The present research focuses on the analysis of teachers' perceptions of innovation in the development of musical skills in first cycle students of a Public High School of Artistic Training. Using in-depth interviews as the main method, this study explores two fundamental categories: musical skills and innovation. The information was obtained from four teachers and was complemented with an exhaustive bibliographic review to contrast the data. The results reveal that the teachers' perceptions about the development of musical skills in future music professionals are not only well grounded theoretically, but also highlight the integration of innovative practices in their teaching to achieve the desired graduate profile.

Keywords: Skill; strategy; teaching method; music; innovation.

RESUMEN

La presente investigación se enfoca en el análisis de las percepciones docentes sobre la innovación en el desarrollo de habilidades musicales en estudiantes de primer ciclo de una Escuela Superior de Formación Artística Pública. Utilizando entrevistas a profundidad como método principal, este estudio explora dos categorías fundamentales: habilidades musicales e innovación. La información se obtuvo de cuatro docentes y se complementó con una exhaustiva revisión bibliográfica para contrastar los datos. Los resultados revelan que las percepciones de los docentes sobre el desarrollo de habilidades musicales en futuros profesionales de la música no solo están bien fundamentadas teóricamente, sino que también destacan la integración de prácticas innovadoras en su enseñanza para alcanzar el perfil deseado de egresado.

Palabras clave: Habilidad; estrategia; método de enseñanza; música; innovación.

In the field of artistic training, and more specifically in professional music education, the development of musical skills is essential. These skills constitute the language through which professional musicians express their feelings, thoughts and communicate with the world. Therefore, in the training of these professionals, it is crucial that those in charge of guiding the initial educational process have a solid theoretical and practical basis for their teaching role in art schools. In addition, it is essential that they maintain a positive, open and committed attitude towards innovation, both in the classroom and in the institution, as this contributes to social development (Rodríguez-Gómez & Gairín Sallán, 2015). This premise led to the formulation of the following research question: what are the perceptions of teachers at a Public High School of Artistic Training on innovation for the development of musical skills in first cycle students?

This study includes a conceptual framework that provides the basis for the analysis of the data collected. In addition, in the following section, the methodological design is detailed. This includes the description of the approach and method used, the categories defined, the technique and instrument for data collection, and the identification of informants. The procedure for the analysis of the information is also discussed. Finally, in a later section, the findings are interpreted and discussed, culminating with the presentation of the conclusions of the study.

1.1 Musical skills and innovation  

Music has been a constant in our lives, playing a crucial role in human development. In the context of a society that constantly demands change and evolution, music is no exception. This transformational scenario represents a significant opportunity for growth and innovation in the music field. Therefore, this paper focuses on exploring musical skills and the emerging innovations that contribute to their development.
In order to address the concept of musical skills, it is essential to consider them as a set of specific skills that interrelate, facilitating people's ability to understand, study, and eventually access musical creativity (Iglesias Martínez, et al., 2018). Musical ability is defined by the skills and capacities that allow a person to express themselves through sounds, melodies, songs, rhythms and instrumental practice. These skills are composed of perceptual and rote elements, including sensorimotor aspects, tonalities, and auditory perception. Specifically, they cover specific skills related to pitch, timbre, rhythm, intensity and harmony, both in their perceptual and executive aspects.

This bifurcated approach to musical ability reveals two fundamental aspects: one related to the manifestation of sounds, rhythms, melodies, tone production and recognition, and the other linked to the practical use of musical instruments and singing (Iglesias et al., 2018).

According to Guerra et al. (2006), musical ability is manifested through the appreciation and analysis of music, which forms the basis for a person to create and perform music. Therefore, the assessment of musical ability should be approached from an analytical perspective, considering both melodic and rhythmic aspects. In this context, it is crucial to encourage educational innovation projects at the university level that integrate all areas of knowledge. These projects should be oriented towards the student's protagonism, establishing a coherent and interdisciplinary learning that is applied to the reality of our environment. In this way, it contributes to the formation of a responsible, critical and committed citizenship (Botella et al. (2016).

