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Tesis Doctoral UNIVERSIDAD DE CASTILLA–LA MANCHA FACULTAD DE EDUCACIÓN DE CIUDAD REAL DEPARTAMENTO DE PEDAGOGÍA TESIS DOCTORAL Doctorado en Humanidades, Artes y Educación IMPACTO DE LA EDUCACIÓN MUSICAL EN LA INCLUSIÓN EDUCATIVA. GÉNESIS Y EVOLUCIÓN DE LA FORMACIÓN Y COMPETENCIA DEL PROFESORADO EN CIUDAD REAL Que presenta Dª. Celia García Jiménez para la obtención de GRADO DE DOCTOR EN EDUCACIÓN DIRECTORA Dra. Ascensión Palomares Ruiz. CODIRECTOR Dr. Miguel Lacruz Alcocer. 2018 - 2019 UNIVERSIDAD DE CASTILLA – LA MANCHA FACULTAD DE EDUCACIÓN DE CIUDAD REAL DEPARTAMENTO DE PEDAGOGÍA Dra. Dª. ASCENSIÓN PALOMARES RUIZ, Catedrática del Área de Didáctica y Organización Escolar en la Facultad de Educación del Albacete perteneciente a la Universidad de Castilla – La Mancha y Dr. D. MIGUEL LACRUZ ALCOCER, Profesor Titular del Área de Teoría e Historia en la Facultad de Educación de Ciudad Real perteneciente a la Universidad de Castilla – La Mancha, En calidad de Directora y Co-Director de la presente Tesis Doctoral que presenta Dª CELIA GARCÍA JIMENEZ, con el título de Impacto de la Educación Musical en la inclusión educativa. Génesis y evolución de la formación y competencia del profesorado en Ciudad Real para aspirar al Grado de Doctor en Educación por la Universidad de Castilla – La Mancha, y que ha sido realizado bajo su dirección, CERTIFICAN Que el presente trabajo de investigación, constituye la memoria presentada por la doctoranda y reúne las condiciones y requisitos científicos, metodológicos y formales, así como de calidad y originalidad precisos para su Lectura y Defensa pública para ser juzgada ante el Tribunal correspondiente. Y para dar cumplimiento al Real Decreto 778/1998, se firma la presente certificación en Albacete, a 21 de diciembre de 2018. Fdo. Dra. Dª Ascensión Palomares Ruiz. Fdo. Dr. D. Miguel Lacruz Alcocer. 2 Con todo mi cariño: Especialmente a mis padres, Alejandro y Crescencia y a mi hermano Alejandro, que como familia son el pilar fundamental de mi vida en todo lo que soy y en mi educación –tanto académica como vitalicia−; por creer en mí, por su apoyo incondicional mantenido a través del tiempo, haciendo de mí una mejor persona y por enseñarme a luchar para conseguir mis sueños. Ligados a ella, a “mis Ángeles” que, sin alas y con su amistad, cuidan constantemente de mí y me dan alas para volar. Imprescindibles, ambos, como crecimiento personal y profesional. A la música, mi fiel compañera en el viaje de la vida. 3 AGRADECIMIENTOS “El valor de las cosas no está en el tiempo que duran, pero sí en la intensidad con que suceden. Por eso hay momentos inolvidables, cosas inexplicables y personas incomparables” (Fernando Pessoa) Es difícil entender la importancia de los agradecimientos de una Tesis Doctoral hasta que se avanza hacia su final, momento en que eres consciente de cuánto tienes que agradecer a tantas personas. Intentaré resumir en unas líneas la gratitud que siento a todas las personas que me ayudaron a entender que “la recompensa siempre viene detrás de un gran esfuerzo” y que han estado presentes durante esta etapa, haciendo posible que, poco a poco, el sueño se convierta en una realidad. Debo agradecer de manera especial y sincera a los directores de la presente Tesis Doctoral, la profesora Dra. Dª. Ascensión Palomares Ruiz y el profesor Dr. D. Miguel Lacruz Alcocer, ambos profesores del Departamento de Pedagogía en las Facultades de Educación de Albacete y Ciudad Real (UCLM), respectivamente, por aceptarme para emprender este proyecto de Tesis Doctoral bajo su dirección. Su apoyo, disponibilidad, paciencia y confianza en mi trabajo, así como su capacidad para guiar mis ideas ha sido un aporte invaluable, no solamente en el desarrollo de la presente Tesis Doctoral, sino también en mi formación como investigadora, permitiendo enriquecer notoriamente la investigación realizada. Las ideas propias, siempre enmarcadas en su orientación y rigurosidad, han sido la clave del buen trabajo que hemos realizado juntos, el cual no se puede concebir sin su siempre oportuna participación. Igualmente les agradezco el haberme facilitado siempre la documentación suficiente para llevar a cabo todas las aportaciones propuestas durante el desarrollo de la presente tesis. Y, por supuesto, el agradecimiento más sentido y profundo está dirigido para mi familia. Sin su apoyo, colaboración e inspiración habría sido imposible recorrer este camino. A mis padres, Crescencia y Alejandro, por su ejemplo de lucha y honestidad, y a mi hermano Alejandro, como ejemplo de valentía, capacidad y superación. A todos ellos por su apoyo incondicional, su fiel creencia en mí y sus ingentes dosis de paciencia. ¡A todos vosotros… GRACIAS! 4 ÍNDICE PREÁMBULO INTRODUCCIÓN…………………………………………………………………….15 ÍNDICE DE ABREVIATURAS………………...