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Música y su Aplicación Didáctica
- Tutorías Grupales (2 Hours)
- Prácticas de Laboratorio (14 Hours)
- Clases Expositivas (28 Hours)
- Prácticas de Aula/Semina (14 Hours)
CONTEXT:
Music and its Teaching Methods is an annual subject, which is taught in the 3rd year of the Degree in Primary Education. Its main function in the grid of subjects is to offer students an interdisciplinary perspective of music and its usefulness as a didactic tool to address the different contents of the Primary stage. Its contents are oriented to work on procedural aspects of music, integrated into a series of historical and methodological contexts that will project a pedagogical vision of great interest for the development of music education. In this sense, students will find direct relationships with previous subjects such as "Didáctica general" and "Bases psicológicas de atención a la diversidad", or optional subjects such as "Lenguaje musical" or "Patrimonio artístico-musical en el aula".
Music and its Teaching Methods belongs to the Formación Disciplinar y didáctica module and to the Enseñanza y Aprendizaje de Música, Plástica y Visual subject. It has been organized in face-to-face lectures developed according to an accelerated method of reading and comprehension of musical language, so that students can perform a simple specific repertoire of songs for Primary Education. The methodology in this section is practical, it implies action and continuous participation. At the same time, a reflective study is proposed on the teaching methodologies applied to Music, their validity, contextualization and adaptation to the social environment in which they are developed. The role of Music in today’s society is continuously related to the role that academic institutions must fulfill as possible areas for expanding knowledge.
On the other hand, in both classroom and laboratory seminars, sessions will deepen on the manipulation of content proposed by the curricular design of Music in Primary Education, as well as music’s connection with other areas of knowledge. An analysis of the texts that are made use of as bibliography and the activities programmed will be promoted, in order to comply with the acquisition of the basic skills designed for this stage. To do this, the educational programming and projects that are expected to be carried out will be of training interest.
To end this section, it should be noted that students who attend this subject, along with the Mention in Music and the Degree in Early Childhood Education, will actively participate in different Teaching Innovation Projects designed by the participant teachers. In this way students will be able to experience the communicative possibilities of the discipline as well as manage the implementation of a Project that will have its practical application in foreseeable visits to educational centers or other institutions related to childhood.
REQUIREMENTS:
Although the subject does not demand mandatory requirements to attend classes, the teaching staff considers that, in accordance with the general objectives of the degree, students must:
-Have an attitude committed to the profession.
-Show an ability to adapt to social and educational changes, also transferring this ability to routine experiences such as classroom practices.
- Show interest in acquiring training that allows students to strengthen their personal development.
- Incorporate systematic work habits that allow students to acquire musical abilities and skills to increase specific knowledge.
COMPETENCES AND LEARNING OUTCOMES:
CORE COMPETENCES
CB1. Students have demonstrated to possess and understand knowledge in an area of study that starts from the base of general secondary education, and is usually found at a level that, although supported by advanced textbooks, also includes some aspects that involve knowledge coming from the forefront of their field of study.
CB2. Students know how to apply their knowledge to their work in a professional way and possess the competencies usually demonstrated through the elaboration and defense of arguments and the resolution of problems within their area of study.
CB3. Students have the ability to usually collect and interpret relevant data (within their area of study) to make judgments that include a reflection on relevant issues of a social, scientific or ethical nature.
CB4. Students can convey information, ideas, problems and solutions to both specialized and non-specialized audiences.
CB5. Students have developed those learning skills necessary to undertake further studies with a high degree of autonomy.
GENERAL COMPETENCIES
The acquisition of the following general competences will be addressed:
CG1. To work in a disciplinary and interdisciplinary team, cooperatively and collaboratively, thus respecting diversity.
CG2. To make use of means and strategies of interpersonal communication in different social and educational contexts.
CG3. To adopt an attitude and behavior according to professional ethics.
CG4. To participate and get involved in the activities and events promoted by the university, as well as to work with and in society at local, regional, national and international levels.
CG5. To maintain an environmentally friendly and respectful attitude, to promote values, behaviors and sustainable practices.
CG6. To incorporate information and communication technologies into their training and professional activity.
CG7 To be able to adapt to new situations, thus developing a creative spirit and an attitude of leadership.
CG8. Students develop an ethical commitment to respect fundamental rights, thus guaranteeing the effective equality of men and women, equal opportunities, non-discrimination and universal accessibility for people with disabilities, as well as the values of a culture of peace and of democratic values.
