J. Hurtado Llopis, V. Fontelles

Universitat de València (SPAIN)
Popular music has become a growing area of study, so as production of articles, books of scientific dissemination, research, thesis and dissertations has increased considerably in the last five years. Likewise, schools, colleges, and universities are using the influence of music in their students as a motivating factor so that several texts, concepts, styles or languages may be submitted through an audio recording or video of a well-known artist, taking advantage that the music that teens listen outside the classroom is the mirror in which most of the young people look, imitating their idols both in dress and in the way of understanding life. Thus, this music is becoming a way of bringing closer the different realities that arise in present-day society. On the other hand, it is also exerting a great influence on musicals with innovative staging and more contemporary themes, hence that in recent decades it has generated a series of plays such as "Hoy no me puedo levantar", "Mamma Mia", "We will rock you", "A quien le importa", "Quisiera ser" or "The Lion King", which had a great success especially between young people due to their simple and direct language, the incorporation of pop music and new choreographies.
This paper presents the results of a multiple case-study research, financed by the Vice-council of Research of the University of Valencia, which shows examples of good practice among teachers of music in secondary school. This study was designed on the basis of methodological guidelines for the qualitative phenomenological, descriptive and ethnographic studies whose data have been obtained through depth interviews, observation and analysis of the documentary evidence. In particular it describes the experiences and conclusions of the investigations carried out on three teachers of high school that use popular music as a tool of motivation and development of music education in their classrooms. The first teacher takes advantage of choral versions of the most popular themes or those that their students prefer, to form the Institute’s chore. The second teacher writes scores and scripts about the diverse social problems existing in her Institute and, with the cooperation of other colleagues and students, produces musicals that are interpreted by her own students. The third case is about a teacher who writes his own arrangements of popular music, adapting them to the characteristics of its students so that they can be interpreted in instrumental concerts created in the aula of music. Although the contexts of each of the three centers are different and the main way of expression used are qualitatively different, these cases have in common a pedagogical concept focused on students and the use of popular music as a backbone of his educational proposals.