miércoles, 23 de marzo de 2011

THE labyrinth

THE STORY BEHIND THE STORY







"Labyrinth" is a story about the change that takes place in a maze where four amusing characters look for cheese. Cheese is a metaphor for what one wants in life, whether a job, a loving relationship, money, a big house, freedom, health, recognition, inner peace or even an activity like running or playing football
Each of us has our own idea of ​​what is cheese, and go after him because he thinks that makes him happy. If successful, it almost always falls in love with him. And if you lost or removed, the experience is often traumatic.
In the story, the labyrinth represents where you spend your time looking for what you want. May be the organization you work for the community in which you live, the institution where you study or the relationships in your life.
While in the past wanted to loyal employees, today we need flexible people who are not possessive with "the way we do things here." And, as we all know, living in a constant flood of changes is often stressful, unless people have a way to see change to help them understand. And this is precisely where the story kicks in the "cheese."
When I spoke to my friends the story and read it, I noticed that almost started to come off negative energy. One after another, all the business people came to thank me for the book and to say how much they had helped to see from a different perspective on the changes occurring in our company.
This little parable is read in a very short time, but their impact can be profound.
The book is divided into three parts.
In the first meeting, a former high school classmates talk about how they tackle the changes that occur in their lives.
The second part is the story itself, the story: "Who Moved My Cheese?, And constituted the core of the book.
In the third part, "The debate", people say what the story has meant to her and how you will use in their work and in life.
Some readers of the manuscript preferred to stop at the end of the story and not read "The debate, to interpret the meaning for themselves. Others enjoyed reading it because they encouraged to think about how to implement in their situation that they had been taught the story.
In any case, I hope that every time I reread Who Moved My Cheese? find something new and useful in the story, as it happens to me and that helps you cope with change and succeed, whatever the success for you.
With best wishes, I hope you enjoy what you find. Oh, and remember:
Move when you move the cheese!
KEN BLANCHARD


Who Moved My Cheese?
L A R E U N I O N

In Chicago, a sunny Sunday, men and women who went to school together, met for lunch after attending an official ceremony in the center last night.
They wanted to know more about the life of his former classmates. After many jokes and a great meal, filed an interesting conversation. Angela had been one of the most popular class, said:
"Life has followed a path very different from what I thought when we went to school. Many things have changed.
"True, Nathan agreed.
The others knew that Nathan had continued the family business, operating as usual, and since they remembered was integrated into the community. So surprised him worried.
"But have you noticed that when things change we do not want to change? - Continued.
"I think we resist change because change scares us - said Carlos.
"You were the captain of the football team, Carlos - said Jessica - I never thought that one day he would talk about fear.
Everyone laughed to note that although they had taken different directions (from being a housewife to working in a company executive), experienced similar feelings.
Each trying to cope with unexpected changes that were taking place in his life in recent years. And almost all participants admitted that they had found a good way.
"Me too, I was afraid of change - intervened Michael - When there was a big change in our company, we did not know what to do. We continue as always and almost lost everything. But then I heard a story that changed everything.
- Really? Nathan asked.
"Yes. The story changed the way I looked at the changes, and from then on things got better quickly ... In my work and my life.
Then I reported the story from some people in my company that did the same with other outsiders, and then things started to work much better because we all better adapt to change. And many say the same as me, that has helped them in privacy.
- What story is it? Angela asked.
"It's called Who Moved My Cheese?
Everyone laughed.
"I'd like to hear it said Carlos -. Why do not you tell us now?
"Certainly," said Michael. It will be a pleasure for me ... Not too long.
And Michael began to tell the tale.
E L C O U E N T

