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CORPORATE THE MUSICAL AUDITION: “LIVE MUSICOGRAMS” IN TRAINING OF TEACHER CHILDHOOD EDUCATION

M.M. Bernabé Villodre

Universidad de Valencia (SPAIN)
Introduction:
The degree program for Childhood Education at the University of Valencia includes several specific courses dedicated to musical training, among which "Musical Processes in Childhood Education" stands out for the number of credits it is worth. In this subject, future teachers are trained in the main pedagogical tools used in music classrooms, but from a totally different perspective, focusing on processes that develop the different musical competencies set out in the current legislation in Spain.

Methodology:
With this in mind, and with the assumption that the work of music appreciation should be active in order to be effective at both the attention and motor level, we proposed a project combining the musicogram with expressive movement. We concluded that one of the thematic units (U.2 "Listening and recognizing"), which included a section on "Active music appreciation", should incorporate corporeal expression of the selected musical pieces, resulting in what came to be called "live musicogram", which was no more than an embodiment of the musicograms. This experience was initiated in the 2015/2016 academic year and continued until the 2018/2019 academic year. Students’ impressions of the live musicograms were recorded in their final course files. Each academic year saw the integration of different uses of the body, the musical selection, the graphic and visual materials, and the technological tools (mobile devices) with which the musicogram could be performed.

Results:
First, students’ qualitative assessments are presented and categorized, taking into account the data collected in their final course files. We then present images of the movements resulting from some of the live musicograms that were part of the practical part of students’ work.

Conclusions:
Students considered that corporealizing the music, structuring it with different movements associated with certain parts of the piece (theme A, theme B, etc.) and linking those movements with visual cues (pictograms), helped improve both gross and fine motor skills (depending on the learner’s needs). They also considered that the activities improved their expressive movement, since not all movements were associated with pictograms, and the students themselves had to propose movements for each section or theme of the selected piece.