Universidad Complutense de Madrid (SPAIN)
About this paper:
Appears in: INTED2011 Proceedings
Publication year: 2011
Pages: 5442-5445
ISBN: 978-84-614-7423-3
ISSN: 2340-1079
Conference name: 5th International Technology, Education and Development Conference
Dates: 7-9 March, 2011
Location: Valencia, Spain
In the musical development three types of competences are activated at least, related at the same time with the blocks of contents established for musical teaching in primary education by the spanish curriculum: the listening, interpretation and creation. So, regarding the first one, the pupil can present different attitudes before the same one, whereby the hearing process will depend largely of his capacity as listener, establishing in addition, a learning. Thus, the great didactic challenge into the significant learning of the musical hearing, which according to the LOE must denote an eminently active character, consists of waking up the interest of the pupils in the contents.

This communication takes as the basis of the research realized in the third cycle of primary education in twenty four centers of the Community of Madrid about the process of hearing of a key work inside the children’s digest, "El carrillón musical vienés" (Viennese musical clock) from Zóltan Kodály, using a phenomenological point of view orientated towards the experiential knowledge. The main objective in this case, consisted of knowing the meanings that pupils of primary attributed to the piece indicated after listening it, applying for it different models of pre-hearing or simultaneous hearing with an active methodology and a praxial orientation: active in the sense of learning how to listen actively (in other words, improving or stimulating the learning of his cognitive faculties) and praxial as direct experience with the sonorous phenomenon (establishing at the same time, significant relations through co-dependent actions).

The extracted conclusions discriminate and establish key aspects to understand the act of listening among the pupils of primary studies, such as the aptitude to select different musical styles, the attitudes before them and the intrinsic and evoked (both absolute and referential) musical meanings that pupils refer to the shown work.
Thus, the contribution to the research consists of establishing a parallelism with regard to the way that listener can locate into the musical hearing and the emotions caused by his appraisal of the work.
Hearing, Primary Education, Musical development.