La enseñanza- aprendizaje del lenguaje musical de los conservatorios de la Comunidad de ...

240 Pages·2016·6.46 MB·Spanish

ongreso
II
acional
onservatorios
uperiores
úsica
N e f e m
uevos Nfoques eN la ormacióN y ducacióN usical
m , 12, 13 14 2015
adrid y de marzo de
Organiza: ISBN: 13-9787-84-606-8260-8
Edita: SEM-EE
Diseño y maquetación: Claudia A. Gil
[email protected]
Dirección y coordinación: Ana M. Vernia Carrasco
© Copyright 2016
Colabora:
II Congreso Nacional de Conservatorios Superiores de Música
Este libro de actas es una recopilación de los documentos facilitados
por los propios autores. Las SEM-EE no se hace responsable del formato
ni del contenido.
2 II Congreso Nacional de Conservatorios Superiores de Música II Congreso Nacional de Conservatorios Superiores de Música 3
C H
omité de onor
C C
omité ientífiCo
D. Josep Gustems (Universidad de Barcelona)
Da. Maravillas Díaz (Universidad del País Vasco)
Presidencia - S. M. la Reina Doña Letizia
D. José Luis Laborda (Vicedirector del Conservatorio Profesional de Castellón)
Da. Sofía Martínez Vilar (ESMUC)
Excma. Da. Montserrat Gomendio Kindelan
Secretaria de Estado de Educación, Formación Profesional y Universidades Da. Maravillas Díaz (Universidad del País Vasco)
Da. Miren Iñarga (MUSIKENE)
Da. Ana M. Vernia Carrasco
D. Miguel Ángel Centenero Gallego (Director CSM de Murcia)
Presidenta de las Sociedad para la Educación Musical del Estado Español
D. Víctor Pliego de Andrés (Vicedirector RCSMM)
(SEM-EE)
Da. Caterina Calderón (Universidad de Barcelona)
Da. Ana Guijarro Malagón Da. Mª Amparo Porta (Universidad Jaume I de Castellón)
Directora del Real Conservatorio Superior de Madrid (RCSMM)
D. Miguel Ángel Centenero Gallego (Director del CSM de Murcia)
D. Israel Sánchez Lópe (Director del CSM de Sevilla)
Da. Julia Climent
Secretaria Autonómica de Cultura de la Generalitat Valenciana D. Marco Antonio De La Ossa Martínez (Universidad de Castilla-La Mancha)
D. José Luís Aróstegui (Universidad de Granada)
D. Vicente Llimerá Dus
D. José Mª Peñalver (Universidad Jaume I de Castellón)
Director del Instituto Superior de Enseñanzas Artísticas de la Comunidad
Da. Miren Zubeldía (Conservatorio Profesional de Música Ataúlfo Argenta, Santander)
Valenciana (ISEACV)
Da. Marcela Linari Melfi (Profesora de Piano en el Conservatorio Profesional Arturo Soria)
Da. Amalia Casas (Universidad Autónoma de Madrid)
C o
omité rganizador
Da. Ana M. Vernia (Presidenta de SEM-EE)
D. Víctor Pliego de Andrés (RCSMM)
D. José Mª Peñalver (SEM-EE)
Da. Miren Zubeldía (SEM-EE)
D. Diego Calderón Garrido (SEM-EE)
D. Juan García Cánovas (SEM-EE)
D. Sebastián Gil Armas (SEM-EE)
D. Andrés Simeó Máñez (Conservatorio Profesional de la Vall d’Uixó)
4 II Congreso Nacional de Conservatorios Superiores de Música II Congreso Nacional de Conservatorios Superiores de Música 5
í 170 Marco Antonio de la Ossa. El Poeta y la Música: la educación musi-
ndiCe
cal de Federico García Lorca
194 Jordi A. Jauset. La música y sus efectos: los beneficios del aprendiza-
comunicaciones je musical.
