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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]

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]

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]

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]

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]

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]

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]

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]

In 1807 Marcos Portugal was appointed Master of Music to Their Royal Highnesses, and this was his principal position during the years spent in Rio de Janeiro, from 1811 to 1830. A substantial body of pedagogic material produced by the composer has survived: solfeggi, opera excerpts (reduced for voice and fortepiano accompaniment), canzonetteand ariette (with texts by Metastasio), and pieces for solo pianoforte: two overtures and ten "motives". This text attempts to describe the nature of this repertoire, to assess its importance and to reach certain conclusions concerning the demands that the Master made of his royal pupils. [ABSTRACT FROM AUTHOR]

Educational society of today should reflect on the importance of musical folklore as an educative practice. This paper contents a reflection about folklore and different educative practices taking as examples some musical pieces from Jaen' Song Book. These kinds of practices are essential since they develop the quality of the learning process in general and the learning of music in particular. Nowadays, the school is the unifier mean for the reappraisal, communication and transmission of the folklore of our culture. Recovering our folklore is a task that depends on every member of the community and it can be possible through the updating of these musical pieces to the new social changes and its possible spreading through the media. Jaen' Song Book may constitute a mean for promoting its folklore among students of this province. The learning of this repertoire may also serve as an open door to the World to know the labor that is done in our schools. This paper tries to make teachers conscious that the use of folk materials may improve the learning of music as well as it may unfold a new way for future didactic, cultural and anthropological researches. [ABSTRACT FROM AUTHOR]