Technology at the service of music education Tecnología al servicio de la educación musical

Miguel Román Álvarez, PhD. Lecturer. Universidad Autónoma de Madrid ([email protected])

Abstract: Resumen: Technology is part of our everyday lives, Las tecnologías, queramos o no, forman par­ whether we like it or not. Learning to live te de nuestra vida cotidiana. Aprender a convi­ with it is not just a requirement but is also vir con ellas no solo es una obligación, sino una necessary if we are to avoid succumbing to a necesidad para no caer en un nuevo analfabe­ new form of illiteracy: technological illiteracy. tismo: el tecnológico. Los docentes debemos con­ As teachers we must contribute through con­ tribuir con nuestra formación permanente a la tinuous training to the computer literacy that alfabetización digital que la sociedad actual im­ contemporary society demands of us in the pone en el desarrollo diario de nuestras activi­ day-to-day performance of our activities. In dades. En las siguientes páginas presentaremos year LXXV, n. 268, September-December 2017, 481-495 the following pages, we present and analyse y analizaremos algunas de las herramientas some of the tools available for use in music disponibles para su utilización en la educación education, applying criteria of quality, stabil­ musical, desde criterios de calidad, estabilidad ity, and, above all, freedom of use. y, sobre todo, libertad en su utilización.

Keywords: ICT, musical education, music Palabras clave: TIC, educación musical, software, new technologies, free software, ed­ software musical, software libre, nuevas tec­ ucation. nologías, formación. revista española de pedagogía

1. Introduction At certain points in the history of ed­ When discussing the use of Informa­ ucation, coloured chalk, photocopiers, tion and Communication Technologies whiteboards, tape and CD players, tele­ (ICT) in music education, in broad terms, visions, video, etc. might have been seen the first issue is how to define them. What as «new technologies». However, the most resources are we discussing when we dis­ important medium in current society cuss these technologies? is undoubtedly the computer, allowing

Revision accepted: 2017-06-26. This is the English version of an article originally printed in Spanish in issue 268 of the revista española de pedagogía. For this reason, the abbreviation EV has been added to the page numbers. Please, cite this article as follows: Román Álvarez, M. (2017). Tecnología al servicio de la educación musical | Technology at the service of music education . Revista Española de Pedagogía, 75 (268), 481-495. doi: https://doi.org/10.22550/REP75-3-2017-09 https://revistadepedagogia.org/ ISSN: 0034-9461 (Print), 2174-0909 (Online) 481 EV Miguel ROMÁN ÁLVAREZ

collaborative use of computer applications The presence of ICTs in music educa­ specific to the field of music and sharing tion, as in education in general, is initially work on the internet. dependent on two basic aspects: equipping Therefore, new technologies in music schools and classrooms, and the teaching education are currently defined as those staff’s training in and use of them. using internet-connected computers as This piece presents the tools teachers the focus of the various on-line and off- might use in the compulsory education line possibilities they offer: playing audio centres which have basic ICT provision. and video, presentations, simulations, Knowledge and in-depth use of them and searching for information. should be part of the digital training and While not all specific music technology­ skills of teachers specialising in music. might be integrated into ICT re­sources, we now face a degree of globalisation that, in our opinion, makes this separa­ 2. ICT resources in music tion difficult and unnecessary. Resources The emergence of and standardisation such as microphones and speakers are on MIDI technology and its language in currently part of the hardware of the the 1980s was a technological revolution great majority of computer resources, in music. The development of it meant and the internet provides online tools and that we can now all use its potential in software resources that make it possible particular in our personal computers. It to create activities and musical resources is just a few decades (1985) since Atari1 with applications that previously had to launched the Commodore Amiga, a be installed on the computers as well as computer-games console that included sharing their own resources on websites, Notator, a MIDI interface and software blogs, etc. for music sequencing and score editing. Consequently, it is difficult to es­ Since then, technological development tablish clear distinctions between the has made it possible for individuals to different technological elements that have their own small home recording stu­ feature in music education experiences dio at a cost that would once have been with ICT. On similar lines to Marqués unimaginable, thus making it accessible (2011, pp. 17-35), in this article we in­ to much of the population. clude in the term ICT all musical tech­ nologies associated with computing, This development has meant that we both hardware and software, as well as can have sound sequencers-editors and a wide range of technologies that en­ sufficient technology to make recordings revista española de pedagogía 2017, 481-495 n. 268, September-December LXXV, year able the transformation of information, and mixes at our disposal, as well as tech­ in particular the use of computers and nological resources for simulating per­ computer programs to create, modify, formances by instrumental groups that store, administer, protect, and recover previously were only possible live and in this information. recording studios. 482 EV Technology at the service of music education

