Revista Internacional de Educación Musical

ETHICS, MORALITY, CODES AND VALUES IN HIGHER MUSIC CONSERVATORIES

Margarita Lorenzo de Reizabal — 2024-11-18

This article focuses on revealing the difference between the concepts of ethics and morality, and investigating the extent to which teachers need to agree on principles within an educational center and provide ourselves with a deontological and professional code appropriate to the teaching context in which we are integrated. The ethical-teaching relationship in general and, particularly, professional teaching ethics is reviewed, as well as the elements that characterize an ethical teaching-learning process. The professional ethical codes of teachers are the object of study, defining different types of specific ethical values ??in the field of higher music education in conservatories. It also incorporates a broad reflection on the importance of these values ??in the training of music teachers, their ethical and institutional duties, and the current situation in this matter in higher music centers in Spain.

Music Teaching and learning in virtual enviroments: a colombian instrument case

Juliana Sanabria Acero — 2024-11-18

The "tiple" is the Colombian national instrument and, within the traditional formats, the most representative of the musical instruments of the Colombian Andean region. The "tiple" is taught in several contexts: from academic strategies to the informal learning culture, including computer/mobile/internet-based learning. This study glances at computer/mobile/internet-based learning and asynchronous musical teaching-learning methods, based on the analysis of YouTube videos for learning the "tiple". For this purpose, 24 tutorial videos for learning this instrument were selected. Through analysis of its content, results show agreement with categories typical of teaching the tiple, both in formal contexts (use of scores, study of technique) and informal contexts (repetition, use of spellings, use of own methods. of the instrument and its music). Likewise, from the analysis of the computer/mobile/internet-based learning, some aspects of this informal learning culture raise questions about the intention of the teacher or the learning object, the possible reception, and the impact of the didactic resources used in teaching the tiple within this context. At the same time, it offers a vision less studied field of the teaching of the Colombian tiple.

When Intervals Sing: A Study of Intonation and Intervallic Amplitudes in the Field of Violin Education

Héctor Archilla Segade — 2024-11-18

Intonation of different types of intervals is a fundamental ability in the field of stringed instruments in general, and of the violin in particular. This research, based on an ad hoc intonation exercise, has observed, registered, and analyzed the intonation of 53 violin students enrolled in different music schools located Autonomous Region of Extremadura, Spain. The aim is to determine to what extent the intonation of the participants conformed to equal-temperament-derived proportions, to observe how the direction of the intervals may have shaped such proportions, and to estimate how intonation may have been influenced by the course or academic level of the individuals in the sample. Results suggest that a good deal of the analysed intervals do not adjust to the proportions derived from equal temperament, thus showing apparent inclinations towards other systems such as just intonation, or Pythagorean intonation. Likewise, it has been observed that the direction of the different intervals may have influenced the way they were played. In this respect, some cases show differences which are significant both statistically and acoustically.

La tecnología músico-gestual para la inclusión social: uso de MotionComposer en una experiencia formativa en los Grados de Educación

Alicia Peñalba — 2024-11-18

Music education is moving towards more inclusive and democratic methodologies. On this path, the use of digital technology appears as an effective resource to promote experiences and learning that stimulate creativity and educational inclusion in diverse contexts. Digital instruments favor these objectives as they can be adapted to people's needs and do not require technical and musical skills for their interpretation. The present study describes an educational experience focused on the use of the MotionComposer musical device as a vehicle for the development of digital and transversal competencies and knowledge about inclusive music education in the context of educator training. The objective is to analyze the perceptions of students of the Degrees of Education about the possibilities offered by this device in their training and professional performance. Several educational actions have been carried out for subsequent analysis through observations and questionnaires. The results highlight the educational potential of MotionComposer as a resource that promotes inclusion, service-learning, musical experimentation and expression, innovation and the development of transdisciplinary and transversal learning necessary for the professional performance of future educators.

Global Competence in Music Teacher Education: Towards a Human Rights Music Education

Rolando Angel-Alvarado — 2024-11-18

The OECD establishes global competence to promote education that contributes to building an inclusive and sustainable world, and university programmes from country members should incorporate it. The aim of this study is to explore curricular guidelines applied in music teacher education, considering institutional demands established both for universities and governmental offices, from the perspective of global competence. Confidential curricular files are analysed through the constant comparative method, having been voluntarily provided documents by university programmes imparted in Chile. Results reveal a localist approach to music education that impedes the development of social inclusion and sustainable education. In conclusion, we invite exercising a music pedagogy oriented towards human rights education, establishing formative purposes based on activism.

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Óscar Vaquerizo — 2024-11-18

Sound standardization of symphony orchestras and the evolution of orchestral conducting suggest a next step in instrumental education, orchestral performance regulation. Furthermore, the multiplicity of musical styles obliges to initiate sooner this training. The article exposes the regulations of the previous courses to higher education in Germany, France, Italy, Spain, Poland and Finland, analyzes the content through a qualitative methodology regarding collective instrumental practices and confirmes if there is a correlation in this common framework. The results demonstrate that there is a shared interest in instrumental group education, that there is a distinction when naming the course: “orchestra” or other pedagogy terminology and that some regulations either offer a general setting or prefer to give freedom to the institution for further development. It is revealed that public education needs a clear definition of objectives, contents and learning outcomes to standardize orchestral practice from an early age. Nevertheless, the level of performance will also depend on the adjustment of the course by the music institution.