SPECIFIC COMPETENCIES
CEM8.1. To understand the principles that contribute to cultural, personal and social formation from the perspective of music.
CEM 8.2. To know the school curriculum of artistic education, in its plastic-audiovisual and musical aspects.
CEM 8.4. To develop and evaluate curriculum content, using appropriate teaching resources. To promote the corresponding competences in the student body.
CEM 8.3. To acquire cognitive and sensory resources to participate in musical activities inside and outside of school.
LEARNING OUTCOMES
RA8.1. To know core concepts related to the teaching methods of the disciplines integrated in the area of Art, their application in the classroom of Primary Education and their integration in the curriculum development in an open and interdisciplinary way.
• To understand the value of interdisciplinarity and the contribution of Music to education in general.
• To relate the contents of the Music subject with other areas of knowledge of Primary Education.
• To make use of tools such as films, videos or audio clips to reinforce and acquire musical content.
RA8.2. To analyze, synthesize and critically assess the contributions of the different methods of music teaching methods of the 20th and 21st centuries, as well as their different forms of use in the design, planning, development and evaluation of teaching and learning processes.
• To know and carry out practical applications of the methodologies promoted by the empiricist sensory current [Jacques Dalcroze, Karl Orff, Jos Wuytack], critical approaches [Murray Schafer, Lucy Green, Patricia Campbell] and culturalist constructivism [Swanwik, Gardner], among others.
• To be up to date and analyze objectives, content and evaluation criteria assigned to the Music Area in the Decreto de ordenación and curriculum of the Principality of Asturias.
• To analyze and assess the contributions that can be made from a music perspective, in an interdisciplinary way, to core competences in the Primary stage.
• To understand the importance of developing the learning and teaching process, after individual and group considerations.
• To carry out didactic applications, educational interventions, interdisciplinary projects and didactic units for the Primary stage, making use of music as a fundamental resource.
RA8.3. To value musical and plastic activities as essential factors in the cultural, personal and social formation of the people.
• To understand the importance of Music as an expressive language.
• To take advantage of the intrinsic motivation of Music to increase the expressive capacities of oneself and of the students to be trained.
• To develop the critical ability necessary to assess the selection of the repertoire of songs, listenings and activities for the Primary stage.
• To apply the principles of integration, equity, collaboration, good coexistence and non-discrimination in carrying out activities in general.
• To participate in the individual and group activities proposed for the development of the subject.
• To create, read and perform simple music sheets that incorporate melodic, harmonic and textural aspects with conventional and unconventional writing.
• To interpret instrumental, vocal and bodily repertoire for children and adolescents.
• To discriminate listening tasks of different difficulties, learn to grade them to select an appropriate repertoire for children between 6 and 11 years old.
• To make use of writing and drawing in response to auditory stimuli.
• To make use of new technologies for the design and implementation of musical activities.
• To acquire analytical skills to choose appropriate repertoires for the treatment of Inclusion, Interdisciplinarity, Interculturality and prevention of violence in the classroom.
CONTENT:
Introduction
Topic 1: Reflection on the role that Music has played in Western society from Plato to the present day. Music in education, Music in childhood, Music in school.
Part 1 (methodological): The Teaching Methods of Musical Expression - Music, interdisciplinarity and inclusion
Topic 2: Methodologies of the s. XX. The Empiricist Sensory Stream - Practical Approach
Body expression, Eurhythmics by Jacques Dalcroze and its application to Primary students. Orff, expression and rhythmic, rhythmic gestures, body and instrumental percussion. Jos Wuytack and active listening: Musicograms.
Topic 3: Methodologies of the s. XX. Critical approaches. Dialogical challenges and guided discoveries - S. XXI New Technologies applied to Music Education
Music creation in the classroom, soundscape and ear cleaning: Murray Schafer. Gardner and musical intelligence. The s. XXI of Technologies and their possible applications to the Primary classroom. Interactive proposals. Neuroscience and music: A world to discover.
Topic 4: Music, Inclusion and Interdisciplinarity
Concept of inclusion and interdisciplinary collaboration. Music in didactic performances and educational interventions. Music and Attention to Diversity. Music and interdisciplinarity: Selection of musical activities related to other areas of knowledge such as Spanish Language and Literature, Knowledge of the Natural, Social and Cultural environment, Physical Education, Foreign Language, Mathematics.