10 David J. Hargreaves. The power of music in everyday life: recent re- 202 María José Laguna. La salud laboral de los músicos profesionales
search in psychology. de orquestas a debate. Accidentes de trabajo versus enfermedad
profesional.
18 Lourdes García, Vicente de Vera y Jose Antonio Torrado. De la per-
209
cepción a la toma de decisiones estratégicas: un aprendizaje desde Raquel Quiaro. Creación Musical Contemporánea, reflexiones sobre
la Técnica Alexander. su funcionalidad.
34 222
Basilio Fernández y Francisco Escoda. La psicología de la música y Eulalia Gorbe y Mª Amparo Porta. Buscando la excelencia. ¿Qué
el miedo escénico en los conservatorios: una realidad en la som- estamos enseñando a los músicos del s. XXI?
bra.
236
Mª Dolores Romero. Introducción a la Meloteca Virtual: proyecto
49 José Luis Miralles. ¿Deberíamos estudiar música? para el área de Educación Musical a través de las TIC y la gestión
del conocimiento en Andalucía.
75 Carolina Bonastre, Enrique Muñoz y Ángela Morales. Factores que
influyen en la expresividad musical: concepciones de profesores y 252 Laura Zerpa. La importancia de la educación auditiva en la forma-
alumnos. ción del músico. La aplicación del método Kodály.
90 Pilar Lago. ¿Enfermedad, agonía y muerte, o resurrección y futuro 262 María José Sánchez, Felipe Gértrudix y Manuel Gértrudix. La ense-
de la Música en la Universidad?: Esa es la cuestión. ñanza-aprendizaje del lenguaje musical de los conservatorios de la
Comunidad de Madrid. Pasado, presente y futuro.
98 Antonio Palmer. Las tesis creativas: formatos alternativos cuando el
proceso de indagación es una actividad artística. 275 Ana M. Vernia. EMA (Educación Musical para Adultos). Proyecto de
innovación educativa: primeros resultados.
106 Yónatan Sánchez. La evaluación por competencias. Apuntes para
evaluar con el instrumento principal. 288 Irene Martínez. El giro copernicano educativo: un nuevo educador
para un nuevo educando.
124 Laura López-Bernad. Resultados del programa PIEC para el desarro-
llo de la inteligencia emocional en los conservatorios de música en 304 Marcela Linari. Cuerpo vs instrumento ¿cuidan los músicos tanto
una muestra del profesorado. de su cuerpo como de su instrumento? una visión integral de los
músicos.
134 Diego Calderón, Josep Gustems y Salvador Oriola. Competencias
emocionales del director. 334 Nikoleta Stefanova. El espiritual negro. Análisis de la muestra de
una investigación. Metodología de trabajo.
144
Jorge Luis Moltó. Investigar a través de la Interpretación Musical.
348
Juan Medina, Zulema de la Cruz, Alejandro Román y Jose Antonio
154 Sebastián Gil y Mª del Carmen Mato. La necesidad de investigar: el Torrado. El análisis espectográfico del material sonoro: un me-
intérprete ante un proceso de investigación. tamétodo de la Era Digital para una visión más compleja de la
música.
6 II Congreso Nacional de Conservatorios Superiores de Música II Congreso Nacional de Conservatorios Superiores de Música 7
370 Alan Kovacs. El método metarretórico musical. Una propuesta para Comunicaciones
la investigación artística desde la música.
386 Elena Orobio. Las competencias del profesor: una revisión pendien-
te en los Conservatorios Superiores.
400 Begoña Alonso. Evaluación de la calidad en un centro superior de
música: procesos de gestión y formación del profesorado.
P
ósters
410
Ana Mª Botella y Guillem Escorihuela. Educación performativa: la
enseñanza superior de a flauta travesera en la Com. Valenciana.
426
Yónatan Sánchez. Didáctica de la composición musical. Anotaciones
metodológicas.
472
Mª Ángeles Alonso. La convalidación de los estudios musicales en
la Educación Secundaria: proyecto y realidad.
