Suchergebnisse

Se puede pensar que esta asociación pudiera tener alguna relación biológica, pero como argumenta Pauletti (2012) no hay raíces ancestrales de esta asignación de colores a las niñas y niños. Esta autora señala que estos colores empezaron a asociarse al sexo en la Segunda Guerra Mundial, ya que antes se usaba el blanco para los bebes. La finalidad de esta imposición es establecer unas pautas, normas y estereotipos a las personas. Esta cuestión no tendría importancia si ello no conllevara una clasificación y jerarquización. Esta asignación condiciona el aspecto físico, el entorno y hasta los gustos. Y lo mismo ocurre con la música. Cuando se piensa en instrumentos o dirección de orquestas se extrapola a los varones. Si nos preguntasen por el nombre de algún compositor de música clásica, prácticamente todas las personas podrían responder como ejemplo que son Mozart, Beethoven o Falla. En cambio no mencionarían a las mujeres, como ocurre en otras artes. La invisibilidad de las mujeres en este ámbito es tan llamativa que, una de las razones para realizar esta Tesis es poner en evidencia los mecanismos que son los causantes de ese error. Los pilares básicos que sustentan este trabajo son la igualdad, el género, los derechos humanos, la música y la educación. Con los hallazgos se pretende conocer, analizar y demostrar cómo se construye la identidad del alumnado a través de la educación musical en la etapa de primaria, desde una mirada de género. Queremos "prestar nuestras gafas" para que se vea la discriminación que aún existe en la educación. De hecho la Ley Orgánica 8/2013, de 9 de diciembre, para la mejora de la calidad Educativa (LOMCE), afirma que "el nivel educativo de los ciudadanos determina su capacidad de competir con éxito en el ámbito del panorama internacional y de afrontar los desafíos que se planteen en el futuro", esto supone abrir las puertas a puestos de trabajo de alta cualificación, lo que representa una apuesta por el crecimiento económico y por un futuro mejor. Para ello se resalta el papel de materias científicas y técnicas, eliminando la obligatoriedad de cursar educación artística (plástica y música) en Educación Primaria, y música en Educación Secundaria, hecho que posibilita que un alumno o alumna termine su escolarización en España sin haber estudiado dicha materia. Otra razón para iniciar este estudio es que, como docente que soy, comparto los planteamientos de la corriente constructivista (Porlan, 1993; Díaz-Aguado y Medrano, 1994; Carretero, 2010) en la consideración de que la investigación es un factor fundamental para que las personas elaboremos y reconstruyamos nuestro conocimiento. Está claro que es fundamental mantener una perspectiva investigadora que nos permita conocer cuáles serían los nuevos conocimientos más adecuados para interaccionar en un contexto de aprendizaje y/o de formación. Pero la valoración de esta disciplina no siempre ha sido positiva, en concreto en la enseñanza básica. Murphey (1992, pp. 8-9) recoge algunas creencias del profesorado sobre el uso de la música en el terreno educativo, como son ''Los profesores no se toman la música en serio; creen que puede molestar a las clases contiguas; los estudiantes "se desmadran " y se pierde el control de la clase; los diferentes gustos musicales entre los estudiantes de un mismo grupo es un problema. " Santos (1997a) insiste también en que siguen persistiendo los prejuicios contrarios a la utilización de las canciones en el colegio, ya que se considera una pérdida de tiempo, una distracción del currículum a seguir, además de una falta de rigor y seriedad académica. Partiendo de la afirmación ya conocida de que "la educación, bien entendida, no es tan solo una preparación para la vida; es, en sí misma, una manifestación permanente y armoniosa de la vida" (Willems, 1984, pp. 13-14). Nos planteamos que esta idea debería extenderse a todo estudio artístico y particularmente para la educación musical, que apela, como afirma Willems (1984, pp. 13-14) "a la mayoría de las facultades del ser humano ". El desarrollo de estas capacidades y cualidades en los niños y niñas va a depender de los ambientes sociales a los que están expuestos: la familia, la escuela y la sociedad en general. En particular, la familia es el primer ambiente en el que pasamos los primeros años de nuestra vida, y precisamente es en éste, dónde reside la base de la educación musical. En ella se adquieren las habilidades sociales que permitirán desarrollar la autonomía, ya que "e/ modo como están siendo educados puede contribuir para que lleguen a ser más completos o, por otro lado, para limitar sus iniciativas y sus aspiraciones" (Finco, 2010, p. 59). Por lo tanto, será la familia la primera forma natural de preparación, transmitiéndoles, por medio del canto y juegos, la sensibilidad por la música. Luego está la escuela que complementa la formación en valores que el discente recibe en su hogar, máxime cuando existen en el entorno deficiencias en esta formación (García, 2005). Incluso desde "las ropas rosas y azules y los pendientes que 'adornan ' las orejas de las niñas, son claros indicios de que el desarrollo de los roles de género comienza muy tempranamente" (Gómez Bueno, 2001, p. 56). El segundo agente es la escuela. El colegio tiene un importante papel socializador, transmisor de valores, normas, hábitos de comportamiento., que facilitan la convivencia entre las personas. Tiene una serie de funciones, las cuales podríamos resumir en tres: preparar al sujeto para su futuro profesional, educar a las personas moral y socialmente, y dar una cultura personal. El ambiente social y público de las instituciones educativas, posibilita una educación colectiva, lo que propicia al niño o niña diferentes experiencias por medio de la convivencia con las diferencias de sexo, edad, etnia, religión, entre otras (Faria y Finco, 2011). Dentro de la función socializadora que tiene el colegio, es destacable "el papel de las personas que intervienen en él, las relaciones de poder, usos del lenguaje, estereotipos de género, estrategias de enseñanza y pertinencia de sus contenidos, y evaluación en la escuela" (Chavez, 2006, p. 18). Imbemón (2002, p. 17) considera que "la educación por sí sola no puede introducir los cambios necesarios en las sociedades pero sí puede actuar como instrumento fundamental para promover cambios en la misma. Es precisamente en estos tres ambientes, donde se mueve este trabajo de investigación que se presenta como Tesis Doctoral, puesto que la música se aprende desde la familia, ya que forma parte de la cultura de un lugar, y se vivencia en la escuela y la sociedad. La finalidad de este trabajo de investigación tiene una doble vertiente, por un lado valorar y demostrar que la música es un potente agente transmisor de conocimientos, no solamente musicales, sino también de valores, costumbres, creencias, estereotipos., que influyen en el desarrollo de la identidad de las personas. Por otro lado, resaltar la importante labor de la música en el proceso educativo del alumnado, ya que a través de ella se desarrollan capacidades, habilidades, destrezas. básicas para la vida de nuestro alumnado. El interés por este tema, parte del año 2008, ya que me inicié en esta temática con el trabajo de investigación titulado "Análisis de la transmisión de los estereotipos de género en el cancionero de Huelva como recurso educativo" realizado para el programa de doctorado "La Educación en la sociedad multicultural" (Bienio 2006/08). Para el desarrollo de dicho trabajo, se tomó como referencia el Cancionero infantil de la provincia de Huelva, realizado por Francisco José García Gallardo y Herminia Arredondo Pérez (1995), investigadores y docentes de la Facultad de Ciencias de la Educación de esa provincia andaluza. Las conclusiones de dicha investigación fueron la génesis de esta tesis doctoral, pues como se verá más adelante en el apartado "Conclusiones Finales", se siguen manteniendo los estereotipos en los recursos utilizados en las clases de música. En los primeros pasos para profundizar en esta temática, se puso de manifiesto los pocos estudios realizados en nuestro contexto sobre este tópico. Precisamente éste fue uno de los motivos que profesionalmente como docente, me generó curiosidad y fue decisivo para iniciar el estudio de investigación Como se ha mencionado anteriormente, tras una primera labor de búsqueda de documentación e investigaciones al respecto, encontramos que existen trabajos sobre el desarrollo de la identidad en la infancia como Phinney & Ong, 2007; Smith, 1995 y 2002; Pnevmatikos, Geka y Divane, 2010; y Markus, 2008; Al mismo tiempo, constan numerosos trabajos de investigaciones sobre transmisión de estereotipos de género a través de diversas asignaturas (como lenguaje, matemáticas, ciencias sociales, naturales, educación física. e incluso en la formación del profesorado que las imparte) como Márquez Guerrero, 2013; Álvarez, 1990; Torre, 2002; Velasco Marugán, 2012; Torres, G., y Arjona, 1988; Martínez Scott, 2012; Marco López, 1991; Lomas, 2004; Lozano Domingo, 1995; Díaz De Greñu, 2010; entre otros. Sin embargo, a la hora de abordar la educación musical como trasmisora de estereotipos a través de los recursos utilizados en las clases de música, existen muy pocas investigaciones