Artificial intelligence (AI) is a hot topic that presents new challenges and opportunities for the improvement of educational processes. The disruptive and transformative force of this new technological development implies the adaptation of educational ecosystems for its use and integration as a didactic and pedagogical resource. From this perspective, a systematic literature review has been conducted to analyze the didactic potential of generative AI tools in the field of promoting artistic creativity in music education. The research results confirm that the incorporation of AI in music education is paving the way for a more personalized, interactive and efficient learning experience. In addition, the analysis suggests nine fundamental fields of IA implementation in music education: virtual and augmented reality (VR; VA); learning personalization, intelligent tutoring systems; composition assistants; improved historical and contextual learning; assessment systems; interactive ear training and music theory systems; tools for music collaboration and performance; and assistive technologies. Furthermore, the challenges presented by the intersection of AI and digital didactics in the field of music education are discussed.

El presente trabajo aborda de manera crítica los condicionantes y consideraciones que subyacen a la proyección de las Humanidades Digitales, como disciplina operativa, al ámbito de la praxis educativa. La colonización de este nuevo espacio competencial consolida la tendencia de traslación de las Humanidades Digitales, desde su consideración como aparato metodológico al servicio de la investigación, al entorno de la praxis profesional en diversas áreas de conocimiento. Para abordar esta cuestión se establece una delimitación conceptual que permita caracterizar las Humanidades Digitales en el entorno académico, frente al uso común del concepto TIC en Educación. Desde esta perspectiva se aborda el desarrollo de las nuevas culturas epistémicas en función de los nuevos modos de pensamiento que implican los flujos y canales de recepción del conocimiento en los entornos educativos digitales. También se discute la necesidad de integrarlas en estos ecosistemas de cara a diseñar e implementar herramientas y fuentes de información semánticamente adaptadas a las necesidades propias del entorno. Para ello se consideran los distintos requerimientos curriculares o las perspectivas pedagógicas de cada contexto académico. Finalmente se hace una breve alusión a como todas estas cuestiones confluyen en lo que se ha dado en llamar “didácticas digitales”, entendidas como el conjunto de estrategias que inspiran los nuevos procesos de enseñanza-aprendizaje optimizando las posibilidades pedagógicas que brindan las nuevas tecnologías.

Orally transmitted traditional music constitutes an invaluable intangible legacy for understanding the development of local cultures and observing social dynamics over time. The Co-Poem project aims to make a significant corpus of these musical cultures available to any user in the Mediterranean basin by creating the I-Folk database, which allows access and consultation through semantic technologies and artificial intelligence, to promote knowledge of this cultural reality and perpetuate its intergenerational transmission. The conceptualization of both resources is oriented to the practice of music teaching in primary education. From this point of view, the structure of metadata that musically describes each work and the implementation of access resources to the corpus under study are analyzed from the point of view of the pedagogical function. All these issues are materialized in creation of various educational resources based on the possibilities of the I-Folk database to promote meaningful and interactive learning of musical content (melody, rhythm, dance, etc.) based on the defining characteristics of this type of repertoire. Recent interventions and didactic activities in primary schools show that both the I-Folk database and the associated resources and the search and comparative analysis functionalities between repertoires from different territories constitute a tool highly appreciated by teachers and arouses great interest among students.

Composition is one of the facets of musical activity that allows a more effective way to interrelate theoretical and practical contents in a real context to enhance the development of creativity and collaborative work in the music classroom. Through a qualitative methodology based on participant observation, the results of several projects aimed at implementing collaborative composition in the training of music teachers at the University of Salamanca through audio production tools (DAW) as a pedagogical strategy to address basic knowledge and specific skills of the curriculum of the music subject in secondary education, are synthesized. From this perspective, this work proposes a structured and sequential model for the collaborative composition of musical productions in the field of popular urban music (with special attention to the rock style), addressing and exemplifying in a practical way issues such as the layered structure in the prototypical song of rock bands, the fundamental rhythmic bases, the harmonic function and the development of chord progressions or the creation and development of melodic lines for the voice.

Folk music is a fundamental immaterial heritage that promotes cultural identity. However, it lacks a substantial body of open access materials, and its promotion has been disconnected from the education curriculum. In this context, facilitated access to annotated high-quality folk music content can promote better educational tools and enhance cultural heritage literacy. Based on this, we advance and detail three main contributions: 1) a standardized model to musically annotate Iberian folk music; 2) a new database, named I-Folk, with annotated files following the proposed model; and 3) tools for navigating and retrieving folk music contents from the database. A particular emphasis is given to the educational application of the proposed model, contents, and tools in education. Ultimately, we strive for the promotion of Iberian folk music to the educators’ community.

El consumo de información en entornos digitales ha transformado de forma disruptiva los modelos y prácticas lectoras históricamente consolidadas bajo la influencia del libro como dispositivo para la lectura impresa. El ecosistema digital ha difundido un nuevo estilo de lectura, caracterizado principalmente por ser más rápido y selectivo, en el que se anteponen de manera paradigmática cuestiones relacionadas con el pragmatismo y la productividad, frente a las ventajas de lo analógico en el ámbito cognitivo y sensorial. El presente estudio identifica y analiza los factores percibidos de desapego hacia la lectura digital en el contexto específico de la práctica lectora en la comunidad educativa en la Universidad de Salamanca. Para ello se pregunta a una muestra representativa (n=25) de alumnos y profesores seleccionados mediante muestreo aleatorio simple, a través de una entrevista semiestructurada, y se estudian los resultados con la asistencia de la herramienta Atlas.ti. Los resultados permiten identificar y analizar una serie de factores, y sus interrelaciones, que apelan a aspectos como la cognición, la percepción emocional y/o estética, la accesibilidad o la potencialidad pragmática, entre otros, que conforman la realidad ontológica que explica el desapego, y la resistencia de lo impreso, frente al proceso colonizador de las tecnologías digitales.