8 II Congreso Nacional de Conservatorios Superiores de Música
T :
he power of music iN everyday life receNT research iN

psychology aNd NeuroscieNce
David Hargreaves
Applied Music Research Centre.
University of Roehampton, London, UK
Paper for the Society for Music Education State Spanish (SEM-EE), II Con-
gress of National Music Conservatories, Madrid, Spain, 12th March, 2015
t
he Power of music
The influence of music in people’s everyday lives has increased dramatically One clue to the power of music is to look at the extent to which we expe-
over the last 20 or 30 years, partly as a result of the increasing availability and rience it in everyday life. In a pioneering study in 2001, John Sloboda, Antonia
falling price of digital technology, which is changing ever more quickly. Even Ivaldi and Susan O’Neill gave eight non-musicians between 18 and 40 years an
young children now have access to tablet computers, TV screens and other electronic pager to carry around with them over a period of one week, and sent
multimedia information, and this has led to a massive rise in what might be them messages at random time intervals in every 2-hour time period between
called ‘digital literacy’. One of the effects of this is that music is not only increa- 0800 and 2400. The messages asked them to complete a self-report diary
singly available to more and more people, but that it permeates into more and about their everyday activities, and these revealed that that the participants
more aspects of their everyday lives. It is now possible to carry one’s entire mu- heard music in 44% of their reports, although music listening was not necessa-
sic library around in a tiny electronic unit such as an MP3 player, and to be able rily their main focus. Another study was carried out by Adrian North with myself
to listen to virtually any music at more or less any time of the day or night, and and my son Jonathan, which was able to recruit a much larger sample of 346
in any place, including one’s journey to work, one’s workplace, shops, restau- people by using text messages sent to volunteers’ mobile phones over a two
rants and leisure environments, and after returning home. Music has become a week period. The messages asked questions about their contact with music
‘soundtrack to our lives’, and it is therefore not surprising that it exerts a great on those occasions – what they were listening to, who (if anyone) they were
deal of power on us. The psychology of music is also developing rapidly, ena- listening with, and where they were listening, for example. We found that music
bling us to explain at least some of the ways in which music exerts its influence. was experienced on 39% of the occasions that they received a text, which was
smaller than Sloboda et al’s figure, but of a similar order.
I’d like to start by saying more about why and how music does exert such
a powerful influence, and about the ways in which music psychology is being A third study was carried out by Alexandra Lamont which was very different
applied in different areas of early 21st-century life, and then to focus on one in that she was interested in the amount of time that three-year-old children
particular area of research which is growing rapidly, namely the effects of music spend in contact with music. She asked 32 parents of three-year-olds to pro-
on young children’s learning and development. There are numerous studies in vide information about their children’s different experiences with music, and
psychology and now also in neuroscience which are beginning to show that these included on children’s TV programmes and videos, in nursery schools
music can promote children’s development in many different areas. Evidence is and playgroups, and in other locations such as in cars, shops, etc. The results
mounting that these can include their physical development, thinking and lear- showed that equivalent figure to those in the preceding two studies for overall
ning, their progress at school, their social behaviour, in expressing their emo- exposure to music was the surprisingly high figure of 81% (either in contact with
tions, their self-concepts, and more: early musical experience can exert power- music at the time of the call, or in the 2 hours preceding the call): in other words,
ful positive effects on later adult development, and there are some important four-fifths of these children’s waking lives apparently involved listening to or
lessons to be learnt not only for education, but also in areas such as health and engaging in some way with music. Given this, it seems hardly surprising that
well-being. music exerts such a powerful effect.
