La voz: potenciando el aprendizaje musical con retorno visual en tiempo real
Resumen Tocar un instrumento musical mejora los resultados del aprendizaje de los niños en varios niveles más que cualquier otra actividad extracurricular. La mayor neuroplasticidad que la práctica instrumental promueve se refleja en una mayor capacidad de reorganización cerebral, fundamental en todos los tipos de aprendizaje. Estos beneficios se extienden también al aprendizaje del canto que, además, mejora la salud física y mental, lo que supone repercusiones sociales y para la salud pública. Así mismo, tocar un instrumento musical y cantar son consideradas actividades extracurriculares, particularmente en los sistemas educativos en el sur de Europa. No obstante, no todos los alumnos pueden beneficiarse de ellas, ya que su realización depende de los recursos físicos y financieros de las escuelas. Basado en un análisis de la bibliografía existente, este trabajo propone un modelo de enseñanza-aprendizaje de la música a través de la introducción de clases de canto, individuales y en grupo. De hecho, la voz es un instrumento musical disponible para todos, independientemente de la edad y condición socioeconómica. Se propone la inclusión de información de retorno como recurso de enseñanza-aprendizaje, usando las tecnologías como recurso de aprendizaje y siguiendo un modelo centrado en la relación profesor-alumno. Por un lado, porque la información de retorno es más eficaz en el aprendizaje de actividades de coordinación neuromotora y, por otro, porque un modelo centrado en la relación profesor-alumno se basa en la congruencia, el retorno positivo y la empatía, para la promoción de una consciencia guiada sobre el proceso de aprendizaje y, consecuentemente, conseguir un aumento de los niveles superiores de metacognición y autorregulación. El canto en las escuelas podrá también contribuir a la implementación de una enseñanza más integrada, promoviendo la coordinación de contenidos de diferentes asignaturas, con impacto en la integración y cohesión social de todos los intervinientes.
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Chapman, J. L. (2006). Singing and Teaching Singing: A Holistic Approach to Classical Voice. San Diego: Plural Publishing.
Cheek, J. M. y Smith, L. R. (1999). Music training and mathematics achievement. Adolescence, 34 (136), 759-761.
Clift, S. (2012). Creative arts as a public health resource: moving from practice-based research to evidence-based practice. Perspectives in Public Health, 132 (3), 120-127. https://doi.org/10.1177/1757913912442269
Clift, S.; Hancox, G.; Morrison, I.; Hess, B.; Kreutz, G. y Stewart, D. (2006). Choral singing and psychological wellbeing: Quantitative and qualitative findings from English choirs in a cross-national survey. Journal of Applied Arts and Health, 1 (1), 19-34. https://doi.org/10.1386/jaah.1.1.19/1
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Jers, H. y Ternström, S. (2005). Intonation analysis of a multi-channel choir recording. Quarterly Progress and Status Report, TMH-QPSR, 47 (1), 1-6.
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Koutsoupidou, T. y Hargreaves, D. J. (2009). An experimental study of the effects of improvisation on the development of children's creative thinking in music. Psychology of Music, 27 (3), 251-278. https://doi.org/10.1177/0305735608097246
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Lã, F. M. B. (2014). Learning to Be a Professional Singer. En I. P. G. Welch (Ed.), Advanced Musical Performance: investigations in higher education learning (pp. 265-286). Surrey: SEMPRE Studies in the Psychology of Music.
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Lee, D. J.; Chen, Y. y Schlaug, G. (2003). Corpus callosum: musician and gender effects. NeuroReport, 14 (2), 205-209. https://doi.org/10.1097/00001756-200302100-00009
Lennon, M. y Reed, G. (2012). Instrumental and vocal teacher education: competences, roles and curricula. Music Education Research, 14 (3), 285-308. https://doi.org/10.1080/14613808.2012.685462
Levitin, D. y Tirovolas, A. K. (2009). The Year in Cognitive Neuroscience 2009. Annals of the New York Academy of Sciences, 1156, 211-231. https://doi.org/10.1111/j.1749-6632.2009.04417.x
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Chapman, J. L. (2006). Singing and Teaching Singing: A Holistic Approach to Classical Voice. San Diego: Plural Publishing.
Cheek, J. M. y Smith, L. R. (1999). Music training and mathematics achievement. Adolescence, 34 (136), 759-761.
Clift, S. (2012). Creative arts as a public health resource: moving from practice-based research to evidence-based practice. Perspectives in Public Health, 132 (3), 120-127. https://doi.org/10.1177/1757913912442269
Clift, S.; Hancox, G.; Morrison, I.; Hess, B.; Kreutz, G. y Stewart, D. (2006). Choral singing and psychological wellbeing: Quantitative and qualitative findings from English choirs in a cross-national survey. Journal of Applied Arts and Health, 1 (1), 19-34. https://doi.org/10.1386/jaah.1.1.19/1
Clift, S.; Manship, S.; y Stephens, L. (2017). Further evidence that singing fosters mental health and wellbeing: the West Kent and Medway project. Mental Health and Social Inclusion, 21 (1), 53-62. https://doi.org/10.1108/MHSI-11-2016-0034
Clift, S. y Morrison, I. (2011). Group singing fosters mental health and wellbeing: findings from the East Kent «singing for health» network Project. Mental Health and Social Inclusion, 15 (2), 88-97. https://doi.org/10.1108/20428301111140930
Coffin, B. (1980). Overtones of Bel Canto. Oxford: Scarecrow Press.
