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A Música como recurso didáctico para a Educación Ambiental: análise da realidade e perspectivas na CCAA de Galicia

Author: Tojeiro Pérez, Laura
Year: 2019
Source: https://minerva.usc.es/bitstreams/9fbe9ddd-3ab3-4871-aeea-114013f1e0cb/download
TESIS DE DOCTORADO
L A MÚ SI C A C O MO R EC U R SO DIDÁCTICO PARA LA
EDUCACIÓN AMBIENTAL: ANÁLISIS DE LA
REALIDAD Y PERSPECTI VA S EN LA COMUNIDA D
AUTÓNOMA DE GALI CIA
Laura Tojeiro Pérez

ESCUEL A DE DOCTOR ADO EN A RTES Y HU MANIDA DES, CIENCIAS SOCIALE S Y
JU RÍD I CAS D E LA US C
PROG RAMA DE DO CTO RADO E N EQUI DAD E I NNO VACI ÓN E N EDUC ACI ÓN
I NT ERNA CI ONA L

SANTIAGO DE COM POSTELA
2019

DECLARACIÓN DE LA AUTORA DE LA TESIS
La Mús ica como recurso didáctico para la Educ ación A mbient al:
análisi s de la r ealidad y pe rspectiv as en la C om unidad
Autónom a de Galicia
Dña. Laura Tojeiro Pérez
Presento mi tesis, siguiendo el procedimiento adecuado al Reglamento, y
declaro que:
1) La tesis abarca los resultados de la elaboración de mi
trabajo.
2) En su caso, en la tesis se hace referencia a las
colaboraciones que tuvo este trabajo.
3) La tesis es la versió n defi nitiva presentada pa ra su defensa
y coincide con la ve rsión enviada en f ormato electrónico.
4) Confirmo que la tesis no incurr e en n ingún tipo de plagio
de otros autores ni de trabajos presentados por mí para la
obtención de otros títulos.
En Santiago de Compostela, a 5 de julio de 2019

Fdo Dña. Laura Tojeiro Pérez

AUTORIZA CIÓN DE LOS DIRECTORES / TUTOR DE
LA TESIS
La Mú sica como recurso d idáctico para la E ducació n Am biental:
análisi s de la r ealidad y pe rspectiv as en la C om unidad
Autónom a de Galicia
Dra. Carol Gillanders
Dr. David Fernández Durán
INFORMAN:
Que la pre sente tesis, co rrespon de c on el trabajo reali zado por Dña.
Laur a Tojeiro Pérez , bajo mi dire cción, y a utorizo su pr esentación,
considerando que reúne los requ isit os ex igidos en el Reglam ento
de Estudi os de Doct orado de la USC, y que como direct ores de é sta
no incurre en las causas de ab sten ción e stablecidas en Ley 40/2015.
En Santiago de Compostela, 5 de julio de 2019

Fdo. Dra. C arol Gillanders Fdo. Dr. David Fernán dez Durán

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                                    
 Xunta de Galicia ȋʹͲͳ͸Ȍ ÀʹͲͳ͸ǦʹͲͳͻǤ

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A la mú sica por se r inspi ra dora. A la nat ural eza po r i nclui r la música .
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Abstract
        
          Ǥ    ǡ ǡ  ǡ
    ǡ          ǡ  
               ǯ                                       Ǥ     ǡ
    ǡ     ǡ          Ǥ
              
 ǡ ǡ ǡ        ǡ   
         Ǥ           ǡ               
    ǡ         ǡ  
               Ǥ                    
        ǡ        
                                                          
Ǥ   ǡ         ȋ Ȍ  
 ȋȌ               
  Ǥ   ǡ    
                         ǡ                                   ǡ 
                                                       ǡ   
                                                         Ǥ  
        Ǧ  ǡ   
     Ǥ         
   ǡ  ǡ  ǡ   ǡ   ǡ     Ǥ
ǡ                         
  ǡ    
 ǡ       Ǥ
Key wor ds: Music, Environment, Equity, Interdis cipl inary education, Su stain ability, Culture,
Ecoped agogy, Cross -curricular approa ches, Didactic resour ce, Soundscape, Evolu tionary
musicology, Biomusicology, Zoomusicology , Ecomu sicology, Educa tional resear ch, Education in
values, So und reso urces, C li mate change , Inte gration, Eco-ci tizenship. 



 
ÍNDICE

×Ȁ  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳ
ͳǤÀͳǣ ×ï ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͹
ͳǤͳǤ  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͳ
ï ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤ ͳʹ
ï × ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤͳ͸
ï ×× ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͺ
ÀǤ   ×Ǥ  ǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͺ
ͳǤʹǤ× ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ͵͵
× ï ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͵Ͷ
ï  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤ͵ ͻ
ïǡ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤͶ ͹
 ÀǤ × Ǥ ǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷ͵
ͳǤ͵Ǥ× ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤͷ͸
  × ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷ͹
À   ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ͸Ͷ
  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ͹ͳ
 ÀǤ ×Ǥ ǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ͹ͺ
ͳǤͶǤ× ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤͺͳ
Àï ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤ ͺʹ
 ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͺͺ
 ×ï  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤͻ͵
 ÀǤ × Ǥ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͻͺ
ͳǤͷǤ  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͲ͵
 ï  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͲͶ
  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳ ͳͶ 
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ʹǤÀʹǣ ××  ï ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͳͻ
ʹǤͳǤ×   ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳʹʹ
×  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳʹ͵
À  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤ ͳʹͻ
À ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤ ͳ͵ͳ

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
ʹǤʹǤ±  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳ͵͸
×  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ  ͳ͵͹
  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͶͲ
  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͶͺ
ʹǤ͵Ǥ ×  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͷͳ
 ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͷʹ
  ×  ǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͷ͹
 × ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳ͸͹
ʹǤͶǤï   ǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳ͹ʹ
× ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳ͹͵
   ǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳ͹ͷ
×   ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳ͹͹
×  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳ͹ͻ
×× ï ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͺʹ
×ï  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͺͶ
ʹǤͷǤ × ×   ǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͺ͸ 

͵ǤÀ͵ǣ  ×À ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͻ͵
͵ǤͳǤ   × ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͻ͸
͵ǤͳǤͳǤ ×  × ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͻ͹
͵ǤͳǤʹǤ   ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ Ǥ ͳͻͻ
͵ǤͳǤ͵Ǥ   × ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͲͳ
͵ǤͳǤͶǤ À × ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͲͷ
͵ǤʹǤ Ó ×ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͲͻ
͵ǤʹǤͳǤ  × ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͳͳ
͵ǤʹǤʹǤ ×  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͳ͵
͵ǤʹǤ͵Ǥ ×  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤ ʹͳ͸
͵ǤʹǤͶǤ  ×  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹʹͶ
͵ǤʹǤͷǤ  × ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ Ǥ ʹͶͲ
͵ǤʹǤ͸Ǥ   ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͶ͸
͵Ǥ͵Ǥ × ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͷ͵
͵Ǥ͵ǤͳǤ   ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͷ͵
͵Ǥ͵ǤʹǤ   ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͵ͻͺ 

 

͵ǤͶǤ ×  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷͳ͵
͵ǤͶǤͳǤ   ×  ǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷͳ͵
͵ǤͶǤʹǤ     ǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷͳ͹
͵ǤͶǤ͵Ǥ     Ǥ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷ͵͸ 

ͶǤÀͶǣ Ȁ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷ͵ͻ
ͶǤͳǤ    ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷͶʹ
ͶǤʹǤ  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷͷ͸
ͶǤ͵Ǥ  ǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷ͸ͳ
ͶǤͶǤ  ǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷ͸͹ 

À ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷ͹ͳ
 ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͸Ͳͻ


 
INDICE DE FIGU RAS
ͳǤ  Estructura del cap ítulo ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤ ͻ
ʹǤ  Teorías sobre l a música co mo evolución biológica  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͻ
͵Ǥ  Funciones biol ógicas de la música ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͵ͷ
ͶǤ  Distribución de l os aparta dos epígrafe  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ Ͷ͹
ͷ .  El ementos del ecosistema s onoro  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͸͸
͸Ǥ  Línea tempo ral del epígraf e  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͲͶ
͹Ǥ  Principios pedagógicos pa ra educar la libertad y c reati vidad  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͳͷ
ͺǤ  Dimensiones del Proyecto Zero  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͳ͹
ͻǤ  Estructura del capí tulo 2  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳʹͳ
ͳͲǤ C oncepción de equilibrio en desarro llo so stenible ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳʹ͵
ͳͳǤ Objetivo s del desa rro ll o sostenible según las Naciones Unidas  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳʹͷ
ͳʹǤ Esferas de interacción de la educación ambiental  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳʹ͹
ͳ͵Ǥ Dimensio nes del des arroll o humano cons ide radas en la vivenci a rec reativa  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳʹͺ
ͳͶǤ Beneficio s de la naturaleza a nivel educativo  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͶͳ
ͳͷǤ Tratamie nto de valores sos tenibles en música ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͷ͸
ͳ͸Ǥ El ementos educadores que rel acionan la natu ralez a y el arte  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳ͸ͺ
ͳ͹Ǥ Triángul o de interacción e ntre música, cultura y medioambiente  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͺͻ
ͳͺǤ Estructura del capítulo 3  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͻͷ
ͳͻǤ Definición del pr oblema de investiga ción  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͳͻͻ
ʹͲǤ Dimensiones de la investigación ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͲͳ
 ʹͳǤ Preguntas de i nvestig ación pa ra reso lver el probl ema pl anteado  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͲʹ
ʹʹǤ Objetivos gene rales q ue responden a las preguntas de investigación  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͲ͵
ʹ͵Ǥ C orrespondenci a entre di mensiones, pr eguntas y objeti vos de investigación  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͲͷ
ʹͶǤ Diseño de la inve stigación  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͳͲ
ʹͷǤ Captura de pantalla del análisis cualitativo con MaxQ DA  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͵ͻͻ
ʹ͸Ǥ Nube de código s Ǥ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͶͲͳ
ʹ͹Ǥ Visualización gen eral de la matriz de códigos Ǥ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͶͲ͵
ʹͺǤ Visual ización de la matri z de códigos con subcategorí as.  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͶͲͶ
ʹͻǤ Nube de p alabras de las en trevistas  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͶͲͷ
͵ͲǤ Subcategorías de información personal  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͶͲ͸
͵ͳǤ Subc atego rías de i nfo rmaci ón general del centro ed ucativo  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͶͲ͹

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 
͵ʹǤ Subcategorías de concepci ón de la educació n ambiental  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͶͲͻ
͵͵Ǥ Subcategorías de concepci ón del sonido  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͶͳͶ
͵ͶǤ Subcategorías de presencia de la te mática a nivel formativo  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ Ͷʹʹ
͵ͷǤ Subcategorías de contextu alización teórico-práctica  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ Ǥ Ͷ͵͵
͵͸Ǥ Subcategorías en las temát icas ambientales abordadas en el aula de música  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͶͶͲ
͵͹Ǥ Subcatego rías de identifica ción de probl emas ambient ales en el cent ro  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ Ͷͷ͵
͵ͺǤ Subcatego rías en los uso s d e la mú sica como recurso didáctico para la educación
ambiental  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ Ͷͷ͹
͵ͻǤ Subcategorías de contribución de la música a la educación ambiental  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ Ͷ͹͵
ͶͲǤ Subcategorías de identificación de p rob lem as en la aplicación d e la temática  ǤǤǤǤǤǤǤǤǤǤǤǤǤ Ͷ͹ͻ
ͶͳǤ Subcategorías de preocupación social sobre la temática ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ Ͷͻʹ
ͶʹǤ Subcategorías de beneficio de los proyectos interdisciplinares  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ Ͷͻ͸
Ͷ͵Ǥ Subcatego rías de equidad e inno vaci ón en la temática investigada  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷͲͷ
ͶͶǤ Princip ales hallazgos sobre las dimensiones investiga das  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷͳ͹
ͶͷǤ Relación en tre los halla zgos de la inv estigación con r especto a los objetivos,
dimensiones y pr eguntas d e investigación ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷ͵ͺ
Ͷ͸Ǥ The main pillars of sustainable develo pmen t inspired in Fien, Maclean, & Man- Gon
(2009)  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͷͶͳ


INDICE DE GRÁFI COS

ͳǤ Edad del profesorad o par ticipante ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͷͶ
ʹǤ Distribución de l os rangos de edad  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͷͷ
͵Ǥ Sexo d el profesorad o participan te Ǥ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͷ͸
ͶǤ Representación gráfica del nivel de docencia impartido  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͷ͹
͸Ǥ Representación gráfica de la provincia del centro educativo  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͷͺ
͹Ǥ Representación gráfica de la localización geogr áfica  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹ͸ ʹ
ͺǤ Antigüedad del prof esorado participant e  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹ͸͵
ͻǤ Repr esentación gráfica de los grupos de años de experiencia  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹ͸ͷ
ͳͲǤ Conocimiento s previos en e ducación ambiental  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤ ʹ͸ͻ
ͳͳǤ Conocimiento s previos sobre el uso de la música como recurso de educ ación
ambiental  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹ͹Ͳ
ͳʹǤ Representac ión gráfic a de l a tabla c ruzada de conoci mientos previos  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹ͹ͳ
ͳ͵Ǥ Represent ación g ráfica de l a tabla c ruzad a entre la formación interdisciplinar y
la ed ad del profe sora do  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹ͹͹
ͳͶǤ Representación g ráfica de l a tabla de co ntingencia entre l a formación
interdisciplinar y la antigüedad del profesorado  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹ͹ͺ
ͳͷǤ Representación gráfica de la formación en temáticas específicas ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͺͲ
ͳ͸Ǥ Represent ación g ráfica del grado de co ntribución de lo s distintos tipos de
educación  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͺ͵
ͳ͹Ǥ Repr esentación visual de grado d e relación entre contenidos  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͺ͸
ͳͺǤ Conocimiento de iniciativas musicales co ncretas para la educación ambiental  ǤǤǤǤǤǤǤǤ ʹͺ͹
ͳͻǤ Represent ación g ráfica del grado de prep aración del prof esorado  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ʹͻͲ
ʹͲǤ Represent ación g ráfica de l a tabla c ruzada para el tra tamiento de c ontenidos
ambientales e n el aula de música e n función de los a ños de experie ncia  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͵Ͳ͵
ʹͳǤ Representación gráfica de las diferentes temáticas tratadas  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͵ͲͶ
ʹʹǤ R epr e sentación grá fica del grad o de naturaliza ción del patio escola r  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͵ͳͷ
ʹ͵Ǥ Re presen tación grá fica del desa rrollo de actividades musicales en espacios
naturales  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ͵ͳ͸
ʹͶǤ ×  las d ificultades par a el desarrollo d e iniciativas
interdisciplinares  ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ ǤǤǤǤǤǤ ͵ʹʹ
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 
ͳͳͺǤ Test de chi-cuadrado para la valoración so bre el uso de l a temática en funció n de l a
partici pación de pro fesorad o .................................................................................................. .................... 3 45
ͳͳͻǤ Coeficiente de contingencia para la valo r ación sobre el uso de la temática en
función de l a pa rticipació n de p rofesorado .................................................................................... ..... 346
ͳʹͲǤ Test de chi-cuadrado para la valoración so bre el uso de l a temática en funció n de l a
modificaci ón del m aterial d idáct ico ........................................................................................... ............. 346
ͳʹͳǤ Coeficiente de contingencia para la valo r ación sobre el uso de la temática en
función de la modificaci ón de l mate rial didáctico ........................................................................... 3 46
ͳʹʹǤ Media de la perc epción so bre el impacto social de la t emát ica ................................................ 3 50
ͳʹ͵Ǥ Percepció n sobre el impac to social de la tem ática .......................................................................... 3 50
ͳʹͶǤ Test de chi-cuadrado para la percepción sobre el impacto social de la temática en
función de l a edad ............................................................................................................. ................................. 352
ͳʹͷǤ Tabla de contingencia para la percep ción sobre el impacto social de la temática en
función de l a edad ............................................................................................................. ................................. 352
ͳʹ͸Ǥ Tabla cruzada para la percepción sobre el impacto so cial de la temática e n funció n
de la ed ad .................................................................................................................... ........................................... 3 52
ͳʹ͹Ǥ Test de chi-cuadrado para la percepción sobre el impacto social de la temática en
función del nivel de l cent ro .................................................................................................. ......................... 35 3
ͳʹͺǤ Test de chi-cuadrado para la percepción sobre el impacto social de la temática en
función de l a local izació n d el ce ntro ......................................................................................... .............. 3 54
ͳʹͻǤ Test de chi-cuadrado para la percepción sobre el impacto social de la temática en
función de lo s conocimient os pre vio s en e ducación ambiental ................................................ 35 4
ͳ͵ͲǤ Test de chi-cuadrado para la percepción sobre el impacto social de la temática en
función de los co nocimiento s previos en el uso de la música co mo recurso de
concienc iación ambient al ...................................................................................................... ....................... 3 55
ͳ͵ͳǤ Test de chi-cuadrado para la percepción sobre el impacto social de la temática en
función del gr ado de rel aci ó n de cont enidos ................................................................................... ... 355
ͳ͵ʹǤ Coeficiente de contingencia para la pe rcepción sobre el impacto socia l de la
temática en función del gra do de relac ión de cont enidos ........................................................... 356
ͳ͵͵Ǥ Preocupaci ón sob re la te mát ica a mbiental...................................................................................... ... 35 6
ͳ͵ͶǤ Test de chi-cuadrado para la preocup ación por fomentar la temática en el aula en
función de l a edad ............................................................................................................. ................................. 357
ͳ͵ͷǤ Coeficiente de contingencia para la preo cupación por fomentar la temática en el
aula en función de la ed ad .................................................................................................... ........................ 3 57

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 
ͳ͵͸Ǥ Test de chi-cuadrado para la preocup ación por fomentar la temática en el aula en
función del nivel de l cent ro .................................................................................................. ......................... 35 8
ͳ͵͹Ǥ Test de chi-cuadrado para la preocup ación por fomentar la temática en el aula en
función de l a local izació n d el ce ntro ......................................................................................... .............. 3 58
ͳ͵ͺǤ Test de chi-cuadrado para la preocup ación por fomentar la temática en el aula en
función de la modificaci ón de mate rial di dáctico ............................................................................ 3 59
ͳ͵ͻǤ Test de chi-cuadrado para la preocup ación por fomentar la temática en el aula en
función del t ratamiento de c o ntenido s ambientales ...................................................................... 360
ͳͶͲǤ Coeficiente de contingencia para la preo cupación por fomentar la temática en el
aula en func ión del t ratami ento de c ontenido s ambien tales ..................................................... 360
ͳͶͳǤ Test de chi-cuadrado para la preocup ación po r fome ntar l a te mática en el aula e n
función de l a valo ración sobre el uso d e la misma........................................................................... 36 0
ͳͶʹǤ Coeficiente de contingencia para la preo cupación por fo mentar la temática en el
aula en func ión de l a valo ración so bre el u so de la misma ......................................................... 36 0
ͳͶ͵Ǥ Test de chi-cuadrado para la preocup ación por fome ntar la temática en el aula e n
función de l a perce pción sobre el impacto social ............................................................................. 362
ͳͶͶǤ Coeficiente de contingencia para la preo cupación por fomentar la temática en el
aula en función de la percepci ón sobre el impact o soci al ............................................................ 362
ͳͶͷǤ Valor medio de interés sobre l a aplica c ión didáct ica de la t emática .................................... 36 2
ͳͶ͸Ǥ Interés por l a apl icació n didác tica de la temát ica .......................................................................... 363
ͳͶ͹Ǥ Test de chi-cuadrado para el inter és sobre la aplica ción de la tem ática en función
de la ed ad del profesor ado .................................................................................................... ........................ 364
ͳͶͺǤ Coeficiente de contingencia para el i nteré s sobre la aplicación de la temática en
función de l a edad del p rofesorado ............................................................................................ .............. 365
ͳͶͻǤ Coeficiente de correl ación de Pearson p ara el inte rés sobre la a plicación de la
temátic a en funció n de l a edad del prof esorado ............................................................................... 365
ͳͷͲǤ Test de chi-cuadrado para el inter és sobre la aplica ción de la tem ática en función
del nivel del centro educ ativo ................................................................................................ ...................... 3 66
ͳͷͳǤ Coeficiente de contingencia para el i nteré s sobre la aplicación de la temática en
función del nivel del c e ntro educ ativo ........................................................................................ ............ 366
ͳͷʹǤ Tabla cruzada para el inte rés sobre la ap licació n de la temática en función del
nivel del c entro e ducativo .................................................................................................... ......................... 36 6
ͳͷ͵Ǥ Test de chi-cuadrado para el inter és sobre la aplica ción de la tem ática en función
de la lo calizac ión del centr o ................................................................................................. ....................... 36 7