10 II Congreso Nacional de Conservatorios Superiores de Música II Congreso Nacional de Conservatorios Superiores de Música 11
David Hargreaves David Hargreaves
When we look at what effects music can have upon us, one striking finding If we look at music psychology in 2015 we find that it has grown very rapidly
is that it can give rise to strong emotions and physiological reactions such as since the 1980s. At that time the field was mainly dominated by the issues of
shivers down the spine, sweating, heart racing etc. Alf Gabrielsson from the assessment, such as in testing musical ability, with a few signs of the new dis-
University of Uppsala in Sweden has collected over 1000 examples of peo- cipline of cognitive music psychology beginning to emerge – the study of peo-
ple’s descriptions of what he calls their ‘strong experiences with music’, and ple’s perceptions of tones, chords, timbre, rhythm and so on. Since then there
has classified them in different ways: their common feature is that they are all has been such an expansion of the discipline that several sub-disciplines have
very strongly felt, and in some cases have even been life-saving. People repor- emerged, including the developmental psychology of music, the social psycho-
ted that their favourite piece of music helped them to get through a serious logy of music, and what might more generally be called the applied psychology
illness or a difficult convalescence from a hospital operation, for example, and of music – in which psychological theories and methods have been applied in
that if they hadn’t had their music playing they might have died. Others have many different areas of everyday life, including broadcasting, the media and
reported that a favourite song such as ‘Don’t give up’, by Peter Gabriel, or ‘I will communication; health, clinical and medical applications; consumer behaviour,
survive’, performed by Gloria Gaynor, have enabled them to keep going through marketing and business studies; the world of work; education, in its many gui-
difficult times when they have been suicidal or depressed, such that the music ses; leisure and sport; social inclusion and the disadvantaged; and finally, of
has effectively saved their lives. course, in the world of music itself. Music psychology is now studied at most
of the major conservatories in the UK, for example, and this includes studies of
Steven Pinker, the Harvard academic, famously described music as ‘auditory instrumental performance, music teaching and learning, and of ways in which
cheesecake, an exquisite confection crafted to tickle the sensitive spots of...our they might be improved.
mental faculties’. His claim was that music is entertainment and recreational,
and has no great significance in our lives. Studies in archaeology show that
this idea is completely wrong: there are examples of musical instruments being what do young children learn through music?
found which date from ancient times, such as flutes made from bird bone esti-
mated to be about 35,000 years old in southern Germany. Archaeologists have The idea that music can exert a powerful influence on many aspects of be-
also rediscovered a huge rock art site in southern India where ancient people haviour is reflected in that research is beginning to show how young children’s
used boulders to make musical sounds in rituals: this includes rocks with un- music learning can promote all kinds of developments in their later lives, inclu-
usual depressions that were designed to be struck with the purpose of making ding their physical development, their thinking and learning, their social and
loud, musical ringing tones. Both of these examples show that music has com- interpersonal behaviour, their emotional expressiveness, their scholastic achie-
municative functions which have been used by humans since prehistoric times, vement and so on: I will illustrate this large research area with a few examples
which represents far more than entertainment or pleasure. of particular illustrative studies.
Another instance of this is lies in the communication between mothers (or One observation that will not surprise parents of babies is that their infants
other caregivers) and their babies, which has been the subject of research of respond to many kinds of musical sounds with physical movements, and one
two scholars in particular, namely Colwyn Trevarthen of Edinburgh University, of the most common is to make rhythmic movements with their arms and/or
and Sandra Trehub of the University of Toronto. These two researchers, as well legs which are often synchronized with the music. This phenomenon is known
as many others following them, have found that music fulfils a key role in mo- as ‘entrainment’, and it has been shown to occur in animals as well as in hu-
ther-infant communication, as it can be used to describe the very precise timing mans. One scientific study of this was by Marcel Zentner and Tuomas Eero-
and synchronization of the patterns of interaction between one partner and the la, who divided a group of 120 5-24 month old babies into three groups. The
other, as well as well as the ways in which each partner constructs meaning first group heard the music of classical composers including Mozart and Saint-
in the actions of the other, so that mutual understanding builds up between Saens, the second group heard drumbeat rhythms, and the third group heard
them. This is an important foundation of infants’ early social development: in speech sounds which were either adult- or infant-directed. The researchers
fact Trevarthen coined the term ‘communicative musicality’ to describe this as found that the infants generally showed more movements to the musical than
the basic template of human social development. He argues, in effect, that the to the speech sounds; that the tempo of the music affected the speed of the
ways in which we become socialised in infancy, childhood and thereafter are baby’s movements; and that this ‘entrainment’ behaviour was very pleasurable
based on musical patterns of interaction between ourselves and our caregivers. to the infants - it was associated with positive affect.