Topic 5: Music, Interculturality - Prevention of violence
Concept of Interculturality. World music. Musical repertoire that encourages reflection on the prevention of gender violence, rejection of discrimination situations. Development of positive attitudes towards inclusion, good coexistence and democratic principles.
Topic 6: Curriculum Design in the specialty of Music in Primary Education - Programming
Curriculum of Primary Education and the participation of Music in the Artistic Area. Preparation of Didactic Applications with musical intervention. Didactic resources and methodological criteria for the selection of the children’s repertoire of listening practices, songs and musical games. Articulation, departing from music, of didactic units and interdisciplinary projects.
Part 2 (transversal): The musical experience in the classroom
Topic 7: Active Listening
Sensory stimulation and perception. Development of auditory sensoriality to discrimination (perception, individualization and sound representation). Affective listening. Active listening of different musical works: Musicograms, musicomovigrams.
Topic 8: The expression. The singing. The instruments. The body
Interpretation and creation with the voice, the body and the instruments. The care of the voice and the instruments. The teacher’s voice and the student’s voice: Introduction to vocal technique. Voice and instruments teaching methods, selection criteria for musical repertoire. Body movement: Free and guided choreographies.
Topic 9: Creation
Creativity and sound imagination. Methodological tools for the creation of melodies, rhythms, choreographies, vignettes, comics, video clips, audio clips, among other musical resources.
Part 3 (specific): The Language of Music and its use in Primary Education
Topic 10: Sound parameters
Height, intensity, duration, timbre; applied to conventional and unconventional listening and notation. Metrics and rhythmic organization. The song.
Topic 11: Music Parameters, Melody / Harmony
Western tonal organization: activities applied to listening and conventional and unconventional notation. The nursery rhyme. The musical instruments in the classroom – “cotidiáfonos”.
Topic 12: Music Parameters, Texture /Structures
Monody, polyphony, homophony and accompanied melody. Small formal structures: verses, rounds. Musical groups.
METHODOLOGY AND WORK PLAN:
Music is an experience that all students bring as baggage, it is part of their culture and the expression of society. This element should be considered motivating and connected to the proposals that will be taken to the classroom, which is why the commitment and active participation of each student is of importance.
Taking into account what is expressed in Decree 82/2014, of August 28, which regulates the organization and establishes the curriculum of Primary Education in the Principality of Asturias, referring to the fact that “the working methods will favor the contextualization of learning, taking advantage of the environment and the active participation of students in the construction of learning", fostering “interaction with adults and among equals to enhance their self-esteem and social integration” (Decree 84/2014: 5), the general methodology will be active and participatory, based on the principles of experiential and meaningful learning. Following these guidelines, it will be sought a progressively autonomous learning that generates sufficient self-confidence, especially in the aspects related to expression and communication.
From the research and study space that Music and its Teaching Methods implies, it will be attended to incorporate group work habits, preparing Classroom and Laboratory Practices with cooperative and collaborative techniques. Likewise, it will tend to solve theoretical unknowns with the application of the Problem Solving Learning Method. The readings of the recommended bibliography will be carried out in an analytical way and always with the aim of linking them with the reality of a primary school group. Investigation, incorporation, analysis and subsequent creation of a repertoire of songs and games to perform with the voice, the body and the instruments will be one of the pillars of the individual tasks, while the programming of Interventions, Projects, Didactic Applications or Didactic Units will be the occupation of small and large groups. The Service Learning methodology (APS) is incorporated through the Teaching Innovation Project, which will have its practical application in different social projections.
Vocal, instrumental and body performance will be one of the challenges to be achieved individually and in groups, in order to achieve fluency in musical expression. For this, the practice of reading and performance will be systematic, graded and ruled according to the individual characteristics of the students. Each and every one of the musical methodologies approached for the study of the contents of the subject will be the object of individual and group practices. This way, it is intended the incorporation, by the student body, of a series of habits, attitudes and musical skills towards confidence and security when using Music as a central or transversal resource. As mentioned in the Contextualization, Music and its Teaching Methods students will have an active participation in the Teaching Innovation Project, from which their training in interdisciplinary projects will be reinforced.
