Revista Electrónica Complutense de Investigación en Educación Musical - RECIEM
Revista Electrónica Complutense de Investigación en Educación Musical (RECIEM) (ISSN-e 1698-7454) publishes works on learning and teaching music that are of interest for musical educators. In addition to research, proposals are welcome that address epistemological and methodological matters, reviews of books discussing research, reviews of conferences or seminars held that include a critical analysis of the papers presented and the debates that have taken place. The articles can provide information on research carried out in any context of musical education, both school (infant, primary, secondary education) and vocational (informal learning, private classes, music schools), professional (conservatories, universities, teacher training, orchestras, studies), community (choirs, bands, folk groups), therapeutic (music-therapy) or experimental (cognition, Neurology, Systematic Musicology).
In order to support the global exchange of knowledge, the journal Revista Electrónica Complutense de Investigación en Educación Musica is allowing unrestricted access to its content as from its publication in this electronic edition, and as such it is an open-access journal. The originals published in this journal are the property of the Complutense University of Madrid and any reproduction thereof in full or in part must cite the source. All content is distributed under a Creative Commons Attribution 4.0 use and distribution licence (CC BY 4.0). This circumstance must be expressly stated in these terms where necessary. You can view the summary and the complete legal text of the licence. Revista Electrónica Complutense de Investigación en Educación Musical an open access journal that does not charge authors for article processing (submission, review or editing) or publication.
Copyright (c) 2026 Revista Electrónica Complutense de Investigación en Educación Musical - RECIEM
Corbalán, Maravillas (2026). Mentes musicales. Una aproximación interdisciplinar a la psicología de la Música. McGrawHill.
Representation and Educational Approach of Stage Music in Secondary Education Music Textbooks
Stage music, as a natural extension of active and creative pedagogies, has emerged as a growing trend in music education, aligning with approaches that promote experiential learning and the holistic development of students. Various studies have highlighted its numerous educational benefits, emphasizing its capacity to foster creativity, enhance motivation, and generate positive emotional experiences. Additionally, its practice encourages active student participation, the development of social awareness, personal engagement, and the recognition of cultural diversity, key aspects in shaping critical and reflective citizens. Furthermore, the current official curriculum mandates its incorporation into secondary education, thereby acknowledging its pedagogical value. However, research on its representation in educational materials remains limited, particularly in textbooks, which continue to play a crucial role in the teachinglearning process. This study aims to analyze the presence and pedagogical treatment of scenic music in the most widely used textbooks in public secondary schools in Castellón (Valencian Community, Spain). To this end, a content analysis methodology was applied to a sample of 748 activities across eight school textbooks. The results indicate that scenic music accounts for approximately 25% of the musical content, with a predominance of audiovisual media music and a limited presence of musical theatre, zarzuela, and incidental music. Educational approaches primarily focus on receptive listening and theoretical content, while creativity, movement, and interdisciplinary projects receive little attention. The study concludes that, to fully harness its educational potential, stage music should be approached through more dynamic, experiential, and creative methodologies.
Investigating the impact of Music-Speech Integration Pedagogy (MSIP) on children’s music aptitude: A registered report
This Stage 1 Registered Report describes the design and analysis plan for a randomised controlled trial (RCT) evaluating the Music-Speech Integration Pedagogy (MSIP), a small‑group programme for boosting kindergartners’ tonal-rhythmic sensitivity and transfer to phonological awareness. As music and speech share acoustic attributes and overlapping neural systems, training that strengthens tonal-rhythmic processing may enhance phonological awareness. We will enroll 40 Cantonese‑speaking children aged 4–5 years in Hong Kong. Half will learn with MSIP and half proceed as usual. We will primarily assess pre–post changes in music and speech ability with the Abbreviated Primary Measures of Music Audiation (aPMMA‑T/R) and in English Phonological Awareness (EPA) test. Also, these children will complete an absolute pitch test (APT). We will analyse the RCT data with multilevel, multivariate outcome differences‑in‑differences models, supplemented with sensitivity analyses and statistical matching methods. Our findings will show whether MSIP is feasible and its efficacy for strengthening foundational auditory skills and prosody perception. Furthermore, it will clarify music-speech links in a tone‑language context.