al respecto. Con esta Tesis Doctoral, se pretende demostrar que en los recursos utilizados en clase, en este caso uno de los más empleados, como son los libros de texto de la asignatura de música en un centro educativo concreto, se transfieren conocimientos, hábitos, creencias., en definitiva, las concepciones existentes en una cultura andró céntrica, incluyendo los prejuicios. Se pretende poner de manifiesto el poder de este medio, ya que la educación es sonido e imagen; es decir, se transmite lo que se escucha y se ve, pero en la música, más concretamente, está acentuada esta relación por su incidencia en el desarrollo de las personas. Concretamente nos centramos en la influencia y efectos de la educación musical en la conformación de la identidad de género y en concreto en la transmisión de los estereotipos que se divulgan en los libros de texto de música. Para ello, se ha elegido un colegio onubense, el CEIP Aurora Moreno, ubicado en la localidad Gibraleón (Huelva). El planteamiento de este trabajo en el estudio de los libros texto es porque (desgraciadamente) en la educación en general, y la musical en particular, es el recurso más extendido a la hora de impartir las clases, limitando enormemente las actividades, tareas y ejercicios, ya que "todo está planificado" por las editoriales, ofreciendo hasta las respuestas estandarizadas que cada alumna o alumno debería dar, y no solo eso, sino las imágenes y textos que contienen, están encasillados en unas creencias, valores, pensamientos, actitudes. que poco a poco van influenciando la identidad de nuestras niñas y niños. Este poder educativo en la construcción del género, lo tiene incluso en la música actual, ya que se representan patrones de comportamiento que se asumen como normales y que, aun en la actualidad, ni se cuestionan. Podemos poner como ejemplo de esto la canción titulada "Mujer Florero" de Ella baila sola. Los fenómenos educativos no son de carácter meramente técnico. Son, más bien, de naturaleza moral y política. La actividad educativa está impregnada de contenidos morales. La responsabilidad que tenemos como profesionales del proceso educativo -en política, gestión, docencia.- es tener un control democrático externo de las acciones que se llevan a cabo y, también, un control interno nacido de las exigencias y necesidades de los protagonistas (Kelley y Beauchesne, 2001). Por eso, "no podemos ignorar o desatender que las escuelas están altamente implicadas en la educación, regulación, control y corrección de las expresiones sexuales y de género de niños y niñas, y que esas prácticas son indisociables de la producción simultánea de ordenamientos y jerarquías que legitiman y autorizan situaciones de exclusión, marginación, subordinación y violencia entre las identidades sexuales y de género, lo que posee una trascendencia política imposible de ignorar, por lo que urge avanzar en la inserción y discusión del tema en la formación de los y las profesionales de la educación" (Quaresma da Silva, Fanfa Sarmentó & Fossatti, 2012, p. 17). Los estereotipos de género que se muestran en muchas ocasiones en los libros de texto, canciones populares o tradicionales, videojuegos., encasillan a las mujeres en las "perfectas amas de casa y esposas", amables, dóciles, frágiles y, en definitiva, sin voluntad propia ni identidad o autonomía, dependientes siempre de un hombre para sentirse realizadas. Todo esto pertenece en educación al llamado currículum oculto. Se puede definir el currículum oculto como el conjunto de normas, costumbres, creencias, lenguajes y símbolos que se manifiestan en la estructura y el funcionamiento de una institución, constituyendo una fuente de aprendizajes para todas las personas que integran la organización (Santos Guerra, 2002). Los aprendizajes que se derivan del currículo oculto no solo afectan al alumnado sino también a los docentes. A partir del currículo oculto se asimilan significados a través de las prácticas que se realizan, de los discursos que se utilizan, de los textos que se leen (Santos, 2002). El androcentrismo tiene acciones muy poderosas y, en el ámbito musical más concretamente, han tratado de desvalorizar todo lo que hacen las mujeres. Estas acciones sumadas a la invisibilidad de las mujeres en la música, contribuye a desarrollar este papel secundario de ellas en esta materia de conocimiento. Por una parte se consigue infravalorar a la música realizada por mujeres, ya que carece de valor o importancia y, es por ello considerada una actividad propia de ellas, mientras que cuando hacen una aportación importante se destaca si son hombres. Como se plantea al inicio de este apartado todas y todos hemos oído hablar de Mozart o Beethoven, pero apenas se conoce la producción y el papel que han desempeñado en la vida de sus familiares mujeres como Fanny Mendelssohn (hermana de Félix), Clara Schumann (mujer de Robert), Alma Malher (mujer de Gustav) o Nanerl Mozart (hermana de Wolfgang Amadeus). Estas cuestiones son, muchas veces, olvidadas por el profesorado a la hora de seleccionar los libros de texto y quien tiene la responsabilidad en las editoriales, mostrando las concepciones y creencias arcaicas de una sociedad patriarcal, dominada por los hombres, que en algunas cuestiones es diferente en nuestros días, estando, por tanto, fuera de contexto. Con los hallazgos de este estudio se obtienen pruebas que resaltan la importancia que tiene el papel femenino dentro de la música y su efecto en la educación de las personas, en la línea que plantea una corriente actual del postmodemismo como es la musicología feminista. Esta rama de la musicología reivindica la figura de las féminas como eje central para evitar la discriminación de las mujeres no sólo como contenido, sino también como objeto. Para llevarlo a cabo, planteamos esta investigación cuya estructura se presenta a continuación: Para iniciar la fundamentación teórica de este trabajo, iniciamos una presentación de aspectos básicos que aportan la aclaración de los conceptos básicos que van a permitir la comprensión del mismo. Se parte de la idea de que la música es potente medio de comunicación, en muchas ocasiones objetivo y en otras subjetivo, otorgándole así una gran importancia como transmisor de ideas, creencias, valores, sentimientos. En primer lugar, se presenta la música como lenguaje, con sus elementos constitutivos, pues es una faceta poco conocida. También describimos lo inmensamente relacionada que está con la palabra, pues, muchos musicólogos coinciden en asignarle un origen común con el lenguaje oral. Como expresa Bernabé Villodre (2012, p. 107), "la música es una manifestación artística, es un medio de expresión de ideas, de emociones, de vivencias de una sociedad. El arte musical combina sus elementos propios de tal forma que acerca al oyente a la cultura del pueblo que la ha producido y a las emociones humanas. Por todo esto, podemos considerarla como una base para el establecimiento del diálogo intercultural, como una herramienta más de trabajo de la ínterculturalidad". La educación artística y, más concretamente la musical, ayuda a una transmisión de creencias, normas. ya que "en la música se enseñan valores y con la música se aprende a elegir valores" (Touriñán y Longueira, 2010, p. 160). Posteriormente, presentamos a la música como una fuente de expresión, e incluso haremos un recorrido cronológico del desarrollo expresivo de los niños y niñas a través de la misma. Además, se explicará con más detenimiento los tres tipos de expresión musical: vocal, instrumental y corporal. "El proceso de creación de la música puede contribuir a la apreciación de la diversidad cultural y al respeto de la libertad de expresión; de ahí, la importancia de la música como medio de comunicación entre culturas y, por extensión, la importancia de la educación por la música. Sin embargo, debe señalarse que no sólo la práctica musical en el ámbito formal puede favorecer la adquisición de la denominada competencia inter cultural" (García, Escarbajal de Haro y Escarbajal Frutos, 2007, p. 26). Posteriormente, se explica cómo el estudio de la música a lo largo de las distintas sociedades ha dado lugar a una ciencia llamada sociología. Se desarrolla una aproximación cronológica de la génesis de esta ciencia, así como de los distintos intelectuales importantes en el desarrollo de la misma. "Partimos de la idea de que la música se ha dotado desde un principio de una carga inherente de sociabilidad, es expresión de la vida interior, expresión de los sentimientos, pero a su vez exige por parte de quienes la escuchan, receptividad y conocimiento del estilo de que se trate, además de conocimiento de la sociedad en la que se crea, ya que cada obra musical es un conjunto de signos, inventados durante la ejecución y dictados por las necesidades del contexto social. Si desligamos a la obra de la sociedad que la creó los signos musicales tendrán sentidos distintos" (Hormigos, 2012, p. 75). En la antigüedad, el sentido musical estaba asociado a actividades colectivas, donde se compartían experiencias y vivencias, es decir, el contacto del individuo con la música se producía en el directo, compartiendo la experiencia musical con otras personas y generándose, de este modo, un verdadero acontecimiento social, sin embargo en la actualidad, es