Following the structure proposed by the Teaching Guides, the distribution of work for this subject will be as follows:
MODES | Hours | % | Total | |
Face-to-Face | Lectures | 28 | 18,6 | 60 |
Classroom practice / Seminars / Workshops | 14 | 9,3 | ||
Laboratory practices | 14 | 9,3 | ||
Group coaching | 2 | 1,3 | ||
Assessment sessions | 2 | 1,3 | ||
Distance | Group work | 30 | 20 | 90 |
Individual work | 60 | 40 | ||
Total | 150 |
CLASSROOM WORK | NON-CLASSROOM WORK | |||||||||
Topics | Total Hours | Lectures | Classroom practice / Seminars | Laboratory practices | Group coaching | Assessment sessions | Total | Work gropu | Individual Work | Total |
Topic 1 | 7 | 2 | 2 | - | 5 | 5 | ||||
Topic 2 | 15 | 2 | 1 | 1 | 4 | 6 | 5 | 11 | ||
Topic 3 | 16 | 2 | 2 | 1 | 5 | 6 | 5 | 11 | ||
Topic 4 | 19 | 4 | 1 | 1 | 1 | 7 | 7 | 5 | 12 | |
Topic 5 | 20 | 4 | 2 | 2 | 8 | 7 | 5 | 12 | ||
Topic 6 | 16 | 4 | 2 | 2 | 1 | 9 | 2 | 5 | 7 | |
Topic 7 | 9 | 2 | 1 | 1 | 4 | 5 | 5 | |||
Topic 8 | 11 | 1 | 1 | 2 | 4 | 2 | 5 | 7 | ||
Topic 9 | 8 | 1 | 1 | 1 | 3 | 5 | 5 | |||
Topic 10 | 9 | 2 | 1 | 1 | 4 | 5 | 5 | |||
Topic 11 | 9 | 2 | 1 | 1 | 4 | 5 | 5 | |||
Topic 12 | 11 | 2 | 1 | 1 | 1 | 1 | 6 | 5 | 5 | |
Total | 150 | 28 | 14 | 14 | 2 | 2 | 60 | 30 | 60 | 90 |
Exceptionally, and depending on sanitary conditions, non-face-to-face teaching activities may be included, in which case students will be informed of the changes in the previous schedrule.
ASSESSMENT:
In the subject Music and its Teaching Methods, both general and specific competences of the degree will be taken into account. The acquisition of knowledge, attitudes and work habits will be valued in addition to its projection towards practice and expression directly related to the competences of the subject and the learning results. Likewise, the development of understanding, self-criticism and adaptation of students to the contextual situations raised will be taken into account.
In coincidence with the Degree Verification Report (Memoria de Verificación de los Grados) proposed by the University of Oviedo, the evaluation of the subject will be carried out based on the following parameters:
- El alumnado que, por razones laborales o de otra índole, acuda a convocatoria extraordinaria, deberá llevar a cabo un programa de actividades formativas que la profesora coordinadora establecerá para la evaluación de las competencias asociadas a las prácticas.
1. For students to be qualified both in continuous assessment and in ordinary call, they will have to attend 80% of the classroom practices.
2. Students who, because of their job or any other reasons, attend an extraordinary call, must carry out a program of training activities that the coordinating lecturer will establish for the assessment of the competences associated with the practices.
Percentages and criteria of the ordinary assessment
It will be carried out by weighing, according to the indicated percentage, the aspects that appear in the table below:
Training activities | Percentage of the grade |
| 25% |
| 25% |
3. Theory exam | 50% |
In order to specify the evaluation criteria for the final grade, the following sections will be taken into account:
1. To pass the course, the student must achieve a score of 5 out of 10 of the final grade, provided that the assessment assigned to sections 1 and 2 of the training activities reaches a score of 2.5 out of 5 and in section 3 a score of 2.5 out of 5. The assessment of sections 1 and 2 will be taken into account when the student has passed the score assigned to the written exam.
2. Attendance and participation in lectures (theory and practice), will be valued from 80% of active presence by the student.
3. The written exam will collect content from both lectures and classroom or laboratory practices.
The quality of the works presented and the presentations made will be taken into account in the assessment process, taking into account the following principles:
• Realization and delivery in time and form of the chosen tasks
• Musical performances appropriate to the competences to be developed
• Correct written expression and adequate oral expression
• Capacity for analysis and synthesis of the information made use of
• Bibliography correctly referenced
• Checking for plagiarism in any of the papers presented will result in a failure grade (numerical grade: 0) for the students involved.