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 
ͳͷͶǤ Test de chi-cuadrado para el interés sobre la aplicación de la temática en función
de la modificació n del mate rial did áctico ..................................................................................... ....... 36 7
ͳͷͷǤ Coeficiente de contingencia para el i nteré s sobre la aplicación de la temática en
función de la modificació n de l materi al didáct ico ........................................................................... 3 68
ͳͷ͸Ǥ Tabla cruzada para el inte rés sobre la apli cación de l a temática en funció n de la
modificaci ón del m aterial d idáct ico ........................................................................................... ............. 368
ͳͷ͹Ǥ Test de chi-cuadrado para el interés sobre la aplicación de la temática en funció n
del tratami ento de cont enido s sobre la misma ................................................................................. 369
ͳͷͺǤ Test de chi-cuadrado para el interés sobr e la aplicación de la temática en funció n
de la v aloraci ón sobre su uso ................................................................................................. ...................... 3 69
ͳͷͻǤ Coeficiente de correl ación de Pearson p ara el inte rés sobre la a plicación de la
temátic a en funció n de l a v aloraci ón sobre s u uso .......................................................................... 37 0
ͳ͸ͲǤ Test de chi-cuadrado para el interés sobre la aplicación d e la temática en función
de la pe rcepció n so bre el impac to so cial de la mis ma ................................................................... 371
ͳ͸ͳǤ Coeficiente de contingencia para el i nteré s sobre la aplicación de la temática en
función de la perce pción so bre el impac to soc ial de l a misma .................................................. 371
ͳ͸ʹǤ Test de chi-cuadrado para el interés sobre la aplicación de la temática en función
de la preo cupaci ón por el medioambiente ....................................................................................... .... 372
ͳ͸͵Ǥ Percepció n sobre la impo rtanci a a ni vel educat ivo ........................................................................ 37 2
ͳ͸ͶǤ Test de chi-cuadrado para la percepción sobre l a impo rtancia a ni vel educativo en
función de l a edad del p rofesorado ............................................................................................ .............. 373
ͳ͸ͷǤ Test de chi-cuadra do para la percepció n so bre la i mportancia a nivel educativo e n
función del nivel de l centro .................................................................................................. ......................... 37 4
ͳ͸͸Ǥ Test de chi-cuadrado para la percepción sobre l a impo rtancia a nivel educativo en
función de l a local izació n d el ce ntro ......................................................................................... .............. 3 74
ͳ͸͹Ǥ Valores medio s de p ercepci ón so bre la ac ogida por pa rte del al umnado ........................... 3 78
ͳ͸ͺǤ Percepció n sobre la comp rensió n por pa rte del alumn ado ........................................................ 378
ͳ͸ͻǤ Percepció n sobre la impl icac ón por p arte del alum nado ............................................................ 37 9
ͳ͹ͲǤ Test de chi-cuadra do para la comp rensió n e implicación del al umnado con relación
a la tem ática in vestigad a ..................................................................................................... ......................... 3 79
ͳ͹ͳǤ Coeficiente de contingencia para la co mprensió n e im plicación del alumnado con
relació n a la temátic a inve st igada ............................................................................................ ............... 37 9
ͳ͹ʹǤ Test de chi-cuadrado para la percepción so bre la co m prensión del alumn ado en
función de l a temát ica ........................................................................................................ ............................. 380

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 
ͳ͹͵Ǥ Test de chi-cuadrado para la percepción sobre la com prensión del al umnado en
función del tipo de cent ro .................................................................................................... .......................... 380
ͳ͹ͶǤ Valorac ión medi a sobre la aplicaci ón did áctica de l a t emática .............................................. 381
ͳ͹ͷǤ Valorac ión sobre l a apl icac ión didác tica d e la te mátic a ............................................................. 381
ͳ͹͸Ǥ Test de chi-cuadra do para la percepció n so bre la aplicación didáctica en fu nción de
la preoc upaci ón del profes orado por l a temát ica amb iental .................................................... 382
ͳ͹͹Ǥ Coeficiente de contingencia para la perc epción sobre la aplicación didáctica en
función de l a preoc upaci ón del prof esorado por la t em ática ambient al ............................ 3 83
ͳ͹ͺǤ Test de chi-cuadrado para la percepción sobre la aplicación didáctica en fu nción
del interés del pro fesorado por dicha cuesti ón ................................................................................ .. 384
ͳ͹ͻǤ Coeficiente de contingencia para la perc epción sobre la aplicación didáctica en
función del int erés del prof esor ado por dic ha cu estión ................................................................ 384
ͳͺͲǤ Coeficiente de corr elación de Pear son para la perc epción sobre la ap licación
didáctica en función del i nterés del pr o fesor ado por dic ha cuestió n .................................... 3 85
ͳͺͳǤ Test de chi-cuadrado para la percepción so bre la aplicación didáctica en función de
la co mprensió n por p arte d el al umnado ......................................................................................... ...... 3 85
ͳͺʹǤ Coeficiente de contingencia para la perc epción sobre la aplicación didáctica en
función de l a compre nsión por p arte del alum nado ....................................................................... 38 6
ͳͺ͵Ǥ Test de chi-cuadrado para la percepción so bre la aplicación didáctica en función de
la implicació n por parte del alumnado .......................................................................................... ........ 3 86
ͳͺͶǤ Coeficiente de contingencia para la percepción sobre la aplicación didáctica en
función de l a implic ación por pa rte del alumna do .......................................................................... 38 6
ͳͺͷǤ Test de chi-cuadrado para la valoración sobr e la aplicación didáctica de la
temáti ca en func ión de l a edad ................................................................................................ .................. 3 87
ͳͺ͸Ǥ Coeficiente de contingencia para la valora ción sobre la aplicación didáctica de la
temáti ca en func ión de l a edad ................................................................................................ .................. 3 87
ͳͺ͹Ǥ Coeficiente de corr elación de Pe arson pa ra la valoración sobre la aplicación
didáctica de la t emátic a en funció n de la eda d ................................................................................ . 388
ͳͺͺǤ Test de chi-cuadrado para valoración sobr e la aplicación didáctica de la temática
en función del nive l del cen tro ............................................................................................... ..................... 3 88
ͳͺͻǤ Test de chi-cuadrado para valoración sobr e la aplicación didáctica de la temática
en función de la l ocali zación del centro ....................................................................................... .......... 389
ͳͻͲǤ Perspectiv as sobre l a temát ica ................................................................................................ ................... 39 2
ͳͻͳǤ Sistema de c ategorí as y sub catego rías utilizado en el análisis de las ent revistas. ......... 4 00

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 
ͳͻʹǤ Resumen de l os có digos an alizado s. ........................................................................................... ............. 401
ͳͻ͵Ǥ Segmentos de texto selecc ionado s en cada e ntrevi sta. .................................................................. 4 02
ͳͻͶǤ Valores de se xo, ed ad y a ños de e xperienc ia do cente de los ent revistados. ........................ 4 07
ͳͻͷǤ Informació n general de l os centro s educati vos partic ipantes en la ent revista. ............... 40 8
ͳͻ͸Ǥ Segmentos codificados e n cada s ubcateg oría de conce pción de la educación
ambiental. .................................................................................................................... .......................................... 40 9
ͳͻ͹Ǥ Referencias al punto de vist a docente en la co ncepción de la educ ación a mbiental .... 410
ͳͻͺǤ Referencias a l a presencia en el currículum en la conc epción de la educación
ambiental ..................................................................................................................... .......................................... 411
ͳͻͻǤ Referencias a la sen sibilidad por el en torno natural en la concepción de la
educación a mbiental ............................................................................................................ ............................ 4 12
ʹͲͲǤ Referencias a l a conexión e mocional y pe rs onal en la c oncepción de l a educación
ambiental ..................................................................................................................... .......................................... 413
ʹͲͳǤ Referencias a la educac ión cívic a en la c oncepció n de l a educación ambient al .............. 4 14
ʹͲʹǤ Segmentos codific ados en c ada subcateg oría de conc epción del sonido ............................. 415
ʹͲ͵Ǥ Referencias a la contami nació n en la co ncepción d el so nido .................................................... 416
ʹͲͶǤ Referencias a la preocup ación po r los efecto s negativo s del ruido ........................................ 4 16
ʹͲͷǤ Referencias a la valo ra ción del sil encio ..................................................................................... ............ 41 7
ʹͲ͸Ǥ Referencias a l a sensibilida d por el sonido a nivel pers onal ....................................................... 4 18
ʹͲ͹Ǥ Referencias a l a sensibilida d por el sonido a nivel social ............................................................. 4 18
ʹͲͺǤ Referencias a l a función em ocio nal del so nido ................................................................................ .. 419
ʹͲͻǤ Referencias a la concepci ón del so ni do co mo p arte del ecosist ema ....................................... 419
ʹͳͲǤ Referencias a la evolució n histórica del sonido en el ec osist ema ............................................ 420
ʹͳͳǤ Referencias a la concepció n del so nido des de el punt o de vista físico ................................... 420
ʹͳʹǤ Referencias a la acú stic a de lo s espacios .................................................................................... .......... 4 21
ʹͳ͵Ǥ Segmentos codificados e n cada s ubcategoría de prese ncia de la temática a nivel
formativo ..................................................................................................................... ........................................... 4 22
ʹͳͶǤ Referencias a la for mación del alumna do ...................................................................................... ...... 4 2 3
ʹͳͷǤ Referencia s a la identificaci ón de pro blemas a nivel for mativo ............................................... 4 23
ʹͳ͸Ǥ Referencias a la conc ienciaci ón del alumn ado en e ntor nos rural es y u rbanos ............... 42 4
ʹͳ͹Ǥ Referencias a l as reaccione s del alum nado cu ando recibe form ación en la te mática . 425
ʹͳͺǤ Referencias a comporta miento s del alum n ado en el centro educativo ................................ 4 26
ʹͳͻǤ Referencias a l a transmisió n in direct a a nivel fo rmativ o ............................................................ 4 27
ʹʹͲǤ Referencias a probl emas re lacio nados co n la transmi si ón indirect a .................................... 42 8

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 
ʹʹͳǤ Referencias ex periencias de formación cient í fica po r el profeso rado de m úsica ............ 42 8
ʹʹʹǤ Referencias a la for mación de maner a autó noma........................................................................... 4 29
ʹʹ͵Ǥ Referencias a experienci as individu ales en la formac ión unive rsitaria ............................... 4 29
ʹʹͶǤ Referencias a curso s especí ficos re cibidos en la te mática ........................................................... 430
ʹʹͷǤ Referencias a la conciencia ción am biental de c ada doc ente ..................................................... 4 30
ʹʹ͸Ǥ Referencias a la perc epción personal sobre la s necesidade s fo rmativ as ............................. 4 30
ʹʹ͹Ǥ Referencias a la influenci a de l as moda s e n la for maci ón del pro fesorado ........................ 43 1
ʹʹͺǤ Referencias a las áre as y ni veles de for mación es pecífi cos ......................................................... 431
ʹʹͻǤ Referencias a la for mación autóno ma del pro fesorado ................................................................ 432
ʹ͵ͲǤ Referencias a críticas so bre la fo rmació n del pro fesorado ......................................................... 43 2
ʹ͵ͳǤ Segmentos codificados e n cada s ubcategoría de presencia de contextu alización
teóric o-prácti ca .............................................................................................................. .................................... 43 3
ʹ͵ʹǤ Referencias a l as diferencias en l a aplicació n de la te mática en los dife rentes nivel es 4 34
ʹ͵͵Ǥ Referencias a la identificaci ón de prob l emas en l os disti n tos niveles .................................... 43 5
ʹ͵ͶǤ Referencias a las caracte rístic as del al umnado en lo s dist int os niveles .............................. 435
ʹ͵ͷǤ Referencias a las caracte rísticas del entorno del centro .............................................................. 436
ʹ͵͸Ǥ Referencias al ruido en el e nto rno de tr abajo ................................................................................. ... 436
ʹ͵͹Ǥ Referencias a la act itud observad a en el alumnado del centro ................................................ 437
ʹ͵ͺǤ Referencias a caract erístic as relacio nadas con l a doce ncia ...................................................... 437
ʹ͵ͻǤ Referencias a la influenci a de la s modas e n el ce ntro .................................................................... 437
ʹͶͲǤ Referencias a la vol untad de mejo rar el entorno del centro ...................................................... 438
ʹͶͳǤ Referencias a l as deficiencias en el ent orno de trab ajo ................................................................ 438
ʹͶʹǤ Referencias a pedagogos y músicos rel a cionados c on la in ve stigació n ............................... 439
ʹͶ͵Ǥ Referencias a iniciativas y organiz aciones rel acion adas c on la i nvestigació n ................ 440
ʹͶͶǤ Segmentos codificados e n cada s ubcateg oría de usos temáticas ambientales
abordad as en el aul a de música ................................................................................................ ................. 4 41
ʹͶͷǤ Referenc ias a la tem ática d e las bot ell as de plást ico ..................................................................... 4 42
ʹͶ͸Ǥ Referencias a la tem ática d el c onsumismo ...................................................................................... .... 44 2
ʹͶ͹Ǥ Referencias a la tem ática d e la c ontamin ación ................................................................................ 443
ʹͶͺǤ Referencias a la tem ática d e plást icos y recicl aje ............................................................................ 443
ʹͶͻǤ Referencias a varied ad de prob lemát icas específica s .................................................................... 44 4
ʹͷͲǤ Referencias a la tem ática d e la co ntamin ación acúst ica ............................................................. 445
ʹͷͳǤ Referencias a la tem ática d e sonido s de la c iudad ........................................................................... 4 45
ʹͷʹǤ Referencias a la tem ática d e cuer po y s alud ................................................................................... .... 446

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 
ʹͷ͵Ǥ Referencias a la temática d e efectos de l ruido en el cue rpo h umano .................................... 4 47
ʹͷͶǤ Referencias a la temáti ca de mate riales de const rucción de in stru mentos ....................... 447
ʹͷͷǤ Referencias a la temáti ca de co mp osiciones y su cont exto ......................................................... 4 48
ʹͷ͸Ǥ Referencias a relaciones con la m úsica t radicional ........................................................................ 449
ʹͷ͹Ǥ Referencias a la tem ática d e valo res educat ivos .............................................................................. 449
ʹͷͺǤ Referencias a la temátic a de emocio nes asociad as a l a música ............................................... 449
ʹͷͻǤ Referencias a la tem ática d e lo s cicl os natural es ............................................................................. 450
ʹ͸ͲǤ Referencias a la temática d e se res vivos y ecosiste mas ................................................................. 451
ʹ͸ͳǤ Referencias a la tem ática d e sonido s del entorno ............................................................................ 4 51
ʹ͸ʹǤ Referencias a las concepcio nes fi lo sóficas de l a músic a ............................................................... 451
ʹ͸͵Ǥ Referencias a la tem ática d e matem áticas de la música .............................................................. 45 2
ʹ͸ͶǤ Referencias a la tem ática d e la mú sica de las es feras .................................................................... 4 52
ʹ͸ͷǤ Referencias a la tem ática d e propi edade s acúst icas ...................................................................... 4 53
ʹ͸͸Ǥ Segmentos codificados e n cada s ubcategoría de identif icación de p roblemas
ambientales e n el c entro ...................................................................................................... .......................... 454
ʹ͸͹Ǥ Referencias a la probl emátic a de la c ontaminació n ac ústic a ................................................... 455
ʹ͸ͺǤ Referencias a prob lemas a prob lemas de impact o pais ajístic o ................................................ 456
ʹ͸ͻǤ Referencias a la p roblemát ic a del consumi smo ................................................................................ 4 56
ʹ͹ͲǤ Referencias a prob lemas de salud ............................................................................................... .............. 4 57
ʹ͹ͳǤ Segmentos codificados en cada subcategoría de usos de la música como recurso de
concienc iación ambient al ...................................................................................................... ....................... 4 58
ʹ͹ʹǤ Referencias al análisis de o bras musi cales inspira das en el medio ........................................ 4 58
ʹ͹͵Ǥ Referencias a composicio nes music ales re lacio nadas con l a investigac ión ....................... 459
ʹ͹ͶǤ Referencias a acciones d e const r ucción de in strum ento s ............................................................ 4 59
ʹ͹ͷǤ Referencias a la construcci ón de un semáfo ro del r uido .............................................................. 4 60
ʹ͹͸Ǥ Referencias al desa rroll o de l a escucha activa ................................................................................ .. 460
ʹ͹͹Ǥ Referencias a acciones d e dramat ización sob re elemento s de la natural eza ................... 46 1
ʹ͹ͺǤ Referenc ias a l a grabación de sonido s del e ntorno ......................................................................... 461
ʹ͹ͻǤ Referencias al interca mbio de expe riencias c on ot ros ce ntros ................................................. 4 61
ʹͺͲǤ Referencias a letras de c an ciones rela cio nadas c on el medioambiente ............................... 4 62
ʹͺͳǤ Referencias a la real izació n de entrevist as a c iudadan os ........................................................... 46 2
ʹͺʹǤ Referencias a la real izac ió n de excursio nes ................................................................................... ..... 462
ʹͺ͵Ǥ Referencias a la real izació n de mate rial audio visual sobre l os efecto s del ruido ........... 4 63
ʹͺͶǤ Referencias a acciones d e elabo r ación de mapas sono ros .......................................................... 4 63

