Expresividad y emoción en la intrepretación musical

Tesis doctoral inédita leída en la Universidad Autónoma de Madrid, Facultad de Formación de Profesorado y Educación, Departamento de Didáctica y Teoría de la Educación. Fecha de lectura: 30-10-2015La expresividad se considera un elemento primordial en la música, pero los factores asociados con ella y su aprendizaje no son usualmente analizados. Ante la escasez de estudios relacionados con este tema, el objetivo principal de este trabajo es realizar un primer acercamiento a la expresividad en la interpretación musical mediante un estudio empírico centrado en las creencias de alumnos y profesores de enseñanzas superiores de música de diferentes países sobre aspectos relacionados con la expresividad musical. Se aplicó una serie de cuestionarios a 276 participantes de España, Inglaterra y Portugal. En general, todos los grupos consideraron que el uso de la técnica era el mejor método para enseñar la expresividad musical, mientras que el modelado era el menos adecuado. Sin embargo, todos los grupos coincidieron en que varía el uso de un modelo u otro según la edad del alumno. Respecto a las concepciones sobre la expresividad, se encontró una solución de cuatro factores: Técnica expresiva, Expresión emocional, Autoaprendizaje de la expresividad y Expresividad subjetiva. Las puntuaciones fueron significativamente diferentes entre los diferentes grupos. Finalmente, se encontró que la Inteligencia Emocional (IE) era similar entre los grupos, pero que un nivel superior de IE se relacionaba con puntuaciones superiores en el modelo de mejora de la expresividad basado en el uso de las propias emociones, así como en los cuatro factores de concepciones sobre la expresividad. Estos resultados se discuten en relación con el estado actual de la cuestión en este ámbito y se presentan propuestas didácticas para la mejora de la expresividad en el aulaExpressivity is accepted as an essential element in music. Factors associated whit it and its learning have not been, however, well analyzed. Given the lack of previous research on this topic, the main goal of this work was taking a first approach to the study of expressiveness in musical interpretation through an empirical work focused in conceptions about expressiveness of students and teachers of higher education from different countries. 276 persons form Spain, England and Portugal completed the questionnaires of the study. Overall, all groups considered using technique as the better method for teaching expressivity, whereas modelling was considered the worst. All groups, however, agree in that the choice of the model depends on the age of the student. Regarding conception about expressivity, a four-factor solution was found: Expressive technique, Emotional expression, Self-learning of expressivity, and Subjective expressivity. There was significant differences between groups in the conceptions scores. Finally, Emotional Intelligence (EI) was similar between groups, but a higher level of EI was associated with higher scores in the model based on using own emotions for improving expressivity, as well as with in the four factors of conceptions about expressivity. These results are discussed in relation with the current state of the art in this field, and several didactic suggestions for improving expressivity in the classroom are presente

Evaluación de una intervención de Aprendizaje-Servicio en Educación Musical en la formación de profesorado

El Aprendizaje-Servicio (ApS) es una metodología innovadora en el ámbito educativo que combina el aprendizaje de una materia con la puesta en práctica de los conocimientos a través de la realización de un servicio a la comunidad. Debido a la importancia del ApS este trabajo pretende evaluar un programa de intervención con esta metodología en Educación Musical, en la formación de profesorado. Para ello, se plantea una investigación evaluativa, en la que se comparan los resultados de un grupo control y experimental, seleccionando una muestra total de 93 estudiantes universitarios a los que se les pasa un cuestionario de estrategias de aprendizaje y otro de evaluación de conocimientos musicales, así mismo se comparan las notas finales de ambos grupos. Los resultados reflejan que, partiendo de grupos equivalentes, en las variables de interés existe una mejora en el grupo experimental en la escala de estrategias afectivas, de apoyo y control, así como en las subescalas de componentes afectivos, estrategias de control, tras la aplicación de la intervención. También, se encontraron diferencias significativas en el aprendizaje, a favor del grupo que realizó la intervención. Se recomienda la realización de nuevas investigaciones con ApS en esta y otras áreas para afianzar los resultados y observar la efectividad de esta metodologí