Flohr, J. W.; Miller, D.C. y deBeus, R. (2000). EEG Studies with Young Child. Music and the Brain, 87 (2), 28-54. https://doi.org/10.2307/3399645
Gaser, C. y Schlaug, G. (2003). Brain Structures Differ between Musicians and Non-Musicians. The Journal of Neuroscience, 23 (27), 9240-9245. https://doi.org/10.1523/JNEUROSCI.23-27-09240.2003
Gaunt, H.; Creech, A.; Long, M. y Hallam, S. (2012). Supporting conservatoire students towards professional integration: one-to-one tuition and the potential of mentoring. Music Education Research, 14 (1), 25-43. https://doi.org/10.1080/14613808.2012.657166
Grape, C.; Sandgren, M.; Hansson, L-O.; Ericson, M. y Theorell, T. (2002). Does singing promote well-being?: An empirical study of professional and amateur singers during a singing lesson. Integrative Physiological & Behavioral Science, 38 (1), 65-74. https://doi.org/10.1007/BF02734261
Greaves, C. J. y Farbus, L. (2006). Effects of creative and social activity on the health and well-being of socially isolated older people: outcomes from a multi-method observational study. The Journal of the Royal Society for the Promotion of Health, 126 (3), 134-142. https://doi.org/10.1177/1466424006064303
Hallam, S. (2006). Music Psychology in Education. London: Bedford Way Papers.
Hallam, S. (2010). The power of music: its impact on the intellectual, social and personal development of children and young people. International Journal of Music Education, 28 (3), 269-289. https://doi.org/10.1177/0255761410370658
Hallam, S. (2018). Commentary: instrumental music. En G. E. McPherson y G. F. Welch. Vocal, Instrumental, and Ensemble Learning and Teaching (vol. 3, cap. 7, pp. 101-107) Oxford: Oxford University Press.
Herbst, C. T.; Howard, D. y Schömicher-Thier, J. (2010). Using Electroglottographic Real-Time Feedback to Control Posterior Glottal Adduction during Phonation. Journal of Voice, 24 (1), 72-85. https://doi.org/10.1016/j.jvoice.2008.06.003
Ho, Y-C.; Cheung, M-C. y Chan, A.S. (2003). Music Training Improves Verbal but Not Visual Memory: Cross-Sectional and Longitudinal Explorations in Children. Neuropsychology, 17 (3), 439-450. https://doi.org/10.1037/0894-4105.17.3.439
Howard, D. M.; Welch, G. F.; Brereton, J.; Himonides, E.; DeCosta, M.; Williams, J. y Howard, A. W. (2004). WinSingad: a real-time display for the singing studio. Logopedics Phoniatrics Vocology, 29, 135-144. https://doi.org/10.1080/14015430410000728
Jakobson, L. S.; Cuddy, L. L. y Kilgour, A.R. (2003). Time Tagging: A Key to Musicians' Superior Memory. Music Perception: An Interdisciplinary Journal, 20 (3), 307-313. https://doi.org/10.1525/mp.2003.20.3.307
Jers, H. y Ternström, S. (2005). Intonation analysis of a multi-channel choir recording. Quarterly Progress and Status Report, TMH-QPSR, 47 (1), 1-6.
Kleber, B.; Veit, R. Birbaumer, N.; Gruzelier, J. y Lotze, M. (2010). The Brain of Opera Singers: Experience-Dependent Changes in Functional Activation. Cerebral Cortex, 20 (5), 1144-1152. https://doi.org/10.1093/cercor/bhp177
Koutsoupidou, T. y Hargreaves, D. J. (2009). An experimental study of the effects of improvisation on the development of children's creative thinking in music. Psychology of Music, 27 (3), 251-278. https://doi.org/10.1177/0305735608097246
Kreutz G.; Bongard S.; Rohrmann S,; Hodapp V. y Grebe D. (2004). Effects of choir singing or listening on secretory immunoglobulin A, cortisol, and emotional state. Journal of Behavioural Medicine, 27 (6), 623-635. https://doi.org/10.1007/s10865-004-0006-9
Lã, F. M. B. (2012). Teaching Singing and Technology. En K. S. Basa (ed.). Aspects of Singing II - Unit in Understanding - Diversity in Aesthetics (pp. 88-109). Nürnberg: Vox Humana.
Lã, F. M. B. (2014). Learning to Be a Professional Singer. En I. P. G. Welch (Ed.), Advanced Musical Performance: investigations in higher education learning (pp. 265-286). Surrey: SEMPRE Studies in the Psychology of Music.