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 
ʹͺͷǤ Referencias a accio nes de r educció n del uso de plást ico s ............................................................ 46 3
ʹͺ͸Ǥ Referencias a ac ciones d e reflexión so bre los sonido s de l ento rno ......................................... 464
ʹͺ͹Ǥ Referencias a la real izació n de debate s y ex posicio nes ................................................................. 4 64
ʹͺͺǤ Referencias a acciones d e so no rización de c uento s ........................................................................ 465
ʹͺͻǤ Referencias a acciones d e valorac ión de la música t rad icional................................................ 465
ʹͻͲǤ Referencias al traba jo por pro yectos ......................................................................................... ............. 46 5
ʹͻͳǤ Referencias a cuestio nes organizat ivas ....................................................................................... .......... 466
ʹͻʹǤ Referencias a p royectos de investigac ión ..................................................................................... ........ 46 7
ʹͻ͵Ǥ Referencias a proyectos de transf or mació n del patio es col ar ................................................... 468
ʹͻͶǤ Referencias al Pro xecto T erra ................................................................................................ ..................... 46 8
ʹͻͷǤ Referencias a p royectos sobre al iment ación sal udabl e ................................................................ 468
ʹͻ͸Ǥ Referencias a proyectos so bre cons trucci ón de instru mentos ................................................... 4 69
ʹͻ͹Ǥ Referencias a p royectos sobre c ontamin ación ac ústic a ............................................................... 469
ʹͻͺǤ Referencias a proyec tos cul turales ........................................................................................... ................ 470
ʹͻͻǤ Referencias a la implicac ión de cienci as soc iales ............................................................................ . 471
͵ͲͲǤ Referencias a la implicac ió n de física y químic a ............................................................................. .. 471
͵ͲͳǤ Referencias a la impl icación de l engu a y lit eratu ra ....................................................................... 4 7 1
͵ͲʹǤ Referencias a la impl icació n de plást ica y artes .............................................................................. .. 472
͵Ͳ͵Ǥ Referencias a la implicac ión gl o bal de ot ras mat erias .................................................................. 4 72
͵ͲͶǤ Segmentos codificados e n cada s ubcategoría de contri buciones de la música a la
educación a mbiental ............................................................................................................ ............................ 4 73
͵ͲͷǤ Referencias a l as contribucio nes de la música co mo recurso co municativo de l a
probl emática ambient al ........................................................................................................ ........................ 4 75
͵Ͳ͸Ǥ Referencias a las contribuciones de la mú sica como recurso de sensibilización sobre
la prob lemáti ca ambie ntal ..................................................................................................... ...................... 4 76
͵Ͳ͹Ǥ Referencias a l as contribucio nes de la música co mo recurso de reflexió n sobre l a
probl emática ambient al ........................................................................................................ ........................ 4 77
͵ͲͺǤ Referencias a l a s contribuci ones de la música co mo recurso práctico para
interioriz ar cont enidos de t emát ica ambient al ................................................................................ 478
͵ͲͻǤ Referenc ias a las co ntribuc ione s de la música como re curso para e stimul ar la
percepció n so bre la pro ble mátic a ambient al .................................................................................... . 479
͵ͳͲǤ Segmentos codificados e n cada s ubcategoría de identif icación de p roblemas en la
temáti ca ...................................................................................................................... ............................................ 4 80
͵ͳͳǤ Referencias a la falta de fo rmac ión en educació n ambi ental .................................................... 481

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͵ͳʹǤ Referencias a falta de formació n en pro yectos int erdis ciplinares .......................................... 4 82
͵ͳ͵Ǥ Referencias a la falta de formació n en músic a ................................................................................ .. 482
͵ͳͶǤ Referencias a la falt a de ex perienci a ........................................................................................ ............... 483
͵ͳͷǤ Referencias a la falta de co ordinació n docent e ............................................................................... .. 483
͵ͳ͸Ǥ Referencias a la falta de mo t ivació n e iniciativ a ............................................................................ .. 484
͵ͳ͹Ǥ Referencias al aislamie nto en el desarrol lo de inic iativ as ........................................................... 4 84
͵ͳͺǤ Referencias a prob lemas or ganizati vos......................................................................................... ........ 4 85
͵ͳͻǤ Referencias a prob lemas de adaptaci ón al cu rríc ulum ................................................................ 48 6
͵ʹͲǤ Referencias a la falta de enfo ques transver sales ............................................................................. . 487
͵ʹͳǤ Referencias a la falt a de re cursos t emporal es................................................................................. ... 488
͵ʹʹǤ Referencias a críticas a l a i nstituc ión educativ a ............................................................................ .. 489
͵ʹ͵Ǥ Referencias a prob lemas co n lo s recurso s espac iales .................................................................... 4 89
͵ʹͶǤ Referencias a dificultades en l a adapt a ción a los inte re ses del alu mnado ......................... 4 90
͵ʹͷǤ Referencias a la falta de c oncienc ia social sobre la tem ática .................................................... 491
͵ʹ͸Ǥ Referencias a la falta de ap oyo po r parte de las familia s ............................................................ 491
͵ʹ͹Ǥ Segmentos codificados e n cada s ubcategoría de preocupación social so bre la
temáti ca ...................................................................................................................... ............................................ 4 92
͵ʹͺǤ Referencias a la respo nsabil idad doce nte en la tem ática inve stigada ................................. 4 93
͵ʹͻǤ Referencias a la respo nsabil idad soci al en la t emática invest igada ...................................... 49 5
͵͵ͲǤ Referencias a la respo nsabil idad del a r tista e n la te máti ca investig a da ............................ 4 96
͵͵ͳǤ Segmentos codificados e n cada s ubcategoría de benefi cios de lo s proyectos
interdiscipl inares ............................................................................................................ ................................... 497
͵͵ʹǤ Referencias a la adapt ación a necesi dad es ed ucativas especial es .......................................... 497
͵͵͵Ǥ Referencias a la compete ncia de aprende r a a prender ................................................................. 49 8
͵͵ͶǤ Referencias a l as compet en cias digitale s ..................................................................................... ......... 4 98
͵͵ͷǤ Referenc ia s al d esa rrollo de la s intel igencias múltipl es ............................................................... 49 9
͵͵͸Ǥ Referencias a la ed ucación para t oda la vida ................................................................................. .... 49 9
͵͵͹Ǥ Referencias a l as habilidad es de invest igación ............................................................................... ... 5 00
͵͵ͺǤ Referencias al trata miento transver s al de v alores ed ucativo s ................................................. 5 00
͵͵ͻǤ Referencias a la ca pacid ad crític a ........................................................................................... ................. 501
͵ͶͲǤ Referencias al desa rroll o de la c reati vidad .................................................................................. ....... 5 01
͵ͶͳǤ Referencias a habilidades c omunicati vas ...................................................................................... ....... 5 02
͵ͶʹǤ Referencias a la motiv ación de l a curio sidad ................................................................................. .... 5 02
͵Ͷ͵Ǥ Referencias al traba jo autó nomo ............................................................................................... ............... 5 03

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
͵ͶͶǤ Referencias a compet encias so cial es y cívic as ................................................................................. ... 5 03
͵ͶͷǤ Referencias al traba jo co operativo ............................................................................................ .............. 50 4
͵Ͷ͸Ǥ Referencias al traba jo inter generacional ...................................................................................... ....... 5 04
͵Ͷ͹Ǥ Segmentos codificados e n cada s ubcategoría de eq uidad e inno vación en la
temáti ca invest igada .......................................................................................................... ............................. 505
͵ͶͺǤ Referencias a valoracio nes positiva s so bre la i nvestiga ción ...................................................... 50 6
͵ͶͻǤ Referencias a valoracio nes negativa s so bre la investigac ión .................................................... 507
͵ͷͲǤ Referencias a la pers pectiv a de futu ro sobre la in vesti gación .................................................. 5 08
͵ͷͳǤ Referencias a proyec tos fut uros rel acion ados .................................................................................. . 509
͵ͷʹǤ Referencias a la conexión i nterdisc iplin ar .................................................................................... ....... 51 0
͵ͷ͵Ǥ Referencias a l a conexión d e la materia de música con co ntenidos
medioambiental es .............................................................................................................. ............................... 511
͵ͷͶǤ Referencias a la conexión de l a inve stigac ión con v alore s de equi dad ................................. 511
͵ͷͷǤ Referencias a val ores de equidad e specí ficos ................................................................................. ... 51 2

L AURA T OJEIRO P ÉREZ
͸
x   ͳ    on tologica l appr oach      ǡ  
            Ǥ  
                 ȋ   ǡǡ
Ȍ         ȋ    ǡ
 ǡ   Ȍ   Ǥ
x   ʹ    educational approach      ǡ  
    Ǥ   ǡ  
    ǡ              ǡ            
       ǡ        
            ǡ                       
     ǡ ǡ   Ǥ
x   ͵   empirical approach      ǡ    
                                                           
            Ǥ 
         ǡ        
     Ǥ
x  Ͷ   conclusions      ǡ      
                   
                                        Ǥ                ǡ 
ǡ                            
      Ǥ
           ǡ      
                
  ǡǡ  ǡ 
ǡ         Ǥ 
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1. C apítulo 1: Enfoques ontológicos de
la músi ca
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Dz    ǡ   ×   
     Ǥ       
    Ǥ         
                         ×        Ǥ                 
dzȋǡͳͻ͹ͲǡǤͳͷȌǤ
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L AURA T OJEIRO P ÉREZ
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   À       ×    ×ǡ    
  ×     ×   
 ï      Àǡ×      Ǥ   À   
           ǡ                   
       ȋǡ ʹͲͳͺȌǤ    ǡ    
  ǡ           
     Àǣ  ×ǡ  Àǡ   À   À Ǥ   
    ǡ              ï                                   À      ǡ                       
  À                    Ǥ             ×              
 ǡ   × Ǥ 
   ï      À ǡ    ×  
    ǡ ×ǡ × ǡ ×     
 ï                         ×                                       ǡ              À   
       ×Ǥ    ͳ                                    
  ×     ǡ             ×                                          ǣ 
ͳǤ   ǡ    perspectiva evol utiva      ï     ǡ              
  À                         ×  ǡ   À                  ×     
                 ×     Ǥ                                
À musico logí a evolut iva ǡ    Ǥ
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ʹǤ               ǡ            perspectiva bio ló gica      ï     ǡ              
 ×   ×  ǡ  ×    ïǡ  
ǡÀ      × 
     Ǥ         À    
biomusicología ǡ±  . 
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͵Ǥ              ǡ            perspectiva zoológica      ï     ǡ                
                                                ǡ   À     × 
   Ǥ           
  À   zoomusicología ǡ        Ǥ 
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Capítulo 1: Enfoques ontológic os de la música
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ͶǤ  ǡ   perspectiva ecológica    ïǡ  ï  
   ǡ  À ïǡ
     × ïǤ         
À ecom usicología ǡ    Ǥ
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ͷǤ ǡ    perspectiva in terdisciplinar ǡ        
     ×     ï   ǡ  
        Ǥ   À   
 À                             ǡ            
ÀʹǤ 
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ͳ Ǥ Estructura del capítulo 
        ×           À                      À                
      ï                             × ǡ 
  Ǥ           ×  ±  ×  
 ȋǡ ʹͲͳ͵Ȍǡ            
       ǡ    ×   ±     
                       Ǥ          
1. La
perspectiva
evolutiva
2. La
perspectiva
biológica
3. La
perspectiva
zoológica
4. La
perspectiva
ecológica
5. La
perspectitva
interdisciplinar

L AURA T OJEIRO P ÉREZ
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 ǡ       ï        
       ǡ                   ×                    ×       ǡ   
±     ±       ǡ ǡ Àǡ ×  ǡ
 Ǥ
    ǡ  ï        Àǡ   
                
Ǥ  ×ǡ                
 ï   À    Ǥ        ǡ                      
       ǡ    
            ǡ     ï 
± ǣ
 ǡ  ǡ                   ±     ǡ         
ǡ    ǡ      À   
                 ×              ï    Ǥ                     
       ǡ  À ǡ     ×
   ±     Ǥ               ǡ                   ±                      ǡ            
   ǡ       
 ǤȋǦ ǡͳͻͻͺǡǤͳͳȌ 
     ǡ  ï                         ×   À 
  ǡ      ×      
               ǡ                                 Ǥ           
    ×ǡ              À  
       Ǥ ǡ 
     ×             ï
                                                    Ǥ   ïǡ  
            ×                                      À                
 ǡ           ǡ      
         ǡ      ï                                         ×Ǥ    
    ×           
     ǡ       ×ǡ À  
   Ǥ 

Capítulo 1: Enfoques ontológic os de la música
ͳͳ
1.1. LA PE RSPECTIVA EVOLU TI VA
          ǡ     ×   ǡ   À        
                              × × 
ǡ    ï    ×   Ǧ   
ǡ  ±   ǡ    
 ȋǡ ʹͲͲͳȌǤ   ï   arte del tiempo  
    À      ± ǡ       ǡDz
                                   ǡ      ×                  
ïdzȋǡʹͲͳͶǡǤͶͻȌǤ
        ×     ×    × ǡ   
                                                      Ǥ     
  ×Ǥ 
ï ǡ     × ×   ǡ             
    ǣ  ±   × ȋǡ ʹͲͲ ͶȌǤ  ǡ   ǡ À
     ǡ          
  ȋǡ ʹͲͳʹȌǤ    ǡ    À      À
            ×   ȋǡ
ǡƬǡʹͲͲͳȌǤ
   Ó×   ȋͳͻͺͳȌ ȋͳͻͺͳȌǡ  ×    À   × 
   ×            ǡ   À                                     ïǡ      
               Ǥ   À  
    ×      × ǡ                  À          
 ï                  ǡ                            ×     Ǥ           Ó          Ǧ       
ȋͳͻͻͺȌǡ                 ǡ × 
         ×                 ǣ  Ǭ  ×           ×   
 ï     ǫ             ǡ    ï     ǡ                       ǡ    
 À             ȋǡ ʹͲͳʹȌǤ     Dz 
        ×     ï        À            ǡ                ǡ           
dzȋǤͳͲͻȌǤ

L AURA T OJEIRO P ÉREZ
ͳʹ
El o rigen de l a mú sica
          À   À   
               ï        ǡ            × 
ïǡ     × ×Ǥ
 Ó  Ǥ ȋʹͲͲͳȌǡ       ǡ       
 ×        ȋ ͵ͷ ǤͲͲͲ ÓȌǡ    
                                                       ×  
   × Ǥ ± Ƭ  ȋʹͲͳ͹Ȍ     ×               
×               
 ǣ Dz     ×     ǡ  ±   
       À      
  dzȋǤͳͺȌǤ
ǡ  Ǥ ȋ ʹͲͲͳȌ Ó          
    ͶͶǤͲͲͲ  Óǡ  
  ͳͻͻͷǡ     ǯ  Ǥ ȋʹͲͲ ͵Ȍ        
                     ǡ  ͵͸ǤͲͲͲ
ÓǤ    ǡ   Ǥ ȋʹͲͲͳȌ  Ó           ×                 
                                                 Ͷ Ͳ Ǥ ͲͲͲ  ͷ͵ǤͲͲͲ Óǡ   
  À     Ǥ  ȋʹͲͲͷȌ           Dz          ͵ Ͳ Ǥ Ͳ Ͳ Ͳ 
Ó  ǡ ×dzȋǤʹ͹ȌǤ
               ǡ             À                               ×   
 ǡ    ï  Ó  
       ǡ    ±   ǡ ǡ  
×ȋƬ ǡʹͲͳͷȌǤ×  × ǡ
                                                               À                      
  ȋ  ǤǡʹͲͲͳȌǤ   Ó  ȋʹͲͳͶȌǡ   
      À               ǡ          
À        ï                          Ǥ   ǡ
 ȋʹͲͲͷȌ       ï     À   
      ǡ                        ǡ           À               

Capítulo 1: Enfoques ontológic os de la música
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Ǥ   ǡ  Ǥ ȋʹͲͲͳȌ Ó       Ó × 
 ï   Ǥ
ǡ  × 
                  ×                       
       ȋǡ ʹͲͲͶȌǤ         
                  ï                ǡ                     À Dz 
À  ï      dz ȋǤͳʹȌǤ ǯ         Ǥ ȋ ʹ Ͳ Ͳ ͵ Ȍ   Ó          
               À   
 ×  ǡ   
           Ǥ     Àǡ  Ǥ ȋʹͲͲͳȌ
  ǡ Ó              
  × ǡ   Ǥ
      ǡ 
                            ×            ǡ             Ó  ï   
               À     Ǥ           ǡ              
 À  ï    ǡ        
                           Ǥ              ǡ  ǯ          Ǥ ȋʹͲͲ͵Ȍ   ǡ  
×          ǡ   × per se 
À      ǡ       ï  Ǥ    ǡ  
ǡ   × ×× ǡ
           À  ± Ǥ  ǡ 
 ×           ǡ  ×   
                   ǡ          ±                                 ï                ǡ Dz       
             ǡ    
    dzȋǤǡʹͲͲͳǡǤͳͲȌǤ
 ǡ  Ó ȋʹͲͳͶȌǡ      À
             ï        Ǥ  
                                                    ǡ              Ó                
        ×  ǡ 
      Ǥ  ×      ×ǡ     

L AURA T OJEIRO P ÉREZ
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×  Ó                 
ǡ ǣ
x  ȋʹͲͳʹȌ Ó           ïǡ   ï
                                            ǡ                
±Ǥ 
x  ȋʹͲͲͳȌ Ó   ï       ǡ  ǡ 
      ǡ                         
  Ó Ǥ 
x  ȋͳͻͺͳȌ Ó   ï          ǡ
   ǡ             À   ×
   Ǥ 
x ǯ Ǥ ȋʹͲͲ͵Ȍ      ï      ǡ 
                             ǡ                             À
  Ǥ 
x    ȋʹͲͳͳȌ  Ó    ï       ǣ
            ǡ Dz           ǡ ×ǡ ×
±dzȋǤͳͶͳȌ   Ǥ
x  Ǥ ȋʹͲͲͳȌ Ó           ï     ǡ             
    ǡ             
ǡ ï Ǥ
x       Ƭ          ȋ ʹ Ͳ Ͳ ͵ Ȍ   Ó        ǡ                                     ǡ   
   ǡ        ǡ        
 ïǤ
x  ȋʹͲͳ͵Ȍ   Dz   ×      
   dz ȋǤͳ͵ȌǤ 
x  ȋʹͲͲ͹Ȍ Ó         ǡ  ±  music ofili a,
       ǡ         
Ǥ
x  ȋʹͲͲ͵Ȍ            
        Ǥ


Capítulo 1: Enfoques ontológic os de la música
ͳͷ
   ×  ï        ±  
À Ǥ   ǡ                                        
 ǡ           ȋ  Ƭ ǡ ʹͲͲ͵Ȍ Ǥ 
×××ïǡ    À    
À         ×                   Ó           
ȋʹͲͳͶȌǡ Dz×  ǡ × ǡ ×   ×       
×      ±       ×  ×  
×dzȋǤͷͳȌǤ
  ×ǡ       Ƭ      ȋʹͲͳͳȌ    Dz
       ×  À       ï                     
  ǡ      ×  dz ȋǤͳͶȌǤ   ͳ   
  À    ǣ
 ͳ Ǥ Teorías sobre el origen de la música segú n Gertr udix Barrio & Gert rudix Barrio (2 011) 
Teorías sobre el
origen de la música

Manifestac iones y funcio nes musica les

Emocionales

ǡ

Lingüísticas

× ±  

Funcional es

ï    
À  ±

Imitativas

×  

Mágicas

×

Ontogenétic as

    

 À      ×         
×ǡ        Àǡ
        ÀǤ   ǡ    
×       ȋ Ȍ   × ȋ ±Ȍ  
 ȋ Ƭ ǡ ʹͲͳͲȌǤ               ×       ï         
 ×  ǡ          ×   ï 
× × Ǥ  

