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The present study focuses on two potential benefits of music education: social-emotional learning and education in values, in the context of training given in professional music conservatories in the subject of Musical Language. The qualitative methodology used, through the focus group technique, has made it possible to analyze the perceptions of teachers, students and families regarding these benefits. As a result of the analysis, a coincidence has been evidenced between the interlocutors about the importance that should be given to education in values and social-emotional learning in professional music conservatories, and, especially, with students who present specific needs. Despite the absence of evidence of conscious planning of social-emotional contents or those related to education in values in the subject of Musical Language, the participants perceive that the subject does contribute to their development. It is also pointed out as future improvements: the promotion of group work, interaction and intragroup cohesion. [ABSTRACT FROM AUTHOR]

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

This article gathers the results of the research carried out in the music conservatories of Castilla y León. The main objective has been to analyze the presence of contemporary music in music classrooms of the conservatories and also the specific permanent training received by the group of specialist music teachers in the Autonomous Community of Castilla y León. For this purpose, we have carried out a qualitative methodology, implementing case study techniques. In this way, we have reached the conclusion that ongoing training in the field of contemporary music for teachers in these specialized centers is practically nonexistent, which leads, among other consequences, to the scarce inclusion of the genre through subjects or specific content in the performance itineraries of the professional music conservatories of Castilla y León. [ABSTRACT FROM AUTHOR]

While research on teaching praxis is abundant, few studies have focused on analyzing instances of malpractice, that is, classroom practices that are incongruent with principles commonly accepted within curriculum, pedagogical and/or didactic frameworks. The theoretical framework of educational malpractice proposed by Herrán and González, which deals with the influence of egocentricity, holds great potential to better understand issues that have been traditionally observed in instrumental teaching within conservatories and music schools, both in Spain and other countries. The present qualitative and critical bibliographic analysis has two objectives: (1) to introduce the above-mentioned theoretical framework to instrumental teaching professionals, by illustrating its key tenets referring to prior research in the area; and (2) to propose strategies to prevent malpractice within conservatories and music schools, drawing on the teacher professional development literature. The strategies proposed involve nurturing teachers' identity as music educators via stronger pedagogical training, enhancing recruitment and induction procedures, and fostering professional development and collaborative work. We conclude by arguing that preventing malpractice in conservatories and music schools requires to rethink the ultimate goal of instrumental teaching and learning in our current society. [ABSTRACT FROM AUTHOR]

Spanish music conservatories had to close their buildings with the aim of containing the spread of the COVID-19 pandemic. Teachers at these conservatories took steps to continue teaching remotely using technological resources. The objective of this research is to analyse how teachers of Spanish conservatories adapted the teaching and learning processes during the closure caused by the COVID-19 pandemic and review the potential to change the future of music education. This study has been carried out through interviews with 36 active teachers of conservatories from all the regions of Spain. The findings show the difficult teaching during lockdown, the complexity of virtualizing subjects of instrumental practice that this has been carried out in part, with teacher resources, and that the digital competence of teachers generates diverse comments. There is little conviction that changes made during confinement change traditional aspects of the way they teach. They are strong advocates of face-to-face teaching. [ABSTRACT FROM AUTHOR]

Music creation is one the key activities of music education and it manifests itself through the processes of improvisation, musical arrangement, and music composition. The objective of this study is to determine the treatment given to music creation in the curriculum in Primary Education, Elementary Music Education and Music Schools of the Community of Madrid. In order to develop this research, documentary-type methodologies (study of the different prescripts) and comparative methodologies (data analysis, classified in dimensions and comparative indicators) were followed. Results show that the curriculums in Primary Education and Elementary Music Education present music creation through improvisation and composition as objective, ability, and as a learning and evaluation means; they lack concrete methodological instructions to use creation sequentially and educationally, however, and in the methodological instructions for the Music Schools, musical creation is not one of their key elements. We can conclude that music creation needs better methodological and curricular support according to the current educational demands and to the creative character of Art. Art is creation, and music education should not put aside the processes from which music emerges. [ABSTRACT FROM AUTHOR]

The goal of this research, which is part of a larger study, was to find out favorite musical activities from children themselves. To this end, we selected a sample of five four-year-olds who attended the same music school and preschool in the province of Tarragona. The teacher responsible for developing musical awareness simultaneously acted as a researcher. Two methods were used to collect data: interviews, which were conducted at each of the participants' homes and supported by different images to help the children express themselves; and visual narratives, where the children were asked to draw their favorite musical activity and share it with the others. The results reflect the fluctuating preferences of the participants, but with a clear predilection for those activities that involve making music with instruments or through sound effects and those that entail a response to music through games. [ABSTRACT FROM AUTHOR]

This article presents a content analysis of the state of references of the new spellings of contemporary music in the programming of courses for the training of saxophone players at four Music Conservatories in Andalusia. This documentary study, conducted by means of content analysis, permits the detection of conceptual references concerning notational innovations at the curricular level, their role in the training plan, and significance of this repertoire in selected centers. Each center's discrepancies were obtained first by regarding the treatment of the curriculum of contemporary music. Secondly, a database was set up to configure a catalog of works for saxophone with new spellings, a resource that will help teachers choose the appropriate repertoire for their teaching. Finally, it is necessary [to formulate?] from the specification of sound / graphics innovations: what we wish to teach to meet the demands of contemporary music, and accordingly, select the repertoire. Following these, and with reference to the psychoeducational guidance on reading atonal music that optimizes the formation of the instrumentalist, we offer guidelines for improving instructional design in higher education programs for musicians. [ABSTRACT FROM AUTHOR]

