Los adolescentes se encuentran inmersos en un entorno sociocultural repleto de manifestaciones musicales en los diferentes contextos en los que se desenvuelven: familia, escuela, amigos, medios de comunicación…, siendo estos últimos protagonistas indiscutibles en la sociedad actual. El presente trabajo pretende analizar, en una muestra formada por 667 alumnos de Educación Secundaria Obligatoria, la influencia que ejercen la educación formal e informal en las preferencias musicales de los estudiantes. Los principales resultados ponen de manifiesto que los estilos musicales más escuchados son el Pop, el Reggaeton, el Hip-Hop y el Rap. Además, mientras que la educación informal influye directamente en los estilos musicales más consumidos por los adolescentes, la educación formal lo hace en los estilos musicales menos consumidos..
The purpose of this study is to analyze the musical tastes of secondayr school students in terms of cultural origin, in the Spanish city of Melilla, a North African enclave bordered by Morocco and characterized by its cultural diversity. The study also examines the musical environment of the students since, as different studies have shown (Frith, 2004; Hargreaves, Marshall & North, 2003; Lundquist, 2002; Pitts, 2007), there is no direct relationship between music studied formally in school and the music listened to in daily life. Some 667 students from first to fourth year in compulsory secondary education level (334 females and 323 males), between the ages of 12 and 16 participated, of which 55.9% were of Berber origin, 39.1% of European origin, and 4.9% of mixed origin. The results that were derived from the Questionnaire on Preferences of Musical Styles prepared by Lorenzo, Herrera & Cremades (2008) reflect that the musical tastes of students are oriented towards popular music (Reggaeton, Pop, Hip-Hop or Rap, amongst others) and, on the other hand, they differ according to the cultural group of origin. These musical preferences are clearly influenced by several agents of socialization that are part of informal education (principally peer groups, TV, radio, and the Internet), that shape the cultural and musical consumption habits of young people. Finally, a number of proposals are made for the integration of formal and informal musical education.
This paper describes how Mexican piano students enrolled in higher education music courses memorise scores, which is necessary to increase their capacity for memorisation and to prepare a repertoire of higher complexity. We also analysed the different types of memory in the musical practice of the students, investigating what they emphasise the most to memorise musical pieces. Interest in this topic arose because it was observed that piano syllabi in the different participating institutions do not include a specific memorisation development process for piano repertoire; however, piano students are required to present a memorised repertoire at the end of each semester. We distributed a questionnaire to 545 students from 18 Higher Artistic Education institutions with a degree in music, with piano as the main instrument, in 13 states of Mexico. The results indicate that the development of analytical memory through musical analysis is fundamental and essential while learning memorisation skills to achieve a better understanding of the score and its piano performance. We also found that there are significant differences between the variables of age range and gender.
The present study analyses the different types of skills and abilities that piano students use to memorise pieces. During students' education process, it is important to implement different study strategies for the proper learning and improvement of memorisation. Mastering this task is essential to the professional future of students, who must play musical scores by memory in exams, public concerts, recitals, public examinations, and other performances (Bernal, 2009a; Hallam, 1997; Lim & Lippman, 1991). In the Mexican context, a defined methodology for memorisation strategies for piano students has not been identified. Thus, to gather the necessary information for the development of this research, piano students (N = 88; 44 men and 44 women) answered a questionnaire formulated by Mishra (2007) and adapted to our context. This measurement instrument provided information about the type of memorisation strategies used most often by the participants of this research. Most results point towards the use of analytic memory study strategies, followed by aural, kinaesthetic, and visual memorisation. Furthermore, the personal strategy the students used most frequently while memorising was practising their instrument daily. This activity generates greater fluency and confidence when playing a piece from memory.
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