12 II Congreso Nacional de Conservatorios Superiores de Música II Congreso Nacional de Conservatorios Superiores de Música 13
David Hargreaves David Hargreaves
Another research area in neuroscience is the investigation of the ways in many differences between these studies in terms of age of the children, their
which musical instruction in early life can give rise to improvements in cogniti- social backgrounds, the types of musical instruction that they are given, the
ve and school abilities later in childhood. One study by Gottfried Schlaug and measures of their abilities that are used, and so on, and so it is not surprising
his colleagues, for example, compared a group of 50 5 to 7-year-olds who were that the results sometimes disagree with one another.
taking music lessons (either piano or stringed instruments) with 25 children of
similar age who were not taking music lessons, and a second study compared What does not seem to be in dispute, however, is that musical experience
9 and 11 year-old children who were taking music lessons with another group can promote social abilities - another study was carried out by Tai-Chen Ra-
of the same age who were not (a control group). In both studies, the results binowitch, Ian Cross and Pamela Burnard in which 8 to 10-year-olds were gi-
showed that the music group scored higher later in life on tests of visual-spa- ven lessons for one year which involved musical group interaction, and which
tial, verbal and mathematical performance. Schlaug and his colleagues explain showed that this had a positive effect on the measures of empathy in the chil-
this in terms of the phenomenon of neural plasticity; music draws on many dren: in other words, with their ability to experience another person’s emotio-
different brain regions, including those concerned with auditory, visual, and ki- nal state, in comparison with a control group who did not receive the lessons.
naesthetic activities, so that musical activities can stimulate and promote other Similar results were also found in other studies including one by Ae-Na Choi,
parts of the brain, including those involved in language other scholastic abili- Myeong Soo Lee, and Jung-Sook Lee, which showed that 48 children who
ties. Schlaug’s team have also shown that the musicians and non-musicians showed highly aggressive behaviour were allocated either to a music interven-
have structural and functional differences between their brains, which shows tion group whose members received a 15 week music programme, or to an un-
that musical experience affects neural development. treated control group. The results showed a significant reduction of aggression
and improvement of self-esteem in the music group.
Another scientist who has studied the relationship between early musical tra-
ining and cognitive ability, in this case IQ, is Glenn Schellenberg of the Universi- In this article I have simply summarised some highlights from a very large
ty of Toronto. Schellenberg carried out one study in 2004 with 144 six-year-olds field of study which ranges between neuroscience, psychology and education,
who were divided into four groups, which did either music (keyboard) lessons; and which is still growing very rapidly. There is little doubt that music has a pro-
music (voice) lessons; drama lessons; and no arts lessons (control group), and found effect on people at the neurological level, and that this has an impact on
measured the IQs of these four groups before and after the training. He found many aspects of their behavior and subsequent development. Music psycho-
that the improvement in the IQ scores was highest for the two music groups, logy is beginning to find more and more about how this works in different as-
and that the drama group showed social improvements rather than those in IQ. pects of our behaviour, and this should have an increasingly positive effect on
In a second study carried out 2006, Schellenberg investigated 147 6 to 11-year- the applications of music psychology in education as well as some of the other
olds and 150 undergraduates who were taking music lessons and found a po- areas that were mentioned earlier. All children have the capacity and ability to
sitive correlation between the level of music training and IQ scores for the 6-11 respond musically to the world around them, and seem quite early on to start
year-olds, and a similar but weaker relationship for the undergraduates. These to identify themselves and each other as ‘musicians’ or ‘non-musicians’: these
are striking findings, and the idea of neural plasticity can explain why the music identity processes then seem to have a powerful effect on the ways in which
can influence IQ; there is also a great deal of evidence that music can promote their musical lives actually do or do not develop. Psychologists can try to exp-
mathematical skills, as well as a number of different measures of verbal ability, lain how these effects work, and their explanations can help music educators
including phonological processing and reading ability. to enhance musical development as much as possible.