Percentages and criteria of the extraordinary assessment
In the extraordinary assessment will be carried out, according to the Verification Report of the Degree in Teacher in Primary Education (Memoria de Verificación del Grado en Maestro en Educación Primaria), with the following qualification percentages:
1. Written exam - 60% of the grade
2. Practice exam - 20% of the grade
3. Completion and presentation of tasks - 20% of the grade
To pass the course, students must achieve a score of 5 out of 10 of the final grade, provided that the score assigned to point 1 reaches a score of 3 out of 6; and in sections 2 and 3, a score of 1 out of 2. The score of section 3 will be taken into account only when students had passed the score assigned to both the written exam and the practice exam. This practice exam will be carried out in the presence of the court appointed for the subject.
Exams will collect content from both lectures and classroom or laboratory practices. The performance of the activities and the presentation of corresponding works will be collected with the same evaluation criteria as those specified for the rest of the students and will be presented to the court on the day of the final test of the subject.
DIFFERENTIATED ASSESSMENT
As specified in the Evaluation Regulations (Reglamento de Evaluación) of the University of Oviedo, Article 7.
"1. Differentiated assessment models may be established, which will be applicable to the part-time, blended and non-face-to-face dedication regimes followed by the students.
" 2. Students who follow the part-time dedication regime may undergo a single evaluation test after a resolution of the Center's Government Commission (Comisión de Gobierno del Centro), or body delegated, at the request of the student, by means of a reasoned document presented at the time of formalization of the enrollment. In said request, the reasons must be stated and all the proofs that justify the impossibility of normally following the assessment activities that are developed throughout the course must be provided. The Governing Commission of the Center, or body to which it delegates, after a report from the subject coordinator, may establish the obligatory nature of attendance, and overcoming, where appropriate, certain face-to-face activities, indicating in its resolution the final weight that these will have in the student's grade.
For the subject Music and its Teaching Methods, the application of this article contemplates a program of training activities that the coordinating lecturer establishes for the assessment of the competences associated with practices and theory.
1. Written exam - 50% of the grade
2. Practice exam - 30% of the grade
3. Completion and presentation of tasks - 20% of the grade
a) To pass the course, the student must achieve a score of 5 out of 10 of the final grade, provided that the assessment assigned to sections 2 and 3 of the training activities reaches a score of 3 out of 5 and in section 1 a score of 3 out of 5. The assessment of sections 2 and 3 will be taken into account when the student has passed the score assigned to the written exam.
b) The written exam will include content from both the lectures and the classroom or laboratory practices.
c) The practice exam will take place in front of the court of the subject.
Exceptionally, if the sanitary conditions require it, non-face-to-face assessment methods may be included, in which case students will be informed of the changes.
RESOURCES, BIBLIOGRAPHY AND DOCUMENTATION:
- Resources
A basic resource to overcome the objectives of the subject, its exercises and part of the assessment is the Campus Virtual, a virtual space where lecturers will collect the corresponding tasks and exercises.
- Basic documents
ASTURIAS. Consejería de Educación y Ciencia: Decree 82/2014, of August 28, which regulates the organization and establishes the curriculum for Primary Education in the Principality of Asturias. LOMCE [BOPA from August 30]
- Music instruments
For Classroom Laboratory Practice sessions, keyboards or other polyphonic instruments, and plate and percussion instruments (PAD, PAI) will be required.
- Reference books
AKOSCHKY J. (1988): Cotidiáfonos: instrumentos sonoros realizados con objetos cotidianos, Buenos Aires: Ricordi.
ALBERT SERRA, Joan [dir.] (1997): Guía de los instrumentos de la música actual [Recurso electrónico], Madrid, Anaya Multimedia.
ÁLVAREZ MORÁN, Sara; PÉREZ COLLERA, Arturo; SUÁREZ ÁLVAREZ Ma. Luisa (2008): Hacia un enfoque de la educación en competencias, Oviedo: Consejería de Educación y Ciencia.
BACHMANN Marie-Laurie (1998): La rítmica Jaques-Dalcroze: una educación por la música y para la música, [trad. Alphabet Traducciones] Madrid: Pirámide.
BELTRÁN, J.M., Díaz, J., Pelegrín, A. y Zamora, Á. (2002): Folklore musical infantil. Madrid: Akal, Didáctica de la Música.
BLASER Albert, FROSETH James, WEIKART Phyllis (2008): Música y movimiento: actividades rítmicas en el aula [trad. Gemma Deza], Barcelona: Graó.
BRIGIDANO, D. A. et al. (2002): Juegos de todas las culturas. Barcelona: INDE Publicaciones.