It is recognized that innovation, in its practical application, is key to meeting specific needs in a given field. This is because it promotes processes or outcomes that are different from conventional ones. In the context of music education, these innovative processes are crucial to address and solve problems related to the development of musical skills. Pedagogical innovation in music should, therefore, foster the development of new perspectives in basic musicalization processes, such as musical initiation and ear training, among others. According to Fajardo-Dolci & Ramiro (2015), the remarkable thing about an innovation process is its ability to solve problems, significantly impacting people's lives.

The objective of innovation is to increase the effectiveness of institutions in meeting the needs of their stakeholders, promoting constant change in innovation management to achieve competitiveness. At the same time, it is vital to position research and innovation as key elements in the continuing education of teachers. This implies reflecting on and transforming their teaching practice, which will favor the promotion of positive attitudes among all members of the educational institution.

1.2 Rhythmic reading

With regard to rhythmic education, it is understood that rhythmic education involves more than simply thinking about a rhythmic pattern. Capturing and transcribing rhythmic gesture is a more complex task, as it involves a clear understanding of meter and each accent, as well as incorporating body movement. It is essential that students not only recognize and name the basic rhythmic figures, but also be able to express them bodily, moving in various ways in space. It is suggested that these rhythmic exercises be performed and executed after the melodic exercises, establishing a connection with the learning of rhythmic reading. This allows the student to memorize and identify specific rhythmic figures, such as the half note, quarter note, and eighth note, as well as the five lines of the staff (Guerrero Arnaiz et al., 2018).
Group work in rhythmic reading fosters the development of social skills and is recognized as one of the most effective methods to approach music in an integral way in human formation, as highlighted by Alegría (2018):

• Rhythmic: According to the Dalcroze method, rhythmic involves working the body through movement, which facilitates the expression of creativity and sensitivity. This approach emphasizes the importance of body movement as a means to understand and feel rhythm.
• Solfeggio: This technique allows the visualization of different musical concepts through vocal intonation. Solfeggio is essential to develop the ability to read and understand music through the voice, thus facilitating a deeper understanding of musical notions.
• Improvisation: Refers to the spontaneous creation and performance of melodic and rhythmic passages. Improvisation helps students to orient themselves spatially and to experience musical nuances in a more direct and personal way.

The musical accent is defined as the application of an intense and precise dynamic on a specific note within a melody, highlighting its importance in the melodic structure (Alegría, 2018). As for the measure, it represents a section of a musical piece where the aforementioned elements coexist, such as pulses and accents, and can be considered as the basic unit of the rhythm of a work. The sequence of pulses and the corresponding accents within a measure are repeated throughout the composition, unless the composer specifies a change. 

1.3 Perceptual audio

The integral musical experience encompasses various practices that make up musical perception. Garmendia & Varela (2012) point out that there is a music teaching methodology that prioritizes the auditory experience as the main means for the assimilation of the theoretical foundations of music. The main objective of this method is to introduce the student to the world of musical language through auditory experience, fostering intuition and stimulating the need to base the experiences with the corresponding theoretical concepts.

Historically, the development of aural education began in the 11th century with the solmization of Guido D'Arezzo, considered the first didactic method of intonation. Later, in the 18th century, the 'solfège de solfège' emerged, a method that is still used today. More recently, various methodologies have emerged, with the pedagogical currents of Dalcroze, Orff, Suzuki and Kodály standing out.  

Listening, defined as the action of listening and paying attention, is fundamental in the development of auditory capacity, this being the first phase in the process of enjoying and understanding music in a comprehensive manner. Several studies have shown that, from the stage of gestation, the fetus is able to perceive sounds from the outside. Therefore, from birth, it is very beneficial to continue stimulating and educating the ear to achieve an adequate musical development throughout life.

At the school stage, teachers encourage listening through musical activities that include instrumental performance, dance and musical language instruction. In this context, listening becomes the central focus of all musical activity. The sound experiences acquired at an early age play a crucial role in the formation of each individual's auditory perception, laying the foundations for future learning.

Methodologically, auditory work in the classroom should consider aspects such as sound awareness, ear training, inner hearing and memorization, the development and learning of hearing, as well as the concept of absolute hearing and relative hearing.

1.4 Music reading 

Music reading is defined as the set of processes of symbolization and interpretation of a musical text. As a structured and symbolic system, it represents sounds and allows their reproduction by means of the voice or a musical instrument. The main utility of music reading is in the interpretation of previously created musical works (Merchán Sánchez-jara, 2016).

