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The transition of higher education students in the face of the COVID-19 pandemic is part of the current educational dynamic. This article analyzes the socioeconomic and pedagogical conditions of the students in two stages: at the beginning of the health emergency and after one year. A quantitative approach methodology, descriptive scope, non-experimental-longitudinal trend design is used. The data collection was carried out through the application of a closed questionnaire and the sample was made up of 426 students in the year 2020 and 480 students in the year 2021. The sampling was non-probabilistic, by chain samples in three institutions in Paraguay: American University, National Institute of Higher Education Dr. Raúl Peña and National Conservatory of Music. With the results, it was shown that the students, when moving from one year to another of the pandemic, mostly adapted to the socioeconomic and pedagogical conditions; improvements were seen in access to technological equipment, access to internet service and academic skills, as well as in the management of digital resources and the platform; however, the quality of the connection and the constant power outages became notoriety as difficulties. [ABSTRACT FROM AUTHOR]

The teaching-learning process of the saxophone in Spain has enjoyed an exponential and positive change in recent decades, which has been reflected both in the quality of the saxophonists and in the diffusion of the instrument itself. The aim of this study is to explore teachers' opinions about the saxophone and its formal teaching in the Professional Conservatories of Music in Spain, as well as their vision of the future. The methodology used was non-experimental and exploratory, with the survey as the research instrument. The sample chosen was n73 from a population of 220 saxophone teachers, with simple unweighted allocation, with a confidence level of 90% (two sigma) and P=Q, with a maximum possible error of ±6% for the whole sample and using simple random sampling. The variables analyzed were repertoire and technique, teaching-learning process, learning outcomes, material resources and educational policies. The results show: 1) educational policies are a fundamental support for the development of saxophone education in Spain, 2) a diversification of curricula, methods and saxophone repertoire and contents is needed to design a creative access model to the labor market, 3) the teacher is the best prescriber in the regulated teaching of the saxophone. [ABSTRACT FROM AUTHOR]

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]

During the last decades, the different educational reforms that have been implemented in Spain have meant that Music Education has not been valued on an equal footing with other subjects. In this research, a quantitative analysis is made of the results obtained from the data extracted from a survey in which more than 500 Spanish families from public and state-subsidised schools in the towns of Albal, Catarroja and Massanassa (Valencian Community) participated. The aim of the study is to show the current role of music education in the school context from the family perspective, considering the different factors that may influence the different socio-educational contexts and the positioning of families in terms of the valuation of this subject. [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]

The purpose of this article is to discuss the possibilities of using a Loop Station in musical performances and their implications. The text focuses on the creation and performance of an arrangement/exercise consisting of a collage of the songs Beat 70 (Pat Metheny) and Asa Branca (Luiz Gonzaga/Humberto Teixeira) and the setup comprises: Transverse Flute, Boss RC-30 Loop Station, Guitar Processor GP-10 pedal and Footswitch. The article also aims to approach the process of preparation, elaboration and performance of the arrangement, describing important aspects such as: the configuration of effects parameters, interpretative requirements regarding foot movement in pedal control and criteria for score transcription. This arrangement/exercise was developed for didactic purposes, where the technological component is significantly simple, since it is aimed at people with little or no experience with effects pedals and has been used in workshops held at music schools, festivals, conferences and other types of encounters. [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 has to do with a musical pedagogy's emblematic figure Cuban, the pedagogic Dulce María Serret, that highlights during the first half of the century XX in James of Cuba for the work developed at Música's Conservatory Provincial of Orient, first conservatory for the teaching of music itself, founded by her in James of Cuba. Dulce María Serret's figure must be appraised and studied like example for musicians's future generations to balance the historic debt with evolution and development of musical pedagogy Cuban. [ABSTRACT FROM AUTHOR]

The importance of Instrumental Education in Costa Rica has been raised from many years ago, especially since the recent foundation of new schools of music and private academies in many communities. As a musical instrument, the clarinet has been important in the history of music in the country from the army bands in the past to the recent groups of folk and classical music. With the musical instruction of the clarinet the students may learn not only musical skills but many abilities for their future life as values and attitudes. Playing the clarinet can improve physical functions as breathing, coordination and body positioning. In the other hand by individual practicing and ensemble performing the student can learn attitudes like hardworking, tolerance and respect to the people. [ABSTRACT FROM AUTHOR]