Higher education in music suffered a profound change due to the entry of the LOGSE, (Education Law introduced in 2001 - 2002 at high grade). This Research analyzes upper division courses in the conservatories of A Coruña and Vigo from different perspectives. The methodology is descriptive, with a mixed approach, using quantitative and qualitative information gathering techniques. The main conclusions from the results show a profile of students mostly between 19 and 25, 35% of them attend or have attended college, and 51% work. Among the elements most valued by teachers are the entrance exam, the students' performance, and final-year concerts or theses. Students value positively instrumental and theoretical training. Among the least appreciated are material resources and infrastructures, orchestral training, and the existence of a gap between pedagogic issues and research fields. Besides, there is a contradiction between the main thrust of higher education and the labor situation, and an urgent resolution of the regulations, which greatly impair their development, governing these higher centers, has become necessary. [ABSTRACT FROM AUTHOR]

This research has as its main objective the assessment of the degree of acceptance garnered by LOGSE educational reform in the field of music teaching. Given that we are in the process of implementing the plan LOE-set profiles according to the EHEA and the Bologna criteria, the time has come for sincere self-criticism and evaluative work in the hope of not repeating past mistakes in this new venture. To this end, this study seeks out the views of key stakeholders, teachers and students through field work that has shown the separate consideration that to these collectives have earned through the efficiency of this plan, along with a series of claims and hopes that we strongly want to have a place in the new curriculum LOE. [ABSTRACT FROM AUTHOR]

One of the most neglected resources in piano pedagogy, and one that plays a very important role in piano teaching, is the use of the damper pedal. In fact, we have found that at higher levels of study students not only fail achieve the requisite autonomy, but also use it incorrectly. This happens due to a lack of printed resources, theoretical as well as practical, that greatly hinder teaching of this aspect. This study attempts to look into methodologies of teachers at conservatories and schools in the Canary Islands along with the common problems generally found among students in elementary education, high schools, and professional studies. [ABSTRACT FROM AUTHOR]

Music conservatory students have specific guidance needs, due to their characteristics, the particularities of the courses they are taking and the complexity of the professional world that awaits them when they finish their studies. From an early age, conservatory students receive a professionalized education that extends over a long period of time, an education that should provide them with an adequate preparation in order to play diverse roles in an ever-changing professional landscape. The mission of these institutions in Spain is a real challenge, especially taking into account that at the present moment they are lacking professional guidance counsellors and guidance departments. [ABSTRACT FROM AUTHOR]

In the last few decades, the new technologies have acquired growing relevance in education. This is also true for musical and for specialized education, fields for which many computer programs designed to improve complementary education and self-teaching have been created and implemented. The case of musical rhythm shows some peculiarities, given we usually reach a better development of our rhythm capacities by means of movement. This article offers a theoretical reflection on the psychology of rhythm and movement, the processes of rhythmical learning in the time period coinciding with the elemental degree at the conservatories (8 to 12 years old), the contribution of new technologies in these fields, and some details that, in our opinion, rhythmical education software should cover in order to make said contribution a reality. [ABSTRACT FROM AUTHOR]

This study evaluates the quality of life of music students at Conservatorio Superior de Música de Aragón, in Spain. The goal is to prove if the interest for the music increases their quality of life and if this fact is well evaluated by the students. Several important dimensions of the quality of life were analyzed (interpersonal relationships; material well-being; personal development; emotional well-being; integration/presence in the community; physical well-being; self-determination; human rights); through the Quality of Life in Teenager Students Assessment Questionnaire by Gómez Vela & Verdugo. Results show that quality of life of the music students is good and quite remarkable. [ABSTRACT FROM AUTHOR]

In this article, it is explained the application of didactic materials created for the learning of contents related to randomness (indeterminacy) in Music at Secondary Education level. These materials include both performance and listening-analyzing activities, which have been designed to facilitate both the comprehension of the musical processes implied and their uses across performing. Also, it is given a reflection on this experience taking into account the contents and their value inside a frame related to both the Music Education and the vanguard trends. [ABSTRACT FROM AUTHOR]

The adaptation of our actual degrees to the EHEA means a new approach to the teaching - learning process. Looking at it from that new perspective, the syllabus represents a useful tool because it allows to guide the students' learning, and to help the teachers to go towards the ECTS. In the following article we present a proposal of syllabus adapted to the subject -Viola Didactics? into the context of the Viola Pedagogy degree. Thus, we intend to contribute towards generating the long-awaited debate in the superior conservatories of music in Spain, given the new perspectives opened after the approval of the Organic Law of Education (LOE). [ABSTRACT FROM AUTHOR]

This article has a twofold objective: 1) to offer a vision about what the program of the Instrument Department at a Conservatoy should be; and 2) to review the education laws that can orientate us in the planning of courses. Thought the program offered here is based on a particular instrument, the saxophone, it can be applied to any musical instrument, especially to woodwind instruments. [ABSTRACT FROM AUTHOR]