Spanish Conservatories of Music are educational institutions where, for the most part, the culture of Modernity is upheld and an aesthetic musical paradigm is enshrined. In this paper, therefore, it was important to reflect, firstly, on the teaching practices they implement and which have remained faithful to Positivist assertions, in the face of the different educational laws that have been passed. To this end, we carried out an analysis of the opinions of 20 students on a university Master’s course which is centred on contemporary artistic practices and where theories sourced from Critical Pedagogy occupy an important space. With the data drawn from these students – all of them Conservatory graduates and a significant number now teachers – we used interpretative phenomenological analysis techniques and the results show this group’s openness towards methodologies and practices hitherto unknown to them. They highlight, moreover, the importance of offering opportunities to awaken a critical approach in students, whereby they can choose what type of teacher they wish to be, and which methodologies they wish to adopt, rather than merely reproducing in an uncritical fashion the teaching style in which they themselves were taught.
AbrahamsF. (2005). The application of critical pedagogy to music teaching and learning. Visions of Research in Music Education, 23(2), 12–22.
2.
AggerB. (2006). Critical social theories: An introduction. Paradigm Publishers.
3.
AllsupR. E.WesterlundH. (2012). Methods and situational ethics in music education. Action, Criticism, and Theory for Music Education, 11(1), 124–148.
4.
AppleM. W. (2018). Ideology and curriculum (4th ed.). Routledge.
5.
BatesV. (2016). Foreword: How can music educators address poverty and inequality?Action, Criticism, and Theory for Music Education, 15(1), 1–9.
6.
BaumanZ. (2013). Sobre la educación en un mundo líquido. Conversaciones con Ricardo Mazzeo [On education: Conversations with Riccardo Mazzeo]. Paidós.
7.
BautistaA.Pérez-EcheverríaM.PozoJ. (2010). Music performance teachers’ conceptions about learning and instruction: A descriptive study of Spanish piano teachers. Psychology of Music, 38(1), 85–106. https://doi.org/10.1177/0305735609336059
8.
BourdieuP.PasseronJ. C. (1990). Reproduction in education, society and culture (2nd ed.). Sage.
9.
BreuingM. (2011). Problematizing critical pedagogy. International Journal of Critical Pedagogy, 3(3), 2–23.
10.
BrunerJ. (1996). The culture of education. Harvard University Press.
DelgadoF. (2006). La construcción del sistema nacional de Conservatorios en España (1892–1942) [The building of the national system of Conservatories in Spain]. Cuadernos de Música Iberoamericana, 12, 109–134.
13.
DeweyJ. (1998). Democracia y educación. Una introducción a la filosofía de la educación (3th ed.) [Democracy and education. An introduction to the philosophy of education]. Morata.
14.
DíezN. (2018). La formación en TIC de los pedagogos de música. [The ICT training of music pedagogues]. Revista Electrónica de LEEME, 42, 31–51. https://doi.org/10.7203/LEEME.42.13067
15.
FreireP. (2005). Pedagogía del Oprimido (55th ed.) [Pedagogy of the oppressed]. Siglo XXI.
16.
FreireP.ShorI. (2014). Miedo y osadía: la cotidianidad del docente que se arriesga a practicar una pedagogía transformadora [Fear and boldness: The daily life of the teacher who dares to practise a transformative pedagogy]. Siglo XXI.
17.
GirouxH. (1983). Theory and resistance in education: Towards a pedagogy for the opposition. Bergin and Garvey.
18.
GonzálezA. (2017). Ideas de los profesores de instrumento en Conservatorio sobre la evaluación y la calificación [Instrumental teachers’ ideas on evaluation and marking in Conservatories] [Doctoral dissertation]. Universitat Politècnica de Valencia.
19.
GonzálezA.BautistaA. (2020). Ideas de los profesores de instrumento de Conservatorio sobre las funciones y finalidades de la evaluación [Conservatory instrumental teachers’ ideas about the functions and purposes of assessment]. Foro de Educación, 18(1), 147–166. https://doi.org/10.14516/fde.651
20.
GreenL. (2003). Why Ideology is still relevant for critical thinking in music education. Action, Criticism, and Theory for Music Education, 2(2), 2–24.
Jefatura del Estado. (1966). Decreto 2618/1966 [Decree-Act 2618/1966]. B.O.E. Gobierno de España.
23.
Jefatura del Estado. (2009). Real Decreto 1614/2009 [Royal Decree 1614/2009]. B.O.E. Gobierno de España.
24.
JonesP. (2007). Music education for society’s sake: Music education in an era of global neo-imperial/neo- medieval market-driven paradigms. Action, Criticism, and Theory for Music Education, 6(1), 2–28.
LyotardJ. F. (1987). La condición postmoderna. Informe sobre el saber (2nd ed.) [The postmodern condition: A report on knowledge]. Cátedra.
27.
MartinJ. R. (2002). Curriculum and the mirror of knowledge. In: BarrowR.WhiteP. (Eds.), Beyond liberal education: Essays in honour of Paul H. Hirst (pp. 107–118). Routledge.
28.
McLarenP. (1989). Life in schools: An introduction to critical pedagogy in the foundations of education. Longman.
29.
MorinE. (1999). La cabeza bien puesta. Repensar la reforma. Reformar el pensamiento [Head well done: Rethinking reform, reform of thought]. Nueva Visión.
30.
PalauR.UsartM.UcarM. J. (2019). La competencia digital de los docentes de los Conservatorios. Estudio de autopercepción en España [The digital competence of teachers in music Conservatories. A study of self-perception in Spain]. Revista Electrónica de LEEME, 44, 24–41. https://doi.org/10.7203/LEEME.44.15709
31.
RancièreJ. (1991). The ignorant schoolmaster: Five lessons in intellectual emancipation. Stanford University Press.
32.
RegelskiT. (2004). Social theory, and music and music education as praxis. Action, Criticism, and Theory for Music Education, 3(3), 1–42.
33.
SchmidtP. (2005). Music education as transformative practice: Creating new frameworks for learning music through a Freirian perspective. Visions of Research in Music Education, 6(1), 1–14.
34.
TorradoJ.PozoJ. (2008) Metas y estrategias para una práctica constructiva en la enseñanza instrumental [Goals and strategies for a constructive practice in musical performance teaching]. Cultura y Educación, 20(1), 35–48. https://doi.org/10.1174/113564008783781468
35.
TripianaS. (2017). Conocimiento acerca de las estrategias de práctica instrumental al inicio del Grado Superior de Música [Knowledge about the instrumental practice strategies at the beginning of the Bachelor of Music Degree]. Revista Electrónica de LEEME, 39, 103–137. https://doi.org/10.7203/leeme.39.9949
36.
VäkeväL.WesterlundH. (2007). The method of democracy in music education. Action, Criticism, and Theory for Music Education, 6(4), 96–108.