Kahoot! en asignaturas de Música y Educación Física en Educación Superior

The Kahoot! platform has been shown to be versatile, easily accessible and user-friendly. According to the scientific literature, the platform is more widely used in theoretical subjects and less employed in more practical disciplines. In this study, therefore, we conducted a survey of 324 students from two Spanish public universities who used Kahoot! in the more practical subjects of Music and Physical Education during the 2019-2020 academic year. For this purpose, we created a questionnaire measuring five dimensions: usefulness, fun, learning, interaction and involvement. Confirmatory factor analysis was used to test the questionnaire’s goodness of fit (e.g., CFI=.984), which was found to be adequate. In general, participants rated each of these items positively. Opinions were more favourable in Music than in Physical Education in most dimensions. We observed that second- and third-year students tended to give higher scores, and that their responses are similar regardless of their university and their experience with Kahoot prior to participating in this study. Our conclusions suggest that Kahoot! allows teachers to present this conceptual content in a different way by teaching concepts and procedures through an active, innovative, collaborative methodology that is more attractive to the students. Consequently, students are able to learn more effectively.Kahoot! se ha revelado como una herramienta versátil, accesible y de fácil manejo. No obstante, su uso está más extendido en disciplinas de corte teórico y no tanto de características procedimentales. La presente investigación pretende conocer la opinión de 324 alumnos de dos centros universitarios públicos españoles, que utilizaron la herramienta Kahoot en disciplinas de Música y Educación Física durante el curso académico 2019-2020. Para ello, se elaboró un cuestionario con una estructura factorial de 5 dimensiones: utilidad, diversión, aprendizaje, interacción e implicación. Mediante un Confirmatory Factor Analysis se validó esta estructura y los resultados mostraron un adecuado ajuste del modelo a los datos (CFI=.984). Los participantes obtuvieron puntuaciones positivas para cada uno de los ítems señalados. Las opiniones fueron más favorables en las disciplinas de Música que en las de Educación Física en la mayoría de las dimensiones. Se observó que a mayor curso las puntuaciones tienden a ser más elevadas y que sus respuestas son similares independientemente de la universidad a la que estén matriculados y a la experiencia previa con el uso de la herramienta antes de participar en el presente estudio. Las conclusiones sugieren que Kahoot! permite presentar los contenidos conceptuales de modo diferente, integrando conceptos y procedimientos en una metodología activa, innovadora y colaborativa, siendo, a su vez, más atractivos y repercutiendo en la mejora del aprendizaj

Comparison of beliefs about teaching and learning of emotional expression in music performance between spanish and english he students of music