L AURA T OJEIRO P ÉREZ
ʹʹ
 La música surgió por selección natural
  ×         ï                              
                                       ǡ        
                  × Ǥ     ǡ 
 À                
ǡ×      
   ȋ ǡʹͲͲ͵ȌǤ 
         ȋͳͺͷͻ Ȍ ǡ              El origen
de especies           ×                      ×          À   ȋ      ǡ  ʹͲͲͻȌǤ ǡ
 ȋͳͻͺͳȌ        ×     The descent of men ǡ    
×    ×
  ïǣ
  ǡ       ǡ                      
      ×                                 ǡ 
À         ǡ                              
Ǥ   ǡ             ×
ǡ         Ó   ǡ    
 Ǥ ǡ×   ǡ
   ×    ǡ     Ǥ ȋǡ ͳͻͺͳǡ
Ǥͳ͵ͻȌ
          ǡ                      ï                        
          ×  ±     × Ǥ
ǡ±      ×× ǡ 
ȋʹͲͳͶȌǣ
   ï     ǡ    ï          À  ǡ                                   
     Ǥ     ǡ    À  
                     
 ×         Ǥ ǡ        × À
   ×   Ǥ                     
À      ǤȋǡʹͲͳͶǡǤͷͳȌ

Capítulo 1: Enfoques ontológic os de la música
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  ǡ                    × ×ǡ 
  À             
ȋ Ƭ  ǡ ʹͲͳͲȌ Ǥ   ǡ       À  
      ±    ï ×       
Ǥ    Ó  ȋͳͻͻͺȌǡ  À          ×       ï             
×ǡ  × Ǥ     ǡ                 ǡ 
        ×                          
                                         Ǥ            × ǡ     
                              ×                                                
  ǣ
¾ Adaptaciones para la función reproductivo-sexual
 ȋͳͻͺͳȌǡ      À       × ǡ  
    ×       ï ǡ    ×  
ï  ×ǣ
                                                           × ǡ 
                             À                          ǡ 
       ǡ    ǡ ×ï
ǡ      Ǣ          À
   Ǥ       
× Ǥȋǡͳͻͺͳ ǡǤʹͷͺȌ
ǡ  ȋͳͻͺͳȌ Ó        ï                 ×  
     Ǧ    ǡ  Ó                 
     Ǥ ǡ              ×                
 ï                                                      ǡ    
        ±  Dz     dz  ȋǡ ͳͻͺͳǡ
Ǥ͵͵͹ȌǤ ǡ   ×  ï           ×            ǡ           
      ï             ǡ 
   ȋ Ǧ ǡͳͻͻͺȌǣ
     ǡ  
 ±            ȋǥȌ

L AURA T OJEIRO P ÉREZ
ʹͶ
                            ǡ        ï     ǡ               
                                     ǡ                 ǡ 
  Ǧ  À                                 
 ×ǤȋǡͳͻͺͳǡǤ͵͵͹Ȍ
 ïǡ   Ó ǡ        ǡ  ȋͳͻͺͳȌ 
         ×  
ǡ                Ǥ           ǡ           
                      ×        ǡ                     ó rgano o aparat o music al ǡ  
                          ǡ                   despliegue musical Ǥǡ    
  The descent of men ȋͳͻͺͳȌǡ      ±     
ǡ  resonancia,  sonidos ǡ música conco rdante y discordante ǡ tonos, poderes musicales ,
música vocal e instrume ntal, o rnamentos  notas musi cales Ǥ
  À     ȋͳͻͺͳȌǡ                             
      ×   ï   ×     ×     ×    Ǥ
ǡ ȋʹͲͲͲȌÓ  ï       
                Ǥ  ǡ  
Ó   ï À             ×    
      ǡ    Ǥ   À
      À                                   
 Ǥ
 ×ǡ                    ×              
                                          Ǥ              ǡ   ȋʹͲͳͶȌ Ó  
   ×    Ǥ   ï ×   ×
    ×       ǡ   ǡ                           
Ǥǡ ǡ     
       ±ǡ          
ï                  Ó             ×                                      
 ǡÀ  ȋͳͻͺͳȌǤ 

Capítulo 1: Enfoques ontológic os de la música
ʹͷ
¾ Adaptaciones para el desarrollo mental y so cial
                      ×                                      
   ǣ ×  × Ǧǡ  ×
 ±Ǥ 
o La música s urgió como una adapta ción p ara l a comunicac ión madr e- hijo:
     À           ï                 ×                 ± ǡ  
               × Ǥ         ȋʹͲͳͶȌǡ Dz    
ǡ  ǡ   ×  ǡ                  ǡ            
            À                                      ǡ      À  ×
  À  dz  ȋǤͷʹȌǤ        × À 
À ï     ǡÀ ×
        Ǥ   ǡ   ï     
  motherese  ȋǡͳͻͺͷȌ habla dirigida al bebé ȋ ÓǡʹͲͳͲȌǤ 
      À    ȋͳͻͻͲȌ ǡ      
  ×    ×          
                                       Ǥ              
 À ǡ     ï          ǣ          ǡ          
          ǡ   ǡ  
       ǡ  À  ×Ǥ
ǡ Ǧ   Ǥ
               ×    ǡ          ǡ 
                ×
         Ǥ           À                 ǡ        ǡ     ǡ Ƭ   ȋͳͻͻ͵Ȍ  ± 
            ×     ï                                       ǡ   
  Ǥ ±   Ƭ   ȋʹͲͲ͵Ȍ      
                     ×                                      ǡ
     À        ×   ï   Ǥ
ǡ  ȋͳͻͻͲȌ Ó                             
                                       ×  Ǥ         ǡ    × 
        ǡ            ǡ 

L AURA T OJEIRO P ÉREZ
ʹ͸
±ǡ À ǡ
   ×ȋ ǡʹͲͳͶȌǤ
o La música sur gió como una adap tación para estimular el desarrollo co gnitivo
a través del jue go:
    Ó   ȋʹͲͳͶȌǡ Dz           
                                                  ×               dz  ȋ  Ǥ ͷ Ͷ Ȍ Ǥ 
             ǡ                                           ǡ      
ǡ          Ǥ    ǡ 
 ï                                                   ǡ     
    
     ǡ      Ó  ȋʹ Ͳ ͲͳȌǤ  ǡ  
                                 ǡ  × ± 
ǡ                
 Ǥǡ × À  ×  Ǥ
¾ Adaptaciones para la cohesión social
 ×     × 
ǣ × ǡ  ×   Ǥ
o La música s urgió como una ada ptación para l a func ión so cial:
       ×                    ï     ǡ                ×     ×  ǡ  
        ×  ǡ      ×   
     ȋ Ƭ ǡ ʹͲͳͲȌǤ     ȋʹͲͳʹȌ
   ×  ×   selección social ǡ      × 
ǡ  À À  ×ï Ǥ 
   À     Àǡ À  Àǡ
  Ó ȋ ʹͲͳͶȌǣ   À     × 
      ±   ï          À ǡ        À  
    ï        ×       ×   
                    ǡ                        À                                     
    ×           ×    Ǥǡ

Capítulo 1: Enfoques ontológic os de la música
ʹ͹
   ±                   ×       ǡ ǡ
ƬȋʹͲͳͶȌǡ Ǧ   ï 
 × Ǥ
ǡǡ ï       À  
 ï                                    ×                 ×ǡ    ȋʹͲͲ͵Ȍ
 Música y Evol ución: causas y consecuencias ǣ
o       Homo sap iens ǡ         
       ×    ǣ   H omo ergaster 
×Ó    ǡ
À Ǥ  ǡ Homo heidelbergensis × 
                            ǡ           ×             ×                        
ȋ  Ȍ    Ǥ
o      × Homo sap iens ǡ                   ×    ±       
      ×     À      ǡ              
          Ǥ   ǡ 
  ×            
                ×        ×         ǡ    
                            Ǥ 
o    Homo sapien s ǡÀ  ǡ ï  
 ǡ  À   ×  ǡ   À ǡ 
×Ǥ ǡ  À 
  ǡ              
       ×                   ǡ       À                          
Ǥ  ï Àǡ   ǡ          
×    ×  ×Ǥ

o La música surgió como adaptación para s incronizar los r itmos de trabajo :
         ǡ          
         ï ×                        
  Ǥ  × ǡ Ó  Ǧ ȋͳ ͻͻͺȌ     ǡ  
        ÀǤ         

L AURA T OJEIRO P ÉREZ
ʹͺ
      ǡ                        ×     
      ǡ                   À        
         Ǥ           ǡ                                                        
            Ó   ǣ Dz  
     ǡ                    
dz ȋǦǡͳͻͻͺǡǤʹ͸ȌǤ
 Ƭ   ȋʹͲͳͲȌ  Ó    ï                        
   ×Ǥ   ȋʹͲͳʹȌ  ×  ±                        
     ǡ ǡ    ǡ      ×
 ×   À  ǡ  
×    À Ǥ  ǡ ȋʹ Ͳ ͲͳȌ    × 
×    ×   ǡ          
ǡ    Ǥ    ǡ          
    ±    ï ǡ         
ï                           
                                     Ǥ              ǡ   Ƭ  ȋʹͲͳͲȌ Ó
     Ǥ
Haci a la mus icolo gía ev ol utiva.
Implic acion es peda góg icas.
  ǡDz   À 
                                                    dz ȋ ǡ ʹͲͳͶǡ ǤͷͲȌǤ 
        ×  ×      ×  ǡ  
ǡ    × ×ǡ Ǥ   ǡ   Ó ȋʹͲͲͳȌ  À 
 ×             ï Ǥ 
   ǡ   À        ×   
   ǡï Ǥ
 Ƭ   ȋʹͲͳͲȌ    ×            À           ï     
     ǡ  ï       Ǥ 

Capítulo 1: Enfoques ontológic os de la música
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  ×         ǡ        ǡ
  × Ǥ  ǡ    Ó           ï                     
  ǡ ǡ ×  ×ǡ     ×  
                           ï        ×  ǡ                  Ǥ ǡ 
  Ó                          ×                  ×     ǡ  ± ǡ × ǡ  ± 
ǡ  ×  Ǥ
  À          ï
           ǡ                         ǡ 
  Ǥ   ǡ       ×                 À    ǡ   
              ×
                    Ǥ              ǡ         Ƭ        ȋ ʹ ͲͲͶȌ    × 
      ×  ǡ ×ǡ ±ǡ ×ǡ ±ǡ ± ǡ
× Ǧ ǡǡ      Ǥ
ǡ           × ǡ  Ƭ   ȋʹͲͲ͵Ȍ
                           À          
ï  ǣ 
Ȍ Dz                   dz
ȋ Ƭ ǡ ʹͲͲ͵ǡ Ǥ͸͸ͶȌ ǣ        ×  
  × ǡ      À    Ǥ   
 ǡ   Ó           
     ±  Ǥ 
Ȍ Dz×                           
 dzȋ Ƭ ǡʹͲͲ͵ǡǤ͸͸ͶȌǣ    × 
                                         ×  Ǥ 
 Óǡ   ǡ  ï  
  À   Ǥ
Ȍ Dz                            × 
     À                                    dz ȋ       Ƭ     ǡ ʹͲͲ͵ǡ Ǥ͸͸ͶȌǣ
       ×          ǡ                Ǥ 
              À  
 ï ×Ǥ

L AURA T OJEIRO P ÉREZ
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          À       
     ×      ï                     À     Ǥ      ǡ  ǡ ï À
        ×        ǡ   
 ï                  ×                   ǡ             ×               ×    ǡ         
       ×                                             Ǥ   
 ï     ǡ               ǡ                                        ×                 ǣ   
ï   ×                   ǡ               
 × ȋǡʹͲͲͳȌǤ
 À      À   À   ǡ    À 
      À ǡ             
À    ×  ȋ Ƭ  ǡ ʹͲͳͲȌǤ ǡ 
À   Dz        × ǡ 
           ǡ        ×  
  À             dz ȋǤʹȌǤ
   Ó  ȋʹͲͲͻȌǡ     À    ×   ï 
 À ǡ   À  
 À    Ǥ
      À      ǡ       ǡ           ×  
     ǡ                     À                
              Ǥ          ǡ                                À                              
   ×  ×     ±ǡ  × 
  ×   ǡ   ×                      ±
 Ǥ  ǡ  ×           
ǡ      ×    ×  Ǧ    
ȋǡʹͲͳͶǡǤͶͻȌǤ
   Àǡ       Ƭ  ȋ ʹ ͲͲ͸Ȍ  Ó ×  
           ×                        ï         À         ×ǡ  ×   
×   Ǥ  ǡ         ×   ×  
        Óǡ    ×     
 ǣ

Capítulo 1: Enfoques ontológic os de la música
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                                          ï                           
ǡ                 ï                
      ×   ǡ         × 
 ǡ ×     ǤȋǤͻʹȌ
  ǡ    Ó   ȋʹͲͲ͵Ȍǡ  À    ×    
×                 ×  
        ǡ         ï     Ǥ              ǡ          ×            ï                       
    ǡ                       ×               
    Ǥ   ǡ   ǡ   À     
    ǡ    ×        
   Ǥ  Ó  Ǥ ȋʹͲͲͳȌǡ     
À    × ×Ǥ
            ǡ                                             À  
                                    ï                ×   ȋǡ ʹͲͳͶȌǤ
      ǡ  ï        ×
   ǡ             Ǥ                    
×ǡ  ï                                    
Ǥ    ǡ  ×      
Àǡ    
    Ǥ         
   ÓǦ    ïǡ       ×  
       ±ǡ  À
 ×ǣ
         ×                          Ó    Ǥ            ǡ                Ȃ        
  ×  Ȃ  À    ×     ï    
            À      Ǥ   
×À ǤȋǡʹͲͲͲǡǤʹͶ͸Ȍ
     ǡ                ×± 
         ǡ                   ±          
±          ȋǡ ʹͲͲͲȌǤ  
       ×   ×     ǡ 

L AURA T OJEIRO P ÉREZ
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  ×  ï        ±    ǡ  
  ȋǡʹͲͲͻǡƬǡʹͲͳ ͷȌǤ
ǡȋʹͲͲͲȌÓ ×ǡ ǡ    
    ǡ    ǡ 
   ï ǡ                ǡ                       ǡ           Ǥ    ǡ
                                À                 ǡ           
             Ǥ      ±      ǡ 
                                  ǡ    ï                ×   
                                ǡ                                     À      
                  ±                   À                  Ǥ                       ï          
      ×ǡ      ×   ×   ï 
 ǡÀ  × Ǥ
ǡ ï  × × ǡ
   ǡ ǡ   ×     ǡ      
                                                  Ǥ       ×
         ±  
                     ǡ                    ǡ                 Ǥ                    À      ǡ   
 Ó       ï         ǡ  
 ǡ ± ×Ǥ
     ȋʹͲͲͶȌǡ   ï       ǣ
 Ó        ǡ   
   ×        Ó                 ǡ     
                                                   ×  Ǥ   
  Dz ï                 
    ±   ȋǥȌ   ǡ   ï     
       ×  dz ȋ      ǡ ʹ Ͳ Ͳ Ͷ ǡ  Ǥ ͳ ͵ Ȍ Ǥ                                     ï          À        
  ǡ                                
      ǡ                                  
 × Ǥ

Capítulo 1: Enfoques ontológic os de la música
͵ͻ
La mú sica c omo leng uaje
   ï           
         ×     ǡ             À                           ×   À  
Ǥ   ȋʹͲͲͳȌ  Ó                            
                À              ǡ                     ïǤ ï  ǡDz  
                  ï                 ǣ        ǡ          ǡ  
                    ǡ                ×         ǡ           ǡ    dz
ȋǤͳͲʹȌǤ ǡ                                   
Àǡ  ȋʹͲͲͳȌ  ×   ï    ±      
 ×Ǥ
 ȋʹͲͲͶȌ Ó  Dz      ×       
                ï                                      ×Ǧ    
dzȋǤ͸ȌǤ  ǡ                ×  
   ï         ǡ                      
        ×         Ǥ       ǡ                                 ×ǡ 
  ×ǡ  ×    ×         
 Ǥ 
            ǡ    ï                         ǡ              
 × Ǥ   ȋͳͺͷͶȌ Ó   ï    À     
   ǡ        Ǥ   Ǥ ȋʹͲͲͳȌ
   ï   ×      Ǥ  ȋʹͲͳ͵Ȍ  
× ×ǡȋʹͲͲͶȌÓ   × 
                           ò     ǡ                              
ïǤ  ǡ  ï          ×     
                  ǡ                                            ǡ 
                                                        ǡ     
Ǥ
ǡ   ×   Ǥ 
ȋͳͻͺͳȌ                   
            ǡ                      ×                       Ǥ ǡ   

L AURA T OJEIRO P ÉREZ
ͶͲ
  Ó                                                     ǡ            
  ǡ     ×   ×               Ǥ   ï
ȋͳͻͺͳȌǡDz  ×                  
  ×dzȋǤ͸ͳȌǤ
                       ǡ           
 ǡ        ȋͳͻͺ͸ȌǤ   ò    
                                                             ǡ               
     ǡ
     Ǥ  ǡ     ǡ           òÀǡ
                   ï                                  ± ǡ     
                  ȋ Ǥǡ 
ʹͲͲͳȌǤ
 ǡ    Ó   ȋʹͲͳͶȌǡ      ï 
        ǡ   À                          ×  ǡ        À       òÀǡ    
  × Ǥǡ 
           ï ǡ     
                                                      ×     
 ×    ×   Ǥ
¾ Simili tudes entre leng uaje y música
o         ×ǣ    ï      
  ×     ȋǡ ʹͲͳ͵Ȍ        
× ȋǡ ʹͲ ͲͶȌǤ   Ó  ȋʹͲͳͶȌǡ Dz    
   ×                  ×          dz 
ȋǤͷͷȌǤ ǡ    ±  
ǡ     ǡ       ×   
      ï  ȋǡ ʹͲͲͶȌǤ   ǡ    
ǡ ×   ǡ  
                         Ǥ                       ǡ    ×   ×
  Ǥ
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Capítulo 1: Enfoques ontológic os de la música
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o        ǣ     Ó  ȋ ʹͲ ͲͷȌǡ   Ƭ 
ȋʹͲͲͷȌǡ  ȋʹͲͲͷȌ     ȋ ʹͲͲ͵Ȍǡ  ï                   À      ǡ   
    Ǥ ǡ            ±                 
                    ȋ                     ï     ǡ  À          Ȍ 
   Ó                    Ǥ        ǡ     ǡ   
             òÀ   Ǥ 
 ǡ  ȋʹͲͲ͹Ȍ Ó      ȋ   Ȍ 
                       ǡ         ǡ              ǡ        Àǡ  À   ǡ 
          Ǥ  ǡ  
                                                ǡ         
                                 Ǥ                               ×               
×  ï Ǥ 
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o                  ǣ     
                             ǡ Dz           À        ï         Ó  ï 
 À       dz ȋ  Ƭ   ǡ ʹͲͲ͵ǡ ǤʹȌǡ   
      Ǥ              ×    Ǧ   
 ï   ǡÀ                          
     ȋǡ ʹͲͲ͵ȌǤ   ǡ    ȋʹͲͲ͹Ȍ  Ó   
                                                 ò À    ǡ     ×
                   ×           ǡ       
Ǥ Ǥ ȋʹͲͲͳȌÓ            
ï  Ǥ
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o    ×  ×      ǣ    
         ×             ǡ   À                           ǡ                           
ǤȋʹͲͳͳȌÓ  Dzï  ǡ  ǡ 
           dz  ȋǤ͵ ͷȌǤ    ǡ  
   ǡ     
                                            ±       ǡ        
     Ǥ   ǡ    ȋʹͲͳ͵Ȍǡ 
±  Ǥ 
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L AURA T OJEIRO P ÉREZ
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o         ǣ          ǡ
                          ï                 ×     
            Ǥ                                 
     × ȋǡʹͲͲͶȌǡ 
 Ó           ȋǡ ʹͲͳͶȌǤ 
ȋʹͲͲ͵Ȍ  ǡ Dz               
            dzȋǤ͸͸ͻȌ  
ï    semanticidad Ǥï  ǡ  ï     
    ǡ                           ǡ    
       ǡ      Ǥ  
ǡ   ï               ×ǡ 
× ǡ  ȋǤǡʹͲͲͳȌǤ
¾ Diferenc ias le ngua je-mú sica
              ï              À                  ï     ǡ                    ±  
ï  À            Ǥ  
ï       ×    ǡ       
 ȋǡ ʹͲͲͷȌ Ǥ  Ƭ  ȋʹͲͲ ͵Ȍ      
      Ó      À   ï     ǡ 
                                                ǡ         ×    ï
           ǡ    
  ×Ǥ
ï  ǡ    ï        À ǡ   
 ×        Ǥ         ǡ Dz    ï            À     
×   × ǡ       À             
 ±dzȋ Ƭ  ǡʹͲͲ͵ǡ Ǥ͸͸͸ȌǤ  ǡ
      ï        ×    ǡ 
±      Ǥ
ǡ  ×ǡ    
      ǡ         ï   
 ȋǡʹͲͳ͵ȌǤ  ǡ ï ±      
                    ǡ                                                        ȋ       ǡ 

