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Universidad De Murcia UNIVERSIDAD DE MURCIA DEPARTAMENTO DE EXPRESIÓN PLÁSTICA, MUSICAL Y DINÁMICA El Violonchelo en la Región de Murcia: una Aproximación Histórica y una Propuesta Didáctica para la Enseñanza de Grado Elemental Dª. Elena Mª García Sánchez 2015 UNIVERSIDAD DE MURCIA FACULTAD DE EDUCACIÓN TESIS DOCTORAL EL VIOLONCHELO EN LA REGIÓN DE MURCIA: UNA APROXIMACIÓN HISTÓRICA Y UNA PROPUESTA DIDÁCTICA PARA LA ENSEÑANZA DE GRADO ELEMENTAL Doctoranda Elena Mª García Sánchez NIF: 23008984Z Director Dr. José F. Ortega Castejón ÍNDICE GENERAL AGRADECIMIENTOS ............................................................................................................. 13 0. INTRODUCCIÓN ............................................................................................................... 15 I. EL VIOLONCHELO .............................................................................................................. 20 I.1. CORDÓFONOS DE CUERDA FROTADA: LAS FAMILIAS DE LAS VIOLAS Y LOS VIOLINES ............................ 20 I.2. EL VIOLONCHELO Y SU EVOLUCIÓN ......................................................................................... 26 I.2.1. CARACTERÍSTICAS CONSTRUCTIVAS DEL VIOLONCHELO MODERNO ................................................... 29 I.3. EL ARCO ........................................................................................................................... 34 I.3.1. CARACTERÍSTICAS CONSTRUCTIVAS DEL ARCO MODERNO ............................................................... 37 II. LA ENSEÑANZA DEL VIOLONCHELO .................................................................................. 38 II.1. ESCUELAS VIOLONCHELÍSTICAS ............................................................................................. 38 II.2. EL VIOLONCHELO EN ESPAÑA ............................................................................................... 41 II.3. EL VIOLONCHELO Y LOS PLANES DE ESTUDIO DE LOS CONSERVATORIOS ESPAÑOLES DESDE UNA PERSPECTIVA HISTÓRICA ............................................................................................................ 42 II.3.1. REAL DECRETO DE 16 DE JUNIO DE 1905 ................................................................................... 42 II.3.2. DECRETO DE 15 DE JUNIO DE 1942 .......................................................................................... 43 II.3.3. DECRETO DE 10 DE SEPTIEMBRE DE 1966 .................................................................................. 45 II.3.4. LEY ORGÁNICA 1/1990, DE 3 DE OCTUBRE, DE ORDENACIÓN GENERAL DEL SISTEMA EDUCATIVO (L.O.G.S.E.) ................................................................................................................................... 46 II.3.5. LEY ORGÁNICA DE CALIDA DE LA EDUCACIÓN DE 23 DE DICIEMBRE DE 2022 (LOCE) ........................ 50 II.3.6. LEY ORGÁNICA DE EDUCACIÓN DE 20 DE ABRIL DE 2006 (LOE) .................................................... 51 II.3.7. LEY ORGÁNICA 8/2013, DE 9 DE DICIEMBRE, PARA MEJORA DE LA CALIDAD EDUCATIVA (LOMCE) .... 53 II.4. MÉTODOS PARA LA ENSEÑANZA DEL VIOLONCHELO ................................................................... 53 II.4.1. MÉTODOS ESPAÑOLES PARA VIOLONCHELO ................................................................................ 56 III. EL VIOLONCHELO EN LA REGIÓN DE MURCIA .................................................................. 61 III.1. EL VIOLONCHELO EN MURCIA ANTES DEL S. XX ....................................................................... 62 III.2. EL VIOLONCHELO EN MURCIA DESDE 1930 ............................................................................ 74 III.3. EL VIOLONCHELO EN LOS CONSERVATORIOS DE MÚSICA DE LA REGIÓN DE MURCIA ......................... 77 III.3.1. EL CONSERVATORIO DE MÚSICA DE MURCIA ............................................................................. 78 III.3.1.1. Profesorado de violonchelo del Conservatorio de Música de Murcia .......................... 84 III.3.1.2. Alumnado de violonchelo del Conservatorio Profesional de Música de Murcia .......... 86 III.3.2. EL CONSERVATORIO DE MÚSICA DE CARTAGENA ........................................................................ 87 III.3.2.1. Profesorado de violonchelo del Conservatorio de Música de Cartagena ..................... 94 III.3.2.2. Alumnado de violonchelo del Conservatorio de Música de Cartagena ........................ 96 III.3.3. EL CONSERVATORIO PROFESIONAL DE MÚSICA DE LORCA ............................................................ 98 III.3.3.1. Profesorado de violonchelo del Conservatorio Profesional de Música de Lorca ......... 99 III.3.3.2. Alumnado de violonchelo del Conservatorio de Música de Lorca .............................. 