Teaching from the Music Stand: Development and Achievements of Orchestral Work in Schools
Orchestral work with bow instruments, both inside and outside the school environment, has been widely recognised for its twofold artistic and socio educational function. However, its implementation in schools in Spain is still limited compared to other musical groups, such as school choirs and instrumental ensembles where students learn to play the recorder, Orff percussion or the ukulele. This case study analyses the Planters project, developed during nine academic years in two state schools in Girona (Spain) devoted to early childhood education and primary education. Specifically, observations and sampling were carried out during two terms of the 2023/2024 academic year. The research focused on two main questions: (1) How is a string orchestra project organised in a school environment marked by sociocultural and educational diversity? and (2) How do students benefit from this activity in terms of learning outcomes and experiences? To answer these questions, a qualitative analysis was carried out on the basis of systematic observation of the rehearsals, the study of the repertoire and the teaching methodology. It also included an assessment of the educational benefits and the organisational challenges of the project. The reliability of the analysis was confirmed by data compilation, codification and triangulation, which combined three sources of information: direct observation, surveys addressed to the orchestra teachers and interviews with the participating students. The results show a significant impact on school identity, a high involvement of students and their families, as well as the need for organisational and institutional support to sustain the project. The most outstanding achievements include a stronger sense of community, the development of collaborative skills and an improvement in the school climate through an inclusive musical education. Finally, the viability of replicating this model in other educational contexts is discussed, highlighting its potential to integrate musical training in school and foster social cohesion through orchestral work.
Dropout in music conservatories: analysis of causes and possible solutions from teachers’ perspectives
Dropping out of studies in conservatories in Spain presents worrying figures. For this reason, recently it has begun to attract the interest of the educational and scientific community. However, this phenomenon has been addressed by few authors who have already analyzed the causes and possible solutions of this dropout in different regions. The need to carry out a national study is identified through a questionnaire aimed at teachers of Elementary and Professional Music Education. A sample of 284 is given out of an estimated population of 11,607 teachers. The results obtained show that the main causes of dropout are excess teaching load, lack of motivation of the students and the study plan. Among the best-rated possible solutions are: encouraging collective activities and groups in conservatories, integrating Higher Artistic Education in the university and opening conservatories to society. In the discussion, the results obtained are contrasted with the previous studies presented in the theoretical framework. Finally, the urgency of taking action is highlighted, especially by educational administrations, conservatories and teachers, to stop the leak of thousands of students who leave music conservatories every year.
High sensitivity and professional music studies
Music, in any of its multiple facets, can be an effective instrument for the regulation and emotional balance of Highly Sensitive People (HSP). Musical expression serves as of the most common ways of self-knowledge and free expression of thoughts and emotions. The research presented below has focused on analysing the existing connections between music students of the Elementary and Professional grades of the Real Conservatorio Profesional de Música de la Excelentísima Diputación de Albacete and High Sensitivity, as well as whether these connections are related to the age, gender, level of studies and speciality of the participants. For this purpose, the High Sensitivity tests for children and adults provided by the PAS-SPAIN Association, previously adapted to this study, were used, and the data were entered into the SPSS v.28 statistical package. The results obtained have shown the existence of sufficient evidence to indicate a direct and significant relationship between professional music studies and High Sensitivity. These data, moreover, open avenues for deepening these relationships and analysing the theoretical and methodological implications related to the teaching-learning processes of musical performance with highly sensitive students.
