La composición musical en el aula de educación secundariadiseño, aplicación y evaluación de un modelo didáctico a partir de la experimentación sonora

Resumo

The aim of this thesis has been to design and validate a work project to carry out composition activities in the Compulsory Secondary Education (ESO) classroom based on the assumptions of experimental music, using the methodology of the evaluative model CIPP (Context, Input, Process and Product). This research arose from the need to find answers to some deficiencies in teaching practice: the difficulties in carrying out musical composition activities and the limited presence of contemporary music in the classroom. The theoretical framework presents a historical approach to experimentation with noise in music, paying special attention to the 20th and 21st centuries, as well as to the Spanish context and the Region of Murcia, where the thesis has been written. It also describes the most significant musical methodologies of the second half of the last century that have an impact on musical experimentation in the classroom: the proposals of the pedagogues Paynter, Self, Dennis, Saitta and, above all, Oliveros, Schafer and Delalande. The theoretical framework ends with a study on the presence of experimental music composition as a formative content in the music curricula of different countries. The Spanish study focuses on the Autonomous Communities of Catalonia, Valencia and the Region of Murcia. The design of the CIPP methodology used was developed in four phases. The first, context evaluation, made it possible to determine the presence and characteristics of composition activities in the secondary school classroom, as well as to establish the phases of the compositional process. The second phase, input evaluation, consisted on the design of a classroom work project, culminating in the implementation of this project in the third phase, process evaluation. Finally, the product evaluation has led to the validation of the didactic proposal, based on the progress detected in the pupils. The participants in the first phase of this study were 82 music teachers from all educational fields and 9 composers of different musical styles. The implementation phase of the project took place during the 2017/18 academic year and involved 66 students from the 2nd year of ESO of the IES Floridablanca secondary school in the city of Murcia. The instruments used to collect information during the context evaluation were questionnaires and interviews. In the process evaluation phase, checklists, diaries, rubrics and self-evaluations of the students, as well as their written and musical productions, were used. Learning tests were also applied, one before and one after the development of the work project. The conclusions of the research have shown that composition in the classroom based on the use of sounds from the environment and their transformation through the computer is possible and that this is the starting point for the use of sound experimentation as a basis for musical creation in the classroom. This means, on the one hand, a methodological innovation for our music classrooms and, on the other hand, the connection of schools with the surrounding reality through the introduction of current musical languages. It has also become clear that the introduction of the sound languages of the 21st century is the great unfinished business of the official music curricula, as well as the advisable didactic updating of the teaching staff to deal with these subjects in the classroom. Positive changes have also been demonstrated in the students' aesthetic appreciation when it comes to valuing contemporary sound proposals.