There was once a far away land where they lived four characters. Everyone was running through a maze looking for cheese to be fed and that made them happy.
Two were mice, and called Smelling and Running (Oli and I ran to her friends), the other two were little people, loved the size of mice, but had a look and act very similar way to those of modern humans. Their names were Kif and Kof.
Due to its small size, difficult to see what they were doing, but if you looked closely you discovered amazing things.
Both mice and the little people spent the day in the maze looking for their favorite cheese.
Oli and I ran, mice, but only had the brain of rodents, had very good instincts and sought dry cheese and cured so much like those animals.
Kif and Kof, the little people, they used a brain full of beliefs to find a very different kind of cheese - with a capital - they thought that would be happy and succeed.
In mice that were different and the little people had something in common: every morning you put your tracksuit and sneakers, came from his house and rushed running to the maze in search of your favorite cheese.
The labyrinth was a maze of corridors and rooms, and some containing delicious cheese. But there were also dark corners and blind alleys that lead nowhere. It was a place that was very easy to miss. However, for those who gave to the path, the labyrinth harbored secrets that allowed them to enjoy a better life.
To find cheese, Oli and I ran, the mice, using the simple but inefficient method of trial and error. Traveled corridor and if it was empty, turned and wandered gave the following.
Oli sniff the air with his big mouth to find out which direction we had to go for cheese, and I ran rushed toward it. As imagined, lost, gave many turns useless and often bumped into walls. However, Kif and Kof, the two little people, they used a different method that relied on their ability to think and learn from past experiences, but sometimes their beliefs and emotions to blur.
Over time, each following its own method, all found what they had been looking for: a day at the end of a lane in Central Cheese "Q", given the type of cheese they wanted.
Thereafter, the mice and the little people every morning is put their sports clothes and headed to Central Cheese "Q". Soon, what had become a habit for everyone.
Oli and I ran woke up early every morning, as usual, and ran through the maze following the same route. When they arrived at their destination, the mice took off their shoes and hung from the neck to keep them on hand at the time would need to return to. Then engaged to enjoy the cheese.
At first, Kif and Kof also were running every day until the Central Cheese "Q" to savor the tasty new morsels that awaited them. But after a while, the little people were changing their habits. Kof Kif and woke up every day later, they dressed more slowly and were walking toward Central Cheese "Q". At the end of the day, knew where the cheese and how to get there. They had no idea of ​​the origin of the cheese did not even know who put it there. Simply assumed that would be in place.
Every morning, when they reached the Cheese, Kif and Kof were placed comfortable, as if at home. They hung their tracksuits and put on slippers. As they found the cheese whenever they felt more comfortable.
- This is wonderful, "said Kif. Here we have enough cheese for a lifetime.
The little people were happy and contented, thinking they were safe forever. Not long before they consider him the cheese had been found in Central Cheese "Q", and had so much that, soon after, moved his home near the plant and built a social life around it.
To feel more comfortable, Kif and Kof decorated the walls with sayings and even painted pieces of cheese that made them smile. One of the phrases read: "Having Cheese makes you happy"
Sometimes Kof Kif and brought their friends to see the pieces of cheese were piled in the Central Cheese "Q". Sometimes they shared it with them and others do not.
- We deserve this Cheese - Kif said -. We really had to work hard and long to achieve.
Then Kif fell asleep, as often happened. Every night, the little people were returning home loaded with cheese, and every morning returning entrusted to the Central Cheese "Q" ...
Everything was the same for some time. But after a few months, confidence and Kof Kif became arrogance. They felt so comfortable that even warned what was happening.
Time passed, and Oli and I ran were doing the same thing every day.
In the morning, arriving early at the Central Cheese "Q" and sniffing, scratching, and inspected the area to see if there had been changes from the previous day.
They sat down and they would nibble cheese.
One morning they arrived to the Central cheese "Q" and found there was no cheese. Not surprised. As had been noted that the reserves had been declining cheese gradually, smelled and I ran were prepared for the inevitable and instinctively knew right away what they had to do.
They looked at each other, caught wearing running shoes tied around his neck, walkways and are knotted. The mice were not lost in deep analysis of things. And neither had to carry complicated belief systems. For mice, both the problem and the solution was simple. The situation in Central Cheese "Q" had changed. So, I smelled and I ran decided to change.
Both peeped his head through the maze. Then I smelled raised the muzzle, sniffed and nodded, after which I ran was launched to run through the maze and quickly followed it smelled.
Had already begun looking for new cheese that day, later, Kif and Kof made their appearance in the Central Cheese "Q". They had not paid attention to the small changes that had been occurring, and therefore assumed that the cheese still be there.
The new situation totally caught off guard.