Aesthetic traits in collective interdisciplinary creative processes
The competency-based model of artistic education fosters creativity and gives students an active key role in their own learning. Aesthetic knowledge and skills are developed through challenges and creative processes based on perception, expression, imagination, sensibility, analysis, and reflection. The goal of this study was to identify and analyse the aesthetic traits and abilities displayed by students during collective interdisciplinary creative processes involving music and dance. Data was collected from 45 video recordings (each lasting approximately 50 minutes) and analysed using a custom-designed evaluation tool. The sample consisted of 100 students aged eight to twelve years old pursuing primary education at a school in Castelldefels (Barcelona). The results brought to light three main findings: a low presence of traits associated with sensibility; challenges concerning the use of symbolism during the creative process; and a notable similarity between the aesthetic traits that emerged in musical and choreographic activities. This research contributes to the field by specifying a framework of aesthetic traits and skills and thereby offering practical tools for the analysis of aesthetic expression. It identifies the key factors that support the consolidation of students’ aesthetic personality during the different phases of the creative process, encouraging sensibility, creativity and artistic expressiveness. Additionally, it underscores the importance of collective interdisciplinary creative experiences in fostering these qualities. Finally, it provides music educators with valuable information when it comes to enhancing the development of artistic competence within interdisciplinary learning environments.
Dance in Early Childhood Education: A Comparative Studyof the Regional Curriculum in the LOMLOE
Dance as a language has a high educational value, endorsed by the scientific community as an ideal resource for early childhood education. Its contribution to children's motor development, along with the psychosocial aspects that can be addressed through dance, mean that dance should be a tool considered by teaching professionals for this stage. This comparative study aims to determine the presence of curricular elements that refer to dance in regional curricula for early childhood education, both in the first and second cycles, for the legislative period of the LOMLOE (Spanish Organic Law of Education). To this end, the eighteen curricula published since Royal Decree 95/2022 were analyzed using a systematic analysis protocol. Among some of the results found, it is clear that most curricula (with the exception of five) tend to include dance more in their documents, favoring its presence and, therefore, its subsequent development in early childhood classrooms than the national proposal. However, this presence is greater for the second cycle than for the first.Likewise, dance is used in some autonomous communities as a source of knowledge about regional musical heritage. It should be noted that the terms dance and dance are used differently, giving them distinct connotations and are not usually used synonymously, although dance can be assumed within the concept of dance. It is concluded that the autonomous communities are making a greater commitment to incorporating dance and dance into early childhood education classrooms than the national government.
The Impact of Fully Online Flipped Classrooms on Music Learning Outcomes in the Short Term
The outbreak of Covid-19 has spurred a global surge in online education, yet not all subjects are suited for this format, particularly those requiring extensive interaction between teachers and students. This study employed a mixed-methods approach, including questionnaire on learning satisfaction, comparative assessments before and after the course, and semi-structured interviews, to evaluate the effectiveness of a fully Online Flipped Classroom model among 30 students at a well-known art university in China. The 5E model served as the primary instructional framework throughout the teaching process. Quantitative analysis indicated that students were satisfied with the Online Flipped Classroom and demonstrated significant academic improvement at the conclusion of the 12-week course, suggesting that the Online Flipped Classroom, in conjunction with the 5E model, effectively supported students' academic progress in a short period. Semi-structured interviews further revealed students' overall perceptions of the Online Flipped Classroom, presenting a nuanced view of this educational approach. The findings highlight the effectiveness of Online Flipped Classroom in the field of music education, offering new perspectives and suggestions for music educators and valuable insights for post-Covid-19 era teaching strategies.