The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This research was partially supported by the Universidad Autónoma de Madrid with a grant for a research stay at The University of Sheffield to the first author. Referencias bibliográficas: • Bautista, A., & Del Puy Pérez-Echeverría, M. (2008). What do music performance teachers consider that they should teach in their classes? [¿Qué consideran los profesores de instrumento que deben enseñar en sus clases?] Cultura Y Educacion, 20(1), 17-34. 10.1174/113564008783781477 • Bonastre, C. (2009). La Expresividad En La Enseñanza Superior De Música. • Bonastre, C. (2015). Expresividad Y Emoción En La Interpretación Musical. • Bonastre, C., Muñoz, E., & Timmers, R. (2017). Conceptions about teaching and learning of expressivity in music among Higher Education teachers and students. British Journal of Music Education, 34(3), 277-290. 10.1017/S0265051716000462 • Brenner, B., & Strand, K. (2013). A case study of teaching musical expression to young performers. Journal of Research in Music Education, 61(1), 80-96. 10.1177/0022429412474826 • Broomhead, P. (2006). A study of instructional strategies for teaching expressive performance in the choral rehearsal. Bulletin of the Council for Research in Music Education, (167), 7-20. • Casas-Mas, A., Pozo, J. I., & Montero, I. (2014). The influence of music learning cultures on the construction of teaching-learning conceptions. British Journal of Music Education, 31(3), 319-342. 10.1017/S0265051714000096 • Chaffin, R., & Lemieux, A. F. (2004). General perspectives on achieving musical excellence. Musical Excellence: Strategies and Techniques to Enhance Performance, , 19-40. • Chaffin, R., Logan, T. R., & Begosh, K. T. (2009). Performing from memory. The Oxford Handbook of Music Psychology, , 352-363. • Crickmore, L. (2017). The measurement of aesthetic emotion in music. Frontiers in Psychology, 8(MAY)10.3389/fpsyg.2017.00651 • Daynes, H. (2011). Listeners' perceptual and emotional responses to tonal and atonal music. Psychology of Music, 39(4), 468-502. 10.1177/0305735610378182 • De López-Íñiguez, G., Pozo, J. I., & De Dios, M. J. (2013). The Older, the Wiser? Profiles of String Instrument Teachers with Different Experience According to their Conceptions of Teaching, Learning and Evaluation. Psychology of Music, 41, 1-20. • Department for Education. (2011). No title. The Importance of Music: A National Plan for Music Education, • DfE. (2014). The national curriculum in. National Curriculum, • Doğantan-Dack, M. (2014). Philosophical Reflections on Expressive Music Performance. Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures, , 3-21. • Fabian, D., Timmers, R., & Schubert, E. (2014). No title. Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures, • Fang, Z. (1996). A review of research on teacher beliefs and practices. Educational Research, 38(1), 47-65. 10.1080/0013188960380104 • Gabrielsson, A., & Juslin, P. N. (2003). Emotional expression in music. Handbook of Affective Sciences, , 503-534. • Garnett, J. (2013). Beyond a constructivist curriculum: A critique of competing paradigms in music education. British Journal of Music Education, 30(2), 161-175. 10.1017/S0265051712000575 • Hallam, S. (2010). Music education: The role of affect. Handbook of Music and Emotion, Theory, Research, Applications, , 791-818. • Haston, W. (2007). Teacher Modeling as an Effective Teaching Strategy. Music Educators Journal, 93(4), 26-30. 10.1177/002743210709300414 • Hughes, R., & Huby, M. (2004). The construction and interpretation of vignettes in social research. Social Work and Social Sciences Review, 11(1), 36-51. • Juslin, P. N. (2013). What does music express? Basic emotions and beyond. Frontiers in Psychology, 4(SEP)10.3389/fpsyg.2013.00596 • Juslin, P. N., Barradas, G. T., Ovsiannikow, M., Limmo, J., & Thompson, W. F. (2016). Prevalence of emotions, mechanisms, and motives in music listening: A comparison of individualist and collectivist cultures. Psychomusicology, 26(4), 293-326. • Juslin, P. N., Karlsson, J., Lindström, E., Friberg, A., & Schoonderwaldt, E. (2006). Play it again with feeling: Computer feedback in musical communication of emotions. Journal of Experimental Psychology: Applied, 12(2), 79-95. 10.1037/1076-898X.12.2.79 • Juslin, P. N., & Persson, R. S. (2002). The science and psychology of music performance: Creative strategies for teaching and learning. Emotional Communication, , 219-236. • Juslin, P. N., & Timmers, R. (2010). Expression and communication of emotion in music performance. Handbook of Music and Emotion: Theory, Research, Applications, , 453-489. • Karlsson, J., & Juslin, P. N. (2008). Musical expression: An observational study of instrumental teaching. Psychology of Music, 36(3), 309-334. 10.1177/0305735607086040 • Laukka, P. (2004). Instrumental music teachers' views on expressivity: A report from music conservatories. Music Education Research, 6(1), 45-56. • Laukka, P., Eerola, T., Thingujam, N. S., Yamasaki, T., & Beller, G. (2013). Universal and culture-specific factors in the recognition and performance of musical affect expressions. Emotion, 13(3), 434-449. 10.1037/a0031388 • Lehmann, A. C., & Ericsson, K. A. (1998). Preparation of a public piano performance: The relation between practice and performance. Musicae Scientiae, 2(1), 67-94. • Lindström, E., Juslin, P. N., Bresin, R., & Williamon, A. (2003). "Expressivity comes from within your soul": A questionnaire study of music students' perspectives on expressivity. Research Studies in Music Education, 20(1), 23-47. 10.1177/1321103X030200010201 • Meissner, H. (2017). Instrumental teachers’ instructional strategies for facilitating children’s learning of expressive music performance: An exploratory study. International Journal of Music Education, 35(1), 118-135. 10.1177/0255761416643850 • Meissner, H. (2018). No title. Teaching Young Musicians Expressive Performance: A Mixed Methods Study, • Meissner, H., & Timmers, R. (2019). Teaching young musicians expressive performance: an experimental study. Music Education Research, 21(1), 20-39. 10.1080/14613808.2018.1465031 • Repp, B. H. (1992). Diversity and commonality in music performance: An analysis of timing microstructure in Schumann's 'Traumerei'. Journal of the Acoustical Society of America, 92(5), 2546-2568. 10.1121/1.404425 • Schubert, E., & Fabian, D. (2014). A taxonomy of listeners’ judgements of expressiveness in music performance. Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures, , 283-303. • Shapiro, S. S., & Francia, R. S. (1972). An approximate analysis of variance test for normality. Journal of the American Statistical Association, 67(337), 215-216. 10.1080/01621459.1972.10481232 • Tait, M. (1992). Teaching strategies and styles. Handbook of Research on Music Teaching and Learning, , 525-534. • Tan, S. -., Pfordresher, P., & Harré, R. (2010). Development, learning, and performance. Psychology OfMusic from Sound to Significance, , 131-199. • Timmers, R., & Sadakata, M. (2014). Training expressive performance by means of visual feedback: Existing and potential applications of performance measure techniques. Expressiveness in Music Performance.Empirical Approaches Across Styles and Cultures, , 304-322. • Timmers, R., Sadakata, M., & Desain, P. (2012). The role of visual feedback and creative exploration for the improvement of timing accuracy in performing musical ornaments. Music Perception, 30(2), 187-204. 10.1525/mp.2012.30.2.187 • Torrado, J. -., & Pozo, J. -. (2008). Goals and strategies for a constructive practice in musical performance teaching. [Metas y estrategias para una práctica constructiva en la enseñanza instrumental] Cultura Y Educacion, 20(1), 35-48. 10.1174/113564008783781468 • Van Zijl, A. G. W., & Sloboda, J. (2011). Performers' experienced emotions in the construction of expressive musical performance: An exploratory investigation. Psychology of Music, 39(2), 196-219. 10.1177/0305735610373563 • Williamon, A. (2014). Implications for education. Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures, , 348-351. • Woody, R. H. (2006). The effect of various instructional conditions on expressive music performance. Journal of Research in Music Education, 54(1), 21-36. 10.1177/002242940605400103 • Young, V., Burwell, K., & Pickup, D. (2003). Areas of study and teaching strategies in instrumental teaching: A case study research project. Music Education Research, 5(2), 139-155.Despite an increase in research on emotional expression in music and its teaching and learning, little is known about the beliefs and conceptualizations that students hold regarding musical expression, and how they differ depending on educational context. To address this gap, a comparison was made between a sample of 79 UK and 117 Spanish higher education students of music, who were asked to indicate their beliefs about expressivity, most useful instructional methods to develop expressive performance, and factors that influence expressiveness and its teaching and learning. Results indicated agreement, but also several significant differences across cohorts. UK students endorsed the idea more strongly that musical context (i.e., piece and instrument) influences expressivity and the choice of teaching strategy, while Spanish students linked expressivity more strongly to particular music-emotional characteristics. Both groups considered using technical explanation as the better method for teaching expressivity, whilst modelling was considered the worst. On the other hand, they agreed that the choice of the teaching approach should depend on the age of the student with modelling being preferred for younger age groups, and technique for adults only. These results highlight differences in the understanding of musical expressivity that parallel academic debates on emotional vs. stylistic expressiveness.Universidad Autónoma de MadridThe University of SheffieldDepto. de Didáctica de las Lenguas, Artes y Educación FísicaFac. de EducaciónTRUEpu

