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Body percussion constitutes a decisive expressive-musical element in many works of the band repertoire. The compositional possibilities that it offers from a rhythmic, timbral and choreographic point of view are often linked to traditional musical elements as in the case of Palindromia Flamenca by Antonio Ruda Peco. In this work for solo soprano saxophone and band the Spanish musician, through the almost constant presence of clapping, creates a musical climax very close to flamenco as the performance, entrusted to a specific group of musicians, brings to mind the role of palmeros. In this article, through a musicological investigation we intend to pay particular attention to the musical characteristics and functions that body percussion performs within the composition. This will represent the basis for developing a teaching proposal based on the BAPNE Method for the development of executive functions. [ABSTRACT FROM AUTHOR]

When analyzing the band music repertoire, which includes works composed for wind ensemble as well as arrangements from orchestral compositions, an increase in the incorporation of body percussion as a compositional resource has been observed. This article focuses on the work La corrida de toros by Mario Bürki. The Swiss composer, in his descriptive symphonic poem, is dedicated to presenting the different parts of a Spanish bullfight, also called tercios if we stick to bullfighting terminology. Starting with the paseillo that leads the bullfighters into the arena, up to the tercio de muerte (third of death) in the final part. The composition includes sounds and rhythms combined with the percussion of different parts of the body. This paper presents a complete musicological analysis that contemplates structural, organological, harmonic and rhythmic parameters. Special attention is given to the aspects related to the musical function that body percussion plays in this composition. [ABSTRACT FROM AUTHOR]

Copyright of Mendive - Revista de Educacion is the property of Universidad de Pinar del Rio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Revista Interuniversitaria de Formación del Profesorado is the property of Asociacion Universitaria de Formacion del Profesorado (AUFOP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

En el presente artículo las autoras abordan el insuficiente tratamiento académico ofrecido a la participación de la mujer pinareña en la pedagogía musical. Por lo que proponen un estudio sobre la participación de la mujer pinareña en la pedagogía musical durante la primera mitad del siglo XX, desde una perspectiva socio-histórica, cultural y de género. Fueron empleados diversos métodos teóricos como el dialéctico, el histórico–lógico, el etnográfico, así como el análisis y síntesis. Dentro de los métodos empíricos aplican la entrevista y el análisis documental, además de las fuentes publicistas del período histórico investigado, de conjunto con las fuentes orales. Como resultado muestran la contribución de la mujer pinareña a la enseñanza de la música con sólidos aportes a la didáctica, desde su quehacer en las academias, en un contexto caracterizado por una rígida organización social, en la que el profesionalismo estuvo seriamente dañados por erróneos enfoques de género, al rechazar la libre expresión pública femenina, minimizar sus capacidades formativas y el conocimiento que transmitían. Dañados también, por los efectos de la función de subordinación económica, política y social de Pinar del Río, como región histórica a la cercana capital habanera. Por lo que visibilizar los aportes realizados por las féminas pinareñas en este sentido, contribuye a dignificar su imagen en el campo de la cultura artística, la educación y la pedagogía pinareña y cubana, así como a fortalecer la identidad y el patrimonio cultural inmaterial local y nacional.

The application of music to the pedagogy of Andrés Manjón is inserted in the context of the Silver Age of Grenada (Spain). It is a stage of great creativity, of transformations, creation of institutions, of new postulates, of reforms, of search for new paths in all areas. Mention in this period the house of the “Polinario” and the figure of the composer Ángel Barrios; the current of musical “Alhambrismo”; the symphonic concerts of Corpus Christi in the Palace of Carlos V; the magistery of the musical chapel of the Cathedral of Grenada, the Royal Chapel and the Sacromonte Abbey; the Zambras del Sacromonte; the vanguard of the Russian Ballet and their stay in Grenada; Falla, Lorca, Lanz, and the 1922 Cante Jondo Contest; the “Cachiporra (blackjack) Puppets”; Andrés Manjón and music as a pedagogical and formative resource; the collaborations of the composer Francisco Alonso with the “children’s zarzuelas”, “musical toys”, or the school music bands. Finally, review some of the important artists who have been trained in this pedagogy up to the present. [ABSTRACT FROM AUTHOR]

La dimensión humanística es un aspecto fundamental de la persona que queremos destacar en la formación musical dentro del marco educativo, en un momento social tan complejo. A ella hay que volver para lograr que nuestros niños y jóvenes desarrollen competencias y valores vinculados al ser, a la convivencia e integración social en términos de igualdad y sostenibilidad. La intervención pedagógica en el área artístico-musical requiere del conocimiento de diferentes metodologías musicales.