Behind the Music Stand: Perceptions of selection boards in the recruitment process for the Music Teaching Corps in the Community of Madrid
Access to the teaching profession in Spain—particularly within the Corps of Primary Music Teachers in the Community of Madrid—remains a subject of ongoing debate, primarily due to the misalignment between the current competitive examination model and the professional competencies required for teaching. This study aims to analyse the perceptions of selection board members regarding the design, structure, and effectiveness of the current recruitment process, with particular attention paid to the tests administered, evaluation criteria, candidates’ preparedness, and suggested improvements. A mixedmethods, descriptive, and correlational design was employed, combining both qualitative and quantitative approaches. Data collection was conducted through an expert-validated online questionnaire, yielding 34 responses. The analysis was carried out using SPSS and Atlas.ti, integrating descriptive statistics with thematic analysis. A total of 73.5% of board members expressed agreement with the inclusion of eliminatory tests, and 67.6% approved of their sequence. The most highly valued components were the Didactic Unit (UPD) and the Interpretation test. In contrast, the general Language and Mathematics test was met with greater disagreement. Only 32.3% of respondents deemed the current evaluation criteria sufficient. Candidates were perceived to have an intermediate level of preparation, with notable deficiencies in communicative competencies. Furthermore, only 52.9% of tribunal members had received specific training for their evaluative role. Although the selection boards broadly support the current model, they call for improvements in assessment criteria, evaluator training, and logistical conditions. Their proposals include the use of public rubrics, more objective testing formats, and a revised curriculum. These findings underscore the pressing need to move towards a more equitable, objective, and competence-based teacher selection system that is aligned with the demands of 21st-century education.
Contributions of Musical Education to the development of the Multidimensional Self-concept in adolescence according to gender
Multidimensional self-concept can vary depending on to age and gender in adolescence. It is related to a variety of academic aspects and to learning music, both of which are linked to school performance. The aims of the present study were to measure Multidimensional self-concept in a group of adolescents, carry out a comparison of young musicians and non-musicians, and examine the impact of musical practice on Multidimensional self-concept by gender. The sample consisted of 409 adolescent lower-secondary students in Valencia between 11 and 16 years old (205 girls and 204 boys). Some of them were studying music at the Conservatory of Music, and others had not previously studied music. To collect the data, we used an ad hoc sociodemographic questionnaire and the Dimensional Self-Concept Questionnaire by Fernández-Zabala. After performing the relevant analyses, and in line with previous studies, the results showed significant gender and age differences. However, the most important findings of the research were, on the one hand, that there were significant differences in Multidimensional self-concept between musicians adolescents and non-musicians and, on the other, that the positive and significant effect on musicians’ Multidimensional self-concept occurred equally in all of them, regardless of their gender, revealling that music exerted the same significantly positive influence on subjets whether they were boys or girls.
Copyright (c) 2025 Revista Electrónica Complutense de Investigación en Educación Musical - RECIEM
Music competences in the training of generalist educators and the selection of a music specialization: an analysis based on students' self-perception
The importance of music as a didactic tool in primary education classrooms underscores the essential need for future educators to receive basic musical training during their undergraduate studies in the Degree of Education. This allows them to effectively address current educational needs. The present research was based on two main objectives: to understand the development of competencies and content related to subject XXX based on students' self-perception; and to determine if these competencies were in any way related to the subsequent choice to pursue a specialisation in music education, comparing their influence before and after having taken the subject. A quasi-experimental design was used, based on program evaluation, and a factorial relational design. The sample consisted of 559 students in the initial questionnaire and 301 in the final one. The results reported a significant increase in knowledge acquired related to the design of musical resources and activities by students after taking the subject. However, more artistically-musical content (singing, musical language, etc.) took a back seat. In relation to the subsequent choice of music education specialisation, a significant reduction in influencing variables was observed. These revolved around vocal performance skills and knowledge of the basic elements of music. From the study, the importance stands out for researchers and educators to review future degree curricula and their specialisations.