Estrategias de aprendizaje sobre la expresividad musical en enseñanzas superiores e inteligencia emocional

Education provides possibilities for personal development in aspects as relevant as emotion. In fact, Emotional Intelligence (EI) has been associated with many positive outcomes in educational contexts, but remains understudied in music education. The main goal of this work has been to study the association between EI and conceptions of music teachers and students in Higher Education about ways to improve expressive skills: Modelling, use of Metaphors, usage of one’s own Emotions; and providing Technical instructions. Participants were 117 students and 43 teachers who completed questionnaires about EI and opinions about models of teaching and learning expressivity. Metaphors, Emotions and Technique were positively associated with the level of EI, although the different role (teaching or learning) seems scarcely relevant for this association. The link between these two aspects suggests that improving emotional competencies and learning of expressivity are associated, so fostering student’s emotional capacities could improve expressive skills for music performance and vice versa.La educación nos permite mejorar el desarrollo personal de cada individuo en aspectos tan relevantes como en el emocional. De hecho, la Inteligencia Emocional (IE) se ha vinculado con muchos resultados positivos en entornos educativos, pero apenas se ha estudiado en educación musical. El principal objetivo de este trabajo fue estudiar la relación entre la IE y las opiniones de estudiantes y profesores de música de enseñanzas superiores sobre estrategias para mejorar las capacidades expresivas: Modelado; uso de Metáforas; uso de las propias Emociones; e instrucciones Técnicas. Los participantes fueron 117 estudiantes y 43 profesores que completaron sendos cuestionarios sobre IE y valoración de modelos de enseñanza-aprendizaje de la expresividad. Las estrategias Metáforas, Emociones y Técnica se asociaron positivamente con el nivel de IE aunque la diferencia de rol (docente discente) parece poco relevante en esta asociación. El vínculo entre estos aspectos sugiere que la mejora de las competencias emocionales y el aprendizaje expresivo están relacionados, de tal modo que favorecer el desarrollo de las destrezas emocionales de los estudiantes podría mejorar las habilidades expresivas en la interpretación musical y viceversa