CANO FRAGOSO, M.A, e García Revert, M.ª D. (1996): El sonido y sus parámetros. Colección de recursos musicales para el aula. Volumen 1. (Manual y CD). Sevilla: MAD Editorial.
CONDE CAVEDA José Luis, MARTÍN MORENO Carmen, VICIANA GARÓFANO Virginia (2002): Las canciones motrices II: metodología para el desarrollo de las habilidades motrices en Educación Infantil y Primaria a través de la música, Barcelona: INDE Publicaciones.
CONDE CAVEDA José Luis, VICIANA GARÓFANO Virginia, CALVO NIÑO Ma. Luisa (1999): Nuevas canciones infantiles de siempre: propuesta para la globalización de los contenidos expresivos en Educación Infantil y Primaria, Archidona (Málaga): Aljibe.
CORTIZAS, A. (2001): Chirlosmirlos. Enciclopedia dos xogos populares. Vigo: Xerais.
CROY, J. (1991): Apreciación musical. 40 audiciones comentadas. México: Noriega Limusa.
CHACÓN, A.; MOLINA, E. (2005): Musicalización de textos Vol. 1. Metodología IEM. Instituto de Educación Musical. Madrid: Enclave creativa.
GARCÍA RUSO Herminia M. (1997): La danza en la escuela, Barcelona: INDE Publicaciones.
GIRÁLDEZ, Andrea (2007): Competencia cultural y artística, Madrid: Alianza Editorial.
GRAETZER Guillermo (1974): Orff-Schulwerk = Obra didáctica de Carl Orff: música para niños, adaptación castellana para Latino-América, Buenos Aires: Barry.
HEARDGRAVES, D. J. (1998): Música y desarrollo psicológico. Barcelona: Graó.
HEMSY DE GAINZA Violeta (1990): Para divertirnos cantando: cancionero recreativo para escuelas y campamentos / recopilación de Violeta Hemsy de Gainza.
HEMSY DE GAINZA, Violeta (s/f): Juegos de manos: 75 rimas y canciones tradicionales con manos y otros gestos / Violeta Hemsy de Gainza, recopilación y presentación didáctica de R. Manchón.
HOWARD, J. (2000): Aprendiendo a componer, Akal Madrid, 2000.
LÓPEZ GONZÁLEZ, L. (2004): Relajación en el aula: recursos para la educación emocional. Madrid: Wolters Kluwer.
LLONGUERES Joan (2002): El ritmo en la educación y formación general de la infancia, Barcelona: Institut Joan Llongueres, DINSIC: Distribucions Musicals.
MARTENOT, M. (1993): Principios fundamentales de educación musical y su aplicación. Madrid: Rialp (edición en castellano del título original en francés de 1967).
MASSARA Kurtz Celia, MENÉNDEZ Redondo Mercedes (1996): Disfrutar haciendo música: aprender, comprender y expresar el lenguaje musical, Madrid: Ministerio de Educación y Cultura.
MC LEAN, M. (1984): Construyendo instrumentos musicales. Barcelona: Marcombo.
PASCUAL MEJÍA Pilar (2008): Didáctica de la música para Educación Primaria, Madrid: Prentice Hall. XIII.
SANUY Montserrat, GONZALEZ SARMIENTO Luciano (1969): Orff-Schulwerk = Música para niños, Madrid: Unión Musical Española.
SIANKOPE Joseph y Villa Olga (2004): Música e interculturalidad, Madrid: Ministerio de Educación y Ciencia, Secretaría General Técnica.
STOKOE, P. (1994): La expresión corporal. Barcelona: Paidós.
WILLEMS, E. (1992): Bases Psicológicas de la Educación.
WILLEMS, E. (2002): El valor humano de la Educación Musical. Barcelona: Paidós.
- Revistas
Eufonía
Música y Educación
Doce notas preliminares
International Journal of Music Education
- Páginas web recomendadas
Asociación educativa Musicrearte: www.musicrearte.com
Biblioteca Virtual de Educación Musical: www.bivem.net
International Society for Music Education www.isme.org
Sociedad Española para la Educación Musical SEM-EE
Centro Nacional de Información y Comunicación Educativa: www.cnice.mec.es
Informática y Educación Musical: www.xtec.es/rtee/esp
http://musica.rediris.es/leeme/index.html
http://www.filomusica.com/filo82/audicion.html
http://www.ucm.es/info/reciem/index.htm