Numerous technological resources essary areas in education: more comput­ are available for musical activities, and ers, teacher training, etc. new ones appear every day. We will, Education in values. Schools should therefore, attempt to classify them, promote the use of free software for the making an initial distinction between same reason they promote recycling: be­ online, or Web 2.0, resources and off-line cause it benefits us all. ones, in other words resources that can be used without an internet connection. Free software encourages students to Within this classification, a secondary learn how computers and software itself classification will consider whether the work. Future programmers start pro­ resources are proprietary, and so the gramming in their adolescence. By allow­ corresponding licences must be obtained ing access to the source code, free software to use them, or whether they are re­ helps enormously with their learning. sources from the free software or open The mission of schools is to teach peo- source movement, which can be shared ple to be cooperative, supportive, and crit- and used freely. ical citizens. These are the foundations of Any attempt to list all of the available society. In computing, cooperation means, software related to music and its possi­ among other things, sharing, being able year LXXV, n. 268, September-December 2017, 481-495 ble use in education would be extremely to make copies for all of their classmates prolix, and so we will basically focus or taking home the software used in class. our attention on free-software resources And with proprietary software all of this available. The reasoning behind limiting is unlawful. the sample to resources from the free soft­ Finally, teaching students to use free ware field is, on the one hand, the need software and participate in the community for resources in education that can be of software users/developers is a practi­ used without a significant investment by cal lesson in civics. It teaches students revista española de pedagogía schools and students, and, on the other that the ideal is the model of public ser­ hand, the need for lessons on values and vice and solidarity, not the profit-at-any- respect for other people’s work: «intellec­ cost model of some corporations. All levels tual property». can and should use free software. Authors like Adell and Bernabé (2007, Among the tools we find for carrying p. 185) identify the following educational out musical activities in education, we reasons for using free software in ed­ will pay particular attention to sequenc­ ucation, taken from the ideas of Richard ers. Sequencers, whether audio or MIDI, Stallman: offer broad possibilities for manipulating Free software can be copied and redis- and creating music that are available tributed at cost price. Educational author­ to everyone, especially music teachers. ities can provide all of their educational These tools make it possible to generate centres with software at a very low price musical ideas and turn them into sound and use the resources saved in other nec­ with great versatility. Writing a musical 483 EV Miguel ROMÁN ÁLVAREZ

idea, motif or phrase, whether invented or achieving a master audio track in stereo transcribed from a piece by a composer, like any CD recording. and instantly being able to listen to it with different timbres, tempos, and intensities Having defined the limits of this anal­ is something that is only possible with the ysis, we will now divide the tools we will use of technology. This is an example of consider into two categories: on-line re­ meaningful learning from individual or sources and off-line resources. collective experimentation.