• Silent Reading: This type of reading involves the mental processing of musical information, leading to the mental representation of the musical idea and the evocation of sound images. It is a way of recreating the semantic content of the musical message without producing sound.
• Sight Reading: Generally associated with sound reading, this form of reading is crucial in the context of performance, whether vocal or instrumental. It involves the ability to read and perform an unfamiliar piece of music accurately.
• Reading as a Guide: In this approach, music reading acts as an access point or stimulus that guides and facilitates the retrieval of musical structures stored in long-term memory. This reading modality is especially useful for the performer during the execution of long or complex musical pieces, providing security and confidence in the interpretation (Merchán Sánchez-jara, 2016).

2.1 Context:

The study was carried out in a Public Higher School of Artistic Training, an institution dedicated to offer professional training in the areas of Artistic Education and Professional Artist, with specialties in Visual Arts and Music. This institution stands out as a professional training center for artists, including musicians, who are fundamental in the transmission of musical artistic knowledge, both in theoretical and practical aspects. Given the holistic and complex vision that this institution has on musical ability and innovation, it was considered essential to explore the perceptions of those involved in this educational environment.  

2.2 Research approach and method:

The present research is framed within the qualitative paradigm, focusing on exploring the perspectives of the participants (Hernández-Sampieri & Mendoza, 2018). The main objective was to gain an in-depth understanding of musical skills and innovation from the perspective of teachers at a Public Higher School of Artistic Training, who play a crucial role in the Teaching-Learning process, especially in the field of music.

This research, focusing on music skills and innovation, sought to build a detailed understanding of teachers' perceptions, based on their experience in public arts colleges.

2.3 Technique and instruments for collecting information:

For this research, the in-depth interview technique was selected, considered the most appropriate to achieve the stated objectives. In-depth interviews are face-to-face meetings between the interviewer and the interviewee (Taylor and Bogdan, cited by Robles, 2011), which facilitate the construction of the informant's perceptions as they are expressed. For the collection of information, a guide of questions based on seventeen subcategories was used. This instrument was validated by an expert, who evaluated the clarity, coherence and relevance of the items, and subsequently gave his agreement for the application of the interview guide.
In this study, ethical principles were taken into account during the research process. An informed consent protocol was applied to each informant to guarantee their anonymous participation and ensure that the information provided was used exclusively for this study. In addition, in line with the principle of scientific integrity, informants were asked for their authorization for the audio and video recording of the interviews, carried out through the Zoom application.

2.4 Informants

Four teachers from the Public Higher School of Artistic Education participated in this research. The selection of these teachers was made following specific inclusion criteria: to be music teachers by profession, to be appointed or hired by the institution, and to have more than 4 years of teaching experience at the higher level. On the other hand, the exclusion criteria included those teachers with less than 4 years of experience at the higher level or who were visiting teachers at the institution. To ensure confidentiality, each participating teacher was assigned a unique code, as detailed in Table 1.

Table 1.
Characterization of selected informants

Informant code	Gender	Length of service	Subjects in charge
D1	Male	4	Theory and Analysis-Main instrument
D2	Male	15	Musical Analysis and Forms
D3	Male	15	Principal instrument: Trumpet Theory and Analysis
D4	Male	20	Pedagogy and pre-professional practice

 

Information was collected through audio and video recordings using the Zoom application, and this information was subsequently transcribed, ensuring the anonymity of the informants by means of assigned codes. The data collected were organized in matrices, which facilitated the identification of relevant findings. These findings were coded and specific segments of information were highlighted for further interaction with and interpretation of the data. From the interpreted data, emerging elements were identified that accurately delineated each study category.

The analysis process was characterized by its interpretative and inductive nature, which allowed the findings to be examined in light of the conceptual framework initially established. In this qualitative study, we sought to obtain data that were then transformed into valuable information (Hernández-Sampieri & Mendoza, 2018). Of special interest were the perceptions of teachers in relation to musical skills and innovation, key aspects to understand the dynamics of music teaching in the institution studied.

The interpretation of the findings was carried out by subcategories, taking into account the most relevant and significant testimonies of the informants, as well as the reflection of the researchers and the conceptual framework that underpins this study.