Another broad area of research has shown that early musical experience is
also correlated with the development of social and emotional skills. David Ge-
rry, Andrea Unrau and Laurel Trainor, for example, gave a group of 6-month-old
infants six months of active participatory music classes, and found that this en-
hanced their musical knowledge, their prelinguistic communication skills and
their social behavior. This complemented the results of a study by Eugenia Cos-
ta-Giomi, who found that giving children piano lessons over a three-year pe-
riod promoted their musical attainment and their self-esteem, but interestingly
did not promote their academic achievement or school performance. There are
14 II Congreso Nacional de Conservatorios Superiores de Música II Congreso Nacional de Conservatorios Superiores de Música 15
David Hargreaves David Hargreaves
references
Costa-Giomi, E. (2004). Effects of three years of piano instruction on chil- Schlaug, G, Norton, A., Overy, K & Winner, E., (2005) Effects of music training
dren’s academic achievement, school performance and self-esteem. Psycholo- on the child’s brain and cognitive development. Annals of the New York Aca-
gy of Music, 32, (2), 139-152. demy of Sciences, 1060, 219 – 230.
Choi, A-N., Soo Lee, M. & and Lee, J-S. (2010) Group music intervention redu- Sloboda, J. A., O’Neill, S. A., & Ivaldi, A. (2001). Functions of music in every-
ces aggression and improves self-esteem in children with highly aggressive be- day life: an exploratory study using the Experience Sampling Method. Musicae
havior: A pilot controlled trial. Evidence-Based Complementary and Alternative Scientiae, 5, 9–32.
Medicine, 7 (2), 213-217.
Trehub, S. (2006) Infants as musical connoisseurs, in G. McPherson (ed.) The
Gabrielsson, A. (2011). Strong experiences with music: Music is much more Child as Musician. Oxford: Oxford University Press.
than just music (tr. R. Bradbury). Oxford: Oxford University Press.
Trevarthen, C. (2012) Communicative musicality: the human impulse to crea-
Gerry, D., Unrau, A., & Trainor, L.J. (2012). Active music classes in infancy en- te and share music, in D.J. Hargreaves, D.E. Miell & R. MacDonald (eds.) MusicaI
hance musical, communicative and social development. Developmental Scien- imaginations. Oxford: Oxford University Press.
ce, 15 (3), 398–407.
Zentner, M & Eerola, T. (2010). Rhythmic engagement with music in infancy.
Lamont, A. (2006). Toddlers’ musical worlds: Musical engagement in 3.5 year Proceedings of the National Academy of Sciences of the USA, 107(13), 5768–
olds. In M. Baroni, A. R. Addessi, R. Caterina & M. Costa, Proceedings of the 9th 5773.
International Conference on Music Perception and Cognition (ICMPC9), Bolog-
na, Italy, August 22-26, pp. 946-950.
North, A.C., Hargreaves, D.J. & Hargreaves, J.J. (2004). Uses of music in every-
day life. Music Perception, 22 (1), 41-77.
Pinker, S. (1997). How the mind works. New York: W. W. Norton.
Rabinowitch, T-C., Cross, I. & Burnard, P.(2013). Long-term musical group in-
teraction has a positive influence on empathy in children. Psychology of Music,
41 (4), 484-498.
Schellenberg, E.G. (2004) Music lessons enhance IQ. Psychological Science,
15 (8), 511-514.
Schellenberg, E.G. (2006) Long-term positive associations between music
lessons and IQ. Journal of Educational Psychology, 98 (2), 457-468.