MIDI sequencers allow us to play 2.1. Off-line music resources anything from a simple melody to a This section considers music software symphony with all of its instruments, to resources that must be installed on the write a song to sing in class, to be able computer to be used. From the free code to change its tonality with a few mouse applications, we can find on the inter­ clicks to adjust it to the tessitura of the net, the most important and stable are: class as a group, to prepare an accompa­ Audacity2, Ardour3, Denemo4, Muse­ niment that acts as a harmonic support score5, Hydrogen6, LMMS7 (Linux Multi to singing, as well as an endless list of Media Studio), GNU Solfege8, and possibilities that we can discover with Phonascus9. creativity and experience, all of this with limited resources. The Audacity and Ardour sequencers make it possible to create and manipulate Technology has also reduced costs to audio files. These applications make it the extent that we can now have audio possible to record live musical activities sequencers to record our musical activ­ ities inside and outside class and carry for subsequent mixing in postproduction out postproduction work on the recording while also allowing the mixing and ma­ that was previously solely in the hands nipulation of ready-created audio files in of the recording studios. YouTube is a WAV or MP3 formats. clear example of how many musicians The opportunity to manipulate the and artists have publicised their work audio of a previously-created song or to through their home recordings with this sequence a new one by tracks with these type of tool, achieving professional recog­ tools makes it possible to record a song nition as artists and on many occasions where each instrument is recorded indi­ findinga career opportunity in the world vidually with its panning in the stereo sig­ of music. nal, create songs and structures based on Sequencers are tools that make it pos­ loops, manipulate the frequencies of the revista española de pedagogía 2017, 481-495 n. 268, September-December LXXV, year sible to organise sound information, either sounds of the instruments (as long as they MIDI or audio, on independent tracks, are sequenced on individual tracks), alter thus allowing manipulation of the infor­ the tempo and the dynamics, or equalise mation from each of them independently each track to obtain the best result in the until the desired result is attained, finally final mix. 484 EV Technology at the service of music education

Figure 1. Example of the Audacity desktop. year LXXV, n. 268, September-December 2017, 481-495

Figure 1 shows a generic example of Audacity and Ardour are two appli­ the Audacity desktop: each instrument cations which, despite being free soft­ has a track for manipulating it, in some ware, have professional features for cases even recordings of the same in­ creating, editing, and publishing qual­ strument differentiated by its position ity audio, albeit with some limitations in the stereo signal, right (R) or left compared to professional software. The

(L); various graphics palettes are avail­ most significant ones, at present, are revista española de pedagogía able for working with the recorded au­ that they cannot record more than one dio information; and there are floating track at the same time and that effects palettes that can be placed anywhere to the recordings cannot be applied in on the desktop as the user prefers. Sim­ real time and simultaneously to all of ilarly, we can see the total duration of the tracks. the audio for our recording on the time­ Denemo and Musescore are two MIDI line. We can zoom in on this gradually sequencers with a blank sheet of staff to see on-screen in more detail the part paper as a desktop. These two applica­ of the audio on which we want to work. tions amply cover the requirements for At the bottom, we can see the quality of publishing and editing printed music. the audio with which we are working, Within the professional sphere there are 44,100 Hz. This is the sampling frequency numerous applications for creating and established for the recording quality of a then printing scores such as Final, Sibel­ commercial CD. ius, Logic, and Cubase, but these have a 485 EV Miguel ROMÁN ÁLVAREZ

significant licensing cost. With these free Musescore is very intuitive — much applications, we can not only create qua­ more so than Denemo — and gives ex­ lity scores but also ensure that the com­ cellent results in very little time, as puter can perform them with the criteria with a little dedication the great poten­ we choose at each moment, as well as tial in comparison to the paid programs having the option of performing the same of the same name of this application for score with different instrumental group­ preparing scores of any type can be un­ ings, according to the needs of the class­ covered. room experiences.

Figure 2. Musescore desktop.

The example in Figure 2 clearly shows Musescore has recently launched an how almost all of the options necessary initiative called OpenScore with the aim for making a score are visible and avail­ of digitising the greatest possible number able in different palettes with just a few of musical copyright free works through clicks. Musescore.

revista española de pedagogía 2017, 481-495 n. 268, September-December LXXV, year Another feature this tool is developing Musescore also has a social network is the possibility of playing PDF files and where users can share their work. Find­ turning them into scores. This feature ing that someone has already written the still needs more development, but it offers score that you need for your class can save good results when the performance uses time in planning. PDF files prepared by a sequencer. 486 EV Technology at the service of music education

Figure 3. Musescore online community. year LXXV, n. 268, September-December 2017, 481-495