Lã, F. M. B. (2017). Towards evidence-based practices in voice pedagogy. Revista de Logopedia, Foniatría y Audiología, 37 (4), 180-187. https://doi.org/10.1016/j.rlfa.2017.07.002
Lee, D. J.; Chen, Y. y Schlaug, G. (2003). Corpus callosum: musician and gender effects. NeuroReport, 14 (2), 205-209. https://doi.org/10.1097/00001756-200302100-00009
Lennon, M. y Reed, G. (2012). Instrumental and vocal teacher education: competences, roles and curricula. Music Education Research, 14 (3), 285-308. https://doi.org/10.1080/14613808.2012.685462
Levitin, D. y Tirovolas, A. K. (2009). The Year in Cognitive Neuroscience 2009. Annals of the New York Academy of Sciences, 1156, 211-231. https://doi.org/10.1111/j.1749-6632.2009.04417.x
Liang, C.; Earl, B.; Thompson, I.; Whitaker, K.; Cahn, S.; Xiang, J.; Fu, Q-J. y Zhang, F. (2016). Musicians Are Better than Non-musicians in Frequency Change Detection: Behavioral and Electrophysiological Evidence. Frontiers in Neuroscience, 10, 1-14. https://doi.org/10.3389/fnins.2016.00464
Mauri, T. y Barberà, E. (2007). Regulación de la construcción del conocimiento en el aula mediante la comunicación de los resultados de aprendizaje a los alumnos. Infancia y Aprendizaje, 30 (4), 483-497. https://doi.org/10.1174/021037007782334364
McCoy, S. (2004). Your voice: An inside View: multimedia voice science and pedagogy. Princeton: Inside View Press.
Meha-Bettison, K.; Sharma, M.; Ibrahim, R. K. y Vasuki, P. R. (2017). Enhanced speech perception in noise and cortical auditory evoked potentials in professional musicians. International Journal of Audiology, 57 (1), 1-13. https://doi.org/10.1080/14992027.2017.1380850
Mellor, L. (2013). An investigation of singing, health and well-being as a group process. British Journal of Music Education, 30 (2), 177-205. https://doi.org/10.1017/S0265051712000563
Morrison, S. J. (1994). Music students and academic growth. Music Educators Journal, 81 (2), 33-36. https://doi.org/10.2307/3398812
Münte, T. F.; Altenmüller, E. y Jäncke, L. (2002). The musician's brain as a model of neuroplasticity. Nature Reviews Neuroscience, 3, 473-478. https://doi.org/10.1038/nrn843
Münte, T. F.; Nager, W.; Beiss, T.; Schroeder, C. y Altenmüller, E. (2003). Specialization of the Specialized: Electrophysiological Investigations in Professional Musicians. Annals of the New York Academy of Sciences, 999, 131-139. https://doi.org/10.1196/annals.1284.014
Musacchia,G.; Sams, M.; Skoe, E. y Kraus, N. (2007). Musicians have enhanced subcortical auditory and audiovisual processing of speech and music. Proceedings of the National Academy of Sciences of the United States of America, 104 (40), 15894-15898. https://doi.org/10.1073/pnas.0701498104
Norton, A.; Zipse, L.; Marchina, S. y Schlaug, G. (2009). Melodic Intonation Therapy. Annals of the New York Academy of Sciences, 1169, 431-436. https://doi.org/10.1111/j.1749-6632.2009.04859.x
Overy, K.; Nicolson, R. I.; Fawcett, A. J. y Clarke, E. F. (2003). Dyslexia and music: measuring musical timing skills. Dyslexia: An International Journal of Research and Practice, 9: 18-36. https://doi.org/10.1002/dys.233
Pantev, C.; Ross, B.; Fujioka, T.; Trainor, L. J.; Schulte, M. y Schultz, M. (2003). Music and Learning-Induced Cortical Plasticity. Annals of the New York Academy of Sciences, 999, 438-450. https://doi.org/10.1196/annals.1284.054
Resnicow, J. E. (2004). Is Recognition of Emotion in Music Performance an Aspect of Emotional Intelligence? Music Perception: An Interdisciplinary Journal, 22 (1), 145-158. https://doi.org/10.1525/mp.2004.22.1.145
Schellenberg, E. G. (2004). Music Lessons Enhance IQ. Psychological Science, 15 (8), 511-514. Social Science Quarterly, 90 (1), 4-21. https://doi.org/10.1111/j.0956-7976.2004.00711.x
Schlaug, G.; Jäncke, L.; Huang, Y.; Staiger, J. F. y Steinmetz, H. (1995). Increased corpus callosum size in musicians. Neuroshychologia, 33 (8), 1047-1055. https://doi.org/10.1016/0028-3932(95)00045-5
Southgate, D. E. y Roscigno, V. J. (2009). The Impact of Music on Childhood and Adolescent Achievement. https://doi.org/10.1111/j.1540-6237.2009.00598.x
Stacy, R.; Brittain, K. y Kerr, S. (2002). Singing for health: an exploration of the issues. Health Education, 102 (4), 156-162. https://doi.org/10.1108/09654280210434228
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