100 III.3.4. EL CONSERVATORIO PROFESIONAL DE MÚSICA DE SAN JAVIER ................................................... 102 III.3.4.1. Profesorado de violonchelo del Conservatorio de Música de San Javier ................... 102 III.3.4.2. Alumnado de violonchelo del Conservatorio Profesional de Música de San Javier ... 103 III.3.5. EL CONSERVATORIO PROFESIONAL DE MÚSICA DE MOLINA DE SEGURA “MAESTRO JAIME LÓPEZ” ... 104 2 III.3.5.1. Profesorado de violonchelo del Conservatorio de Molina de Segura ........................ 105 III.3.5.2. Alumnado de violonchelo del Conservatorio de Molina de Segura ............................ 106 III.3.6. EL CONSERVATORIO PROFESIONAL DE MÚSICA DE CARAVACA DE LA CRUZ ................................... 106 III.3.6.1. Profesorado de violonchelo del Conservatorio de Música de Caravaca de la Cruz .... 108 III.3.6.2. Alumnado de violonchelo del Conservatorio de Música de Caravaca de la Cruz ....... 108 III.3.7. EL CONSERVATORIO DE MÚSICA DE JUMILLA “JULIÁN SANTOS” .................................................. 109 III.3.7.1. Profesorado de violonchelo del Conservatorio de Música de Jumilla ........................ 110 III.3.7.2. Alumnado de violonchelo del Conservatorio de Música de Jumilla ........................... 110 III.3.8. EL CONSERVATORIO DE MÚSICA DE CIEZA “MAESTRO GÓMEZ VILLA” ......................................... 111 III.3.8.1. Profesorado de violonchelo del Conservatorio de Música de Cieza ........................... 112 III.3.8.2. Alumnado de violonchelo del Conservatorio de Música de Cieza .............................. 112 III.4. PRESENCIA DE DIFERENTES ESCUELAS DE VIOLONCHELO EN LA REGIÓN DE MURCIA ....................... 113 III.5. BIOGRAFÍAS DE PROFESORES DE VIOLONCHELO DE LA REGIÓN DE MURCIA .................................. 118 IV. PANORÁMICA ACTUAL DE LAS ENSEÑANZAS ELEMENTALES DE VIOLONCHELO EN LA REGIÓN DE MURCIA .......................................................................................................... 158 IV.1. CUESTIONARIO PARA CONOCER LA METODOLOGÍA APLICADA EN LAS ENSEÑANZAS ELEMENTALES DE VIOLONCHELO QUE SE IMPARTEN EN LOS CONSERVATORIOS DE LA REGIÓN DE MURCIA ......................... 159 IV.2. CUADRO COMPARATIVO DE LOS MÉTODOS HABITUALES EN LAS ENSEÑANZAS ELEMENTALES DE VIOLONCHELO EN LA REGIÓN DE MURCIA .................................................................................... 167 IV.3. LOS ESTILOS DE ENSEÑANZA Y APRENDIZAJE EN LA EDUCACIÓN MUSICAL ..................................... 171 IV.3.1. ESTILOS DE APRENDIZAJE ...................................................................................................... 172 IV.3.1.1. Estilos de aprendizaje y sus repercusiones en los procesos educativos ..................... 174 IV.3.1.2. Estilos de aprendizaje y su aplicación en la educación musical especializada ........... 177 IV.3.1.3. Propuesta de cuestionario para identificar el perfil de aprendizaje en los estudiantes de enseñanzas elementales de Música ..................................................................................... 179 IV.3.1.4. Cuestionario ................................................................................................................ 180 IV.3.1.5. Estrategias que favorecen el aprendizaje en las diferentes preferencias estilísticas . 185 IV.3.1.6. Sugerencias para desarrollar los estilos con menor preferencia en el perfil de aprendizaje de nuestros alumnos ............................................................................................. 187 IV.3.2. ESTILOS DE ENSEÑANZA ....................................................................................................... 188 IV.3.2.1. Propuesta de cuestionario para identificar el perfil de estilo de enseñanza de los profesores de instrumento ....................................................................................................... 194 IV.3.2.2. Cuestionario ................................................................................................................ 196 IV.3.2.3. Estrategias que desarrollan los estilos de enseñanza predominantes en el perfil del profesor ..................................................................................................................................... 202 IV.3.2.4. Sugerencias para desarrollar los estilos con menor preferencia en el perfil de enseñanza del profesor ............................................................................................................. 204 V. PROPUESTA DIDÁCTICA PARA EL GRADO ELEMENTAL DE LAS ENSEÑANZAS DE VIOLONCHELO ................................................................................................................... 205 V.1. MARCO LEGAL ...............................................................................................................
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