Musescore’s features are very good the creation of sequences under different compared with those of the proprietary graphic parameters than the ones dis­ revista española de pedagogía version. If we had to criticise something, cussed above. In this case, instead of writ­ it would be the possibility of communi­ ing notes and rests on a staff, the music cating with other sound sources and do­ is created and organised by marking the ing so simultaneously with all them. At sounds graphically on a pattern editor ac­ present, linking the application to other cording to the rhythm and pitch we want peripherals, essentially sound modules, to create. The duration of the sounds is 10 has been done using the JACK supple­ defined by the horizontal extension of the mentary sound connection tool. This in­ image and its tuning by its location on the volves installing and configuring another vertical axis. This was how, until the op­ program, something that is not always tion of writing on a score appeared, mu­ easy. sic was written on sequencers, allowing Hydrogen and LMMS are two applica­ many people to access musical practice tions that enable sequencing in MIDI lan­ and composition with limited musical- guage. By using them, we can experience theoretical knowledge. 487 EV Miguel ROMÁN ÁLVAREZ

Figure 4. LMMS 1.1.3 music writing window.

Hydrogen is essentially an applica­ has a steeper learning curve than Hy­ tion for creating and composing percus­ drogen and so it requires prior experi­ sion rhythms by combining the different ence with this type of tools. This is some­ sounds of a drum set or other percussion thing to consider when using it with the instruments such as claves to accom­ students. pany our creation, for example, a rap. In Figure 5 the Hydrogen desktop LMMS offers many more options: as well shows a timeline at the top where we can as the possibility of creating combina­ set and order the different rhythm loops tions of rhythms and including sounds so that they sound at the desired moment from tuned instruments, it makes it pos­ in the sequence. Above the timeline are sible to delve into the area of the quali­ the resources for playing the created ties of the sound, allowing us to modify piece, and below the timeline there is the wave patterns of the original sounds, revista española de pedagogía 2017, 481-495 n. 268, September-December LXXV, year a space for the rhythmic design of each and reworking new sounds and timbres loop. based on the original sound chosen. This is undoubtedly an application that can As this image shows, the different help us to develop the imagination and beats or percussion instruments avail­ creativity of our students, but its use able for preparing the accompaniment 488 EV Technology at the service of music education are shown on the left. In the centre, the sent the pulses that make up each loop. beats in a loop are shown where the user On the right, it shows the possibility of can graphically place the intervention adjusting different audio parameters of by each instrument, forming different the sound sample for the instrument polyrhythms on the timeline to repre­ used.

Figure 5. Hydrogen desktop. year LXXV, n. 268, September-December 2017, 481-495 revista española de pedagogía In another floating window, there is a Lenmus Phonascus has a section for virtual mixing desk for controlling the fi­ general exercises, two levels for rhythm nal mix of the rhythm created. reading, and a section dedicated to theory Finally, programs for training and and harmony. As shown in Figure 6, the learning musical language include GNU application displays the lessons for each Solfege and Lenmus Phonascus. These instruction section and within each sec­ two applications allow students to work tion it offers different training exercises. independently and progressively on theo­ This may seem like a very basic applica­ ry, rhythm, and musical ear, and depend­ tion for musical training and education, ing on the exercises they receive imme­ but looking around it and using it is a diate correction of the musical training pleasant surprise thanks to its potential proposals provided. application as a teaching resource with students of all levels and its possibilities for autonomous learning. 489 EV Miguel ROMÁN ÁLVAREZ

Figure 6. Lenmus lessons window.

The crotchet and crotchet rest

Start the metronome. Press "Play" and listen to the score. Train your ear and practice reading scores that contain these rhythmic patterns.

