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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 Aula de Encuentro is the property of Editorial de la Universidad de Jaen 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.)

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]

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 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.)

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.)

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.)

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.)

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]

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.)

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 Uni-Pluri/Versidad is the property of Universidad de Antioquia 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 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 Revista Electronica Redes Musica is the property of Revista Electronica Redes Musica 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.)

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]

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]