Music Education is presented as a possible scenario for the search of better ways of human interrelation and communication. Based on this premise, this article is based on a documentary type research with bibliographic design and framed in describing the implications of Music Education as an educational practice that contributes to the development of socio-communicative skills in students of Higher Basic Education and High School in Ecuador. It is concluded that Music Education is an area that gives the student tools to achieve socio-communicative skills from their vision of life, providing the opportunity to express their ideas, thoughts, emotions, concerns as well as their creative art in an artistic, aesthetic and personal way, which contributes to their full and integral development and the possibility to achieve their educational self-realization without any discrimination and with a true sense of inclusion. [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mendive - Revista de Educacion is the property of Universidad de Pinar del Rio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Internacional de Educacion Musical is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Internacional de Educacion Musical is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El presente trabajo relata una experiencia pedagógica sobre la interpretación de un dúo de cámara, en el contexto áulico de una carrera universitaria de grado. Los eventos ocurridos se narran haciendo foco en las interacciones docente-alumnos y alumno-alumno. Para dar cuenta de estas relaciones, se seleccionaron y describieron en detalle dos situaciones en la clase, partiendo desde un registro de video. El relato de las situaciones pone en relieve aspectos de la enseñanza y el aprendizaje que tienen poca consideración en los ámbitos de formación camarística. Al abordar las interacciones generadas entre los músicos, se hace hincapié en aquellas que involucran habilidades de concertación y comunicación en la interpretación grupal. Para concluir, se propone reflexionar y debatir sobre los supuestos, habilidades, características y prácticas pedagógicas de las asignaturas de ejecución grupal en los ámbitos de formación musical.

Este trabajo es el resultado de la búsqueda, desde el rol de educadores musicales, de rutas pedagógicas situadas en una diversidad epistémica más allá de la tradición occidental y sus territorios de influencia colonial en Latinoamérica, Colombia y Antioquia, en particular. En nuestro contexto se han instituciona-lizado formas de educación musical derivadas del proyecto civilizatorio moderno, lo que ha determi-nado las estrategias de aprendizaje y sus modelos educativos para la música. En consecuencia, tanto la música centroeuropea de conservatorio como las músicas populares y tradicionales han quedado in-mersas en las mismas lógicas de construcción y de producción simbólica. Así, en la educación superior prevalece una mirada universalizante y conservado-ra que concibe el asunto de la práctica musical, pre-ferentemente en términos del objeto, es decir, de la obra, lo que coarta aspectos tan relevantes como las transacciones simbólicas, los imaginarios culturales, la identidad, las narrativas, la estesis y las matrices de realidad, así como las ontologías que soportan toda su construcción. Por tal razón, es necesario pro-poner una ruta diferente que explore la formación musical desde la dimensión del ser como eje central de la misma, con el objeto de reincorporar el cuerpo como elemento receptor de conocimiento que favo-rece la conexión entre los estados emocionales y la construcción del sentido musical en su práctica. Todo ello en relación con tres verbos que resultan funda-mentales para este propósito: imaginar, configurar y propiciar experiencias vitales y diversas encamina-das a reforzar, ampliar y complementar las prácticas pedagógicas para la música, con otras herramientas, estrategias y recursos basados en la estesis

Neste ensaio são apresentadas as origens e a contextualização histórica da gênese do ciclo de 153 peças para piano, intitulado Mikrokosmosdo compositor húngaro Béla Bartók. Na primeira seção é discutido, em um breve panorama, as transformações conceituais pelas quais a pedagogia musical passou ao longo dos últimos séculos, de modo a podermos compreender melhor a relevância da obra de Bartók dentro desse contexto. No segundo seguimento é tratado sobre a gênese do ciclo e sobre a relevância dos conteúdos musicais presentes ao longo das peças, além da importância didática e estética deste material.

Copyright of Historia de la Educacion is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

En los últimos tiempos, la pedagogía musical se sirve del audiovisual para implementar nuevos procedimientos didácticos. Entre otras, son comunes aplicaciones basadas en películas o series de televisión, incluso videojuegos. Sin embargo, no es tan frecuente recurrir a programas televisivos basados en la divulgación musical. En este texto tratamos de evolucionar Òpera en texans y This is opera, dos producciones con similitudes obvias desde su propio proceso de creación, para encauzarlas hacia la didáctica musical. Para ello, se lleva a cabo un análisis de los contenidos, así como el modo de abordarlos, apuntándose estrategias para su uso en las aulas de educación musical. El resultado de este trabajo de investigación e innovación amplía el modo en que el género operístico puede ser encarado en el ámbito educativo.