Start playing a rhythm Play with metronome

2.2. Online music resources offer of a large part of the application. As the previous section has shown, These resources include: Noteflight13, there are enough tools to be able to ap­ Soundation14, Audiotools15, Incredibox16, proach students’ learning and our learn­ and Music Theory Web17. ing as teachers using ICT music resources in class. However, the internet’s rapid Noteflight is the free version of the movement towards the so-called Web Crescendo online sequencer. Although its 2.011 has made it possible to access simi­ features are limited compared with the lar tools in the «cloud»12. Obviously in this paid version, it is a score editor that ex­ case, the vital requirement is to be able tensively covers the basic requirements to have a stable and permanent internet for editing with various instruments and connection. percussion. Among the online resources with a As is normal in music editing pro­ philosophy akin to free software there grams, its control through contextual are applications that allow the use of re­ graphic palettes, as shown in Figure 7, sources similar to installed software. In makes it very easy and intuitive to use revista española de pedagogía 2017, 481-495 n. 268, September-December LXXV, year this case they are applications that first from the first moment. Despite being a appeared as free-use developments whose reduced version, it allows MIDI and XML evolution and improvements mean that format files to be imported. This enables the developers offer various subscription users to access the musical score that is levels, while keeping an open and free saved in this format quickly. 490 EV Technology at the service of music education

Like Musescore, it has a community of Noteflight is free and obviously has users who share their works online and certain limitations that can only be where we can upload and share our own overcome by subscribing to the paid works. Furthermore, they generate html version. These include the number of codes to be able to show the scores on ed­ scores that can be generated and saved ucational websites or blogs. online.

Figure 7. Noteflight desktop. year LXXV, n. 268, September-December 2017, 481-495 revista española de pedagogía

Soundation and Audiotools are on­ Soundation is an application that al­ line audio sequencers. Soundation has lows the creation of songs through mu­ a limited free-use option in which all sical sequences using loops18 in MIDI or of the sounds from the free library, vir­ pre-recorded audio formats. In the free tual instruments, and audio effects can version, melodies can be created with be used for composing, saving, and pub­ virtual instruments and effects added to lishing; the only restriction is that if them. Having completed the composition, audio is recorded directly using the ap­ it can be saved in the application format plication or is imported, the completed and exported in audio format (WAV) to project cannot be saved without the paid be shared or used in other audio applica­ version. tions.

491 EV Miguel ROMÁN ÁLVAREZ

Figure 8. Soundation desktop.

Figure 8 shows how by placing the re­ their timbre, mixer modules for channel­ sources that the program provides in its ling the sound and mix of all of the instru­ sound bank onto the different tracks we ments, and modules for sound equalisa­ can create a song using loops, add effects, tion and generating effects. and even add sequences created directly The playback and recording tracks through external or virtual MIDI instru­ are located at the bottom of the desktop. ments. The modules and connections controlling Audiotools, for its part, is a very pow­ and channelling the tracks played by the erful tool which is slightly more complex different modules are positioned in the to use depending on the user’s level of ex­ middle, and on the right of the desktop perience in the use of digital and virtual there are various types of module that can instruments. be used in the mix to create new instru­ ments. As shown in Figure 9, there are This application features a flexible modules dedicated to percussion sounds, desktop where users can place and con­ synthesiser modules for creating different revista española de pedagogía 2017, 481-495 n. 268, September-December LXXV, year nect a series of modules: instruments timbres, and a large quantity of effects for generating sounds and manipulating modules.

492 EV Technology at the service of music education

Figure 9. Audiotools desktop. year LXXV, n. 268, September-December 2017, 481-495

The image shows a small virtual dig­ rhythmic mix with the audio fragments ital sound studio with which we can ex­ that the tool provides in its different perience the manipulation and creation of styles, with a minimum of 10 loops per all sorts of timbres and sound levels, but sequence and an approximate maximum it is necessary to know about or find out duration of around three minutes. Users revista española de pedagogía about audio concepts in general and digi­ can also choose to export the audio loops tal audio in particular to use it. for each musician separately and combine Incredibox is an online tool that makes them with more elaborate postproduction it possible to creatively make multiple ac­ work in an audio sequencer such as Au­ companiments emulating the method of dacity. beatboxes by combining the sound loops Finally, in the field of musical training, available to it. It has a very interactive «Teoría.com» is a website for learning and interface where several effects can be practising musical language online. This combined simultaneously with the group website allows continuous assessment of of virtual musicians in the accompani­ the work done by the student throughout ment. The result can be exported to an the year, but for this function the centre audio file for use outside Incredibox. must subscribe to the website. However, Using this tool, students can develop the exercises that the webpage offers can their creativity and create a melodic- be used for free, making it possible to 493 EV Miguel ROMÁN ÁLVAREZ