habitual que olvidemos esta dimensión ya que estamos demasiado acostumbrados a escucharla en solitario (Drósser, 2012). A continuación, se presenta el desarrollo cronológico de la función social de la música, desde la prehistoria hasta la actualidad. En este apartado se explica la importancia de la misma en las distintas sociedades y los usos que se hacía o hace de ella. En el desarrollo de este punto se resalta la importancia que tenía la música en la prehistoria hasta Grecia y Roma, pues entonces, tenía un valor formativo y educativo, y como posteriormente se le dio un trato de divertimento o pasatiempo, obviando sus propiedades. "Para descifrar el mensaje que posee toda composición musical es necesario entender su estructura y la forma de la música, estructura y forma que quedan determinadas por las características de la sociedad que las crea, las hereda o las interpreta. Por tanto, el hecho musical debe entenderse como una actividad social" (Hormigos, 2012, p. 76). Además, destaca la importancia del protagonismo femenino a lo largo de la historia, pues como veremos más adelante, las mujeres somos las "grandes olvidadas" en los libros de historia de la música. Green (2001, p. 25) argumenta que "la división del trabajo musical en una esfera pública, en gran medida masculina, y una esfera privada, en gran parte femenina, es un rasgo de la historia de la música occidental, así como de muchas culturas musicales de todo el mundo ". "En la música, el sistema patriarcal no ha sido menos influyente que en otros niveles sociales. La mujeres en la música han estado siempre invisibilizadas y relegadas a un segundo plano. No debemos olvidar que la música está insertada en un determinado modelo de sociedad que la produce, transmitiendo un determinado tipo de cultura, valores e intereses estéticos que siempre han de estar en conexión con el resto de factores que conforman dicha sociedad" (Laborda, 2015, p. 168) En el siguiente apartado se aborda el valor educativo de la música, iniciándolo en los antecedentes históricos y recorriendo cronológicamente las distintas épocas hasta llegar a la ley educativa actual, LOMCE. En este apartado, se desarrolla cómo se entiende la educación actual, así como más específicamente el currículum de música. Como en este trabajo es especialmente relevante el valor educativo de la música, así como de sus aportaciones a la etapa de primaria, se realiza una revisión detallada de los métodos de enseñanza y aprendizaje con fundamentación psicológica, los cuales aseguran que la música contribuye a una formación integral del alumnado, como son los de Suzuki, 1978; Willems, 1984; Kodaly, 1974; Ward, 1964; Orff-Schulwerk, 1969; Martenot, 1993; Paynter, 1999; y Dalcroze, 1998. En la escuela es fundamental tratar, estudiar y formar al alumnado en conocimientos sobre música. Según Alonso, Pereira y Soto (2003) la música es un instrumento educativo para la expresión de valores y sentimientos, ya que a través de la educación musical, el alumnado puede participar en producciones de forma cooperativa, establecer relaciones sociales, trabajo en equipo. Herrera (2007, p. 6), considera que "desde la educación musical podemos elaborar un marco de actuación idóneo para trabajar aspectos como la libertad, autonomía personal, autoestima, honestidad, felicidad, espíritu crítico, igualdad, solidaridad, pluralismo, cooperación, amor, creatividad. ". Una vez contextualizado el marco teórico, en el segundo bloque, se fundamenta y describen los objetivos de este estudio, que pueden resumirse en el título de esta Tesis Doctoral, realizar un análisis de la construcción de la identidad desde una perspectiva de género a través de la educación musical en la etapa de primaria. Para ello, se analizan los libros de texto de música desde una perspectiva de género; se realiza un análisis de los personajes que aparecen en los libros; se describe el rol social que desempeñan hombres y mujeres presentes en los libros de texto utilizados en las clases de música; se detectan y analizan los estereotipos de género que se le enseñan y transmiten al alumnado. Todo ello, con la finalidad de sensibilizar y crear conciencia entre el profesorado y a la administración pública de la presencia de un potente currículum oculto en los libros de texto; descubrir si en los libros de texto y editoriales seleccionadas existen valores racistas, sexistas o de otro tipo de discriminación de las personas de forma explícita y, además, proporcionar unas pautas de análisis que faciliten una mirada crítica, de género, sobre el material que se utiliza en las aulas de Educación Primaria que son los libros de texto. Sobre el material estudiado se ha realizado un análisis de contenido, cuyas categorías son la denominación de los personajes, descripción física, descripción psicológica, acciones que realizan, oficios o profesiones y objetos. Entre las conclusiones extraídas destaca el importante papel que desempeña la música como transmisora de normas, costumbres., en muchas ocasiones estereotipados, así como la influencia que esto produce en el desarrollo de la identidad del alumnado. De esta forma, se demuestra el verdadero valor educativo que tiene la música, más allá del aspecto lúdico, revalorizando su papel en el proceso formativo de los niños y niñas. Para finalizar, se ha incluido un apartado titulado "Limitaciones y posibles nuestras líneas de actuación" en el que se expondrá tanto propuestas de interacción como futuros estudios a realizar en esta línea. Dadas las condiciones de espacio y tiempo, hay cuestiones que no se pueden presentar en este trabajo, pero siento un gran interés para abordarlas en futuros estudios como son tratar las principales aportaciones de la musicología feminista, estudiar y poner de manifiesto en el contexto educativo los nombres de instrumentistas, directoras y compositoras, así como los instrumentos y repertorios considerados masculinos o femeninos. Por ello, hay que recalcar la importancia de una buena selección de los materiales utilizados por parte del profesorado en las clases, pues en la escuela, como agente socializador que es, se transfieren las creencias y valores inmersos en ellos. ; As presentation of this thesis, we want to mention the name of it in the title. By "Beyond Pink or Blue" we wish to express the arbitrariness of cultural patterns that prevail in childhood and spanning the entire life of the people. You might think that this association could have any biological relationship, but as argued Pauletti (2012) no ancestral roots of this color mapping to children. She points out that these colors began to associate sex in the Second World War, since before white for babies was used. The purpose of this tax is to establish guidelines, standards and stereotypes people. This issue would not matter if it did not involve a classification and prioritization. This assignment affects the appearance, the environment and even tastes. And so it is with music. When you think about instruments or orchestras address is extrapolated to men. If question at by the name of a classical composer, virtually everyone may respond as such they are Mozart, Beethoven and Falla. However not mention women, as in other arts. The invisibility of women in this field is so striking that one of the reasons for this thesis is to highlight the mechanisms that are responsible for that mistake. The basic pillars of this work are equality, gender, human rights, music and education. With the findings it aims to analyze and demonstrate how identity is constructed pupils through music education in the primary stage, from a gender perspective. We want to "pay our glasses" to see that discrimination still exists in education. In fact the Organic Law 8/2013, of 9 December, for the improvement of educational quality (LOMCE), states that "the educational level of citizens determines its ability to compete successfully in the field of the international scene and to face the challenges arising in the future ", this means opening the doors to jobs for highly qualified, representing a commitment to economic growth and a better future. For this, the role of scientific and technical matters is highlighted by eliminating mandatory study art education (plastic and music) in Elementary Education, and music in secondary education, a fact that enables a pupil finished his schooling in Spain without having studied this matter. Another reason to start this study is that, as a teacher I am, I share the ideas of the constructivist (Porlan, 1993; Diaz-Aguado y Medrano, 1994; Carter, 2010) in considering that research is a key factor for we draw people and rebuild our knowledge. Clearly it is essential to maintain a research perspective that allows us to know what would be the most appropriate new knowledge to interact in a context of learning and / or training. But the assessment of this discipline has not always been positive, particularly in basic education. Murphey (. 