Capítulo 1: Enfoques ontológic os de la música
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ʹͲͲ͵ȌǤ   ǡ  ï          ǡ                 
   ȋǡʹͲͲͶȌǤ
 ïǡ  ï             
× ǡ          ȋǡʹͲͲͻȌǤ
ǡ ×ȋʹͲͲ͹Ȍ Ó ïǡ   ǡ 
ǡǡ Àǡ×
      ×       Ǥ    ǡ     Ó  ǡ Dz
×ï    dzȋǡʹͲͳ͵ǡǤͳʹͷȌǤ
¾ Implicaci ones adaptativas
À ï    
  À      ×                                  Ǥ 
          ǡ           ×                                  À     
         ǡ                                 ×                ×     
ï   ǡ À                   Ǥ              ǡ 
        ï                                ï                                       ǡ   
                      ï     ǡ     ï                       ï 
À   ȋǡ ʹͲͲͲȌǤ ǡ ± 
          ×    ï             À  ǡ 
 × ǤÓȋʹͲͲ͹Ȍǡ 
      ï  ǡ       
                         Ó        
ǡ  ǡ×  Ǥȋ ǤȌ 
      ȋͳͻͻͺȌ  ï        
ǡ                 × Ǥ        
Grooming, gossi p, and the evo lution of l anguage                ǡ    
 ï   ×ǡ
      ×  Ǥ      Àǡ  ȋͳͻͻͶȌ
  Ó                         ï                  ï        À      ǡ           
   ǡ                    Ǥ    ï     ǡ      
ǡ    À    ×  À     À  Ǥ   ǡ 

L AURA T OJEIRO P ÉREZ
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ȋʹͲͳͲȌ ï   ǣ    ×ǡ
 ×ǡ   Ǥ
  ǡ       ȋʹͲͲͷȌ    ï   
   À Ǥ    The singing neanderthals: the origins of
music, language , mi nd and bo dy ǡ                                                     
                      À             ò À             À                ǡ                
 ǡ   musicking Ǥ ǡ   × 
ï  × ×      Ǥ
                    ï         ×ǡ   Dz
            ï                                       ×                   ï     
Àdz ȋ ǡ ʹͲͳͶȌǤ ǡ   Ƭ   ȋʹͲͲͷȌ
ȋʹͲͲͶȌ Ó   À   ï      
 ǡ       Ǥ    Àǡ 
Ǥ ȋʹͲͲͳȌ Ó  Dz  ×    ×       
×ǡ   ×ï dzȋǤͳͲȌǤ
  À      ×   ǡ       À       
À  ǡ        ï                   ±             ×  
Ǥ×        ï            
  ǡ   À     ×           
×  ȋ ǡ ʹͲͲͻȌǤ ǡ ǡ ȋͳͻͺͳȌ      
                 ×           
  Ǥ     The descent of man ȋ ͳͻͺͳȌǡ     À  
× ×  ïǣ
                               ȋ ǥ Ȍ                
×   × ǡ     ǡ      ǡ  
                    ǡ                                     ȋ ǥ Ȍ            
 ǤȋǡͳͻͺͳǡǤͷ͹Ȍ
ǡ  ȋͳͻͺͳȌ        À      
                                             Ǥ      ǡ   ǡ
           ×                                             ǡ

Capítulo 1: Enfoques ontológic os de la música
Ͷͷ
            À                        ×              ȋ    ǡ ͳͻͺͳȌǤ ǡ Ó 
Dz ×        ǡ                          
                              ǡ                         dz ȋǡ ͳͻͺͳǡ ǤͷͻȌǤ
ǡ      ǡ   ȋͳͻͺͳ Ȍ  Ó   ×  
     ǡÀ ǣ
           ǡ ×      À  
         ǡ      
     Ǥ   ×         
                                                    Ǥ ȋ ǡ ͳͻͺͳǡ Ǥͷ͹Ȍ
                                                   ǡ        
 ǡ     ǡ  ǡ ǡ    À 
              ȋǡ ͳͻͺͳȌǤ       ǡ    
  ǡ     ǡ     ǡ     À 
 ǡ  ±    ȋǡ
ͳͻͺͳȌǤ   ǡ    ï      ±     × 
  Ǥ
 ǡǦȋ ͳͻͻͺȌ Ó ǡ À   
òÀǡ                                        
ǡ     
   À                    Ǥ      Àǡ ȋʹͲͲ͸ȌÓ 
                  ×                                                           ǡ 
                                                       
    ×Ǥ     ǡ     Ó    
ȋʹͲͳͶȌǡ                  
À  Ǥ
  ǡ             ×  
        ×Ǥ
           ïǡ       ×
Ǥ  ×      ǡ         Ǥ ȋʹͲͲͳȌ
       Dz       ×                         ×     
                        À             ×                      ×  òÀ

L AURA T OJEIRO P ÉREZ
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           ò À      dz ȋ  Ǥ ͳ Ͳ Ȍ Ǥ    ï              ǡ          ×        ï                           
              ×                                      ×  ǡ   
     ×                  ×  ǡ  ï       Ǥ  ǡ  
ǤȋʹͲͲͳȌ Ó ǡ  ǡ        À  ȋ
       ï   Ȍ      ȋ            Ȍ        
 ǣ  ȋ    ïȌ        ±  ȋ      
        Ȍ Ǥ                                                  
       ±  ±            
Ǥǡ      ȋʹͲͲ͵Ȍǡ Dz        ï             
 ×  dz ȋǤ͸͹ʹȌǤ
   ï      ǡ                 ×            ×               ×      ï  
ǡ        ×      
  òÀ          ± Ǥ      ×À ǡï
     ×   Ǧ         ×ǡ   
                    ×                          Ǥ      ǡ  ȋʹͲͲͶȌ  Ó  
  Ǧ    ǦòÀ     Ó    
             ǡ                            Dz                   
òÀ                dz
ȋǤͳͲȌǤ ǡ   ȋʹͲͲͷȌ        ǣ
                               ǡ       ±                  
                 ï     Ǥ                                  
     Ó        × ǡ                  
                                ×                         ±Ǥ    
 ×  ǤȋǤ͵ʹȌ
  ǡ      ǡ     ï       
  òÀ Ǥ  ȋʹͲͲ͵Ȍ       ±
 ǡ  À       ǡ      
                                           ±  ǡ          Ǥ  
             ǡ      
ǦòÀ Ǧ  × ×Ǥ

Capítulo 1: Enfoques ontológic os de la música
Ͷ͹
Mús ica , cue rpo y ce r eb r o
                    ×        ï     ǡ               ǡ                          
           Ǥ          ǡ                              ×         ǡ 
                          À     ȋ       Ȍ              ȋȌǤ   ǡ  
×  ±      ×       Ǥ  
ïǡ      × 
Ǥ   ǡ            
     Ǥ 
    ǡ       À  ×  ï  
 × À       ȋǡ ʹͲͳͶȌ Ǥ  ǡ   
±     ×       ȋǦǡ ͳͻͻͺȌǤ  
     À  ǡ À    ï   
×ï      ǡ × 
    × Ǥ       Estruc turas de la ment e  ȋʹͲͲͳȌǡ
Dz     ï ǡ           dz
ȋǤͳͲͶȌǤ
Àǡ   ×  ǡ ×  ǡ  ×                ï    ǡ  
     ǡ       ×    
   ×             ǡ                                      Ǥ    Ó 
ȋʹͲͳ͵Ȍǡ    ±         ï      ±  
±× ǡ Dz  À ǣ ï
     ±   dz ȋǤͳ͵ȌǤ
    ǡ             Ͷ           
      ï            ǡ   À           ï             ǡ            À   ×
   Ǥ 

Ͷ Ǥ Distribución de los ap artados epígr afe 
Música y cuerpo Música y cer ebro Música, cuerpo ,
cerebro y org anismo

L AURA T OJEIRO P ÉREZ
ͷͶ
o Musicología com parada ǣ              ï          ǡ
    ǡ          × ǡ  
× ǡ    Ǥ
 Àǡ        ȋʹͲͳͶȌǡ         À
  ±   À            
Ǥ  ǡ  À                                 
                    ï     ǡ              ×            À À    À
ǡ          ×     ï     ǡ      ï         
                                                            
ȋ Ǥǡ ʹͲͲͳȌǤ     ǡ         
       À       ǡ
ǦȋͳͻͻͺȌǣ
       À   À               ǡ                 ×  
  À      À        ×   Àǡ  
 ï                   ǡ        À ǡ
ǤȋǤͳ ͶȌ
 ǡ À×    ǡ       
    À   ïǡ   À                          
Ǥ Ǧ ȋͳͻͻͺȌ  Ó×   ±         
                          ǡ       À                                               
Ǥ  ǡ       ȋʹͲͳͶȌǡ    ×   
                       ǡ  
     ǣ
   À     À  
                                 
   ïǡ òÀǡ  À    À    
                                                           ×                
ǤȋǤͷ͸Ȍ
 ǡ      Ǥ ȋʹͲͲͳȌ     ×   À
Ó             ǡ              ± 

Capítulo 1: Enfoques ontológic os de la música
ͷͷ
                                         À  Ǥ   ǡ
        ±    ï   ± 
×ǡ    ï    ǡ     ï
    ï               ǡÀ 
Ǥ 


L AURA T OJEIRO P ÉREZ
ͷ͸
1.3. LA PERSPECTIVA ZOOLÓ GICA
               ï                           ×         ǡ   
         ï                        ×   Ǥ               
          ×        ǡ                                     ×   
   ×                                         Ǥ          Ó  ȋͳͻͺͳȌǡ 
       ×                                                            ï           
     ǡ                  Ǥ       ǡ ± 
                                          ×                  × 
  Ǥ
         ǡ
  ǡ                 ï     ǡ                                À     
ȋǡ ʹͲͳͺǢ  Ƭ  ǡ ʹͲͳͷȌǤ   À      ȋʹͲͳͶȌǡ   
À     ×            
  ï   ǡ         × ǡ × ǡ
                                           ï           Ǥ      
 ×  ×       ïǡ       
ï   × ȋǡʹͲͳʹȌǤ
 ǡ±  ï ǡ   ± 
    ǡ   ±     ×      
     Ǥ ǡ      ×       ï              
      ǡ   À                                      ǡ      ×   
 biofonía           antrop ofonía         
                                                                Ǥ    ï      ǡ          
             zoomusicología           ǡ  
 ××ǡ         
× Ǥ 


Capítulo 1: Enfoques ontológic os de la música
ͷ͹
El s onido com o form a de
comu nicac ión animal
      Ƭ          ȋ ʹ Ͳ Ͳ ͵ Ȍ   Ó        Dz                         ×  
   ×   ï dz ȋǤ͸͸͹ȌǤ           
                                          ǡ                                        
     ×  Ǥ          ×ǡ   
À   Àǡ         ×  
                ǡ                           Ǥ        ȋ ʹ Ͳ ͳʹȌ    Dz   
  dz ȋǤͳͳͺȌǤ
 bioacústica                                     À         ï      ǡ            
Dz                                     ×                 ±   Ó dz 
ȋǡ ͳͻͻͻǡ ǤͳͻȌǤ  ±  Ó       ȋͳͺ͸ͺǦͳͻͶ͹Ȍǡ× 
  ×          Ǥ                              
   ï        Ó                     ×                                   ±          
         ȋǡ ͳͻͻ ͻȌǤ  ×   ×
 Ƭ  ȋʹͲͳͷȌ Ó  Dz             
                                                   À    dz ȋǤ͵͸ȌǤ   
    ǡ                                               ±      ǡ  À  
 × ï    ×Ǥ Dz 
   ǡ      ǡ        ǡ
À  dzȋǤ͵ͺȌǤ
        ǡ  Ƭ  ȋ ʹͲͳͷȌ       
                ǡ   
×     Ǥ    ï        ǡ 
                    ×                                  ȋǡ ǡ ǤȌǡ
                     ×  Ǥ                             ǡ            
ǡ  ï   ±  ǡ  
      ȋ ƬǡʹͲͳͷȌǤ

L AURA T OJEIRO P ÉREZ
ͷͺ
   ×   ǡ
ȋʹͲͲͻȌ    Co mport amiento ani mal: c omu nicaci ón ani mal Ǥ   ×ǡ 
  ǣ
ͳȌ    Àǡ Ó × 
Ǥ
ʹȌ       ǡ         Ó 
 ±  Ǥ
͵Ȍ                               Ó       À      ǡ              
 Ǥ
ͶȌ               ǡ        × 
  Ǥ
ǡ   × 
   ×     Ó ǡ        
Ǥ       ȋʹͲͳʹȌǡ Dz       
       ï  À  ǡ     ǡ ǡ  
dz  ȋǤ͹ͺȌǤ   ǡ                                    
               ×  ǡ                                            ×                  
Ǥ   ǡ               ǡ
    ×   ǡ             
                   ×  Ǥ            ǡ Dz                                ×              
 ×     dz ȋǡʹͲͳʹǡǤ͹ͺȌǤ
                                ï           ǡ               
    ×                    
Óǡ ×     × 
  ǡ     ǡ                     ×  Ǥ        
ǡ  Ƭ  ȋʹͲͳͷȌ      ǣ Dz                          
    ×   ǡ  ×    ±     
 ×   À        dz ȋǤͷͺȌǤ  
 ×     ×       
  ǡ                   × 
    ×Ǥ 

Capítulo 1: Enfoques ontológic os de la música
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 ×ǡ   ×         
        À                                    ×  Ǥ       ǡ     ×  
        ×                                                      
ǡ     × Ǥ    ǡ    
 ×ǡ     
                  À         Ǥ  ǡ  Ƭ  ȋʹͲͳͷȌ   
Dz  ǡ±  Ó×
  Ó ±      dz ȋ  Ǥ ͻ ʹ Ȍ Ǥ              ǡ    À   
    Ǥ
 Las funciones del sonido
                         ×                       ǡ      
 × ×  ï     Ǥ  × 
                                                        ǡ                    À     
 ȋͳͺͷͻȌǡ   ȋʹ ͲͳʹȌǡ  ȋʹͲͳʹȌǡ   ȋʹͲͲͻȌǡ  ȋʹͲͲͻȌǡ   Ǥ
ȋʹͲͲͳȌǣ
o Llamadas de apareamiento ǣ  À            Ó   
 ǡ           ǡ   
Ǥ ×      
   × Ǥ
o Llamadas de alarma ǣ               Ó     
±ǡ    Ǥ
o Llamadas territoriales ǣ                         Ó                         
          ǡ   À                     ×                        Ǥ
ǡ ± ×À  ± Ǥ
o Llamadas de ayuda ǣ                                                     
      ǡ   ±   ǡ 
×ǡ ǡ Ǥ
o Llamadas de socializaci ón ǣ         
±ǡ         
Ǥ 

L AURA T OJEIRO P ÉREZ
͸Ͳ
o Llamadas al alimento ǣ  Ó    ǡ
                           À        ǡ                   ±  
    Ǥ
   ǡ              
   ǡ       Ǥ                      ×    ï      
                                       
ǡ            Ó    ±
         ǡ                                                            Ǥ        Ƭ   
 ȋʹͲͲ͹ Ȍ   ×  × ǡ 
  escena rio di námico ǡ              ±                                      Ǥ
                 ǡ
Dz        ǡ      
 À ÀdzȋǤͶȌ
 ǡ   ×  ï           
ǡ ǡ ǡ       ǡ            ×               ǡ  
      ǡ  ǡ  ǡ      
Ǥ  ǡ  Ƭ  ȋʹͲͳͷȌ     ×   
         ï              ǡ             
ǡ   ×   ǣ
             
   ȋǥȌ            
    ǡ ×       
         ǡ                                                                    Ǥ 
ȋǤͶ͹Ȍ
                                   
                                          ǡ               À          ×  Ǥ          
ǡ    Ǥ ȋǤͳʹ͹Ȍ
        ǡ                                               ǡ        
    ×               
  ×         ± Ǥ     

Capítulo 1: Enfoques ontológic os de la música
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 ǡ               
  ǡ Dz   ǡ  ǡ   ï     À                          
  dz ȋǡ ʹͲͳʹǡ  ǤͳͲȌǤ ǡ Dz ×     
  ×  ǡ      dz ȋ Ƭ ǡ ʹͲͳͷǡ
ǤͶ͹ȌǤ     ǡ   ×   
   ǡ  À           × ï
 Ǥ
¾ Las frecuencias del sonido
 ×                                   
                             Ǥ           Ó            ȋ ʹ ͲͲͻȌǡ Dz   × 
  ǡ  ±    dzȋǤͶͺȌǤ
ǡ           ǡ    Dz
                                dz ȋǡʹͲͳʹǡ Ǥ͹ȌǤ
               ǡ    
    ±    ǡ    ǡ      
ȋǡʹͲͳͶǢǡʹͲͲͻȌǣ
o  ultrasonidos          × ǡ        
ʹͲǤͲͲͲ Ǥ   ± ǡ  ǡ      
Ǥ
o  infrasonidos     × ǡ      À
 ǡ           ʹͲ Ǥ                 ǡ            ǡ 
ǡ   ×  Ǥ
o           ± 
 ǡ  Ǥ
            ×ǡ     ï               ǡ 
  À  À          ×                       
       Ǥ    Ó  ȋͳͻ͸ͻȌǡ
Dz                              ×          ǡ                 
    À   dzȋ Ǥ͵ͺȌǤ 

L AURA T OJEIRO P ÉREZ
͸ʹ
                     ǡ
     ȋ ǡ ʹͲͲͻȌǤ   ǡ ×  
                                    
ǡ    ǡ   À Ǥ
          ǡ                                                 
 ǡ      × Ǥ
            ǡ      Ó    
                                               ǡ                
                                      
