Publication: Didáctica de la improvisación en los instrumentos de percusión : una investigación en el aula para el desarrollo de la creatividad musical
Authors
Marquina González, José Alberto
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Escuela Internacional de Doctorado
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Vicente-Yagüe Jara, María Isabel de ; Ibáñez Barrachina, José
Publisher
Universidad de Murcia
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DOI
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info:eu-repo/semantics/doctoralThesis
Description
Abstract
La presente tesis doctoral analiza el impacto de la improvisación musical como estrategia pedagógica para desarrollar la creatividad en el alumnado de percusión de las Enseñanzas Elementales de Música en la Región de Murcia. Parte de la premisa de que la creatividad no es solo un atributo innato, sino una capacidad que puede estimularse mediante metodologías activas basadas en la audición, la exploración sonora y práctica sistemática de la improvisación, entendida como un recurso didáctico de gran valor que integra dimensiones cognitivas, emocionales y expresivas.
El objetivo general fue desarrollar la creatividad del alumnado mediante la improvisación. Para alcanzarlo, se plantearon los siguientes objetivos específicos: a) investigar las percepciones y prácticas habituales del profesorado en torno a la improvisación, b) analizar la situación inicial del alumnado respecto a su capacidad creativa y su habilidad para improvisar, c) elaborar un modelo didáctico centrado en la improvisación adaptado al contexto de las Enseñanzas Elementales, d) implementarlo en distintos conservatorios de la Región de Murcia y e) evaluar su impacto en el desarrollo creativo del alumnado.
La metodología responde a un enfoque mixto de carácter secuencial con triangulación convergente, enmarcado en la investigación-acción. Se emplearon instrumentos cuantitativos (Test Musical diseñado ad hoc y Test CREA) y cualitativos (entrevistas y cuestionarios al profesorado). El rigor científico se garantizó mediante validación por juicio de expertos, análisis de fiabilidad (coeficiente alfa de Cronbach y V de Aiken) y el cumplimiento de criterios éticos. La muestra incluyó a la totalidad del alumnado (74 estudiantes de entre 7 y 14 años) de los ocho conservatorios participantes (tres de gestión autonómica y cinco municipales), junto con 11 profesores colaboradores y cinco jueces expertos. El modelo didáctico se aplicó en 21 sesiones consecutivas a lo largo de un curso académico, organizadas en torno a cuatro actividades: audición activa e improvisaciones rítmica, polirrítmica y melódica.
Los resultados cuantitativos mostraron un incremento del 40.4 % en el Test Musical, con una media que aumentó de 5.03 a 7.06 puntos y un tamaño del efecto elevado (d ≈ 1.057). Las mayores mejoras se dieron en acento métrico, improvisación melódica y armonía, con especial incidencia en los cursos iniciales, lo que confirma la mayor plasticidad creativa en edades tempranas. El análisis de fiabilidad interna evidenció una mejora significativa tras la intervención. Se halló además una baja correlación entre creatividad general y musical, lo que indica la especificidad de esta última y su potencial de desarrollo mediante metodologías adecuadas. Los datos cualitativos reforzaron estos hallazgos: el profesorado valoró positivamente el modelo, destacando la motivación, la musicalidad y la participación activa del alumnado, aunque señaló la necesidad de formación específica en improvisación por su parte.
Las conclusiones sugieren que la improvisación musical constituye una herramienta didáctica eficaz para potenciar la creatividad en la formación inicial de los estudiantes de percusión. El modelo favorece el aprendizaje significativo y la participación del alumnado, al tiempo que ofrece al profesorado un marco metodológico sólido, transferible y replicable. Los resultados muestran que la creatividad musical puede desarrollarse incluso en estudiantes con baja creatividad general y que la edad es un factor determinante, pues los cursos iniciales concentraron las mayores mejoras. Asimismo, se constató que la improvisación fomenta la motivación, la espontaneidad y la cooperación, reduciendo el miedo al error. Entre las limitaciones detectadas destacan la falta de formación específica del profesorado en improvisación y la desigualdad de género en la muestra. Finalmente, se plantean mejoras para los centros y la Administración educativa, junto con líneas de investigación futuras que contribuyen a la continuidad académica del trabajo.