1992, pp 8-9) collects some beliefs of teachers on the use of music in the educational field, such as "Teachers do not take music seriously; They believe it can disturb adjacent classes; students "are desmadran" and control of the class is lost; different musical tastes among students of the same group is a problem . " Santos (1997a) also insists that those opposed to the use of songs in school prejudices persist, as it is considered a waste of time, a distraction from the curriculum to follow, along with a lack of rigor and academic seriousness. Starting from the well-known statement that "education, properly understood, is not just a preparation for life; is, in itself, a permanent and harmonious manifestation of life "(Willems, 1984, pp. 13-14). We propose that this idea should be extended to all artistic study and particularly for music education, appealing, as Willems (1984, pp. 13-14) "to most of the powers of the human being," he says. The development of these skills and qualities in children will depend on the social environments to which they are exposed: the family, school and society in general. In particular, the family is the first environment in which we spent the first years of our lives, and this is precisely where the basis of music education lies. In her social skills that will develop autonomy, because "the way we are being educated can contribute to become more complete and, secondly, to limit their initiatives and aspirations" (Finco, 2010 are acquired, p. 59). Therefore, the family is the first natural form of preparation, passing, through singing and games, music sensitivity. Then there is the school that complements the teaching of values that the learner receives at home, especially when there are deficiencies in the training environment (Garcia, 2005). Even from the "pink and blue clothes and earrings 'adorn' ears girls, are clear indications that the development of gender roles begins very early" (Gomez Bueno, 2001, p. 56). The second agent is school. The school has an important socializing role, transmitter of values, norms, habits of behavior . that facilitate the coexistence between people. It has a number of functions, which could be summarized in three: prepare the subject for their professional future, educate people morally and socially, and give a personal culture. The social environment and public educational institutions, enables a collective education, which encourages the child through different experiences of living with differences in gender, age, ethnicity, religion, among others (Faria and Finco, 2011) . Within the social function that has the school is remarkable "the role of the people involved in it, power relations, use of language, gender stereotypes, teaching strategies and relevance of its contents, and evaluation at school "(Chavez, 2006, p. 18). Imbernon (2002, p. 17) believes that "education alone can not make the necessary changes in societies but can act as a key instrument to promote changes in them." It is in these three environments, where the research work presented as a doctoral thesis, since music is learned from the family moves, as part of the culture of a place, and is experienced in school and society. The purpose of this research is twofold, first assess and demonstrate that music is a powerful transmitter agent of knowledge, not only music, but also of values, customs, beliefs, stereotypes . that influence the development the identity of people. On the other hand, emphasize the important role of music in the educational process of students, since through her abilities, skills . basic life of our students develop. Interest in this issue of the year 2008, since I started in this area with the paper titled "Analysis of the transmission of gender stereotypes in the songbook of Huelva as an educational resource" made to the doctoral program " Education in multicultural society " (2006/08 biennium) . For the development of this work, reference was made to child Songbook province of Huelva, by José Francisco Gallardo and Herminia Garcia Arredondo Perez (1995), researchers and teachers of the Faculty of Education of the Andalusian province. The findings of this investigation were the genesis of this dissertation, because as you will see later in "Final Conclusions" stereotypes are still maintained in the resources used in music classes. In the first steps to deepen this subject, it revealed few studies in our context on this topic. Precisely this was one of the reasons that professionally as a teacher, I generated curiosity and was instrumental in initiating the research study As mentioned above, after a first work of literature search and research the matter, we find that there are studies on the development of identity in childhood as Phinney & Ong, 2007; Smith, 1995 and 2002; Pnevmatikos, Geka and Divane, 2010; and Markus, 2008; At the same time, numerous studies consist of research on transmission of gender stereotypes through different subjects (such as language, mathematics, social sciences, natural, physical education . and even in teacher training that taught) as Marquez Guerrero, 2013 ; Alvarez, 1990; Torre, 2002; Marugán Velasco, 2012; Torres, G., and Arjona, 1988; Scott Martinez, 2012; Marco Lopez, 1991; Lomas, 2004; Lozano Domingo, 1995; Diaz De grenu, 2010; among others. However, when dealing with music education as a transmitter of stereotypes through resources used in music classes, there is little research on the subject. This doctoral thesis aims to demonstrate that the resources used in class, in this case one of the employees, such as textbooks for the subject of music in a particular school, knowledge, habits, beliefs are transferred . In short, existing in a male-centered culture, including prejudice conceptions. It is intended to demonstrate the power of this medium, since education is sound and picture; that is, transmitting what is heard and seen, but in music, more specifically, this relationship is accentuated by their impact on the development of people. In particular we focus on the influence and effects of music education in shaping gender identity and specifically in the transmission of the stereotypes that are disclosed in music textbooks. To do this, we have chosen a school Huelva, CEIP Aurora Moreno, located in the town Gibraleón (Huelva). The approach of this work in the study of text books is because (unfortunately) in education in general, and music in particular, is the most widespread when it comes to teach the classes, greatly limiting the activities, tasks and exercises resource because "everything is planned" by publishers, offering up the standard replies that each student or student should give, and not only that, but the images and texts that contain, are encased in some beliefs, values, thoughts, attitudes . that they are slowly influencing the identity of our children. This educational power in the construction of gender, has it even in music today, as behavior patterns that are assumed to be normal and, even today, not at issue are represented. We can make an example of this the song entitled "Woman Vase" Her dances alone. Educational phenomena are not purely technical. They are, rather, moral and political. The educational activity is imbued with moral content. Our responsibility as professionals of the educational process-in policy, management, teaching . - is to have an external democratic control of the actions undertaken and also an internal control born of the demands and needs of the protagonists (Kelley and Beauchesne, 2001) . Therefore, "we can not ignore or neglect that schools are highly involved in education, regulation, control and correction of sexual expression and gender of children, and that these practices are inseparable from the simultaneous production of systems and hierarchies legitimizing and authorizing situations of exclusion, marginalization, subordination and violence between sexual identities and gender, which has a political significance impossible to ignore, it is urgent to advance the inclusion and discussion of the issue in the training of and education professionals "(Quaresma da Silva Sarmento Fanfa & Fossatti, 2012, p. 17). Gender stereotypes shown on many occasions in textbooks, popular and traditional songs, video games . pigeonhole women in "perfect housewives and wives", kind, gentle, fragile and ultimately without free will or identity or autonomy, always dependent on a man to feel fulfilled. All this belongs to the so-called hidden curriculum education. You can set the hidden curriculum as a set of rules, customs, beliefs, languages and symbols that appear in the structure and functioning of an institution, constituting a source of learning for all people within the organization (Santos Guerra, 2002 ). The lessons derived from hidden curriculum not only affect the students but also teachers. From the meanings hidden curriculum through the practices carried out, the speeches that are used, the texts read (Santos, 2002) are treated. Androcentrism has very powerful actions and, more specifically in the musical field, have tried to devalue everything that women do. These actions added to the invisibility of women in music, helps develop this secondary role of them in this area of knowledge. On the one hand it is achieved underestimate music by women because it has no value or importance and is therefore considered an activity for them, whereas when they make an important contribution stands out if they are men. As discussed earlier in this section each and everyone has heard of Mozart or Beethoven, but little production and the role they have played in the