 ȋ ǡ ʹͲͲͻȌǤ       ×   
ǡ    ×ǡ ×ǡ ±ǡ                ×                
ȋ Ƭ ǡ ʹͲͳͳȌ Ǥ   ǡ  × ï                       
            ×                                                                       
ǡ    ±               
 Ǥ
¾ La velocidad de transmisión del sonido
         ×         ±                        Ó  
  ǡ  ±        Ó   Ǥ  
 Ó  ȋʹͲͳʹȌǡDz ï ×    
±  ǡ± ǡ       ×ȋǤǤǤȌ
À ×dzȋǤʹ͹ȌǤ ǡ
               ǡ                     ǡ               
                             Ǥ          
× ǡ     ǡ      
×ȋǡʹ ͲͲͻȌǣ
o En el bosque                  ǡ 
               ×Ǥ
o En el océano ǡ    ×                
 Ǥ

Capítulo 1: Enfoques ontológic os de la música
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o En el aire ǡ                                                        
                     ǡ                                           ǡ         
     ÀǤ
o En la selva ǡ    ×         Àǡ
                                                     ×       
   Ǥ
  ǡ    ï                                 
            dz ȋ ǡ ʹͲͳʹǡ ǤʹͻȌǤ
 ǡ    ×  ǡ   À   
 ǡ  
                                       ǡ                  Ó  
 Ǥ
   ×     ǡ          
    ǡ 
                       ×                                 Ǥ   
  ǡ  ×Ó ï 
       ǡ       Ǥ     ×ǡ  
   ±   ×         
 ×   ȋ ǡʹͲͳʹǢ  ǡʹͲͲͻȌǣ
o En el bosqu e ǡ ×   
ǡ  ×Ǥ
o En los ríos ǡ ×       
       ×               ǡ    
                 
 Ǥ
o En el océano ǡ             
  ǡ     ǡ  ǡ                       ǡ 
    ×  Ǥ ǡ   
 ×                  
     ǡ   ×  Ǥ

L AURA T OJEIRO P ÉREZ
͹Ͳ
Ȍ Cada ecosistema reacciona de fo rma individual y única      Àǡ
               ǡ   
 ǡ    À Ǥ
f) Los ruidos pueden afectar a todas las funcio nes del ecosistema por entero ǡ 
         ×        ǡ                       ǡ                ×Ǥ  ±  
         ×   ï        
          ×        ǡ                            
 ǡÀ ǡ  Ǥ
¾ Las implicaci ones medioambie ntales
   ȋʹͲͳʹȌ ×     À±Àǡ
                   À ǡ      À         À      × 
×   ×        ȋ  Ƭ ǡ ʹͲ ͳͷȌǤ  ǡ
  Dz ï         
  ȋ Ȍ   ï      ȋ             Ȍ dz  ȋ       ǡ 
ʹͲͳʹǡ Ǥ͹ͷȌǤ   ǡ  ±            
          ±         ×                                   ǣ   
ǡ Ǥ
  ǡ     À    ×      Dz±
 ǡ ×ǡ×   Ǥ  ǡ
Dz   ×dzȋ  Ƭǡ ʹͲͳͷǡ Ǥͳʹ͸ȌǤ  ǡ 
          ǡ 
        À  ǡ                  ×               Ǥ           ǡ   À       
×    ǣ
 À         ×          
                           ǡ                             À  
      ×         ×  ǡ    ï            À  ǡ                   Ǥ  
     ×   ï         
ǡï ǤȋǡʹͲͳʹǡ Ǥ͸ͺȌ
  ǡ  ȋʹͲͳʹȌ         À   ï  
             ×   ǡ 

Capítulo 1: Enfoques ontológic os de la música
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                                         ×                  ×  
×   ×Ǥ ǡ ×ǡ 
      ǡ                     À              
×     Ǥ  ǡ Dz       ǡ
                ×       ï           À   ǡ                     
          ×                    ǡ                             
dz ȋ  Ǥǡ ʹͲͲͳȌǤ  ǡ À   
À ǡ            ×       ǡ   
 ǣ
        ï                            
 ǡ    ×    
Ǥ  ×  ±  ǡ   ±       
Ǥȋ ƬǡʹͲͳͷǡǤͳ͸ͺȌ 
La mus i cali dad el mu ndo anima l
ÀÀ     À 
                             ǡ         À                     ×
     ǡ         À     
Ǥ ǡ               
± ×  ǡ     
             ȋ Ǥǡ ʹͲͲͳȌǤ
                                 
ǡ        ǡ ï   ǡ    
ǣ
Ȍ Por tradición vertical ǡ           
 Ǥ
Ȍ Por tradición oblicua ǡ     ×          
  ×Ǥ 
Ȍ Por tradición horizontal ǡ Ǥ

L AURA T OJEIRO P ÉREZ
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  ï                   ï             
 × ǡ               ×        ǡ           
     ×         ȋ ǡ
ʹͲͲͲȌǤ ǡ      ×        ïǡ 
        ×                                 ǡ 
± ïǤ
                                     
Ǥ Ǥǡȋͳ͸ͳ͵Ȍ Dz    ǡ      
ǡ    ȋǤǤǤȌ    À  ïǡ          
ȋǤͳͷ͹Ȍǡ       ×         ïǣ
x  ǡ       ïǡ      À  
ȋǤͳͷ͹Ȍ
x         Ǥ Ǥ Ǥ   × ǡ          
Àȋǡͳ͸ͳ͵ȌȋǤͳͷ͹Ȍ
x     Ǥ Ǥ  ǡ            
ïdzȋǤͳͷ͹Ȍ
  ǡ               ǡ    
À      ǡ   Ǥ         ×
   ×ï  ǣ
x  Ƭ  ȋʹͲͳ͵Ȍ      ï     ǡ 
        À                  ǡ                  ï                            
   ǡ                        
   ±    Ǥ
x ǡ  ǡ  Ƭ  ȋʹͲͲ͸Ȍ  ×     
    
Ǥ
x  ȋʹͲͳ͵Ȍ     ǡ Ó   ×   
            ï                                         ïǤ   
 ï     
ǡ  ï  Ǥ

Capítulo 1: Enfoques ontológic os de la música
͹͵
x  Ƭ  ȋʹͲͳͳȌ         
  Ǥ   Ƭ  ȋʹͲͲͶȌ       
ǡ   Ǥ ȋʹͲͳͲȌ    ±    
ï    Ǥ
x  ȋͳͻͺͳȌ Dz    ï            
    dz ȋǤ͵͵͵Ȍǡ  ±       ±  
ïǡ     ± Ǥ
x  Ƭ  ȋʹͲͳͷȌ  Ó           
ǡ     ǡ ±ǡ    À Ǥ  
             ǡ 
 Ǥ
x  Ƭ  ȋʹͲͲ͹Ȍ          
Ǥ  Ǥ  ȋʹͲͳͶ Ȍ Ó       ±   ï
      ǡ   Ƭ  ȋʹͲͳͲȌ  
                 À                 À  
 Ǥ
x ǡ ǡ ǡ Ƭ   ȋʹͲͲͻȌ      
 × À    Ǥ
x  Ƭ  ȋ ͳͻͺͶȌ     ×     × 
 × Ǥ
x ǡ ǡ Ƭ  ȋʹͲͳͷȌ          
                               ï                      À     
 ǡ            ï  
À Ǥ
x  ȋʹͲͳ͹Ȍ          
 Ǥ
x  Ǥ ȋͳͻͻ͵Ȍ  Ó            
 À ǡ         
 Ó Ǥ
x  ǡ ǡǡ Ƭ   ȋʹͲͲͲȌ                         
               ǡ  
×  ǡ       À ǡ      
Ǥ

L AURA T OJEIRO P ÉREZ
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     ï            
             Dz                                   ×            
     dz ȋ Ƭ  ǡ ʹͲͲ͵ǡ Ǥ͸͸ͷȌ Ǥ    ǡ
  À Ó     ǡ              
                                À                                   ×                
× Ǥ
   ǡ ±                                ǡ 
                      ±                        ï Ǥ
 ǡ       ǡ  ǡ   ǡ Ƭ  ȋʹͲͳ͹Ȍ  
  ǡ      À          
ǡ            ǡ         
    ×ǡ    
       ×     Ǥ   ǡ  ȋʹͲͳͺȌ
±             
Ǥ    Ó  ǡ Dz         
  À                         ±                   ȋ ǥ Ȍ            
  dz ȋǤͶͺȌǤ
  ǡ  À              × 
               × 
× ǡ   À 
  ȋǡ ʹͲͳʹȌǤ   ǡ       
                 ×     ï    ǡ                   ×    
                      ×                               Ǥ    Ó 
ȋʹͲͳͶȌǡ Dz  ǡ        ǡ        
                       dz ȋ  Ǥ ͷ ͹ Ȍ Ǥ              ǡ               
                     ×                                  ǡ   
    ȋ ǡ ʹͲͲͻȌǤ   À   
    ǡ     ǡ                      ǡ        
 ×ǡ     Ǥ       Ƭ   À
ȋʹͲͲ͵Ȍǡ          Dz            ǡ                 
  ǡ      ȋ    Ȍ     
 ÀdzȋǤ͸͸ȌǤ 

Capítulo 1: Enfoques ontológic os de la música
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    Ó  ȋʹͲͳ͵Ȍ ǡ       
À  ×ǡ   
        À   Ǥ     ǡ         À    
       ǡ                                              Ǥ   
             ×ǡ       × 
                                                                                
                         Ǥ            ×  ǡ                   
                    À          ǡ Ó        
ǣ
x Aves ǣ                   
             ǡ        
        À    Ǥ       Ǧ
 ȋʹͲͳʹȌǡ  Ƭ  ȋʹͲͲͷȌ    ȋʹͲͲͲȌǡ     
   ǡ     ×      
 ï        Ǥ                                               
   À ï ȋǡ ǡ ǡ  Ƭ   Ǧ  ǡ
ʹͲͲͺȌǡ   ×            ȋǡ ǡ Ƭ 
ǡ ʹͲͳͲȌǡ    × ±          
  ȋǡ ʹͲͳ͹Ȍ      ï                   
ȋ ǡʹͲͳ͹ǢƬǡʹͲͲͻȌǤ 
x Primates ǣ                      ǡ          
 ï   ǡ      ÀǢ 
   ǡ      ǡ 
          Ǥ   Ó 
   ȋ ʹͲͲʹȌ       ǡ  ǡ
ǡ Ƭ ò ȋʹͲͲ͸Ȍ         ǡ    ȋͳͻͺ͵Ȍ
        Ǥ    ǡ ±  
        ×      
 ȋͳͻͺʹȌ             ȋ ͳͻͺ͵Ȍǡ    
ȋͳͻͻͷȌ À ïǤ
x Mamífer os marinos ǣ              
ǡ×          

L AURA T OJEIRO P ÉREZ
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    ×   ×   ×Ǣ   
ǡ                   
      Ǣ                 ǡ                              Ǥ
         ȋͳ ͻͻͶȌǡ   
                   ×                                   ± Ǣ  ǡ
ǡ ǡƬ ȋʹͲͲͷȌ ǡ                
  Ǣ   Ǥ ȋʹͲͳ͵Ȍ    Ƭ  ȋʹͲͲ͸Ȍǡ    
                
                                ×  Ǣ          ǡ       ǡ   ǡ Ƭ  ȋʹͲͳͺȌǡ
           
±Ǥ
x Elefantes ǣ            ǡ 
      À ǡ                
       ×  ×
Ǥ      Ƭ 
ȋͳͻͺʹȌ    ǡ  ǡ Ƭ  ȋͳͻͺ͸Ȍ    À   
   Ǣ    Ǥ ȋʹͲͳʹȌ     ǡ      ǡ          ǡ Ƭ 
 ȋͳͻͺͺȌ                                 Ǣ 
 ǡ ǡ Ǧ ǡ Ƭ  ȋʹͲͲͷȌ        
Ǣ ȋͳͻͺ͵Ȍ  ×
  × Ǥ
     Ó             
                             ǡ      ±                      ǡ    
                      ï      Ǥ              ǡ                ǡ  ǡ Ƭ  
ȋͳͻͻͺȌ   Ani mal Acoustic C ommunication: So und Analysis and Resea rch Methods ǡ À 
     Ƭ   ȋʹͲͲʹȌ    Songs, Ro ars, and Rituals:
Communi catio n in Bir ds, Mammal s, and Oth er Animal s       
         Ǥ                       
  ï   ǡ   Óǣ
x  
x   ǡ  
x    

Capítulo 1: Enfoques ontológic os de la música
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x    ×    ± 
x À  × Ó 
x       
 ïǡ ±    Ó        À ± 
     ×             ǡ                                     ×              ×      
±  ×  ǣ         ×    ±       
ǡ     ±×À
             ǡ                     ×   ×
ǡ             ǡ   
          ×  À ï  
 ȋǡ ʹͲͳʹȌǤ                ×    
          ǡ                         
           Ǥ       ǡ     ±                                 
ǡ   À   Ǥ
      ǡ                         ± 
         Ǥ        
ǡ      ǡ       
            Ǥ  ǡ Dz                        
                        ×       
 dz ȋ Ƭ ǡ ʹͲͳͷǡ Ǥ ͻʹȌǤ    ǡ    ±   
      ×      ×       ǡ    
     ±            ±                             ǡ             ± 
×  Ǥ
  ǡ     ×                   ×     
             ǡ  ± 
                                  Ǥ       ǡ           Ó  ȋʹͲͲͺȌǡ  
                     ï                 À         ×      ǡ         
            Ǥ     ǡ                    
 ×    ǡ
         ±               Ǥ              ǡ                  
      À    Ǥ       ×ǡ    × 

L AURA T OJEIRO P ÉREZ
͹ͺ
     ×                   
 ǡ ×Ǥ
Hacia la zoomus ic ologí a.
Implic acion es peda góg icas.
                                                       ×   ïǡ  
ï                 À  À 
 ï    ǣ   ÀǤ  ǡ     ±            Ó         
 ± Ǧ    ȋͳͻͻʹȌǡ  ×                        
  ï         × Ǥ    Music, Myth and
Natur e  ×      ± Àǡ       
    ǡ   ×       ǡ                    
×Ǥ  ȋͳͻͻ͹Ȍ ×  ±         Syntagms and paradig ms in
zoomu sicology ǡ   ×  Ǥ
     ȋͳͻͻ͹Ȍǡ À  ȋʹͲͲͺȌ ×    ± 
  Intr oduction (to the issue an d to zoomus icology) ǡ     × 
ǣDz ±  ±  Ǥ 
   À   ï   dz ȋǤͳ ȌǤ    
ȋʹͲͲͺȌ           Àǡ       
     ǣ
ͳǤ À  À   Ǥ  Àǡ À
Ǥ ǡ ǡ ǡ 
     ǡ                              ǡ                    À  Ǥ                    
ǡ    Ǥ 
ʹǤ  À        ×    × ǡ 
      Ǥ  ǡ          
 ǤȋǤͻȌ

Capítulo 1: Enfoques ontológic os de la música
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 ×   À    Zoomusicology and musical u niversals:
the question of processes ȋ ʹͲͲͺȌǡ           ǡ 
 Methodol ogies and problem s in zoomusicology  ȋʹͲͲͻȌǡ        
 ×Ǥ    Ó   ȋʹͲͳͶȌǡ Dz     
               ï 
  ×    × dzȋǤͷ͹ȌǤ    ǡ      × 
  ï    ±        ï   ǡ                 
 ï  ȋǡʹͲͲͳǢ ǤǡʹͲͲͳȌǤ
   ×ǡ   Ǥ ȋʹͲͲͳȌ     ǦÀ   
ǦÀǡ            ǡ               
 ǣ
Ǭ×                    ǦÀ   
      À           Ǧ          À  ǡ       À                À     ȋ ǥ Ȍ ǫ                    
À     ï ǡ  Ǭ      
    ǫ ȋǤʹ͹Ȍ
   Ó  Ǥ ȋʹͲͲͳȌǡ      ï                            
       × 
  ïǤ  ǡ Dz±    À  ǡ  Àǡ
 Àǡ  À   Ǧ À       ǡ
   ǡ                ï dz ȋ  Ƭ ǡ ʹͲͳͷǡ ǤʹͶȌǤ  
  ǡ        ȋʹͲͲͳȌ         ȋʹͲͳ͵Ȍ
 ǡ  ×  × 
Ǥ 
 Ó  ȋʹͲͳͶȌ    Zoomusicologia . A sabedoria do som vivo ǡ 
                              ï              ǡ                
               ǡ À 
   ×Ǥ  ǡ  À
     ×     ×     ×        ï   ǡ          ×      À      
 × Ǥ    Àǡ  ȋʹͲͳ͵Ȍ     ȋʹͲͲͻȌ Ó   
   ï                                                      

L AURA T OJEIRO P ÉREZ
ͺ͸
ï Ǥǡ ±  × 
 Àǡ  ±      À ï   Ǥ          ×  ǡ           
                    ǡ                                     ×   
 ǣ
¾ Definiciones de sonido desde la ecología acústica
o Dz          Ǥ                       
                           ͳ ͸                                         Ǥ   
ǡ ǡ  Ǥ dzȋǡͳͻ͸ ͻǡǤͳ͹ȌǤ
o  Dz                     À                              À Ǧ  ǡ
 ǡ ǡ    ×Ǥ       ×                     
      À ǡ           ǡ  
ïï dzȋǡʹͲͳʹǡ ǤͳͻȌǤ
o Dz À           ïǡ    
                                 ±              ×        dz
ȋǡʹͲͳʹǡǤͻȌǤ
o                            ǣ  ǡ
± ïǡ × ï ȋ ǡʹͲͳʹȌǤ
o Dz                 
         À          ï        Ǥ                    ǡ  
 dzȋǡͳͻ͸ͻǡǤ͹ͳȌǤ
o             ï                                     ±     ×   
 ǡ ǡǡ  ȋǡʹͲͳʹȌǤ
o Dz  À ï Ǥ À 
      ǡ                      ǡ                    
 Ó   ǡ                                   
   Ǥ       Ó     ï  
     ǡ           ǡ         ×       ǡ            ǡ                      ×               
                                      ×    ï                                  Ǥ   
dzȋ ƬǡʹͲͳ͵ǡǤͳ͵͹Ǧͳ ͵ͺȌǤ

Capítulo 1: Enfoques ontológic os de la música
ͺ͹
¾ Definiciones de ruido desde la ecología acústica
o Dz    Ó  Ǥ      ǡ ǡ   
dzȋǡͳͻ͸ͻǡǤʹͻȌǤ
o Dz          Ó      Ǣ   
                   
 À dzȋ ǡʹͲͲ͸ǡǤͳͷͶȌǤ
o                                         ǡ                 
×ǡ ȋǡͳͻͻ͹ȌǤ
o Dz       ±                                                Ǥ Ǭ 
×   ǡ           ǫdz ȋǡ ͳͻ͸ͻǡ 
ǤʹͷȌǤ
o   ǡ             
       ȋÀǡͳͻͺͺȌǤ
¾ Definiciones de silencio desde la ecología acústica
o Dz  ǡ       ǡ     Ǥ   
ǡ ǡ        ǡ    
dzȋǡʹͲͲ͸ǡǤͳͷ͵ȌǤ
o Dz             À ǡ     
   dzȋ  ǡͳͻ͸ͻǡǤʹʹȌǤ
o  Dz                 ï                              Ǥ          
         ÀǢ         ǡ         À      Dz 
ȋǡʹͲͳ͵ǡǤͳ͹͵ȌǤ
o Dz      dzȋǡͳͻ͹ͷǡǤͳ͹ȌǤ
o Dz            ǡ      
     Ǥ    ǡ          À            
À    ǡ     À
dzȋ ǡʹͲͲ͸ǡǤͳͷ͵ȌǤ
o Dz     ǡ  Ͷ ǯ͵͵ǯǯ   ×ǡ ×  À          ×
ǡ  dzȋǡͳͻ͸ͻǡǤͳͶȌǤ
o                                    ǡ                     
                   ǡ                 ï        Ǥ                                   
     À ȋ ǡʹͲͲ͸ȌǤ