La Libre Improvisación (LI) es un área importante de la música contemporánea que implica el desarrollo de la expresividad musical sin el freno de una estructura o de notación musical. En la clase de saxofón puede ser particularmente beneficioso debido a las amplias posibilidades de timbres y articulaciones que este instrumento puede ofrecer. Este artículo da un breve paso a través de la definición de LI y sus características esenciales. Para cada uno de ellos, se propone un trabajo pedagógico para la aplicación de actividades dentro de la Orquesta de saxofones de la Escuela libre de Música de la UNICAMP, cuyo objetivo principal es la aplicación en el grupo para su evaluación cualitativa de este género musical.

Copyright of Zona Próxima is the property of Fundacion Universidad del Norte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

L’ensenyament de la música a l’escola, si bé ja comptava en la dècada dels setanta del segle passat amb un text legislatiu ambiciós i amb noves concepcions actives ja experimentades a altres països d’Europa, no fou implementat de forma generalitzada ni a terres de parla catalana ni arreu de l’Estat espanyol fins ben entrada la dècada dels noranta. Amb tot, a Catalunya i a les Illes Balears es va anar creant aleshores la llavor d’una línia de treball que amb el pas del temps ha esdevingut el nucli metodològic del treball de la música a l’escola per part de molts mestres. La metodologia proposada per Ireneu Segarra es difongué a Catalunya i a les Illes Balears a partir d’iniciatives i institucions emmarcades en l’àmbit de l’educació no formal. A través de l’Escola de Pedagogia Musical-Mètode Ireneu Segarra (EPM-MIS), dels Cursos de Pedagogia Musical de la Universitat de les Illes Balears i de l’Escola de Pedagogia Musical de Palma, milers de mestres i músics inquiets reberen eines per a treballar la música a l’escola des d’una nova perspectiva. Aquest nou enfocament, que partia del substrat cultural propi tot i que estava obert alhora a la universalitat, encara ara perdura. Analitzem seguidament aquestes propostes formatives des de diverses perspectives i a partir de fonts diverses com el testimoni dels seus precursors, materials editats o documentació interna pertanyent a les mateixes institucions. Paraules clau: Pedagogia musical; Escola de Pedagogia Musical-Mètode Ireneu Segarra; Cursos de Pedagogia Musical de la Universitat de les Illes Balears; Escola de Pedagogia Musical de Palma.

En 2013, el presidente de la República de Sakha (Yakutia), Mikhail Nikolaev, anunció el lanzamiento del proyecto republicano Música para todos. Los organizadores de este proyecto, el Ministerio de Educación y el Ministerio de Cultura y Espiritualidad de la República, han establecido el objetivo de ayudar a todos los niños a aprender un instrumento musical clásico al graduarse de la escuela de educación general. Para este propósito, los ministerios firmaron un acuerdo sobre trabajo conjunto para promulgar el proyecto que fue desarrollado y organizado por científicos, músicos y maestros. En 2015, la Facultad de Música del Colegio Pedagógico Gogolev de Yakutsk fue nombrada coordinadora del proyecto para proporcionar asistencia metodológica durante la implementación de este programa. En este contexto, el presente artículo analiza los principales aspectos y elementos de coordinación del apoyo metodológico de Música para todos, que tienen como objetivo consolidar los esfuerzos de los profesores de música de Yakutia. En este sentido, las modernas tecnologías informáticas musicales desempeñan cada vez más un papel importante en la preparación de los componentes clave del apoyo metodológico del proceso educativo dentro del contexto de la implementación del proyecto. La aplicación de tales tecnologías facilita la preservación de las características culturales y los colores nacionales de los grupos étnicos que viven en la República de Sakha (Yakutia), al tiempo que permite transmitir los elementos más destacados de las tradiciones culturales multinacionales de los grupos étnicos indígenas de la república.