practice individually; furthermore, the take shape using two free applications: application corrects the exercises in real Audacity and Musescore. time, although it does not save the stu­ Expert handling of both applications dent’s development over time. This is un­ would, consequently, provide knowledge doubtedly a good option for learning and of musical processes applicable to other practising the basic concepts of musical similar software without the need to study language. it specifically, as well as a broad range of To summarise this section, we can set possibilities for creative use in everyday out the need to train teachers in the use teaching mediated through ICT. of free musical tools as part of their ba­ Paying greater attention to the training sic initial training. This will encourage possibilities of free software and support­ collaborative work between teachers, ing this movement by using it will be of between students, and between teachers great help for the field of music education. and students, given that they will all be able to use the same tools without re­ strictions and with a minimal economic cost while respecting the lawfulness of Notes 1 Atari was a pioneering company in arcade games, the intellectual property and copyright, home videogames, consoles, and personal micro- so often called into question by software computers. Its dominance in these areas main- piracy. tained Atari as the major force in the computer and entertainment industry from the start to the middle of the 1980s. 3. Reflection and proposal 2 Audacity: http://www.audacityteam.org/ 3 Ardour: https://ardour.org/ Having identified the proposals for the 4 Denemo: http://www.denemo.org/ inclusion of ICT in music education from 5 Musescore: https://musescore.org/es the perspective of free software, the univer­ 6 Hydrogen: http://hydrogen-music.org/hcms/ sity sector and relevant authorities must 7 LMMS: https://lmms.io/ implement basic, quality, and spe­cific 8 GNU Solfege: https://www.gnu.org/software/ technology training for music education solfege/solfege.html 9 Phonascus: http://www.lenmus.org/es/phonascus/ in compulsory education. This training intro will be for all future teachers in the fields 10 Jack: http://jackaudio.org/ of early childhood education, primary 11 As observed by O’Reilly, a supporter and advocate of education, and compulsory secondary the free software movement, Web 2.0 is the internet as education. a platform including all connected devices, and Web 2.0 applications are ones that provide most of the As is noted in Román’s thesis (2014), intrinsic advantages of this platform: supplying soft- ware as a continuously updated service that improves

revista española de pedagogía 2017, 481-495 n. 268, September-December LXXV, year the first step would undoubtedly be to develop the necessary skills in all teach­ as more people use it, consuming and mixing data ers regarding the expert knowledge and from multiple sources, including individual users, at the same time as its own data and services in a handling of, as a minimum, one audio way that permits remixing by others, creating net- sequencer and one MIDI sequencer. This work effects through an architecture of participation, basic training proposal would initially and goes beyond the page metaphor of Web 1.0. 494 EV Technology at the service of music education

12 This term refers to the storage of data and pro- menara (Ed.), Tecnología Educativa (pp. 173- grams that no longer need to be installed or stored 193). Madrid: McGraw-Hill. on the computer to be able to access them. Marqués Graells, P. (2011). ¿Por qué las TIC en la 13 Noteflight: https://www.noteflight.com/login educación? In R. Peña (Ed.), Nuevas tecnolo- 14 Soundation: https://soundation.com/accounts gías en el aula. Tarragona: Altaria. 15 Audiotool: https://www.audiotool.com/ 16 Incredibox: http://www.incredibox.com/ Román Álvarez, M. (2014). Las TIC en la educa- 17 Music Theory Web: http://teoria.com/es/ ción musical en los centros de educación pri- 18 Loops are audio fragments of one or several beats maria de la Comunidad de Madrid: formación that can be linked and mixed successively to form y recursos del especialista de música. Doctoral longer musical sequences or songs. dissertation Madrid: Universidad Autónoma de Madrid. Sigalés, C., Mominó, J. M., Meneses, J., & Badía, References A. (2009). La integración de Internet en la edu- Adell Segura, J. & Bernabé Muñoz, Y. (2007). cación escolar española. Barcelona: Editorial Software libre en educación. In J. Cabero Al­ Ariel. year LXXV, n. 268, September-December 2017, 481-495 revista española de pedagogía