Regarding the first subcategory, rhythmic reading, there is a consensus among the teachers interviewed on the orientation of rhythm teaching. They emphasize the importance of body percussion and body movement, as well as the use of clapping, so that students can internalize each of the musical figures. These opinions suggest a favorable relationship in the practice of rhythmic reading. The responses obtained clearly illustrate this situation:

• In order to teach rhythm, it is necessary to take into consideration timing, pulse and proper accent. This allows us to focus on specific difficulties. If we talk about rhythm, each person has a very different rhythm of life, even in education. (D1)
• The teaching of rhythm is developed through words, percussion and movement. In this case, music, which is immersed in dance, is a key element. We also use parts of our body, percussing with the right hand, the left hand, or combining both hands to create different rhythmic figures as part of the development of rhythm. (D3)
• Rhythm can also be taught through body percussion, as we work on it in the classroom and students learn to use their bodies to create rhythm. Another way is through percussion instruments. (D4)

As for rhythmic reading, teachers emphasize that it is an activity that involves not only body movement, but also movement in space. It is essential that students not only know and name the basic rhythmic figures, but also be able to express them physically. It is suggested that the rhythmic reading exercises be performed after the melodic exercises. In this way, students can establish a connection with learning rhythmic reading, facilitating the memorization and identification of rhythmic figures such as the half note, quarter note and eighth note, as well as the five lines of the staff (Swapna, cited in Mamani, 2016).

In the subcategory called 'audio perceptual' in the musical training process, the importance of experiencing the rhythmic, melodic, harmonic, instrumental, textural and formal aspects of music is emphasized. This is achieved through bodily and auditory perception, i.e., auditory musical analysis, and later also through visual musical analysis and solfege (Garmendia & Varela, 2012).

In agreement with the subcategory of perceptual audio, it was found that: 

• When the instrument is larger, we produce more bass sounds, and when the instrument is smaller, we get more treble sounds. (D2)
• If we listen to a flute, its sound is quite high-pitched. On the other hand, if we blow a trumpet, its sound is medium, and with a tuba, the sound is lower. This establishes the difference between sounds, colors and the ability to recognize high- and low-pitched sounds. (D3)
• As for the sounds, the students bring their instruments and play them. For example, they can bring a trumpet, a flute, an organ or a guitar. In this way, the student is explained about pitch, whether it is a low-pitched sound or a high-pitched sound. (D4)

The teachers' criteria underline the importance of recognizing low and high pitched sounds, which are found within the concept of sound qualities, specifically 'pitch'. This quality is defined by the frequency of the vibratory motion of the instrument that produces the sound. According to Vázquez Llique (2019), a sound will be higher pitched if it has a higher frequency and lower pitched if its frequency is lower.

Regarding the subcategory of Music Reading, the four teachers emphasized the importance of methods and techniques in the teaching-learning process. From their perspective, rhythmic syllabication, using musical figures such as quarter notes and eighth notes, as well as the use of the staff, are fundamental in learning music reading. In addition, they highlighted the relevance of musical methods such as Orff and Cateura in this process, as indicated in their responses:

• There is a technique that is currently considered an audio perceptual course. Audio perception, for example, is what one does as a teacher (D1).
• As for music reading, generally before I used maybe the Pozzoli method, but then I started to work with my own method that facilitates the student's learning. (D2)
• I have always applied with my students’ methods so that they can have a quick and basic reading; I use more the black figures, like "ta-ta-ta-ta-ta". (D3)
• Rhythmic syllabication is very important and students use it for teaching rhythm. There are even other techniques within the musical methods (D4)

When analyzing the responses of the four teachers, there is a clear prioritization in the use of specific methods and techniques for teaching music reading, as well as in rhythmic practice, with special emphasis on the use of figures such as crotchets. This preference is due to the fact that music reading is fundamental for musicians to build an adequate understanding of the musical text. In other words, music reading provides access to essential musical information, allowing a more accurate and enriching interpretation of the work (Garmendia & Varela, 2012).