16 II Congreso Nacional de Conservatorios Superiores de Música II Congreso Nacional de Conservatorios Superiores de Música 17
d :
e la percepcióN a la Toma de decisioNes esTraTégicas uN
T a
apreNdizaje desde la écNica lexaNder
From perception to strategic decissions on instrumental performing: learning
process from the Alexander Technique
Lourdes García · Vicente de Vera · Jose Antonio Torrado
[email protected] - [email protected]
Real Conservatorio Superior de Música
Resumen: Abstract:
Este estudio se circunscribe a una investigación mayor que pretende averi- ThIs study is part of a bigger research that is focus on evaluating the effects
guar cual es el impacto de la asignatura de Técnica Alexander en el aprendi- of the Alexander Technique on instrumental interpretation of music. In this first
zaje de la interpretación instrumental. Para ello, en este primer estudio, se han study we have analized the answers to an open questionnaire that was given
analizado las respuestas a una Pregunta Abierta cumplimentadas por 36 alum- to 36 students specialized in different musical areas that studied the Alexander
nos de diferentes especialidades instrumentales que cursaron durante un año Technique during an entire academic year in a High School of Music.
académico esta asignatura optativa en un centro Superior oficial de formación
musical de España When students learn to play an instrument they often seem to focus on re-
producing specific movements without considering the process that regulates
En el aprendizaje instrumental parece haber cierta focalización en la repro- them (Dimon, 2007; Ballard et all, 1997; Williamson et all, 2007). As a result of
ducción de determinadas acciones motoras pasando por alto los procesos que this, students may lack conscious control on the process that regulates the
permiten regularlas (Ballard et all, 1997; Dimon, 2007; Williamson et all, 2007). motor decisions that they take while playing. The study of the Alexander Tech-
La consecuencia operativa de este modelo es una falta de control consciente nique helps musicians gain consciousness of the relation between the physical
de esos procesos que regulan las decisiones que tomamos cuando tocamos. elements of playing music and the mental process involved in playing their ins-
La asignatura de Técnica Alexander tiene como objeto ayudar a los alumnos a trument. This allows music students to better regulate these two aspects and
tomar conciencia de la relación entre los elementos físicos y los procesos men- make more efficient decisions based on this information.
tales implicados en la ejecución instrumental, tanto para regularlos como para
tomar decisiones más eficaces. The results of this study indicate that studying the Alexander Technique, not
only allowed the improvement of the physical aspect of playing but also helped
Los resultados de este primer estudio indican tendencias que nos llevan a regulate the cognitive process related to the learning. This may be because the
pensar que la asignatura optativa de Técnica Alexander, cuya esencia es pro- Alexander Technique promotes a metacognitive process in the students that
mover un proceso metacognitivo de los alumnos sobre la relación cuerpo-men- improves their mind-body connection before, during and after playing their ins-
te antes, durante y después del movimiento, no sólo permitió a los alumnos trument.
mejorar aspectos físicos, según sus propias manifestaciones, sino que tam-
bién les ayudó a regular procesos cognitivos relacionados con el aprendizaje. These results go beyond shedding light on the main objecti-
ve of the investigation (to evaluate the impact of the study of
Estos resultados, más allá del objetivo principal de la Alexander Technique on the students). The results also prompt
Keywords
investigación (valorar el impacto de la asignatura en los questions about both the application and implementation of
Palabras Clave
alumnos que la cursan), promueven reflexiones tanto Alexander Technique musical curriculum. Should teachers implement the Alexan-
en la operativización del currículo: la Técnica Alexander - Metacognition - der Technique? If so, should it be implemented before or af-
Técnica Alexander
antes o después de observar problemas en los alum- Teachers Education ter observig problems on the students? Should the Alexander
- Metacognición
nos; como en la formación del profesorado: la Técnica Technique be employed in training professional staff or prepa-
- Formación del
Alexander en la formación de futuros profesores. ring future professors?
profesorado
18 II Congreso Nacional de Conservatorios Superiores de Música II Congreso Nacional de Conservatorios Superiores de Música 19