Methodologies and practices in contemporary music teaching in Spanish professional and higher music conservatories
The 20th and 21st centuries have witnessed the creation of musical works that have explored new expressive, technical, and sonorous horizons, giving rise to what is called contemporary music. This music constitutes a cultural heritage of great value, which should be known, studied and disseminated in Spanish music conservatories, both professional and higher, in order to adequately train new generations of musicians, creators and educators. The present research aims to analyse the methodologies and practices used in the teaching of contemporary music in Spanish professional and higher conservatories. For this purpose, a theoretical framework and state of the art on the use of contemporary music in conservatory classrooms is made, and resources, different uses and implementation of this stage of the history of music used by teachers in these educational centres are analysed. The research instrument was a questionnaire designed ad hoc and there was a sample of 113 participants. The results obtained show that conservatory teachers do not make intensive use of the contents of contemporary music, although listening is the most used teaching methodology. Those with a higher conservatory degree, with postgraduate degrees and with less professional experience are those who most encourage the use of music from this musical stage. Alternative materials to the textbook are quite frequent, especially in this type of teachers. The representation of women composers in the programs is quite scarce, with a predominance of composers who belong to the historical canon in the different manuals, although sometimes recently composed pieces by women composers are used.
How to teach creation? Music teacher’s pedagogical preferences and actions in Secondary Education
Musical creation is becoming an increasingly recurrent topic in music research, given the multiple benefits it brings to the psycho-educational level of pupils. However, studies analysing its dynamisation in schools are in the minority. The main objective of this study is to identify the pedagogical approach of 14 secondary school teachers in Galicia (Spain) regarding improvisation, composition and arrangement, using a narrative-biographical approach in order to search for conditioning factors in their praxis. To this end, the data collection is based on individual semi-structured in-depth interviews, the content of which is codified through a double individual and comparative process carried out with the software ATLAS.Ti (version 23). The lack of significant references to music-making during initial teacher training favours imitative and reproductive models, aligned with the pre-eminence of the Western academic repertoire in music teaching. In contrast, those teachers who are self-taught, who have formative experiences of collaborative approaches, or who maintain a creative musical life, seek to open up spaces and diversify their teaching in terms of musical creation. We conclude that it is necessary to recognise the challenges of contemporary education as a prelude to proposing training measures that lead to the training of teachers in the enrichment of their pedagogical proposal, with a view to educational models that foster the genuine creative development of the student.
Community music education programs in Mexico
Community music education that seeks to promote musical, personal, and social skills among children, teenagers, and youths have expanded considerably in Mexico in recent years. Some of these programs were inspired by Venezuela's National System of Youth and Children's Orchestras and Choirs, but others were built based on different educational and community models. Official information available on these programs tends to emphasize the number of participants or events performed, without further analysis of their pedagogical practices and the perceived benefits for their participants. For this reason, we conducted a systematic review of studies that included empirical data on community music education programs in Mexico. The search for information yielded 29 documents associated with 22 investigations. In these studies, it was found that community music education programs adapted their objectives in response to the needs of their context. In addition, some of them promoted traditional musical genres and ensembles of their communities. The students in the programs were children and youth from different socioeconomic backgrounds and, although the participation of parents was fundamental, very few centers incorporated them in musical activities. The teachers' involvement was key to the development of their students, but they had limited psychological or pedagogical training. Researchers reported several emotional, psychological, social, and musical benefits in their participants, but some were cautious and did not overestimate the impact of the programs. A considerable part of the research included in this review was associated with undergraduate academic work and was carried out by people working in these programs. Because of its potential to contribute to the development of children and youth in Mexico, more research is needed on community music education programs to document their practices, as well as to strengthen them through teacher training and community development.
Orientation and vocational maturity in music conservatory students
. Professional music conservatory students’ orientation and vocational maturity have been little studied. Therefore, this work aims to analyse the available orientation and the vocational maturity students develop. This research used a quantitative (descriptive-correlational) and cross-sectional design through questionnaires. The sample comprised 252 students from the last years of the professional Music degree and teachers from the province of Pontevedra. Results and conclusions reveal deficiencies in schools’ vocational orientation for higher education and the decision-making process as well as professional information. Furthermore, some shortcomings of the incorporation of orientation activities in the annual planning are highlighted. Regarding music conservatory students’ vocational maturity, some music-related professions are not well known, limiting their career choices. Considering gender, there are significant differences in self-knowledge and the self-efficacy dimension of vocational maturity, with male students’ average slightly higher than females’. Likewise, this work shows that the decision-making dimension is significantly higher among students whose parents have music-associated professions, and the dimension related to information about studies and professions is more extensive among students who have already chosen their future training or profession.