495 EV revista española de pedagogía año LXXV, nº 268, septiembre-diciembre 2017 Spanish Journal of Pedagogy year LXXV, n. 268, September-December 2017 Table of Contents Sumario

Music education Jesús Manuel de Sancha Navarro Music in Secondary: interest for the contents, according Educación musical to the students and the teachers of 4º of ESO Guest editor: Ángela Morales Música en Secundaria: interés por los contenidos, según el Editora invitada: Ángela Morales alumnado y el profesorado de 4º de ESO 433

Ángela Morales Tatiana García-Vélez and Antonio Maldonado Rico Presentation: Music education, looking Reflections on musical intelligence from the past to the future Reflexiones en torno a la inteligencia musical 451 Presentación: La educación musical, una mirada del pasado al futuro 389 Patrick Freer and Alfonso Elorriaga Llor Toward a pedagogy informed by research about Ángela Morales, Enrique Ortega, the boy’s changing voice Elena Conesa and Cecilia Ruiz-Esteban El desarrollo de la voz masculina durante la adolescencia: una Bibliometric analysis of scientific pedagogía basada en la investigación 463 output in music education in Spain Análisis bibliométrico de la producción científica Miguel Román Álvarez en Educación Musical en España 399 Technology at the service of music education Tecnología al servicio de la educación musical 481 Roberto Cremades-Andreu and Desirée García-Gil Musical training for Primary Education graduates Susana Toboso Ontoria, Inmaculada Tello in the context of Madrid Díaz-Maroto y Francisco José Álvarez García Formación musical de los graduados de Maestro en University musical training in a blended-learning context Educación Primaria en el contexto madrileño 415 Formación musical universitaria en un contexto de enseñanza blended-learning 497 Studies 2. Book reviews Estudios Ibáñez-Martín, J. A., & Fuentes, J. L. (Coords.) Educación y capacidades: hacia un nuevo Sara González Gómez, Bernat Sureda García and enfoque del desarrollo humano [Education and Francisca Comas Rubí capabilities: Towards a new focus on human- The educational renovation of the Barcelona City development] (Cruz Pérez). Kristjánsson, K. Council and its photographic diffusion (1908-1936) Aristotelian Character Education (Juan Luis La renovación escolar del Ayuntamiento de Barcelona y Fuentes). Barraca Mairal, J. Originalidad e su difusión fotográfica (1908-1936) 519 Identidad Personal. Claves antropológicas frente a la masificación [Originality and personal Vicente Llorent-Bedmar, Verónica Cobano- identity: Anthropological keys in the face of Delgado and María Navarro-Granados overcrowding] (Aquilino Polaino-Lorente). School leadership and school management Renzulli, J. S., & Reis, S. M. Enriqueciendo el in underprivileged areas currículo para todo el alumnado [Enriching the Liderazgo pedagógico y dirección escolar curriculum for all students] (Patricia Olmedo en contextos desfavorecidos 541 Ariza). Prats, E. Teorizando en Educación: entre erudición, poesía y opinionitis Theorising in education: Between erudition, poetry, and opinionitis] (David Reyero). Segura Peraita, C. (Ed.) El método socrático hoy. Para una enseñanza y práctica dialógica de la filosofía [The Socratic method today: For dialogical teaching and practice of philosophy] (Ernesto Baltar). 571

Table of contents of year LXXV Índice del año LXXV 603

This is the English version of the research articles and book reviews published orig- inally in the Spanish printed version of issue 268 of the revista española de pe- dagogía. The full Spanish version of this issue can also be found on the journal's website http://revistadepedagogia.org.

ISSN: 0034-9461 (Print), 2174-0909 (Online) https://revistadepedagogia.org/ Depósito legal: M. 6.020 - 1958 INDUSTRIA GRÁFICA ANZOS, S.L. Fuenlabrada - Madrid