lives of their female relatives as Fanny Mendelssohn (sister of Felix), Clara Schumann is known ( wife of Robert), Alma Mahler (Gustav woman) or Nanerl Mozart (sister of Wolfgang Amadeus). These issues are often neglected by teachers when selecting textbooks and who is responsible for the editorial, showing the archaic conceptions and beliefs of a patriarchal society dominated by men, that on some issues is different nowadays, being thus out of context. With the findings of this study tests that highlight the importance of women's role in music and its effect on the education of persons, in line it posed a current stream of postmodernism and feminist musicology is obtained. This branch of musicology claimed the figure of the women as central to prevent discrimination against women not only as content but also as an object. To carry out this research propose the structure is as follows: To start the theoretical foundation of this work, we began a presentation of basics that provide clarification of the basic concepts that will allow the understanding of it. It starts from the idea that music is powerful means of communication, in many goal chances and other subjective, thus giving great importance as a transmitter of ideas, beliefs, values, feelings . First, music is presented as a language with its constituents, as it is a little-known facet. We also describe how immensely related one with the word, then, many musicologists agree to assign a common origin with the spoken language. As expressed Barnabas Villodre (2012, p. 107), "Music is an art form, it is a means of expressing ideas, emotions, experiences of a society. The musical art combines elements so that the listener about the culture of the people that has already produced human emotions. For all this, we can consider it as a basis for establishing intercultural dialogue as a working tool of multiculturalism ". Arts education and, more specifically musical, helps transmission of beliefs, rules . and that "values are taught music and music learn to choose values" (Tourinan and Longueira, 2010, p. 160). Subsequently, we present the music as a source of expression, including making a chronological development of the expressive children through it. Also, it is explained in more detail the three types of musical expression: vocal and instrumental body. "The process of creating music can contribute to the appreciation of cultural diversity and respect for freedom of expression; hence the importance of music as a means of communication between cultures and, by extension, the importance of education for music. However, it should be noted that not only the musical practice in the formal scope may favor the acquisition of the so-called intercultural competence "(Garcia de Haro and Escarbajal Escarbajal Frutos, 2007, p. 26). Later, he explained how the study of music along the various companies has led to a science called sociology. A chronological approach to the genesis of this science develops, as well as other leading intellectuals in developing it. "We start from the idea that music has provided from the beginning of an inherent burden of sociability, it is an expression of the inner life, expression of feelings, but in turn requires from those who listen, responsiveness and knowledge of style which, in addition to knowledge of the society in which you create concerned, as each musical work is a set of signs invented during implementation and dictated by the needs of the social context. If we disclaim the work of the society that created the musical signs have different meanings "(Hormigos, 2012, p. 75) In ancient times, the musical sense was associated with group activities where life experiences are shared, that is, the individual's contact with music was produced in the direct sharing music experience with others and generating, in this way, a real social event, but today, it is common to forget this dimension as we are too used to listen alone (Drosser, 2012). Then the chronological development of the social function of music, from prehistory to the present day is presented. In this section the importance of the same in different societies and the uses made of it does or says. In developing this point how important it was the prehistoric music to Greece and Rome, since then, had a formative and educational value, and subsequently was given as a deal of amusement or pastime, ignoring its properties it is highlighted. "To decrypt the message that has all musical composition is necessary to understand its structure and form of music, structure and form are determined by the characteristics of the society that created, inherited or interpreted. Therefore, the musical should be viewed as a social activity "(Hormigos, 2012, p. 76). It also highlights the importance of women's role throughout history, because as we shall see, women are the "forgotten ones" in the history books of music. Green (2001, p. 25) argues that "the division of the musical work in a public sphere, in large measure men and a private sphere, largely female, is a feature of the history of Western music, as well as many musical cultures around the world. " "In music, the patriarchal system has not been less influential than in other social levels. The women in music have always been invisible and relegated to the background. We must not forget that music is inserted in a particular model of society that produces it, conveying a certain type of culture, values and aesthetic interest must always be connected with the other factors that make that society "(Laborda, 2015 , p. 168) In the next section the educational value of music, starting it on the historical background and chronologically through the different times to reach the current education law, LOMCE addressed. This section develops understand how the current education and more specifically the music curriculum. As this work is especially relevant educational value of music as well as their contributions to the primary stage, a detailed review of the methods of teaching and learning is done with psychological foundation, which ensures that music contributes to a comprehensive training of students, such as Suzuki, 1978; Willems, 1984; Kodaly, 1974; Ward, 1964; Orff -Schulwerk, 1969; Martenot, 1993; Paynter, 1999; and Dalcroze, 1998. In school is essential to address, study and train students in knowledge about music. According to Alonso, Pereira and Soto (2003) music is an educational tool for the expression of values and feelings, and that through music education, students can participate in cooperative productions, social relationships, teamwork. . Herrera (2007, p. 6), believes that "from the musical education we can develop a framework for suitable action to work on aspects such as freedom, personal autonomy, self-esteem, honesty, happiness, critical thinking, equality, solidarity, pluralism, cooperation, love, creativity . " Once contextualized the theoretical framework, in the second block, is based and describe the objectives of this study can be summarized in the title of this thesis, an analysis of the construction of identity from a gender perspective through music education in the primary stage. To do this, the music textbooks are analyzed from a gender perspective; an analysis of the characters in the books is done; the social role played by men and women on the textbooks used in music classes described; They are detected and analyzed gender stereotypes that teach and transmit to students. All this, in order to sensitize and raise awareness among teachers and public administration of the presence of a powerful hidden curriculum in the textbooks; discover whether there are racist, sexist or other discrimination against people explicitly values in selected textbooks and publishers and also provide guidelines to facilitate analysis a critical, gender, about the material used in classrooms of primary education are textbooks. On the studied material it has conducted a content analysis, whose categories are the names of the characters, physical description, psychological description, actions performed, trades or professions and objects. Among the conclusions drawn stresses the important role of music as a transmitter of norms, customs . in many stereotyped occasions as well as the influence it has on the development of the identity of the students. Thus, the real educational value of music, beyond the recreational aspect, reassessing its role in the learning process of children is demonstrated. Finally , we have included a section entitled " Limitations and our possible courses of action " in which both proposals as future interaction studies performed on this line will be exposed. Given the conditions of space and time , there are issues that can not be presented in this work , but I feel great interest to address in future studies as they are treating the main contributions of feminist musicology, studying and highlighting the educational context names of musicians , directors and composers , as well as instruments and repertoires considered masculine or feminine. Therefore, we must stress the importance of a good selection of materials used by teachers in the classroom , because in school as a socializing agent that is , beliefs and values embedded in them are transferred .

