The purpose of this degree project is to describe and analyze how pre-school teacher´s didactically arrange different music activities in the work. To gain understanding and the importance of music didactics in preschool. The study was conducted using qualitative interviews through phenomenographical methodology in which six preschool teachers were interviewed. The theoretical background is based on music didactics, musicking and variation theory. The music activities in preschool rarely follow any form of didactic planning, focus is usually on another subject area, mostly language and the subject of music end on second place. There is a vision that the music subject should end in the first place, and that it requires a greater commitment and prioritization of time from the preschool teachers. The dreams and visions that exist for the music activities are about having access to a room like a studio where material in different forms of musical instruments is available. Another dream among preschool teachers is to gain more competence development and inspiration. Another vision is that the children should be challenged more and have the opportunity to explore the music subject further. Preschool teachers have different deductions for different subjects and usually it is in the staff that has the most musical skills that are responsible for the music activities.

In order to measure the attitude of Secondary School Students towards Classical Music, a questionnaire based on the traditional tri-dimensional model was built and validated. Items were therefore built upon the three-dimensional attitudinal model (i.e affective, cognitive and behavioural). Other variables were also taken into account in order to help for characterizing the study-population. In a first stage, 56 students from a High School in the city of Malaga were the initial sample for carrying out the pilot study. Eventually, the questionnaire was taken by 3137 subjects from Andalusia (Spain) in order to define itspsychometric values. From the first test of 30 items to the last of 25, several changes were made due tothe expert judgments, testing experiences and scale-validity tests.

The place of music in the general education of individuals is addressed from a renovated paradigm.Through a rereading of certain ideas of Rousseau, Freud, Hegel, Malinowski and Leibniz, a thesis is grounded on what is permanent in human nature and what the aims should be foreducating that nature. Later, recent advances in neuroscience are discussed in relation tothe biological and functional nature of any individual facing music. Finally, a convergence of both paradigms is discussed within the Spanish education system, concludingthat the necessary presence of music as a key pillar in education is supportedby two mainstays: for the intrinsic value of music towards the developmentof human potentiality (music “for the sake of music”); and for theextrinsic values of music given its cross-disciplinary effectson different human potentialities.

Style is not commonly taken into account for leveling difficulties in instrumental performance, as technique is. Accordingly, teaching resources are solely organized around the technicalities of performance, leaving style as a cross-curricular aspect. With the aim of achieving a more meaningful learning of style, our work proposes a model for establishing instrumental teaching built not only around technicalaspects but also on performance style, taking as a starting point the rethinking oftwo dichotomies: on one hand, printed music and performance stylisticallyadequate; on the other, instrumental technique and interpretative style.