseen estos centros de educación no formal y de la necesidad económica que requieren las escuelas de música

Educational laws of music in primary schools in Spain in 19th century

The revolutions in the Spain of the 19th century affected, as it could not be otherwise, to the educational world. 19th legislative and normative regulations show us that, although the musical education was a thoughtful and matter with legal references about its inclusion in primary or elementary school, failed to materialize, in practice, until a century later. Educational past offered to music an important role in its organization of subjects to impart but as we advance in history, it retracts the presence of musical education, until the nonexistence. This way, all the educational analyses were ignored, from Greek philosophy, they had been granted to music an important power in the formative process of the person. The analysis of the whole documentation and legal educational normative of the XIX century, referring to the elementary school, it does not support any discussion in this respect: Seldom, music was included in the official study plans and, even less, it became a reality, so its practice in the classroom was left to the discretion of the musical knowledge of the teachers and their willing to bring it closer to the scholars. Being faithful to the duality of the romantic spirit, this situation took place during the century that granted more value to the music.Las revoluciones vividas en la España del siglo XIX afectaron, como no podía ser de otra manera, al mundo educativo. La reglamentación y normativa legislativas decimonónicas nos muestran que, aunque la enseñanza musical fue una materia sopesada y con referencias legales acerca de su inclusión en la escuela primaria o elemental, no llegó a materializarse, en la práctica, hasta un siglo después. El pasado educativo ofreció a la música un importante protagonismo en su organización de materias a impartir, pero, según avanzamos en la historia, se repliega la presencia de la enseñanza musical hasta la inexistencia. Así, se ignoraron todos los análisis educativos que, desde la filosofía griega, habían otorgado a la música un importante poder en el proceso formativo de la persona. El análisis de toda la documentación y normativa legal educativa del siglo XIX, referida a la escuela elemental, no admite discusión alguna al respecto: en pocas ocasiones se incluyó la música en los planes de estudio oficiales y, aún menos, se hizo realidad ya que su práctica en las aulas quedó al arbitrio de los conocimientos musicales del maestro y de su voluntad por acercarla a los escolares. Siendo fiel a la dualidad del espíritu romántico, esta situación se produjo durante el siglo que más valor concedió a la música

Educational laws of music in primary schools in Spain in 19th century

The revolutions in the Spain of the 19th century affected, as it could not be otherwise, to the educational world. 19th legislative and normative regulations show us that, although the musical education was a thoughtful and matter with legal references about its inclusion in primary or elementary school, failed to materialize, in practice, until a century later. Educational past offered to music an important role in its organization of subjects to impart but as we advance in history, it retracts the presence of musical education, until the nonexistence. This way, all the educational analyses were ignored, from Greek philosophy, they had been granted to music an important power in the formative process of the person. The analysis of the whole documentation and legal educational normative of the XIX century, referring to the elementary school, it does not support any discussion in this respect: Seldom, music was included in the official study plans and, even less, it became a reality, so its practice in the classroom was left to the discretion of the musical knowledge of the teachers and their willing to bring it closer to the scholars. Being faithful to the duality of the romantic spirit, this situation took place during the century that granted more value to the music.Las revoluciones vividas en la España del siglo XIX afectaron, como no podía ser de otra manera, al mundo educativo. La reglamentación y normativa legislativas decimonónicas nos muestran que, aunque la enseñanza musical fue una materia sopesada y con referencias legales acerca de su inclusión en la escuela primaria o elemental, no llegó a materializarse, en la práctica, hasta un siglo después. El pasado educativo ofreció a la música un importante protagonismo en su organización de materias a impartir, pero, según avanzamos en la historia, se repliega la presencia de la enseñanza musical hasta la inexistencia. Así, se ignoraron todos los análisis educativos que, desde la filosofía griega, habían otorgado a la música un importante poder en el proceso formativo de la persona. El análisis de toda la documentación y normativa legal educativa del siglo XIX, referida a la escuela elemental, no admite discusión alguna al respecto: en pocas ocasiones se incluyó la música en los planes de estudio oficiales y, aún menos, se hizo realidad ya que su práctica en las aulas quedó al arbitrio de los conocimientos musicales del maestro y de su voluntad por acercarla a los escolares. Siendo fiel a la dualidad del espíritu romántico, esta situación se produjo durante el siglo que más valor concedió a la música

An audiovisual experience for the future music teachers

The inclusion of audiovisual resources has created new learning environments with significant pedagogical changes that require teacher training in the use of ICT. These resources, an important complement to the teaching explanations, are motivating for the students. Thus, the Artistic Expression subject of the 4th year of the Master's Degree in Pre-primary at the Faculty of Education of Albacete (UCLM), academic year 2021-22, focused on the creation of a video story to develop creativity in plastic and musical expression. and work with different digital and educational tools: applications such as Movie Maker, Imovie, Adobe Premiere and Spark Video; Power Point or Adobe Acrobat for presentations and specific resources such as Stop Motion./nDifferent artistic techniques have been applied, adapting to their future use in children's classrooms, such as collage, pad printing or frottage. In the musical field, orality, sound landscapes, leitmotive, onomatopoeias and melodies from different periods and musical styles have been worked on. Thus, the union of tradition and current affairs are an enriching complement for the student, favoring learning in accordance with current digitization. This educational use of ICT offers students the necessary technological adaptation in artistic disciplines.La inclusión de recursos audiovisuales ha creado nuevos ambientes de aprendizaje con cambios pedagógicos significativos que obligan a una formación docente en el uso de las TIC. Estos recursos, importante complemento a las explicaciones docentes, resultan motivadores para los estudiantes. Así, la asignatura Expresión Artística de 4º curso del Grado de Maestro en Infantil en la Facultad de Educación de Albacete (UCLM), año académico 2021-22, se enfocó a la creación de un videocuento para desarrollar la creatividad en la expresión plástica y musical y trabajar con diferentes herramientas digitales y pedagógicas: aplicaciones como Movie Maker, Imovie, Adobe Premiere y Spark Vídeo; Power Point o Adobe Acrobat para las presentaciones y recursos específicos como Stop Motion. /nSe han aplicado diferentes técnicas artísticas adaptándose a su futura utilización en las aulas de infantil, como el collage, la tampografía o frottage. En el ámbito musical, se ha trabajado la oralidad, paisajes sonoros, leit motive, onomatopeyas y melodías de diferentes periodos y estilos musicales. Así, la unión de tradición y actualidad son un complemento enriquecedor para el alumno, favoreciendo aprendizajes acordes con la digitalización actual. Este uso didáctico de las TIC ofrece a los alumnos la necesaria adaptación tecnológica en las disciplinas artísticas