This study simulates the sector impacts of demand-side perturbations on air transport sectors due to the COVID-19 pandemic, focusing on ASEAN members plus Australia, China, Japan, the Republic of Korea, and New Zealand. This study involves (i) the generation of a multiregional input–output table from the latest Global Trade Analysis Project data, (ii) a network analysis to determine the importance of the air transport industry in each country, (iii) multiplier and linkages analyses, (iv) determinations of sector impacts from demand-side perturbations on air transport sectors due to the COVID-19 pandemic, and (v) simulation of the effect of fiscal and monetary measures to mitigate the pandemic's impact. This study demonstrates that the aviation industry is a key sector in domestic and regional economic activities, and the reduction in air transport consumer demand due to the pandemic is estimated to cause gross domestic product (GDP) reductions from 0.4% to 2.1%. Government intervention, through fiscal and monetary policies, has, however, mitigated severe impact, moderating GDP and value-added losses. Thus, a viable policy prescription for the aviation industry is of utmost importance.

Low export prices and high production costs are contributing to a persistent deficit in the external accounts. Despite narrowing somewhat in recent years, Zimbabwe's current account deficit remains much larger than those of comparable countries in the region, and exports currently amount to just over half of imports. A decline in global prices for gold, platinum and other mineral commodities, coupled with unresolved supply-side constraints, has reduced the value of mining exports. Zimbabwe has also benefited from lower oil prices, but rising import volumes largely offset the impact on import values. Remittances gradually increased during 2010-2015 and are estimated to have reached almost 7 percent of Gross National Income (GNI) in 2015. The domestic financial sector is slowly recovering from a post-dollarization credit boom and interest rates remain elevated. The Central Bank has stabilized the financial sector, a recent growth of broad money looks robust and bank lending has become market-driven. But still only blue-chip borrowers are able to access financing at competitive rates. The authorities are taking measures to update Zimbabwe's credit infrastructure, strengthen oversight and restore the regulatory framework. Zimbabwe is experiencing a deflationary trend in response to these macroeconomic imbalances. The multicurrency regime, adopted in 2009, limits monetary policy instruments available to the authorities but also provides a level of fiscal and economic restraint. As competitive pressures increased, the consumer price index fell -2.5 percent, year-on-years, at end-2015. Declining prices should help to restore competitiveness over time, but should be accompanied by efforts to raise productivity at all levels of the economy.