……………………………………21 ÍNDICE DE FIGURAS…………………………...…………………………………..23 ÍNDICE DE TABLAS……………………………...…………………………………25 CRITERIO DE REDACCIÓN……………………………………………………….28 EXPOSICIÓN: MARCO TEÓRICO CAPÍTULO I: LA MÚSICA EN LA EDUCACIÓN……..…………...30 1.1.Justificación del binomio música-educación…………………...………………..30 1.1.1. Panorama histórico del valor educativo de la música…..………………..30 1.1.1.1.Edad Antigua………………………………………………………...30 1.1.1.2.Edad Media……………………………………………...…………..32 1.1.1.3.Renacimiento………………………………………………………...34 1.1.1.4.Siglos XVII y XVIII…………………………………………………36 1.1.1.5.Siglo XIX………………………………………………...………….37 1.1.1.6.Siglo XX (Primera Parte)…………………………………...……….40 1.1.1.7.Siglo XX (Segunda Parte)…………………………………...………44 1.1.2. Investigaciones que avalan el valor educativo de la música…….………47 1.1.3. Apoyos a la Educación Musical……………………………………..………50 1.1.3.1.Declaraciones Internacionales……………………………………….51 1.1.3.2. Declaraciones Nacionales…………………………………...……...53 1.2.Fuentes consultadas en el Capítulo I………………………………………...…...55 1.2.1. Referencias bibliográficas……………………………………………………55 1.2.2. Referencias webgráficas…………………………………………………...…57 5 CAPÍTULO II: LA FORMACIÓN DEL DOCENTE DE MÚSICA…58 2.1. Introducción………………………………………………………………………58 2.2. Formación para la docencia de música………………………………………….59 2.2.1. Dilemas de formación…………………………………………………………..59 2.2.1.1. Generalista – Especialista……………………………………...60 2.2.1.2. Profesor – Músico……………………………………………...62 2.2.2. Condiciones y requisitos para la docencia de música……………………..63 2.3. ¿Qué es una persona educada musicalmente y formada musicalmente?..........66 2.4. Fuentes consultadas en el Capítulo II…………………………………………...69 2.4.1. Referencias bibliográficas…………………………………………………......69 2.4.2. Referencias webgráficas……………………………………………………….70 CAPÍTULO III: EVOLUCIÓN DE LOS PLANES DE ESTUDIO EN LA FORMACIÓN DEL PROFESORADO……………………………71 3.1.Introducción……………………………………………………………………….71 3.2.Planes de estudio y evolución de la música en las Escuelas de Magisterio y Facultades………………………………………………………………………….72 3.3.Antecedentes históricos en la formación de maestros (1370-1780): las asociaciones de los Gremios………………………………………………………75 3.3.1. Primera Etapa (1370-1780)………………………………………………….76 3.3.2. Segunda Etapa (1780 – 1838)……………………………………………….80 3.4.Antecedentes de las enseñanzas musicales antes del siglo XX…………….........85 3.5. La formación de maestros a partir del año 1839: las primeras Escuelas Normales…………………………………………………………………………...87 3.5.1. Nacimiento, impulso y desarrollo de las Escuelas Normales (1839 - 1874)…………………………………………………………………………….88 3.6.La restauración (1874 - 1931)…………………………………………………...102 3.6.1. Comienzos de siglo XX………………………………………………………102 3.6.2. Años entre 1901 con la Reforma de Romanones y 1914………………..106 3.6.3. Años entre 1920 – 1930: Dictadura de Primo de Rivera (1923)……....114 3.7. La formación de maestros durante la IIª República (1931-1936): El mayor nivel nunca superado………………….……………………………………………….118 6 3.8. Dictadura Franquista (1939-1975): “Vuelta atrás” en la formación del maestro y los efectos de la Guerra Civil…………………………………………….........129 3.9. Plan de estudios de 1967: la lenta recuperación del nivel universitario perdido……………………………………………………………………………140 3.10. Plan de estudios de 1971: universitarios de nuevo……………..…………..144 3.11. Años entre 1975–1990………………………………………………………..147 3.12. El Plan de estudios de 1990: el filtro de la selectividad y la Diplomatura de Maestro…………………………………………………………………………...153 3.13. La lucha por la Licenciatura……………………………………...…………159 3.14. Año 2002……………………………………………………………...………161 3.15. La conferencia de decanos de educación (2003): “la unión hace la fuerza”……………………………………………………………………………162 3.16. Ley Orgánica de Educación del año 2006……………………………...…...164 3.17. Plan Bolonia y Espacio Europeo de Educación Superior (EEES). Ni diplomados ni licenciados… graduados: Planes de estudio de 2009……….....167 3.18. Másteres Universitarios de Educación Musical……………………………177 3.18.1. Máster de Investigación e Innovación Musical…………………………..177 3.18.2. Máster Universitario de Investigación e Innovación Educativa……….178 3.19. Fuentes consultadas en el Capítulo III…………………………………..….182 3.19.1. Referencias bibliográficas…………………………………………………..182 3.19.2. Referencias webgráficas…………………………………………………….185 3.19.3. Referencias legislativas…………………………………………………..…186 PUENTE MODULANTE: METODOLOGÍA DE LA INVESTIGACIÓN CAPÍTULO IV: PLANTEAMIENTO DE LA INVESTIGACIÓN...189 4.1. Delimitación del estudio…………………………………………………….......189 4.2. Hipótesis de trabajo…………………………………………………………......191 4.3. Objetivos generales y específicos……………………………………………….192 4.4. Variables de investigación………………………………………………………193 4.5. Fuentes bibliográficas consultadas en el Capítulo IV………………………...194 7 CAPÍTULO V: METODOLOGÍA DE
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