Orff-Schulwerk in Spain through its disseminators
Professionals involved with the Orff-Schulwerk in Spain have had few opportunities to share that part of their lives in an academic context. Their testimonies are essential to reconstructing the processes by which active music education methodologies have circulated and been received, from their points of origin to the various regions where they have been adopted and developed. This article aims to provide an overview of various aspects of the Orff-Schulwerk in Spain, based on the perceptions, experiences, and narratives of specialists who have played—and continue to play—a significant role in promoting and implementing this pedagogical approach. To that end, a qualitative research design was employed, centered on a strongly structured biographical interview, validated by experts and conducted with 24 participants. The data collected through this instrument were coded into eight categories addressing issues such as training in the method and associated scholarships, conceptual understandings of the approach, the role of government policy, strengths and weaknesses in its implementation, and future prospects, among others. The analysis offers an in-depth study from which names, opinions, criticisms, and anecdotes emerge—elements not found in previous literature. Cross-analysis of the diverse perspectives allows for a deeper understanding of the arrival and expansion of the Orff-Schulwerk in Spain. Furthermore, the study reveals the extensive human network formed around this pedagogical approach and its main national circuits. Ultimately, the findings underscore the ongoing efforts of its proponents to ensure that music education in general—and the Orff-Schulwerk in particular—maintains a prominent place in the Spanish educational system, which has often neglected or instrumentalized the arts.
Exploring Self-Perceived Musical Capacities in Education and Social Science University Students
This study aims to explore the varying musical self-perceived capacities of university students, including their emotional sensitivity to music, music memory and imagery, listening skills, personal involvement with music, and how these capacities vary by factors such as sex, field of study, employment, and prior experience with music. The study employs the MUSEBAQ questionnaire, a self-report survey, to collect data from 1489 university students from the Autonomous Community of Madrid (Spain) studying social sciences. The collected data was analyzed using descriptive and differential analysis to identify the nuances of perceived musical capacities among different demographics. The findings of the study suggest that students generally view their musical capacities as medium to high, with a significant emotional connection to music. Emotional sensitivity, personal commitment, and the role of music in evoking memories and imagery are highlighted as crucial aspects of students' musical experiences. No significant differences in the perception of musical capacities were found based on educational background or employment status. Based on sex-based analysis, the study finds that women tend to exhibit a higher level of emotional sensitivity towards music, but no significant differences were found in appreciation or listening sophistication. Moreover, students with higher levels of self-perceived musical capacities were more likely to engage in informal music practice and interact with music in various ways, which further enhanced their capacities. The study identified four distinct student categories based on their musical capacities, ranging from exceptional to very low levels of musical capacity, offering insights into the diverse ways students engage with and perceive music.
Nurturing our activist agency as music teachers: a holistic evaluation of a workshop for student teachers
The Organization for Economic Cooperation and Development, through the Framework for Global Competence, establishes that educational systems should foster critical and responsible activism, hence the need for university programs oriented towards the initial training of music teachers to be committed to fostering an activist spirit in their students. The current study aims to evaluate the acquisition and development of activist agency in university students trained as music teachers. The method is linked to hermeneutic pedagogy, since a workshop has been designed and implemented in order to promote the acquisition and development of the activist agency of university students. Results display activist commitments assumed by student teachers on their own, that the collective work through the workshop has allowed the configuration of a professional community that provides support and containment; and, finally, that the activist agency has been internalized through rational and experiential ways. In conclusion, the generation of trusting relationships represents a primary support for the community spirit to prevail.