Expressive learning and gender differences in Music Higher Education

Referencias bibliográficas: • Abeles, H.F y Porter, S.Y. (1978). The gender-stereotyping of musical instruments. Journal of Research in Music Education, 26(2), 65-75. doi: 10.2307/3344880 • Agak, H. (2002). Gender difference and academic achievement in music among Form Four students in Kenya 1991-1994. Bulletin of the Council for Research in Music Education, 153/154(Spring & Summer), 94-101. Recuperado de https://www.jstor.org/stable/40319147 • Bonastre, C. y Timmers, R. (2019). Comparison of beliefs about teaching and learning of emotional expression in music performance between Spanish and English HE students of music. Psychology of Music. doi: 10.1177/0305735619842366 • Bennett, D., Macarthur, S., Hope, C., Goh, T. y Hennekam, S. (2018). Creating a career as a woman composer: Implications for music in higher education. British Journal of Music Education, 35(3), 237-253. doi: 10.1017/S0265051718000104. • Brenner, B. y Strand, K. (2013). A case study of teaching musical expression to young performers. Journal of Research in Music Education, 61(1), 80-96. doi: 10.1177/0022429412474826 • Bruce, R. y Kemp, A (1993). Sex-stereotyping in children’s preferences for musical instruments, British Journal of Music Education, 10(3), 213-17. doi: 10.1017/S0265051700001777 • Cohen, J. (1994). The earth is round (p<.05). American Psychologist, 49(12), 997-1003. • Cramer, K.M., Million, E. y Perreault, L.A. (2002). Perception of musicians: Gender stereotypes and social role theory. Psychology of Music, 30(2), 164-174. doi: 10.1177/0305735602302003 • De las Heras Fernández, R. y García Gil, D. (2018). Estudio de los procesos de enseñanza-aprendizaje del flamenco a través de entrevistas. La visión de las mujeres. Revista Electrónica de LEEME, 43, 50-73. doi: 10.7203/LEEME.43.13587 • Department for Education and Skills (2007). Gender and education: the evidence on pupils in England. Recuperado de https://www.education.gov.uk/publications/ • Diaz Mohedo, M.T. (2005). La perspectiva de género en la formación del profesorado de música. Reice. Revista Electrónica Iberoamericana sobre Calidad, Eficacia y Cambio en Educación, 3(1), 570-577. Recuperado de http://www.ice.deusto.es/rinace/reice/vol3n1_e/Diaz.pdf • Eccles, J., Wigfield, A., Harold, R.D. y Blumenfeld, P. (1993). Age and gender differences in children’s self- and task perceptions during elementary school. Child Development, 64(3), 830-47. doi: 10.2307/1131221 • Gordon, E. (1986). Primary measures in music audiation. Chicago: GIA Publications. • Green, L. (1997). Music, gender and education. New York: Cambridge University Press. • Hallam, S., Rogers, L. y Creech, A. (2008). Gender differences in musical instrument choice. International Journal of Music Education, 26(1), 7–19. doi: 10.1177/0255761407085646. • Hallam, S., Varvarigou y M., Creech, A., Papageorgi, I., Gomes, T., Lanipekun, J. y Tiija Rinta, T. (2017). Are there gender differences in instrumental music practice? Psychology of Music, 45(1), 116-130. doi: 10.1177/0305735616650994. • Juslin, P.N., Karlsson, J., Lindström, E.F., Friberg, A. y Schoonderwaldt, E. (2006). Play it again with feeling: Computer feedback in musical communication of emotions. Journal of Experimental Psychology: Applied, 12(2), 79-95. doi: 10.1037/1076-898X.12.2.79. • Juslin, P.N. y Laukka, P. (2004). Expression, perception, and induction of musical emotions: A review and a questionnaire study of everyday listening. Journal of New Music Research, 33(3), 217-238. doi: 10.1080/0929821042000317813 • Karlsson, J. y Juslin, P.N. (2008). Musical expression: An observational study of instrumental teaching. Psychology of Music, 36(3), 309-334. doi:10.1177/0305735607086040. • Ley Orgánica 8/2013 para la mejora de la calidad educativa (2013). BOE 10 de mayo de 2013, 106, 97858-97921. • Lindström, E., Juslin, P.N., Bressin, R. y Williamon, A. (2003). Expressivity comes from within your soul: A questionnaire study of music students’ perspectives on expressivity. Research Studies in Music Education, 20(1), 23-47. doi: 10.1177/1321103X030200010201 • López-Iñiguez, G., Pozo, J. y de Dios, M.J. (2013). The older, the wiser? Profiles of string instrument teachers with different experience according to their conceptions of teaching, learning, and evaluation. Psychology of Music, 42(2), 157-176. doi: 10.1177/0305735612463772 • Lugo Mawang, L., Kigen, E.M. y Mutweleli, S.M. (2019). The relationship between musical self-concept and musical creativity among secondary school music students. International Journal of Music Education, 37(1), 78-90. doi: 10.1177/0255761418798402 • Macarthur, S. (2010). Towards a Twenty-First-Century Feminist Politics of Music. New York: Ashgate. • Marugán de Miguelsanz, M., Catalina