In relation to the subcategory of reflection of pedagogical practice, the informants linked this category to an analysis of their strengths and weaknesses in their teaching work. They expressed the following:  

• Through reflection in the systematization workshops, we have identified our weaknesses and strengths (D4).
• I am constantly training, listening to new alternatives and learning new things (D2).
• I participated in some courses, mainly because of the pedagogy, since we never stop learning (D1).)

It is evident the relationship that teachers establish between the reflection of their pedagogical practice, the identification of their strengths and weaknesses, and a permanent learning process through participation in training courses. This highlights the commitment they assume with their work.

In relation to the fifth subcategory, called 'Transformation', the informants affirm that the innovations and strategies implemented contribute to meeting the expectations of the graduate profile. The following responses illustrate this situation:

• The teaching work fosters the development of innovative skills, enriching our pedagogical practice in music teaching. Innovating and creating projects allows students to get involved, adopting values such as commitment, leadership and autonomy (D1).
• The teaching work drives us towards continuous pedagogical training and updating, thus facilitating cutting-edge learning. (D2)
• By achieving the profile of the music high school learner, he/she acquires the autonomy and facility necessary to integrate in his/her pre-professional practices, applying strategies and innovations essential to effectively connect with his/her students in Regular Basic Education. (D3)

Transformation implies the creation of new internal conditions that facilitate an active adaptation to the demands of the environment. In social systems, what distinguishes is that the quality of emotions determines the outcome of the transformation process and the manner of adaptation. Transforming the structure of a human system does not mean altering the image of 'what we are' (the definitions that describe the group or organization), but modifying 'how we live' (Manucci, 2021).

In relation to the subcategory of competitiveness, the informants stated the following: 

• Currently, there is a strong emphasis on competencies. The graduating classes of this generation of students must be competent people in their fields of specialization (D1).
• With new tools, approaches and ways of working, they will definitely be able to reach a high standard, not only nationally but also internationally competitive. (D2)

The informants link competitiveness with professional performance and the application of competencies in the context of the student's future performance.

It can be stated that the teachers interviewed, with respect to the musical ability category, have perceptions related to the elements of this category such as pulse time, melodic analysis, use of the staff and musical figures and notes, and the way to incorporate innovation in the learning process aimed at developing musical ability, highlighting the use of Orff and Cateura methods that allow the future professional to perform competently in the different contexts where he/she will have to develop.

Regarding the comprehensive understanding of musical skills, the teachers of the Public High School of Artistic Education demonstrate a deep and theoretically founded understanding of musical skills. This understanding encompasses both theoretical and practical aspects, including mastery of fundamental elements such as pulse, rhythm, music reading, and aural perception. The effective integration of music theory with instrumental practice underscores teachers' commitment to the holistic development of musical skills in students.

Regarding the innovative approach to music pedagogy, teachers are actively involved in incorporating innovative strategies into the classroom, with a particular emphasis on adapting traditional pedagogical methods and exploring new practices to enrich the teaching-learning process. This willingness to innovate reflects a conscious effort to respond to the emerging educational needs of students and to promote a dynamic and participatory learning environment.

Linked to the preference for specific methods and techniques, there is a clear preference among teachers for specific methods and techniques, such as the Orff and Kodály methods, which foster comprehensive musical learning. These methods are valued for their ability to promote creativity, improvisation and active student participation, evidencing a pedagogical approach that prioritizes experiential musical experience and constructive interaction in the classroom.

Also, related to professional experience and collaboration, pedagogical innovation in the field of music education is largely the result of teachers' professional experience and the exchange of experiences with colleagues, both within the institution and in national and international forums. This collaborative exchange is fundamental for the development and implementation of teaching strategies that facilitate the effective learning of musical skills.

In summary, the study reveals that music teachers at the Public High School of Artistic Education possess a solid understanding of musical skills and adopt an innovative approach to teaching, characterized by experimentation with pedagogical methods and professional collaboration. This approach not only enriches the students' educational experience, but also contributes significantly to the development of future music professionals with a solid foundation in musical skills and an open perspective towards pedagogical innovation. In this sense, it is advisable to continue promoting pedagogical innovation, encouraging teachers to experiment with new strategies and share their experiences and results. Furthermore, it is recommended that additional studies be conducted that include a wider variety of institutions and educational contexts to deepen the understanding of how innovation can improve the development of musical skills in a wide range of learning environments.