Music Teachers’ Work Engagement: The influence of Personal and Occupational Variables
Teacher engagement in music education is crucial for the quality of education received by students. Despite the growing research on teacher engagement, few studies have explored the impact of job and personal resources in music education. This study examined the relationship between these three key factors: job resources, personal resources, and engagement. A total of 457 music teachers from general, higher, and special education in the Basque Country, Spain (71.1% women; M age = 44.9, SD = 10.4), were selected by convenience sampling. The results of the structural model show positive and significant relationships between job resources, personal resources, and engagement. Both types of resources explain between 14.75% and 2.86% of the variance in engagement, with job resources, such as work organization, support and recognition from others, and professional development opportunities, among others, being the most relevant predictors compared to personal resources, such as emotional intelligence, professional self-efficacy, and resilience. Our results highlight the importance of involving management teams in improving working conditions and implementing programs that strengthen teachers' emotional intelligence, self-efficacy, and resilience, preferably with active teacher participation. This approach can foster more motivated and committed teachers, enhancing the quality of educational environments.
Mindfulness and music. Impact on academic performance and mindfulness in students of Music Teacher Training
Studies published in recent years have revealed interesting implications regarding the mindfulness-music relationship, which opens the doors to a relatively unexplored field of research in the particular subject of Music Education. This study analyzes the effect of a 9-week mindfulness training program on academic performance and mindfulness in a sample (N=25) of university students from the Mention in Music Teacher Training (Bachelor in Primary Education). The participants were distributed in two groups: an experimental group and a control group. The methodology used was mixed. The Five Facets Mindfulness Questionnaire (FMMQ) and the grades obtained in the different subjects that comprise the current Mention in MTT were used in the research as part of a pre-post design. Although the results showed no significant differences in the intergroup analysis for most of the variables considered, statistically significant differences were found at an intragroup level, within the intervention group. Regarding academic performance, the study shows how the practice of mindfulness was stimulating as well as beneficial in all subjects (and not only in the one where mindfulness training was implemented). This was particularly relevant for students who achieved the highest grades, something they likely would not have achieved without the intervention. On the other hand, significant improvements were identified in the evolution of the intervention group for the mindfulness characteristics. From a qualitative perspective, the evidence collected highlights the positive reactions of the participants regarding the evolution experienced within the experimental group, evolving from initial skepticism to an integration of mindfulness practice into student life over the course of more than one academic semester. In summary, the research provides evidence on the interest and usefulness of a mindfulness intervention as part of Music Teacher Training.
Rolando Angel-Alvarado. (2024). Activismo, música y educación: miradas desde la realidad chilena. Ediciones Universidad Alberto Hurtado
Casals, A., Fernández-Barros, A., Casals-Balaguer, M., Buj Corral, M. (Eds.) (2024). Claus de l'educació musical a Catalunya: Mirades des de la recerca
Musical excellence in higher music education according to teachers conceptions
The concept of excellence is relevant in the training of musical instrument performers and has evolved within the field of education. Although the notion of excellence can be quite broad depending on different beliefs and social contexts, in education it is understood as a set of skills necessary to achieve specific goals determined by students’ needs and their personal, socio-occupational, and political environment. In higher education, at least three main agents are involved in the teaching-learning process: students, faculty, and institutions (i.e., educational management and administrations). The case studies featured in this paper focus on teachers’ conceptions of the strategies implemented by conservatories and higher schools of music in Spain in the pursuit of musical excellence. To this end, we conducted semi-structured interviews with five innovative, research-oriented music professors, as teachers are key agents who directly influence the teaching-learning process. Our analysis of the emerging categories from the interviews suggests that these teachers have applied innovative methods and approaches in their educational practice, although they are aware that such innovation is not widespread. Conservatories and higher schools of music do not appear to be consistently implementing effective, long-lasting changes; substantial transformations are still required. The results obtained from this research aim to offer proposals for improving teaching in higher music education institutions.
Students with NEAE in the music classroom.