Sancho, J., Martín Antón, L.J., del Caño Sánchez, M., Hernández Ortega, C. y Carbonero Martín, M.A. (2011). Estrategias de elaboración en alumnos universitarios. International Journal of Developmental and Educational Psychology. INFAD Revista de Psicología, 1(3), 621-630. Recuperado de http://www.redalyc.org/articulo.oa?id=349832330065 • Meissner, H. y Timmers, R. (2019). Teaching young musicians expressive performance: An experimental study. Music Education Research, 21(1), 20-39. doi: 10.1080/14613808.2018.1465031. • Müller, J., Norris, C., Hernández, F. y Goodson, I. (2010). Restructuring teachers´ work-lives and knowledge in England and Spain. Compare, 40(3), 265-277. doi: 10.1080/03057920902830061 • Müllensiefen, D., Gingras, B., Musil, J. y Stewart, L. (2014). The musicality of non-musicians: an index for assessing musical sophistication in the general population. Plos One, 9, e101091. doi: 10.1371/journal.pone.0089642 • Parsons, L. y Ravenscroft, B. (2016). Analytical Essays on Music by Women Composers: Concert Music, 1960–2000. Oxford: Oxford University Press. • Raglio, A., Bellandi, D., Gianotti, M., Zanacchi, E., Gnesi, M., Monti, M.C. e Imbriani, M. (2019). Daily music listening to reduce work-related stress: a randomised controlled pilot trial. Journal of Public Health. Prepublicación online. doi:10.1093/pubmed/fdz030 • Sheldon, D.A. y Price, H.E. (2005). Gender and Instrumentation distribution in an international cross-section of wind and percussion ensembles. Bulletin of the Council for Research in Music Education, 163, 43-51. Recuperado de https://www.jstor.org/stable/40311594 • Sloboda, J. A., Gayford, C. y Minassian, C. (2003, septiembre). Assisting advanced musicians to enhance their expressivity: An intervention study. Communication presented at the Fifth Triennial Conference of the European Society for the Cognitive Sciences of Music, Hannover. • Soler Campo, S. (2016). Mujeres y música. Obstáculos vencidos y caminos por recorrer. Dossiers Feministes, 21, 157-174. doi:10.6035/Dossiers.2016.21.10. • Williamon, A. (2014). Implications for education. En D. Fabian, R. Timmers y E. Schubert, Expressiveness in music performance. Empirical approaches across styles and cultures (pp.348-352). Oxford: Oxford University Press. • Woody, R.H. (2006). The effect of various instructional conditions on expressive music performance. Journal of Research and Music Education, 54(1), 21-36. doi:10.1177/002242940605400103 • World Economic Forum (2018). The Global Gender Gap Report. 2018. Ginebra: World Economic Forum. • Young, V, Burwell, K. y Pickup, D. (2003). Areas of study and teaching strategies in instrumental teaching: A case study research project. Music Education Research, 5(2), 139-155. doi: 10.1080/1461380032000085522 • Zervoudakes, J. y Tanur, J. (1994). Gender and musical instruments: Winds of change. Journal of Research in Music Education, 42(1), 58–67. doi: 10.2307/3345337En un momento en el que la igualdad entre mujeres y hombres se considera necesaria en la mayoría de las culturas occidentales, el resultado de las investigaciones en el área de música muestra que se siguen produciendo diferencias de género. Lo cual afecta a aspectos como: a) la elección instrumental de los estudiantes; y b) las salidas profesionales, principalmente en composición y dirección orquestal. Desde un enfoque educativo se plantea si se observa un cambio en la actualidad de estos aspectos y si existen también diferencias de género en el uso de estrategias de enseñanza-aprendizaje de la expresividad musical. 196 alumnos ingleses y españoles de enseñanzas superiores aportaron información al respecto. Los resultados indican que persisten las diferencias en estos aspectos generales y que las mujeres respecto a los hombres consideran más relevante el uso de estrategias como las metáforas e imágenes.At a time when equality between women and men is considered necessary in most Western cultures, the result of investigations in the area of music shows that gender differences are still present. That affects aspects such as: a) the students’ instrumental choice; and b) career opportunities, mainly regarding composition and orchestral conducting. From an educational approach this paper considers whether a change in the current situation of these aspects is observable and if there are gender differences in the utilization of strategies of teaching and learning of musical expressivity. 196 English and Spanish students of Higher Education provided information regarding this situation, and results indicate that differences persist in these general aspects and that women compared to men consider more relevant the utilization of strategies such as metaphors and images.Depto. de Didáctica de las Lenguas, Artes y Educación FísicaFac. de EducaciónTRUEpu