L AURA T OJEIRO P ÉREZ
ͺͺ
¾ Definiciones de escuchar y oír desde la ecología acúst ica
o DzÀǡ     ×  ǡ     Ǥ   
                 ǡ              À                 Ǥ                  
  ǡ  À          ïǡ   
dzȋǡͳͻ͹ͷǡǤͳʹȌ
o Dz          ×   ï      ǡ        × ÀǤ À
                  À               Ǥ    
ï  ǡ   Àǡ                   ǡ      À   
                                      Ǥ                ×      
dzȋ  ƬǡʹͲͳͷǡǤͻͻȌǤ
       Ó        ǡ    
     × ǡ                                 
Ǥǡ   Ó ȋʹͲͲ͸Ȍǡ  Dz   ×      
Àǡ   ïǡ   ×ǡ   À   ï dz ȋǤ͵ͶȌǡ  ×   À 
× ×Ǥ  ǡ   
          ×                                        ×             ǡ   À          
 × ǡ  × Ǥ
El pai saje sonor o
 ±    Ó         
±ͳͻ͸Ͳǡ  × ±  ± soundscape. ± 
         The Tuning of the World  ȋͳ ͻ͹͹Ȍǡ    
±± Àǣ landscap e ȋ Ȍǡ  
 ǣ
  ȋ Ȍ   ïǡ         ±                 
                ǡ                                           Ǥ             
      ȋ  ȌǢ    ǡ        ǡ       
 Ǥȋǡͳͻ͸ͷǡǤͳʹȌ

Capítulo 1: Enfoques ontológic os de la música
ͺͻ
   ǡ Dz        ï dz ȋǡ ͳͻͻ͹ǡ
Ǥʹ͵ȌǤ ±     Dz          ǡ 
           ǡ          ǡ                      ǡ              dz ȋǡ ʹͲͳͳǡ Ǥ͵ͺȌǤ
ïȋʹͲͳʹȌǡ ±          À 
   Ǥ
  ± ǡ     ±      ±     objeto
sonoro ǡ ±    Ǥ   ǡ      À   
ǡ            ǡ                      
   Ǥ  ǡǡ Dzǡǡǡǡǡ
ǡ dzȋǡ ͳͻ͸ͻǡǤ͸͵ȌǤǡ     ǡ
      ×    ×     ±    ×    
 ȋǡ ʹͲͳʹȌǤ   ×ǡ                              ǡ       
                                           ±            ×     
  ǡ ǣ
           ǡ                                À            ǡ À 
      ǣ ǡ  ǡ ǡ         ǡ       Ǥ          
              À                                      Ǥ      
               À                ǡ             
                             Ǥ          ï  ǡ      ±       ×  ǡ 
                 
  Ǭǫȋǡͳͻ͸ͻ ǡǤͳͺȌ 
 ǡ         À         
     × ǡ                      ȋ   ǡʹͲͳʹȌǣDz   
          À      ǡ              ǡ                        ǡ                                 
Ǧ  ǡ         
 × dz ȋǤͳͻͻȌǤ   ǡ   ȋͳͻ͸ͻȌ   ȋʹͲͳʹȌ  
          ×     ǡ   × 
                                  ×                 ǣ Dz   
À ͳͲͲͲǡ         dzȋǡ ʹͲͳʹǡ Ǥ͹ͳȌǤ
 Ó ǡ ï  ±× 
 ǡ               ǡ     

L AURA T OJEIRO P ÉREZ
ͻͲ
El nuevo paisaje sono ro ȋ ͳͻ ͸ ͻ Ȍ                 ×    Ǥ                        
     ǡ
                                                   ǡ    
×ȋ ʹȌǤ
 ʹ Ǥ Evolución de los sonidos desde las c ulturas primitivas hasta la a ctualidad 
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 ǣ ȋͳͻ͸ͻǡ ǤͳͺȌ
  ǡ  ȋ ͳͻ͸ͻȌ  ×  ±                      
       ǡ                                 
×           ǡ                          
À  El compositor en el aula ȋǡͳͻ͸ͷȌǣ
             ǡ     
  ï                                
     Ǥ    
  ×   ±  ǤȋǤͳ͵Ȍ
             À
   ȋʹͲͳʹȌǡ    ±       ×   
         ×       Ǥ  ǡ  
    Ó                                       ï       
ǡ   ǡ   ǡ  ǡ       Ǥ   
       ǡ                                       ǡ            À  
                               
         Ǥ 

Capítulo 1: Enfoques ontológic os de la música
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ǡ ȋʹͲͳʹȌ       
          ǡ                                                 ×  
     ǡ         
ǡ  Àǣ
      ±ǡ       ǡ              ±      
ǡ  À        ǡ
                      À                        Ǥ            
   ǡ    ǤȋǤͳͻͻȌ
ǡȋʹͲͲͲȌ  × × 
      ×         ǣ                             
       ǡ                      ǡ        ǡ     ǡ          ǡ ǡ  À    
 × Ǥ
  ǡ     ×     ±    
       ïǡ      ×      
ïǤ                                     
×      ±  ǡ                   ï       
  ǡ      
   Ǥȋͳͻ͸ͻȌ           ×       
ǣ
    ×            
         Ǥ                     
             ×                                       À   
±      ± . ȋǤʹͻȌ 
      ǡ                ï                   ruido sa      
 ǡ   ±                       Ǥ     
 Ó    Ƭ    À ȋʹͲͲ͵Ȍ ǡ         
            ǡ  
            Ǥ     ǡ 
×  ×       
   ǡ                          Ǥ  ǡ   ȋͳͻ͸ͻȌ

L AURA T OJEIRO P ÉREZ
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  Dz ï              
×      ×   À     
   ïȋǤͳͷȌǤ 
  ǡ  ȋ ʹͲͲͲȌ       ï        À             
  ǡ      ï Ǧ      
                           ǡ                       ±     ×   ǡ    
         À   Ǥ        ǡ                ï Àǡ
ǡ  ǡ  ǡ ïǡ          
  ǡ                  ×              À  
          ǡ                                         ǡ      ×  
 ±     Ǥ    ×      ±   
  Óǡ  Ó  ȋʹͲͲ͸Ȍǡ    
ǣ
        ǡ  Ó        ±             Ó   
       Ǥ      ǡ      
                               Ǥ 
À        ×               ǡ       
  ±  ǤȋǤͳͷͺȌ
  ǡ      À   ±    ×
ǡ  Dz                     ǡ             À ǡ 
  ±      ǡ        ǡ 
     Ȁ        dz ȋ ǡ
ʹͲͲ͸ǡ ǤͳͷʹȌǤ  ǡ ï  ǡ           
× ǡ    ±       ×         ǡ
 Óǣ
 ǡ         Ó   ǡ 
     À                                  ×            ǡ      ǡ     
    ǡ  ǡ ǡ  ×ǡ ǡ 
ǡǡ    ǡ±ǡ
  ǤȋǡʹͲͲ͸ǡǤͳ͸͵Ȍ

Capítulo 1: Enfoques ontológic os de la música
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        ǡ                                             ǡ     
 ǡ ±   ȋǡ ͳͻ͹ͷȌǤ  ×  
          ×  ǡ                       Cuan do las pala bras cantan ȋͳͻ͹ͲȌ  Limpieza de oídos 
ȋͳͻͻͺȌ  ǡ limpia r  
×  ǡ     ǣ
                                                     Ǥ   
                                                      ǡ  ǡ 
          Ǥ                                 
Ǥȋǡͳͻ͹ͲǡǤͳ͸Ȍ
    ×      ǡ   ǡ                           
               ǡ                                Ǥ
  ǡ   ȋʹͲͲ͸Ȍ Ó                           
  ±ǡ  À     Ǥ 
   Àǡ    ȋͳͻ͸ͷȌ Ó    ×       
     Ǥ  ǡ     Dz      
 ×     Ȃ   Ȃ  Àǡ       ǡ
          ǡ          ±           ǡ  dzȋ 
Ƭǡ ʹͲͲ͹ǡǤʹȌǤ
La conta minació n acúst ica
× ×    Àï
                                   
 ×      ǣ   × ï Ǥ      
                     ×  
      ǡ          
                                ȋ     À  ǡ ͳ ͻ ͺ ͺ Ȍ Ǥ            × ï
             ȋ Ƭ ǡ
ʹͲͲ͵ȌǤ

L AURA T OJEIRO P ÉREZ
ͻͶ
ȋʹͲͲ͸Ȍ Ó  Dz       × Àǡ
                                         dzȋ  Ǥ ͳ ͸ ȌǤ     ǡ             
   ×                                   ×  
  ǡ      ïǤ        Ƭ  
ȋʹͲͳ͵Ȍǡ Dz    ×                            
   × dzȋǤʹͺͶȌ Ǥ
 × ï ×         
          ×            ǡ                              ȋ    ǡ ʹͲͲ͸Ǣ ǡ ͳͻ͸ͻȌǤ 
     ×             
          ǡ                                          ×   ȋǡ ʹͲͳʹȌǤ
ǡ À ȋͳͻͺͺȌ Ó    × ǡ   ×    
 ï                                    Ǥ 
ǡ           ×    
                      ǡ 
   ÀǤ ǡ  × ï   ×    ǡ  
      ×    Ǥ     Ó×   
                 ǡ                                     ǡ     ×
ï  ǣ
                                            ǡ      ǡ   Ǥ     Ǥ  
                          ×                              ±ǡ   
                     ×                ×               ǡ                       
   Ǥ ǡ
   Ǥ ȋǡͳͻ͸ͻǡǤ͵͵Ȍ
 ǡȋʹͲͲ͸Ȍ  ǣ  ǡ
            ±  Ǥ  
 × Ó  
 ǡ ×  Ǥ ǡ
             ×  ï           Dz        
   dz ȋǡͳͻ͸ ͻǡǤͶ͵ȌǤ
                              ǡ 
              

Capítulo 1: Enfoques ontológic os de la música
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Ǥ    Ó  ȋʹͲͳͳȌǡ             
Àǡ    
ǡ  ǡ 
   Ǥ ǡ     
  ȋǡ ͳͻͻ͹Ǣǡ
ʹͲͲ͸ǢǡʹͲͳ͵Ǣǡ ǦǡʹͲͲʹǢͳͻͻͺƬǡʹͲͲ͵ ȌǤ
ǡ  ȋͳͻͻ͹Ȍ  Ó           ǣ
× ǡ × ×Ǥ  ×ǡ         
 Àǡ   ǣ
o Audiológicos ǣ ± ȋȌ À 
o Fisiológicos ǣ        ȋ  ×Ȍǡ À 
ȋ ǡ Ȍǡ   ȋ ×ǡ ×      
  ÀȌǡ    ȋ      Ȍ  
ȋ  ȌǤ   ×        
  ± ǡ       ǡ  ǡ ïǡ
ǡ ǡ  ×Ǥ
o Ps icológico s ǣ         ǡ       
 ± ǡ Óǡ   ×ǡ±
 ǡ   À      Ǥ  ± 
    Ǥ 
                    
      ǡ Ǧ ȋʹͲͲʹ Ȍ  Ó      × 
     ͺͲ           
       Ǥ  ǡ    ͶͲΨ  
×               ǡ  
    ͵ Ͳ Ψ                                                 ÓǤ 
Ƭ  ȋʹͲͳ͵Ȍ   ×    ×                              
 ǣ
      ±         × 
  ï      Ǥ                                   ×                   ±  ǡ                
    ǡ       ±  ǡ

L AURA T OJEIRO P ÉREZ
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  ǡ       ×                      Ǥ 
ȋǡʹͲͳͲǡǤͳʹȌ
ǡ    Ó   ǡ     ï                             
×     ǡ    ±       
     ǡ     ×   Ǥ ǡ
             ǡ                          À                    
                                              ǡ                 ±    
           Ǥ        Ǧ
Ó ǤȋʹͲͳͺȌǡ      ×      
Ǥ
 Ó  Dz  ×         ×           
     dz ȋǦÓ Ǥǡ ʹͲͳͺǡ  Ǥ ͵ Ȍ ǡ                          
           ǡ À ǡ  × ǡ   
×Ǥ   ǡ             ×  
 À                ǡ             ï  ǡ   
       ×        Ǥ
     ǡ                À  Dz            À  
 ±                       Ó                 ×  ǡ              ×   
  dzȋǦÓ ǤǡʹͲͳͺǡǤ͵ȌǤ        
À    × Ǥ
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Capítulo 1: Enfoques ontológic os de la música
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1.5. LA PERSPECT IVA INTERD ISCIPLINAR
       ×   ï         ǡ
×ǡ ×   ×ǡ   ï À    À     
  ǡ  ±            Ǥ 
   ǡ             × 
      ï   ǡ                          ×Ǥ
 ǡ        ×   ïǡ
ƬȋʹͲͳͷȌ ǣ
                     ï                            ×      ǡ    
   ǡ      Ǥ            ï                 
 ǡ           ǡ                          Ǥ                                   
                                                        
 ǡ   ǤȋǤͳ ͷͺȌ
 ×  ǡ                        ǡ         
         ×      ×Ǥ  
                    ǡ    ï            Ó                        ǡ
      Àǡ  ǡ    Àǡ  ǡ  Àǡ 
      ȋ ǡ ʹͲͳͳȌǤ        ǡ
×ǡ ×ǡ ×      ï                             ǡ  
              × 
      ×            ×         ǡ          Ǥ  
     ×                ï              ǡ   
 ± À  ǡ    ×        
ǣ
   À  × 
      ×           ǡ      ±                                ǡ  
 ±ǡ ±ǡ        
                          Ǥ Ǭ                            
  ǫȋ ǦǡͳͻͻͺǡǤͳʹȌ

L AURA T OJEIRO P ÉREZ
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Ciencias y músi ca en la h istor ia
educati va
    ×  ×    ×                              
                                              ×  ǡ     ×   
    ×          ǡ       
    ͸Ǥ          Ƭ     ȋ ʹͲͳͳȌ  
×ǡ            ǡ  Dz    
          ǡ   ǡ                      
 dzȋǤͳ͹ȌǤ ǡ    ǡ× À 
ï      ×                   ×            Ǥ  

͸ Ǥ Línea temporal del epígrafe 

                    ×                            ×          
 ±ǡ    ×       À 
   ×                    ×    Ǥ         Ó        ȋͳ͸͹ʹȌǡ  À   
ï   ǡ  dzȋǤͶȌǤ 
 An tigua Grecia
  òǡ      ï   À    À       
ȋǡ ͳ͹ͲͲȌǤ ǡ   ×         ï  
              ±                Ǥ       ǡ                ï         Dz           
  ǡ  ǡ × 
     dz  ȋǡ ʹͲͳ͵ȌǤ  ǡ                    ï           
     musik é ǡ  arte de las mu sas Ǥ Dz  À 

Capítulo 1: Enfoques ontológic os de la música
ͳͲͷ
          ï  ǡ    ǡ     À  Àdz  ȋ±Ƭǡ ʹͲͳ͹ǡ
ǤͳͺȌǤ  ×              
 ǡ  ×ǣ
    À      ï     Ǥ ï
ȋ Ɋ ɍ ɓ ɐ ɇ Ɉ ᚜ Ȍ                ×          Ǽ                  ǽ ǡ    ǡ    
   Ǥ    Àǡ ï    ǡ               ǡ 
             ï                     ǡ               ï               À  ȋ ǥ Ȍ    
   ǡ          × Ǥ ȋ ǡ ʹͲͳͳǡ ǤͳͶͺȌ 
      ǡ            ±                ǡ
  ×          Ǥ    ǡ     
         ×                         À ǡ         
              ǡ                                             
             
ȋ ƬǡʹͲͳ͵ȌǤ 
   ǡ                    ï                     ǡ Dz    
                   À                                    × ǡ
      ×dz ȋǤͳͷͳȌǤ   ×ǡ        
×    × ǣ
o   × ȋǤ ǤǤ Ȍ                 À         ǡ   ï
   × ï       ÀǤDz   ±    Ó   × ǡ
  ï                 ǡ                    ï           ±         
dz ȋ ± Ƭ ǡ ʹͲͳ͹ǡ  ǤͳͺȌ Ǥ    ǡ                         
               ×                    ǡ                       ï ǡ
   ȋ  ǡ ʹͲͳͳȌǤ  ǡ    Dz ×   ï 
                  ǡ               À                   dz ȋǡ ͳͻ͸Ͷǡ ǤͶ͵ȌǤ
          ǡ Dz         ×                             ×           ǡ
        ïdz ȋǡ ʹͲͳʹǡ ǤͳͻȌǤ ǡ   
     ×             ×                  À              ǡ        
                                                ×          
 ȋ± Ƭ  ǡ ʹͲͳ͹ȌǤ   ± Ó×  ï  ͹    
ǡ Dz              ͹     

L AURA T OJEIRO P ÉREZ
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 dzȋǡ ͳͻ͸Ͷǡ ǤͶ͵ȌǤ  ǡ    ȋͳͻ͹ͷȌ  Ó   
   ǡ     ï      À 
 ×   Ǥ
o   ǡ × ȋǤ ǤǤȌ             ×            À    Ǥ     
 ×                                    ǡ  
Dz      
 À   ïdz  ȋǡ ͳͻ͸Ͷǡ ǤͶʹȌǤ  ×    ï        À            
        ȋǡ    Ȍ ×
 ±  ǡ ÀÀ
       ȋ  ǡ ʹͲͳͳȌǤ    ǡ ×   
  ±   Dz     ǡ 
±   dz ȋ ǡ ʹͲͳͳǡ ǤͳͷͷȌǤ      × 
× À  ïǡ À                
 ȋǡʹͲͳ͵ȌǤ  ǡ×   À     ×  ï  
    ǡ                    ǡ Dz           ×  
Àï ×À  Ǧdzȋ ǡʹͲͳͳǡǤͳͷͷȌǤ
o      ×     ȋ Ǥ   Ǥ  Ǥ Ȍ ǡ                   ×  ǡ       ï   À
  ǡ  
  ȋȌ ȋ ǡ ͳͻ͸ͶȌǤ ï  ×       ï         À        
    ǡ                 Ǥ              ǡ 
 ȋͳ͸ͳ͵Ȍ   ×   ×    ǡ    
          ×    Ǥ  
ǡ ×     ï  ×                  ǡ          
 ×   ×       × ȋ ǡ ʹͲͳͳȌǣ
  À   ǣ  ǡ       
 ×Ǣ     ǡ                  ǡ        ǡ    
          ×                               ×                 ×   
       ×  ǡ                                  Ǣ           ǡ    
                    Ǣ            ǡ                        
ǤȋǤͳͷͷǦͳͷ͸Ȍ

Capítulo 1: Enfoques ontológic os de la música
ͳͲ͹
      ×        ×      ï            Ó    
        ǡ           
 À ǣ
                   