The article reflects the experience of solving the issue of developing and implementing efficient pedagogical means into higher education practice. The goal of the study is the academic justification of the process of methodological competence formation in student musicians within a practice-oriented university environment. The study has shown that certain pedagogical conditions are an efficient means of developing the future music teacher's methodological competence in the practice-oriented university environment according to federal state requirements for such a specialist's level of education. [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 2013, President of the Republic of Sakha (Yakutia) Mikhail Nikolaev announced the launch of the republican project Music for Everybody. The organizers of this project -- the Ministry of Education and the Ministry of Culture and Spirituality of the republic -- have set the goal to help all children learn one classical musical instrument by their graduation from general education school. For this purpose, the ministries signed an agreement on joint work in order to promulgate the project that was developed and organized by scientists, musicians, and teachers. In 2015, the Music Faculty of the Yakutsk Gogolev Pedagogical College was appointed as a project coordinator for providing methodological assistance during the implementation of this program. Against this backdrop, the present article discusses the main coordinating aspects and elements of the methodological support of Music for Everybody, which are aimed at consolidating the efforts of the music teachers of Yakutia. In this regard, modern musical computer technologies are increasingly playing a significant role in preparation of the key components of the educational process's methodological support within the context of project implementation. The application of such technologies facilitates the preservation of the cultural features and national colors of ethnic groups living in the Republic of Sakha (Yakutia), while also making it possible to broadcast the most salient elements of the multinational cultural traditions of the republic's indigenous ethnic groups. [ABSTRACT FROM AUTHOR]

Esta investigación buscó conocer las experiencias pedagógicas de los docentes que han trabajado con estudiantes en condición de discapacidad sensorial, en los programas de música de las Instituciones de Educación Superior (IES) en la ciudad de Bogotá. Realizando un bosquejo de la realidad, mediante la descripción documental, que contempla la historia de la implementación de las políticas públicas en inclusión educativa en Colombia; así como la influencia que han ejercido algunas entidades internacionales como la ONU, a través de disposiciones legales dispuestas para proteger y garantizar los derechos y deberes de la población discapacitada. Paralelo a este estudio documental, se realizó un piloto a manera de casos con 5 docentes de los programas de pregrado de música, con experiencia de más de 15 años en el área, en 4 IES de Bogotá. Este ejercicio investigativo se desarrolló bajo un enfoque cualitativo con el cual se implementó un análisis documental como técnica central y se combinó con el diseño y aplicación de una entrevista semiestructurada a manera de caso, generando una triangulación de la información recolectada para conseguir una aproximación de la descripción de la realidad. Los resultados reflejaron posturas, didácticas, metodologías y el empoderamiento o no del docente en su trabajo pedagógico con las poblaciones en condición de discapacidad sensorial y la posición de las IES con relación a la inclusión educativa. El estudio hizo una aproximación a la realidad de la inclusión educativa en las instituciones participantes; evidenció que aún no es un hecho, a pesar que desde los años 70’s se cuenta con una serie de disposiciones legales que aparentemente avalan estos procesos.

O artigo mostra o resultado da pesquisa realizada em uma escola da rede estadual de ensino em Parintins, estado do Amazonas, com turmas de 2o e 3o ano do Ensino Médio. O objetivo foi explorar as contribuições que letras de canções podem ter na formação de leitores críticos e autônomos. Foram utilizadas as músicas 'Negro Drama’ e ‘Homem na Estrada', do grupo Racionais MC’s; e 'Que País é Esse?' e 'Perfeição', do grupo Legião Urbana. A metodologia foi qualitativa, com viés de análise de conteúdo, e pesquisa de campo. A conclusão é de que letra e música de canções são ferramentas que de impacto no processo de ensino e aprendizagem na sala de aula, contribuindo para a formação de leitores críticos e reflexivos de suas realidades.

Free Improvisation (LI) is an important area of contemporary music that entails the development of musical expressiveness without the imposition of a musical notation structure. In the saxophone class it can be particularly beneficial due to the wide possibilities of timbres and articulations that this instrument can offer. This article takes a brief step through the definition of LI and its essential characteristics. For each of these ones, a pedagogical work is proposed for the application of activities within the Saxophone Orchestra of the UNICAMP Free School of Music, its main goal being the application it in the group for its qualitative evaluation of this musical genre. [ABSTRACT FROM AUTHOR]

The education in general and the music in particular were not outside to the changes developed in Spain in the seventies of last century. The initiative, in the form of summer courses, promoted by a group of teachers and musicians, will mean the beginning of a true outcrop in music education, and will get in crescendo. This new concept is based on active methodologies successfully applied in other European countries and their linkage with the learning environment of the Catalan musician Ireneu Segarra, in the line of great figures of the musical avantgarde. This article is intended to approach the legacy of these courses from two perspectives. First, from a historical point of view, and then reaching any specific methodological applications then initiated. Finally, this article intends to approach his legacy highlighting the potential and utility also could acquire a similar format nowadays, in the new adaptation framework to EHEA.