Learning strategies on musical expression in higher education and emotional intelligence

Referencias bibliográficas: • Barten, S. S. (1998). Speaking of music: The use of motoraffective metaphors in music instruction. Journal of Aesthetic Education, 32, 89–97. doi: 10.2307/3333561. • Bonastre, C. (2009). La expresividad en la enseñanza superior de música. Diploma de Estudios Avanzados, Universidad Autónoma de Madrid. • Bonastre, C., Muñoz, E. y Morales, A. (2013). Psychometric validation in advanced music students of a brief scale assessing emotional intelligence associated with music. Comunicación presentada en la 12th European Conference on Psychological Assessment. San Sebastián, del 17 al 20 de julio. • Bonastre, C. y Timmers, R. (2019). Comparison of beliefs about teaching and learning of emotional expression in music performance between Spanish and English HE students of music. Psychology of Music, 1-16. doi:10.1177/0305735619842366. • Broomhead, P. (2006). A study of instructional strategies for teaching expressive performance in the choral rehearsal. 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Los participantes fueron 117 estudiantes y 43 profesores que completaron sendos cuestionarios sobre IE y valoración de modelos de enseñanza-aprendizaje de la expresividad. Las estrategias Metáforas, Emociones y Técnica se asociaron positivamente con el nivel de IE aunque la diferencia de rol (docente discente) parece poco relevante en esta asociación. El vínculo entre estos aspectos sugiere que la mejora de las competencias emocionales y el aprendizaje expresivo están relacionados, de tal modo que favorecer el desarrollo de las destrezas emocionales de los estudiantes podría mejorar las habilidades expresivas en la interpretación musical y viceversa.Education provides possibilities for personal development in aspects as relevant as emotion. In fact, Emotional Intelligence (EI) has been associated with many positive outcomes in educational contexts, but remains understudied in music education. The main goal of this work has been to study the association between EI and conceptions of music teachers and students in Higher Education about ways to improve expressive skills: Modelling, use of Metaphors, usage of one’s own Emotions; and providing Technical instructions. Participants were 117 students and 43 teachers who completed questionnaires about EI and opinions about models of teaching and learning expressivity. Metaphors, Emotions and Technique were positively associated with the level of EI, although the different role (teaching or learning) seems scarcely relevant for this association. The link between these two aspects suggests that improving emotional competencies and learning of expressivity are associated, so fostering student’s emotional capacities could improve expressive skills for music performance and vice versa.Depto. de Didáctica de las Lenguas, Artes y Educación FísicaFac. de EducaciónTRUEpu

Conceptions about teaching and learning of expressivity in music among higher education teachers and students