          Ǥ          
                                 À     ǡ    ×               
×  ± ±   
   ǡÀ ïǡ  ×× 
ǤȋǡʹͲͳͳǡǤͳͷͶȌ
 Edad Media
        artes liberales        
 ǣ  ȋ     ǡ  ±      ×     Ȍ            ȋ             
 ± ǡ  Àǡ  À   ïȌ ȋ±  Ƭ ǡ ʹ Ͳͳ͹ȌǤ   
×ǡȋͳ͸͹ʹȌ ×   ǣ
 ï       ǡ      ǡ  À
            ǡ     ǣ  ǡǡ× ǡ
×ǡ ïǡ ±ǡ Àǡ   Àǡ          
À ǡ ǡ  ×Ǥȋ ǡͳ͸͹ʹǡǤͶȌ
            ×                                 ±          ×       ï                   
   × Ǥǡ                          
    À          ï                       ǡ  ǡ  ǡ ǡ 
       ï Ǣ    ǡ    ǡ     À 
ȋǡ ͳ͸͹ʹǡ ǤͶȌǤ  ï   ǡ   ï                             ǡ  
              ǡ                  
ǡ       À ȋǡ ͳ͸͹ʹȌǤ      Àǡ  ȋͳ͹ͲͲȌ
  ×       ±        À ǡ
 ï ï  À ǣ
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L AURA T OJEIRO P ÉREZ
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ǣ Ǭ±   ïǫ   ǣ ï   À ǡ       Ǥ ʹ            
ïǣ  Ǥ ǣǬ ±          ǫ
     ǣ          ï    ǡ                  × Ǥ     ǣ Ǭ  
     ïǫ  ǣ  Ǥ  ǣ Ǭ ǫ ǣ 
×ǡ  ǤȋǤͳǦʹȌ
   ǡ   ǡ  ï À  ±     ×            ǡ           ×   
                                           Ó           ×  Ǥ    ǡ
            ±                       ȋǡ 
ʹͲͳ͸ȌǤ    ±           À ȋǤȌǡ   
 ×    ǡ                                                     
Ǥ        ï      ǡ 
ȋǡʹͲͳ͹ȌǤ
                  ×                   lo cus a menus ǡ    
         Ǥ                   Ó                             ȋͳͻͷ͵Ȍǡ    
±ÀǤ    ± 
ï   ± ȋǡ ʹͲͳ͸Ȍǡ          À                   
×ǤȋʹͲͲͳȌ Dz   
ȋ ǥ Ȍ                        ï  À   À      
ǡ    ±   ǡ   ǡ   
dzȋ ǤͳͲ͸ȌǤ
 ǡ  ±      ×          ï    
ȋʹͲͳ͸Ȍ     ×  ǡ         ×
  ±    À           À  ×ǡ  
±    ×    × Ǥ    ǡ     
  ±     ǡ                 ×      ǡ                ǡ             
 Ǥ
 Renacimient o
    ǡ          ǡ    
 Àǡ            ±  

Capítulo 1: Enfoques ontológic os de la música
ͳͲͻ
        ȋ ǡ ʹͲͳ͵ȌǤ           
  ǡ  ×ǡ 
                                     ǡ           À  
     Ǥ      À                                                      ǡ          × 
                                 ǡ                    À ȋǡ ǡ ǡ Ƭ ǡ
ʹͲͳͲȌǤ
      ǡ              ±             ×  
Àǡ  ×               ǡ 
  ×      ×  À  ȋǡ ʹͲͳ͹ȌǤ    ±
      ×          ǡ     
                             ×            ×                        ï      ȋ         ǡ 
ʹͲͳ͵ȌǤ    ×    ǡ   
                À  
ȋǡ ʹͲͳ͹ȌǤ   ǡ                 
                                     Ǥ       ǡ      ï       
            ×              ǡ                                                ×       
    ±Ǥ
 Barroco
                    ï                          ǡ                    
  ±Ǥ          ǡ Àǡ
  ǡ    ï                                ǡ
      Ó                                                   ×                  
ȋ      ǡ ʹ Ͳ ͳ ͹ Ȍ Ǥ        Fragmentos m úsicos ǡ  ȋͳ͹ͲͲȌ   ï   
Dzǡǡ  ǡ   ×       dzǤ 
        À    ǡ           E l p o r q u é d e l a m ú s i c a   ȋͳ͸͹ʹȌ         
                     ×            ï                   À  ȋǤͳȌǤ
     × ×   ×  ǡ 
     ǡ          
 ± ǣ

L AURA T OJEIRO P ÉREZ
ͳͳͲ
                                                          ǡ 
 ±                             Ǣ    À   
      À       ï                             ǡ             ȋ ï   
Ȍ    Àǡ   ǡ   Àǡ      
± ×  ǡ  Ǥȋǡͳ͸͹ʹǡǤͷͲ͹Ȍ
  ǡ   ±   ȋͳ͸ͳ͵Ȍ      El  mel opeo y maestro  
 Ó  ×  ǡ  
              ×           ×                  ǡ              À                     
×  ǣ
                      ×               À ǡ                                 Ó     
 ïǢ                        ǡ 
        ǣ   ǡ      Ó 
ȋǤǤǤȌȋǤͻȌ
 Clasicismo
              ×          ǡ                                  À               ǡ        
                     ï     ǡ                        ±      ȋ         ǡ ʹ Ͳ ͳ ͹ Ȍ Ǥ          À    
  locus am enus ǡ                     ï   ǡ    
          ×          Ó  Ǥ                         ï       ǡ  
ǡ ×ǡ    
 ȋǡ ʹͲͳ͸ȌǤ  ȋͳ͸ͳ͵Ȍ          × 
ï ǡ   ×  Àǣ 
                                              ǡ                           ǡ 
         ï     ǣ                               ǡ      ǡ     ǡ
                    ï     ǣ                    ǡ          
                     À  Ǣ                                   
×ȋǤͳͷ͹Ȍ
        ×                           
 × À ǡ            ïǡ
      ±    ǡ        À       ÀǤ ǡ × À 

Capítulo 1: Enfoques ontológic os de la música
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                 ǡ   
ȋʹͲͲͻȌǣ
     ǡ  ǯ     ǡ                            
                                ×       À     Ǥ        ǡ    ǡ   
ï ǡ               
ǡ ǡ  × ǤȋǤ͵Ȍ
          ǡ                               À             À   ×
   ï ǡ     À            
ȋǡ ʹͲͳ͵ȌǤ    Ó  ǡ                             
 ï                                                  Ǥ       ǡ              ±     
ȋʹͲͳ͵Ȍ ×À  ï  ×   
      ǡ     À       ǣ ï    
± Àǡ ï  × À  Ǥ
   ǡ         ×                      
 ǡ   À  ǡ  
             ǡ                ×  
 Ǥǡ
                 
    ǡ           
ǡ       À       ×       
 ǤȋǡʹͲͳ͵ǡǤͳȌ
 Romantic ismo y Revolución ind ustr ial
   ×            À        ǡ 
                   Ǥ
            ×                            ×         À                             ×  
×  ×   ȋǡ ʹͲͳ͵ȌǤ  ×  
 ×ǡ      × 
        ǡ                   ×        

L AURA T OJEIRO P ÉREZ
ʹͳͶ
 ͸ Ǥ Estimación de los centros educ ativos en Ga licia para el c urso 2017-2018 

ǣ ȋʹͲͳ ͹ǡǤͳ͹Ȍ

                 ï                         Ó               
×      ʹͲͳ͹ǦʹͲͳͺǡ     ×     
   ǡ          ͹Ǥ   ǡ    
                                ǡ   filtro provincia Ǥ ±  
                          ǡ              ×              
͹Ǥ  ǡ ×   ǡï  
                       Ó  ȋ ͵ ͹ Ǥ ͸ ͺ Ψ             Ȍ ǡ            
ȋ͵͸Ǥ͸ʹΨȌǡ ȋͳ͵ǤͶʹΨ  Ȍ ȋͳʹǤʹͺΨ
 ȌǤ ǡ         ǡ   
   ï           ×     × 
Ǥ 
 ͹ Ǥ Distribución de la pobla ción por provincias 

A Coruña

Lugo

Ourense

Pontevedr a

Ed. Primaria

͵͵͸

ʹ͵ǤͺͶΨ

ͳʹͲ

ͺǤͷʹΨ

ͳͳͷ

ͺǤͳ͸Ψ

͵ʹ͹

ʹ͵ǤʹͳΨ

Ed. Secundaria

ͳͻͷ

ͳ͵ǤͺͶΨ

͸ͻ

ͶǤͻͲΨ

ͷͺ

ͶǤͳʹΨ

ͳͺͻ

ͳ͵ǤͶͳΨ

Total

ͷ͵ͳ

͵͹Ǥ͸ͺΨ

ͳͺͻ

ͳ͵ǤͶʹΨ

ͳ͹͵

ͳʹǤʹͺΨ

ͷͳ͸

͵͸Ǥ͸ʹΨ


 ïǡ   ±    ×         ×   
×   Ǥ ǡ ×        
    Ǥ   ï  ǡ         ͹
ï                  ×       ǡ    Óǡ ǡ  
ǡǡ ǡ Ǥ   ǡ     

Capítulo 3: La investigac ión empírica
ʹͳͷ
 ×Dz dzǤǡ      
                                 ǡ    filtro conc ello Ǥ  ±         
          ǡ                               ×  ǣ 
 ͺ Ǥ Distribución de la poblac ión por ubicación geográfica
(número de centros Ȍ

A Coruña

Lugo

Ourense

Pontevedr a





















Educación
Primari a

ȋͳȌαͶͺ
ȋʹȌαʹʹ
ȋ͵Ȍα͵͵


233

ȋͶȌαʹͷ

95

ȋͷȌα͵͵ 

82

ȋ͸Ȍαʹͺ 
ȋ͹ȌαͻͲ 


209

103

25

33

118

Educación
Secundaria

ȋͳȌα͵͵ 
ȋʹȌαͳ͸ 
ȋ͵Ȍαʹ͵ 

123

ȋͶȌαͳ͹ 

52

ȋͷȌαʹͷ 

33

ȋ͸ȌαͳͶ 
ȋ͹Ȍα͸ͳ 


114

72

17

25

75

Total

ͳ͹ͷ

͵ͷ͸

Ͷʹ

ͳͶ͹

ͷͺ

ͳͳͷ

ͳͻ͵

͵ʹ͵

ȋͳȌα ÓǤȋʹȌα Ǥ ȋ͵Ȍα  ǤȋͶȌ α ǤȋͷȌ Ǥȋ͸Ȍα Ǥȋ͹Ȍα 
   ×            ǡ       À              
×     ×    ×      Ǥ   
   ͻǡ                                          
                                          ǡ                 ×
  Ǥ
 ͻ Ǥ Distribución de la població n de estudio por ubicación
geográfica (porce ntajes) 

A Coruña

Lugo

Ourense

Pontevedra





















Educación
Primari a

͹Ǥ͵ͳΨ

ͳ͸ǤͷͶΨ

ͳǤ͹͹Ψ

͸Ǥ͹ͶΨ

ʹǤ͵ͶΨ

ͷǤͺʹΨ

ͺǤ͵͹Ψ

ͳͶǤͺ͵Ψ

Educación
Secundaria

ͷǤͳͳΨ

ͺǤ͹͵Ψ

ͳǤʹͳΨ

͵Ǥ͸ͻΨ

ͳǤͷ͸Ψ

ʹǤ͵ͶΨ

ͷǤ͵ʹΨ

ͺǤͲͻΨ

Total

ͳʹǤͶʹΨ

ʹͷǤʹ͹Ψ

ʹǤͻͺΨ

ͳͲǤͶ͵Ψ

ͶǤͳʹΨ

ͺǤͳ͸Ψ

ͳ͵Ǥ͹ͲΨ

ʹʹǤͻʹΨ




L AURA T OJEIRO P ÉREZ
ʹͳ͸
     ×     ×    ǡ    
×  ǡ      ×     ×    
×       ×   ǡ          
                ×                      Ǥ 
×ǡ    ×                    
× ± Ǥ
3.2.3. S ele cción d e la mues tra
    ×  ǡ         
  Ǥ  ×  muestreo
aleatorio est ratificado ǡ        ×      Ǥ
ǡ       ×     ȋȌǡ
                             ±                   
ȋǡʹͲͲͷȌǤ    Àǡ   
  × ǡ    × 
                                            Ǥ          ǡ      
ǡ    Ǥ 
  ǡ                × 
  ǡ             Ǥ   ǡ
±   ×    ǡ       
               ×Ǥ 
ïǡ± ×  ǡ  
                                                            
Ǥ   ǡ  ×      ×    ǡ  
    ×  ǣ 
ͳǤ  ȋ  Ȍ
ʹǤ  ȋÓǡ ǡǡ Ȍ 
͵Ǥ ×    ȋ  Ȍ

Capítulo 3: La investigac ión empírica
ʹͳ͹
       
ï     ×ǡ ǡ
     ͳͶͲͻ      Ó    Ǥ 
                                          ×    ×                              ×        ǡ 
  ï          ǡ      
  ͷΨ        ͻͷΨ ȋǡͳͻͺͻȌǤ  ï    
͵Ͳ͵  muestra repr esentativa × Ǥ
Muestreo aleatorio estrati ficado
  ×                ×ǡ      
                        afijaci ón pr oporcion al ǡ     ï    
                                                            Ó                   
  ×ǡ   ×            ï 
     ȋ ǡ ʹͲͲͷȌǤ   ǡ      ǡ  
   ×  ×  
  ǣ
¾
¾

      ×      nivel imparti do   
ȋ  Ȍǡ                               
Ǥ   ͵Ͳ͵     ǡ                   ± 
                 ǡ            
   ï    ǣ

x      ͳͶͲͻ   Ó  ǡ ͺͻͺ      × 
        ǡ                                              ͵Ͳ͵ ǡ À
 À   ͳͻ͵Ǥ ͳͳͳ    ×  Ǥ   
×ǡ À   ͳͻ͵   ×     Ǥ
x      ͳͶͲͻ   Ó  ǡ ͷͳͳ      × 
          ǡ                                              ͵Ͳ͵ ǡ À
 ͳͲͻǤͺͺͻ    ×  Ǥ       ×ǡ
ÀͳͳͲ  ×   Ǥ 
x                
ȋͳͻ͵Ȍ ȋͳͳͲȌ  ȋ͵Ͳ͵ȌǤ

L AURA T OJEIRO P ÉREZ
ʹͳͺ
 ͳͲ Ǥ Rep arto en el estrato nivel impartido en el centro 

Población

Muestra

Centros de Educación Primaria

ͺͻͺ

ͳͻ͵

Centros de Educación
Secundaria

ͷͳͳ

ͳͳͲ

Total de centr os

ͳͶͲͻ

͵Ͳ͵

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¾
¾

     ×     prov inc ia       
 ȋ Óǡ ǡ   ǡ  Ȍǡ          
  Ǥ͵Ͳ͵   ǡ  
   ±   ǡ  ×         
          ǡ          ±                             ǡ           
              Ǥ      
    × ǣ
 ͳͳǤ Cálc ulo de la muestra en el estrato provincia

A Coruña

Lugo

Ourense

Pontevedr a

Educación
Primari a

ʹ͵ǤͺͶΨ͵Ͳ͵α
͹ʹǤʹʹ

ͺǤͷʹΨ͵Ͳ͵α
ʹͷǤͺͳ

ͺǤͳ͸Ψ͵Ͳ͵α
ʹͶǤ͹ʹ

ʹ͵ǤʹͳΨ͵Ͳ͵α
͹ͲǤ͵͵

Educación
Secundaria

ͳ͵ǤͺͶΨ͵Ͳ͵α
ͶͳǤͻ͵

ͶǤͻͲΨ͵Ͳ͵α
ͳͶǤͺͷ

ͶǤͳʹΨ͵Ͳ͵α
ͳʹǤͶͺ

ͳ͵ǤͶͳΨ͵Ͳ͵α
ͶͲǤ͸͵


                                        ǡ               ×    
 ǡ À   ǣ
 ͳʹǤ Reparto de la muestra en el estrato  provinc ia

Muestra

A
Coru ña

Lugo

Ourense

Pontevedra

Educación
Primari a

ͳͻ͵

͹ʹ

ʹ͸

ʹͷ

͹Ͳ

Educación
Secundaria

ͳͳͲ

Ͷʹ

ͳͷ

ͳʹ

Ͷͳ



¾

                            ×                        ubicación geográ fica   
ȋ      Ȍǡ            
     Ǥ  ͵Ͳ ͵     ǡ  

Capítulo 3: La investigac ión empírica
ʹͳͻ
            ±                           ǡ    ×                   
     ǡ  ±          ǡ  
                  Ǥ 
                   
 × ǣ
 ͳ͵Ǥ Cálculo de la muestra en el estrato  ubicac ión geográfica

A Coruña

Lugo









Primari a

͹Ǥ͵ͳΨ  ͵Ͳ͵ αʹ ʹǤͳͷ 

ͳ͸ǤͷͶΨ  ͵Ͳ͵α ͷͲǤ ͳʹ

ͳǤ͹͹Ψ͵Ͳ͵αͷǤ͵͸

͸Ǥ͹ͶΨ͵Ͳ͵αʹͲǤͶʹ 

Secundaria

ͷǤͳͳΨ  ͵Ͳ͵ αͳ ͷǤͶͺ 

ͺǤ͹͵Ψ  ͵Ͳ͵ αʹ ͸ǤͶͷ 

ͳǤʹͳΨ ͵ Ͳ͵ α͵Ǥ͸͹ 

͵Ǥ͸ͻΨ  ͵Ͳ͵ αͳ ͳǤͳͺ 

Ourense

Pontevedr a









Primari a

ʹǤ͵ͶΨ ͵ Ͳ͵ α͹ǤͲͻ 

ͷǤͺʹΨ  ͵Ͳ͵ αͳ ͹Ǥ͸Ͷ 

ͺǤ͵͹Ψ  ͵Ͳ͵ αʹ ͷǡ͵͸ 

ͳͶǤͺ͵Ψ  ͵Ͳ͵α ͶͶǤͻͶ 

Secundaria

ͳǤͷ͸Ψ ͵ Ͳ͵ αͶǤ͹͵ 

ʹǤ͵ͶΨ ͵ Ͳ͵ α͹ǤͲͻ 

ͷǤ͵ʹΨ  ͵Ͳ͵ αͳ ͸Ǥͳʹ 

ͺǤͲͻΨ  ͵Ͳ͵ αʹͶǤ ͷͳ 


                          ǡ                             ǡ   
 × ǡÀ   ǣ
 ͳͶǤ Reparto de la muestra en el estrato  ubicación ge ográfica

A Coruña

Lugo

Ourense

Pontevedr a



















 

Prim.

ʹʹ

ͷͲ

ͷ

ʹͲ

͹

ͳͺ

ʹͷ

Ͷͷ

Sec.

ͳ͸

ʹ͹

Ͷ

ͳͳ

ͷ

͹

ͳ͸

ʹͷ

Total

͵ͺ

͹͹

ͻ

͵ͳ

ͳʹ

ʹͷ

Ͷͳ

͹Ͳ


Selección d e los ce ntro s educa tivos
             ×      
         ǡ                  ×                     ǡ          ×     elección de los centros
concr etos que co nfiguraría n la mues tra representativa ǡ       
 ×Ǥ                                   
    ǡ  ×   ×      Microsoft Excel ǡ
   ×Ǥ

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