O presente artigo, pautado na pesquisa da obra de Émile Jaques-Dalcroze, trata das contribuições que sua Rítmica pode vir a oferecer à preparação do pianista, com foco na colaboração musical, à medida que tem por objetivos a superação de arritmias, automatismos e a integração entre o corpo e a audição, bem como o desenvolvimento da escuta e da criatividade. Para isso, são delineadas as particularidades dessa atuação artística, tomando como principal referência teórica a obra de Martin Katz. Entende-se que essas contribuições podem, do mesmo modo, ser aplicadas a outros instrumentistas que se dedicam à música de câmara, pelas suas semelhanças performáticas, no que diz respeito especialmente à necessidade de perceber e corresponder musicalmente ao outro em uma interpretação conjunta.

This experience report aims to demonstrate how heterogeneous classes, in relation to formal knowledge of music, have managed to bring knowledge levels closer together through a repertory extracted from Brazilian popular music. The Carmen Miranda Centennial Project made the students of the 6th year of the 2009 school year of Campus Engenho Novo II of Pedro II College in Rio de Janeiro, evolve in the soprano recorder technique, in traditional musical reading and writing, in knowledge of formal concepts of music, experiencing the pleasure of playing together, having their individual learning rhythms respected, as well as their previous knowledge. The text reports the development stages of the project that had as final production a performance about Carmen Miranda for the school community. [ABSTRACT FROM AUTHOR]

Sinta o Som notebooks are a proposal for musical awareness in the early years with a look also at the music history subjects. The notebooks are not intended to change nor a teacher, nor a student, into a musician, but be a means by which musical language is introduced in the daily activities of the classroom of the first segment of elementary school. So far Implemented in the Municipal Educational System of Rio de Janeiro, the method has trained more than nine hundred teachers and has been a tool for them in teaching the various subjects of the initial grades. [ABSTRACT FROM AUTHOR]

Nowadays, the incorporation of information and communication technologies (ICT) into the teaching methods at music conservatories is limited and unequal. Regardless of other factors, one of the reasons may be the lack of teacher training in this area; however, there is still very little information on this subject. Therefore, this report offers an overview of the ICT training currently offered to future music pedagogues during their studies at postsecondary Conservatories. For this purpose, an extensive content analysis of the Music Pedagogy curricula and teaching guides of fourteen centers spread throughout the Spanish territory has been carried out. The results reveal that, in general, the technological contents are focused on the management of musical software but ICT training for education is quite deficient and there are great differences among the centers. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Internacional de Educacion Musical is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El presente estudio aborda la trayectoria educativa, laboral y social de una de las catedráticas del Conservatorio Superior de Madrid, en la especialidad de Solfeo y Teoría de la Música. De este modo, se pretende (a) discernir las relaciones entre mujer, educación y conservatorio y (b) profundizar, a través de un caso concreto, en la historia de la formación reglada en España durante el pasado siglo. La pertinencia del individuo objeto de estudio recae en el hecho de que éste ha sido, hasta 2012, el único director «mujer» de dicho centro. Así, se utiliza el relato de vida para llevar a término los objetivos planteados y, como instrumentos y técnicas de recogida de datos, se emplean la entrevista en profundidad y el análisis de documentos. Los resultados apuntan que la informante es un referente femenino tanto dentro del ámbito docente y educativo como dentro de ámbitos de gestión unipersonales.

The present special recognition of musical education at Spanish schools is based upon the approval of a law from 1970. However, this law was not implemented. The reason was the lack of a specialist teacher in the field. The implementation depended in many instances on voluntary initiatives and sporadically on teacher’s sensitivity to musical matters. In this article we wanted to examine the work which has been done by the Spanish musician and teacher Baltasar Bibiloni. His work, as a teacher in the field of teacher’s training and musical adaptations and arrangements for primary education, will become a benchmark for music on the Balearic Islands. Furthermore, it will be an important factor within legal constraints, which are currently being discussed. Focal points of this article are three aspects of its ideology: the importance of musical education in schools, specific proposals for implementation and teachers willing and able to apply it.Received: 24/04/2013 / Accepted: 11/06/2013How to reference this articleGelabert Gual, Ll. (2014). Ideario y aportaciones metodológicas de Baltasar Bibiloni a la enseñanza musical en las Islas Baleares. Foro de Educación, 12(17), pp. 147-163. doi: http://dx.doi.org/10.14516/fde.2014.012.017.007