This doctoral dissertation analyzes the impact of musical improvisation as a pedagogical strategy to foster creativity in percussion students at the Elementary Level of Music Education (Enseñanzas Elementales de Música) in the Region of Murcia. It is based on the premise that creativity is not merely an innate attribute, but rather a capacity that can be stimulated through active methodologies grounded in listening, sound exploration, and the systematic practice of improvisation. In this study, improvisation is understood as a valuable didactic resource that integrates cognitive, emotional, and expressive dimensions. The general aim was to enhance students’ creativity through improvisation. To achieve this, the following specific objectives were pursued: (a) to investigate teachers’ perceptions and habitual practices regarding improvisation, (b) to analyze the students’ initial situation in terms of creative capacity and improvisational ability, (c) to design a didactic model focused on improvisation and adapted to the context of Elementary Music Education, (d) to implement this model in several conservatories across the Region of Murcia, and (e) to evaluate its impact on students’ creative development. The methodology followed a mixed-methods sequential design with convergent triangulation, framed within action research. Quantitative instruments (an ad hoc Musical Test and the CREA Test) and qualitative tools (interviews and teacher questionnaires) were employed. Scientific rigor was ensured through expert judgment validation, reliability analyses (Cronbach’s alpha and Aiken’s V), and strict compliance with ethical standards. The sample comprised the entire student population (74 learners aged 7–14) from the eight participating conservatories (three regionally administered and five municipal), together with 11 collaborating teachers and five expert judges. The didactic model was applied in 21 consecutive sessions over one academic year, organized around four activities: active listening and rhythmic, polyrhythmic, and melodic improvisations. Quantitative results revealed a 40.4% increase in the Musical Test, with mean scores rising from 5.03 to 7.06 points and a large effect size (d ≈ 1.057). The most significant improvements were found in metric accent, melodic improvisation, and harmony, particularly in the early years, thus confirming greater creative plasticity at younger ages. Internal reliability analysis showed a marked improvement after the intervention. A low correlation was also observed between general and musical creativity, underscoring the specificity of the latter and its potential for development through appropriate methodologies. Qualitative data supported these findings: teachers evaluated the model positively, highlighting students’ motivation, musicality, and active participation, while also noting their own need for specific training in improvisation. The conclusions suggest that musical improvisation is an effective didactic tool for enhancing creativity in the initial training of percussion students. The model fosters meaningful learning and active student involvement while offering teachers a solid, transferable, and replicable methodological framework. The findings show that musical creativity can be developed even in students with low general creativity and that age is a determining factor, as the most substantial gains occurred in the early courses. Likewise, improvisation was found to promote motivation, spontaneity, and cooperation, while reducing fear of error. The main limitations identified were the lack of specific teacher training in improvisation and gender imbalance in the sample. Finally, proposals are made for improvement at both institutional and educational administration levels, along with future research directions that contribute to the academic continuity of this work.
This doctoral dissertation analyzes the impact of musical improvisation as a pedagogical strategy to foster creativity in percussion students at the Elementary Level of Music Education (Enseñanzas Elementales de Música) in the Region of Murcia. It is based on the premise that creativity is not merely an innate attribute, but rather a capacity that can be stimulated through active methodologies grounded in listening, sound exploration, and the systematic practice of improvisation. In this study, improvisation is understood as a valuable didactic resource that integrates cognitive, emotional, and expressive dimensions. The general aim was to enhance students’ creativity through improvisation. To achieve this, the following specific objectives were pursued: (a) to investigate teachers’ perceptions and habitual practices regarding improvisation, (b) to analyze the students’ initial situation in terms of creative capacity and improvisational ability, (c) to design a didactic model focused on improvisation and adapted to the context of Elementary Music Education, (d) to implement this model in several conservatories across the Region of Murcia, and (e) to evaluate its impact on students’ creative development. The methodology followed a mixed-methods sequential design with convergent triangulation, framed within action research. Quantitative instruments (an ad hoc Musical Test and the CREA Test) and qualitative tools (interviews and teacher questionnaires) were employed. Scientific rigor was ensured through expert judgment validation, reliability analyses (Cronbach’s alpha and Aiken’s V), and strict compliance with ethical standards. The sample comprised the entire student population (74 learners aged 7–14) from the eight participating conservatories (three regionally administered and five municipal), together with 11 collaborating teachers and five expert judges. The didactic model was applied in 21 consecutive sessions over one academic year, organized around four activities: active listening and rhythmic, polyrhythmic, and melodic improvisations. Quantitative results revealed a 40.4% increase in the Musical Test, with mean scores rising from 5.03 to 7.06 points and a large effect size (d ≈ 1.057). The most significant improvements were found in metric accent, melodic improvisation, and harmony, particularly in the early years, thus confirming greater creative plasticity at younger ages. Internal reliability analysis showed a marked improvement after the intervention. A low correlation was also observed between general and musical creativity, underscoring the specificity of the latter and its potential for development through appropriate methodologies. Qualitative data supported these findings: teachers evaluated the model positively, highlighting students’ motivation, musicality, and active participation, while also noting their own need for specific training in improvisation. The conclusions suggest that musical improvisation is an effective didactic tool for enhancing creativity in the initial training of percussion students. The model fosters meaningful learning and active student involvement while offering teachers a solid, transferable, and replicable methodological framework. The findings show that musical creativity can be developed even in students with low general creativity and that age is a determining factor, as the most substantial gains occurred in the early courses. Likewise, improvisation was found to promote motivation, spontaneity, and cooperation, while reducing fear of error. The main limitations identified were the lack of specific teacher training in improvisation and gender imbalance in the sample. Finally, proposals are made for improvement at both institutional and educational administration levels, along with future research directions that contribute to the academic continuity of this work.
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