Policy makers and regulators have devoted much effort to reforms aimed at improving financial stability in response to lessons from the 2007-09 crisis. At the same time, much effort has also been directed to promoting greater financial inclusion as an enabler of equal opportunity. To some extent, these endeavors have been exerted in silos, neglecting the possibility that financial inclusion and financial stability could be significantly intertwined, positively or negatively. If there are synergies or trade-offs between inclusion and stability, policy decisions must be informed, and the policy setting, design, and implementation adjusted accordingly. This paper (i) discusses the relationship between financial inclusion and stability, (ii) illustrates empirically interactions between the two financial sector outcomes, and (iii) outlines policy challenges stemming from these interactions.

Tourism provides a robust stream of revenues for the country, with benefits that reverberate widely through the economy. The sector generates the bulk of exports for the country. As a relatively labor-intensive sector, tourism serves as a robust source of good quality jobs in the country, with the potential to alleviate poverty. This report explores the contribution, the potential, and the challenges that confront the sector. It briefly describes the structure of the sector in Tanzania and compares it to some of its closest competitors in Sub-Saharan Africa. It identifies the limits and opportunities of current policy priorities through a series of integrated economic-biological models and suggests alternative strategies for growth and development of the industry. It begins with a brief overview of the sector and then explores alternative development paths for the sector - one which focuses on the established northern circuit and the other which explores the opportunities and constraints of diversifying tourism into the southern circuit, especially in the Ruaha landscape.

Women comprise a large proportion of the agricultural labor force in Sub-Saharan Africa, ranging from 30 to 80 percent (FAO 2011). Yet women farmers are consistently found to be less productive than male farmers. The gender gap in agricultural productivity—measured by the value of agricultural produce per unit of cultivated land—ranges from 4 to 25 percent, depending on the country and the crop (World Bank and ONE 2014). This gap exists because women frequently have unequal access to key agricultural inputs such as land, labor, knowledge, fertilizer, and improved seeds. This report estimates the monetary value of the gender gap in agricultural productivity in Malawi, Tanzania, and Uganda.

This note lays out the rationale for including land administration quality index in the standard 'registering property' indicator by doing business and discusses initial evidence from the global sample, showing that many countries, including some that have performed well on Doing Business's traditional ranking, have a long way to go to establish a system of land administration that is reliable and transparent, achieves sufficient coverage, and minimizes disputes. The cases in this brochure document that by smartly deploying new technology, countries can make progress in this direction irrespective of their initial income level. Continued monitoring and learning from experience at all levels had an important role in facilitating such progress. Doing Business will contribute to this agenda by elevating the profile of land governance, tracking countries' performance with respect to land administration quality index, and fostering global exchange and learning from good performers.

The Jordan economic monitor provides an update on key economic developments and policies over the past six months. It also presents findings from recent World Bank work on Jordan. It places them in a longer-term and global context, and assesses the implications of these developments and other changes in policy for the outlook for the country. Its coverage ranges from the macro-economy to financial markets to indicators of human welfare and development. It is intended for a wide audience, including policy makers, business leaders, financial market participants, and the community of analysts and professionals engaged in Jordan.

