Publicación: Análisis de lenguaje musical. Propuesta de mejora
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2012
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Atribución-NoComercial-SinDerivadas 4.0 Internacional
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info:eu-repo/semantics/openAccess
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Universidad Nacional de Educación a Distancia (España). Facultad de Educación. Departamento de Didáctica, Organización Escolar y Didácticas Especiales
Resumen
Esta tesis doctoral trata de una investigación cuasi-experimental encaminada a probar la efectividad superior de cierta metódica constructivista para la enseñanza de la asignatura Lenguaje Musical de conservatorio, focalizada en la composición por parte del alumnado de ejercicios propios individuales, frente al método tradicional basado en procedimientos mayormente de tipo conductista que utilizan publicaciones editoriales. Alumnos de Grado Elemental LOGSE, N = 72, clases intactas, fueron desglosados aleatoriamente por tratamiento en dos bloques, experimental (n = 34) y control (n = 38), conteniendo cada agrupamiento un curso-aula de los niveles primero, segundo y tercero. Después de emplear el primer trimestre del año académico para establecer una base sapiencial común, el grupo experimental trabajó durante cinco meses componiendo e interpretando creaciones propias, mientras que el de control siguió los pasos marcados por libros de texto usuales. Ambos colectivos estuvieron sometidos a pretest, por nivel-curso y por bloques experimental-control, antes de comenzar la experiencia, no encontrándose diferencias significativas entre cohortes en variables de ejecución musical ritmo, entonación y dictado. El grado de significación escogido previamente fue Alfa = ,05 Dentro de pretest, realizado análisis de conglomerados dicotómicos, se observó que los alumnos, tanto experimentales como control, estaban distribuidos indistintamente sin acusada tendencia, bien en el de centro más alto como en el de centro inferior. Siendo este dato otro argumento más para afirmar la no diferencia de partida entre grupos de las dos modalidades de método a seguir. 2 Al final, medidas postest, realizadas en las mismas condiciones que en pretest, demostraron marcadas diferencias a favor del grupo experimental, el que siguió la orientación constructivista. Una segunda agrupación en dos conglomerados postest mostró que en ritmo, entonación y dictado los alumnos experimentales se adscribían mayoritariamente en el centro con más valor, mientras que los de control lo hicieron en el de centro inferior. La investigación puede servir como punto de partida para otras réplicas en la misma línea, que quizás confirmen y den mayor validez a los hallazgos expuestos en esta tesis.
This doctoral thesis deals with quasi-experimental research aimed at proving the superior effectiveness of certain constructivist method for teaching the subject sight singing and sight reading, solfège, focused on the composing by students of their own individual exercises, compared to the traditional method based on procedures mostly of the behaviorist type that use editorial publications. Students of elementary conservatory level, N = 72, intact classes, were broken down randomly for treatment in two groups, experimental (n = 34) and control (n = 38), with each group containing a course-classroom of the first, second and third levels. After using the first trimester of academic year to establish a common sapiential base, the experimental group worked for five months composing and interpreting their own creations, while the control group followed the steps marked by the usual textbooks. Both collectives were subjected to a pretest per level-course and per bloc experimental-control before beginning the experience, not finding significant differences between cohorts in musical execution variables of rhythm, intonation and dictation. The degree of significance previously chosen was Alpha = .05. Within the pretest, conducting analysis of dichotomist conglomerates, it was observed that the students, both those in the experimental group and in the control group, were distributed indistinctly without any marked tendency, either in that o the highest centre frequency or in that of the lowest centre frequency. This datum was another argument for affirming there was no difference at the start between the two modalities of treatment to follow. 4 At the end, posttest measurements conducted under the same conditions as in the pretest, showed marked differences in favour of the experimental group, which followed the constructivist method. A second grouping in two conglomerates, posttest, showed that in rhythm, intonation an dictation the experimental students were in the majority shown in the centre frequency with a higher value, while those of the control group were shown in the lower centre. The investigation can serve as a starting point for other replications along the same line, which perhaps will confirm and give greater validity to the findings explained in this thesis.
This doctoral thesis deals with quasi-experimental research aimed at proving the superior effectiveness of certain constructivist method for teaching the subject sight singing and sight reading, solfège, focused on the composing by students of their own individual exercises, compared to the traditional method based on procedures mostly of the behaviorist type that use editorial publications. Students of elementary conservatory level, N = 72, intact classes, were broken down randomly for treatment in two groups, experimental (n = 34) and control (n = 38), with each group containing a course-classroom of the first, second and third levels. After using the first trimester of academic year to establish a common sapiential base, the experimental group worked for five months composing and interpreting their own creations, while the control group followed the steps marked by the usual textbooks. Both collectives were subjected to a pretest per level-course and per bloc experimental-control before beginning the experience, not finding significant differences between cohorts in musical execution variables of rhythm, intonation and dictation. The degree of significance previously chosen was Alpha = .05. Within the pretest, conducting analysis of dichotomist conglomerates, it was observed that the students, both those in the experimental group and in the control group, were distributed indistinctly without any marked tendency, either in that o the highest centre frequency or in that of the lowest centre frequency. This datum was another argument for affirming there was no difference at the start between the two modalities of treatment to follow. 4 At the end, posttest measurements conducted under the same conditions as in the pretest, showed marked differences in favour of the experimental group, which followed the constructivist method. A second grouping in two conglomerates, posttest, showed that in rhythm, intonation an dictation the experimental students were in the majority shown in the centre frequency with a higher value, while those of the control group were shown in the lower centre. The investigation can serve as a starting point for other replications along the same line, which perhaps will confirm and give greater validity to the findings explained in this thesis.
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Categorías UNESCO
Palabras clave
conservatorio, constructivismo, enseñanza de la música, investigación musical, lenguaje musical, pedagogía musical, solfeo, conservatory, constructivism, music learning, music research, music teaching, sight reading, sight singing, solfège
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Facultad de Educación