The incorporation of students with NEAE in the music classroom is an important challenge for specialist teachers. This research has focused on the vision of the teacher in music in all its aspects: generalist education, Conservatory, Municipal Schools and University. The objectives of this work have focused on knowing the experience and training of teachers in inclusive education, quantifying the skills acquired by their students and finding out their perception of their training needs in this regard. The exhibition is made up of a total of 94 teachers specialized in music from the island of Tenerife (Canary Islands, Spain). It is a mixed study with selective and cross-sectional design, the data collection has been carried out through an ad hoc questionnaire submitted to expert criteria. The questionnaire has three sections, one dedicated to sociodemographic aspects, another on skills acquired in the music classroom that has been designed in Likert mode and the last qualitative where practices, attitudes and improvements in teacher training are investigated. It concludes with an evident training need to provide better attention to students with NEAE, increasingly frequent in music classrooms, they agree on the importance of permanent training to incorporate updated and effective resources.
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Civil wind bands beyond music education: a scoping review (2010-2021)
The aim of the present study is to provide a comprehensive scoping review focused on the educational effects of active music-making participation in wind bands. This review combines mapping studies to identify the primary sources, authors, institutions, and types of evidence available in wind band research and a literature review to identify the key concepts underpinning this research domain. Based on peer-review journal literature published between 2010 and 2021, a total of 712 records were examined, resulting in 459 papers screened and 84 studies included in the analysis. Findings indicate that, in the past decade, the essential contribution to research about active music-making participation in wind bands came from Western English-speaking academic institutions based in the United States of America, Australia, the United Kingdom and Canada. The research’s relevant focus was on the purposes of music education and the psychosocial and health effects of participation. Furthermore, the psychosocial effects encompassed a comprehensive set of themes, such as social bonding, community music participation, emotional well-being, and individual quality of life. Nevertheless, all these topics are closely linked to the single overarching expression of the quality of life. Other than music education, educational effects were not at the heart of the last decade of wind band research. A few gaps in the literature exist, including a lack of research concerning the educational benefits of informal and intergenerational environments of wind band practices. Equally important is the lack of research on the impacts of wind band activities on social cohesion or the inclusive intercultural development of their local communities. Lastly, there is a significant opportunity to provide up-to-date insights into the educational potential of non-school contexts and the impacts of wind band activities on supporting their places’ cultural ecology.
El papel del compromiso académico en estudiantes de la mención de educación musical
Academic engagement is a fundamental concept for explaining academic performance in university students, especially in programs such as teacher training degree, which prepares students for a highly vocational profession. Likewise, the current system for training music education teachers through the major raises some ambiguities regarding the commitment of these students. So, our objective is to compare the academic engagement and some facilitating and hindering variables of it, in students of this specialization with students from other teacher degree programs, with the aim of proposing actions that result in a greater use of these studies. For this purpose, a prospective exploratory study of a cross-sectional nature was carried out, combining descriptive and correlational methodology, with data obtained from different questionnaires. The sample consisted of 610 students from the UB. The most significant results that differentiate both groups are, on the one hand, in the facilitating variables of academic engagement (coping strategies, and academic motivation), as well as in the hindering variables (perceived stress and psychological distress). With all of this, actions are proposed to improve and complement the tutorial action plan of music education teachers, and, consequently, improve the academic engagement of these students.
Comparative analysis of the Music Education curriculum in Primary Education in Spain according to the LOMLOE. Exploring the construct of creativity
The LOMLOE has made significant changes in the structure of the education system, especially affecting the teaching of Music Education in Primary Education. This article conducts a qualitative analysis through a documentary review of the current regulations in different regions. Its main objective is to understand the position of music education across the country and determine the learning objectives sought in students. Additionally, possible educational differences based on geographical location are examined. The study focuses on curriculum components and time allocation, with special emphasis on the construct of creativity as a means to enhance autonomy, musical comprehension, and expression in students, as well as their overall development. Furthermore, through the literature review of legislative texts, potential implications that will impact the future of Music Education in this educational stage are identified.