The banking sector in Moldova is in the midst of structural changes with worrisome corporate governance issues at the core. Corporate governance is at the center of a stable and profitable banking sector which is essential to support economic growth and productivity. However, the banking system in Moldova suffers from critical governance weaknesses which the National Bank of Moldova (NBM) has been unable to effectively address. The illicit schemes used to gain control of the majority of the banking sector's assets have involved raider attacks by unidentified individuals whose subsequent, de facto, related party transactions have caused the deterioration of bank balance sheets. The recent changes in controlling ownership have resulted in nontransparent appointments of board members and Chief Executive Officers (CEOs). This has led to substantial blurring of the roles and responsibilities of ownership, oversight (board), and management, resulting in no clear accountability. The legal and institutional corporate governance framework in Moldova is weak. Sound corporate governance is first and foremost dependent upon the motivations of owners and the resultant business culture they instill through their selection and appointment of board members. In Moldova, a few actors control the majority of the banking system. They demonstrate dubious motives by acting obscurely through others and through companies to own and control important banks. These actions create a system that is held captive to serve the needs and pleasures of a few at the expense of many: the depositors, general public, and ultimately, the taxpayer.

Bridging the Atlantic is a descriptive study of Brazil's involvement with counterparts in Sub-Saharan Africa through knowledge exchange, trade, and investments. The objective of the study is to understand these relations better with the intent to forge concrete and mutually beneficial partnerships between Brazil and Sub-Saharan Africa. Brazil and Sub-Saharan Africa are natural partners, with at one point a shared geography and later a shared history. Since the turn of the twentieth century, Africa has become one of the major fronts of Brazil's international agenda. Africa is rapidly changing and Brazil has expressed growing interest in supporting and taking part in African development. The study includes a narrative of the shared history between Brazil and Africa, as well as a description of Brazilian foreign direct investment and trade with Africa. It ends with recommendations made by the World Bank to strengthen the cooperation between Brazil and Sub-Saharan Africa.

Doing business sheds light on how easy or difficult it is for a local entrepreneur to open and run a small to medium-size business when complying with relevant regulations. It measures and tracks changes in regulations affecting 10 areas in the life cycle of a business: starting a business, dealing with construction permits, getting electricity, registering property, getting credit, protecting investors, paying taxes, trading across borders, enforcing contracts and resolving insolvency. In a series of annual reports doing business presents quantitative indicators on business regulations and the protection of property rights that can be compared across 183 economies, from Afghanistan to Zimbabwe, over time. This economy profile presents the doing business indicators for Indonesia. To allow useful comparison, it also provides data for other selected economies (comparator economies) for each indicator. The data in this report are current as of June 1, 2011 (except for the paying taxes indicators, which cover the period January December 2010).

Doing Business sheds light on how easy or difficult it is for a local entrepreneur to open and run a small to medium-size business when complying with relevant regulations. It measures and tracks changes in regulations affecting 10 areas in the life cycle of a business: starting a business, dealing with construction permits, getting electricity, registering property, getting credit, protecting investors, paying taxes, trading across borders, enforcing contracts and resolving insolvency. In a series of annual reports Doing Business presents quantitative indicators on business regulations and the protection of property rights that can be compared across 183 economies, from Afghanistan to Zimbabwe, over time. This economy profile presents the Doing Business indicators for Bangladesh. To allow useful comparison, it also provides data for other selected economies (comparator economies) for each indicator. The data in this report are current as of June 1, 2011 (except for the paying taxes indicators, which cover the period January- December 2010). The data not only highlight the extent of obstacles to doing business; they also help identify the source of those obstacles, supporting policy makers in designing regulatory reform.

Russia's science and technology diaspora is too visible and successful to evade attention from home. However, the public debate in Russia so far has been focused almost exclusively on return migration and on science diaspora, rather than on successful techno-entrepreneurs. The primary objective of the current Chapter is to help to refocus the debate on brain circulation facilitation of business links between high-tech entrepreneurs in diaspora and in home, and for this reason to understand better the current demand in Diaspora for stronger contacts of this kind, as well as identify the existing barriers that hamper such cross-border business contacts. Another objective of our analysis is to identify a number of success stories and key people behind such successes -- so-called overachievers in the diaspora (successful individuals in the position to share their professional success with the business community in the home country). These people may become a core of future diaspora networks that could be instrumental in upgrading the nature of Russia-diaspora cooperation. As experience of other countries suggests, such networks have a potential for supporting various Russia s initiatives in the area of innovation policy, including promotion of early stage venture capital, innovation start-ups and spin-offs.

Tourism sector growth continues to be robust in 2011, consolidating the strong rebound in real Gross Domestic Product, or GDP growth in 2010. Real GDP growth is estimated to be 8.3 percent in 2011, down from 9.9 percent in 2010. Fast growing tourism receipts are supporting higher than expected government revenue outcomes. Recently introduced tax reforms, particularly the tourism goods and services tax, will put medium term fiscal sustainability on a firmer footing. Nevertheless, fiscal consolidation remains the policy priority for the authorities. Discussions with the International Monetary Fund or IMF on a program of support will resume this quarter. to see if agreement can be reached on measures that ensures medium-term fiscal and debt sustainability Domestic financing of the unsustainable fiscal deficit and rising international commodities prices continue to put pressure on the demand for foreign currency. Consequently, foreign reserves have resumed their downward trend after the boost from one-off privatization receipts. Uncertainty related to the recent devaluation of the Rufiyaa has subsided, but it is still trading at the upper end of the band and there remains an approximately 10 percent parallel market premium. The inflationary effects of the devaluation are now being felt with consumer price inflation rising to double digits in recent months.

Doing Business sheds light on how easy or difficult it is for a local entrepreneur to open and run a small to medium-size business when complying with relevant regulations. It measures and tracks changes in regulations affecting 10 areas in the life cycle of a business: starting a business, dealing with construction permits, getting electricity, registering property, getting credit, protecting investors, paying taxes, trading across borders, enforcing contracts and resolving insolvency. In a series of annual reports Doing Business presents quantitative indicators on business regulations and the protection of property rights that can be compared across 183 economies, from Afghanistan to Zimbabwe, over time. This economy profile presents the Doing Business indicators for Australia. To allow useful comparison, it also provides data for other selected economies (comparator economies) for each indicator. The data in this report are current as of June 1, 2011 (except for the paying taxes indicators, which cover the period January- December 2010). The data not only highlight the extent of obstacles to doing business; they also help identify the source of those obstacles, supporting policy makers in designing regulatory reform.