Acknowledgements: The preparation of this article was supported in part by a grant to the first author from the Universidad Autónoma de Madrid (UAM) for a research stay in the University of Sheffield. We would like to thank the Conservatorio Superior de Música de Madrid and the UAM for its collaboration. Referencias bibliográficas: • ARRINDELL, W. A. & VAN DER ENDE., J. (1985) An empirical test of the utility of the observations-tovariables ratio in factor and components analysis. Applied Psychological Measurement, 9, 165-178. • BERMAN, B. (2000) Sound and touch. In B. Berman (Eds), Notes from the Pianist's Bench (pp. 3-24). New Haven: Yale University Press. • BOWER, G. (1981) Mood and memory. American Psychologist, 36, 129-148. • BOX, G. E. P. (1949) A general distribution theory for a class of likelihood criteria. Biometrika, 36, 317-346. • BROOMHEAD, P. (2006) A study of instructional strategies for teaching expressive performance in the choral rehearsal. 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Psychology of Music, 41, 466-483.This work aimed to analyse factors related to conceptions and beliefs about expressivity in music among students and teachers. A questionnaire with 11 Likert-type items was developed covering the main factors included in the literature of teaching-learning of expressivity and emotion in music. Through exploratory factor analysis three factors were identified: expressive technique (ET), emotional expression (EE), and self-learning of expressivity (SLE). Comparisons between teachers and students showed that teachers had significant higher scores in EE with no differences in ET or SLE, although the effect size for SLE was high. The three factors are proposed as a tool for the assessment of conceptions of expressivity and its learning in both teachers and advanced students of music for teaching and research objectives.Universidad Autónoma de MadridDepto. de Didáctica de las Lenguas, Artes y Educación FísicaFac. de EducaciónTRUEpu

Tecnologia digital na educação musical para crianças

En la actualidad, la educación experimenta cambios profundos para integrar la tecnología digital en el proceso de enseñanza-aprendizaje. La adquisición de competencias digitales afecta a los agentes y las etapas educativas, pero no con la misma intensidad. El objetivo de este trabajo es explorar la dupla tecnología y educación musical en el colectivo infantil, a través de una revisión de la literatura publicada en bases científicas relevantes en el campo de la educación —WoS, SCOPUS y ERIC— durante los últimos diez años. Las tres categorías extraídas fueron: potencial de los recursos en el aprendizaje musical, aprendizaje no musical y uso docente de las tecnologías. Los resultados muestran un bajo número de investigaciones musicales en torno a la tecnología y su efecto en la música y en el movimiento, ya que la mayoría de las investigaciones se centra en la mejora de la exploración sonora, en la creación y en la interpretación musical. Se puede afirmar que el uso de la tecnología en el aprendizaje musical parece efectivo, puesto que mejora tanto en el aprendizaje musical como en el no musicalToday, education is undergoing profound changes to integrate digital technology into the teaching-learning process. The acquisition of digital competencies affects educational agents and the stages of education, but not with the same intensity. This study aims to explore theconnection between technology and music education for children, by reviewing the scientific literature published in relevant scientific databases in the field of education—WoS, SCOPUS, and ERIC—during the last ten years. The three categories identified were: potential of resourcesin musical learning, non-musical learning, and the use of technology in teaching. The results show a low number of musical studies on technology and its effect on music and movement, since most of the research projects are focused on the improvement of sound exploration, musiccreation, and musical performance. It is possible to state that the use of technology in musical learning seems to be effective, since it improves both musical and non-musical learningHoje a educação atravessa mudanças profundas para integrar a tecnologia digital no processo de ensino-aprendizagem. A aquisição de competências digitais afeta os agentes e as etapas educacionais, mas não com a mesma intensidade. Este trabalho visa a explorar a conexão entre tecnologia e educação musical para crianças, mediante a revisão da literatura científica publicada em bancos de dados científicos relevantes no campo da educação — WoS, SCOPUS e ERIC — durante os últimos dez anos. As três categorias identificadas foram: potencial de recursos na aprendizagem musical, aprendizagem não musical e o uso da tecnologia no ensino. Os resultados mostram uma baixa quantidade de estudos musicais sobre tecnologia e seu efeito na música e no movimento, uma vez que a maioria dos projetos de pesquisa está focada na melhoria da exploração sonora, na criação musical e na interpretação musical. É possível afirmar que o uso da tecnologia no aprendizado musical parece ser eficaz, já que melhora tanto o aprendizado musical quanto o não-musicaDepto. de Didáctica de las Lenguas, Artes y Educación FísicaFac. de EducaciónTRUEpu