- What? Is there cheese? Kif cried -. Is there cheese? She repeated angrily, as if shouting was to get someone to get it back. Who Moved My Cheese? Bellowed indignantly. Finally, arms akimbo, his face flushed with anger, shouted:
This is not fair! Kof shook his head in disbelief. He also had assumed that the Central Cheese "Q" would have cheese and froze in surprise. I was not prepared for that.
Kif shouting something, but did not want to hear Kof. I had no desire to face what was before, so disconnected from reality.
The behavior of the little people was not pleasant nor productive, but understandable. Finding Cheese was not easy, and for the little people that meant more than having all the required amount on it.
For the little people, find cheese was finding a way to get what they thought needed to be happy. Each had, as were their tastes, their own idea of ​​what it was cheese.
For some, finding Cheese was having material things. For other good health and inner peace. To Kof, cheese meant feeling safe, having one day a great family and a comfortable house on Cedar Street.
To Kif, meant becoming a Big Cheese with other responsible and have a beautiful mansion. As the cheese was very important to them, the two little people spent much time deciding what to do. At first, the only thing they thought was thoroughly inspect the Central Cheese "Q" to check whether or not the cheese was gone.
While Oli and I ran had been launched, Kif and Kof still hesitating and hesitating. Ranted and complained about how unfair it was everything that happened, and Kof became depressed. What if the next day were not cheese? Had made plans for the future based on that cheese.
The little people could not believe what they saw. How could that have happened?
Nobody had warned. It was not right. It was assumed that these things had to happen.
That night, Kif and Kof returned home, hungry and discouraged, but, before leaving the Central Cheese "Q", Kof wrote on the wall:
"The most important one is the cheese, the more you want to keep."
The next day, Kif and Kof broke out of their homes and returned to the Central Cheese "Q", where they hoped to find a way or another, its cheese.
But the situation had not changed: the cheese was still not there. The little people did not know what to do. Kof Kif and froze, motionless as statues.
Kof closed his eyes as hard as I could and covered his ears with his hands. I wanted to disconnect from everything. He refused to acknowledge that the supply of cheese had been declining gradually. He was convinced that had suddenly disappeared.
Kif analyzed the situation, and eventually his complicated brain with a huge belief system became operational.
- Why have I done? He asked. What's going on here?
Kof opened his eyes, looked around and asked:
"By the way, where are Oli and I ran? Think you know something we do not know?
- What do they know? - Snapped in a tone of contempt Kif -. They're just mice.
React to what happens. We are little people, are special. We should be able to find the solution. Moreover, they deserve a better fate. This should not happen, and we're in, at least we would have to receive compensation.
- Why should they receive compensation? Kof inquired.
"Because we are entitled.
- Right to what? Kof asked.
"We have a right to our cheese.
- Why? Kof insisted.
"Because this issue we have not caused us Kif replied," Someone has caused this situation and we must get something out of it.
"It might be best not to analyze both the situation. What we should do is get up immediately and look for new cheese-Kof suggested.
"Oh, no," said Kif. I'll get to the bottom of this. While still arguing Kif and Kof, Oli and I ran and had traveled many aisles, looking for cheese in all that cheese plants in their path.
They did not think of anything that was not to find new cheese. Spent much time without finding anything until the end, came to a maze in the area had never been: the Central Cheese "N". By entering uttered a cry of joy. They found what they were looking for: a large pool of cheese. They could not believe his eyes. It was the largest amount of cheese the mice had been in his life.
Meanwhile, Kif and remained in the Central Kof Cheese "Q" evaluating the situation. Beginning to suffer the effects of the lack of cheese. Became increasingly frustrated and angry, and blamed each other for the situation where they were.
Once in a while, Kof remembered her mice friends, and wondered if Oli and I ran and have found cheese. Thought they should be going through hard times, because running through the maze always involves uncertainty, but also knew they would not be in trouble a long time.
Kof sometimes imagined that Oli and I ran had found new cheese and enjoy seeing him. I was thinking how good it would do him go on an adventure through the maze and find a new cheese. I could almost taste it.
The clearer was the image of himself Kof finding and testing the new cheese, he came more eager to leave the Central Cheese "Q".
- Go! He exclaimed suddenly.
- No - replied quickly Kif -. I'm fine here, is a comfortable and familiar.
Furthermore, it is dangerous out there.
- No, it is not - Kof said. We have already traveled many parts of the maze, and we can do it again.
- I'm too old for that - said Kif -. And I have no interest in losing or lie to myself. Do you?
These words made Kof back to fear of failure, and hopes to find new cheese vanished. So the little people continued to do every day what they had done before: go to Central Cheese "Q", not find cheese and return home, bringing their anxieties and frustrations. They tried to deny what was happening, but each time found it hard to sleep, and morning was no less energy and were more irritable.
Their houses were sites that had been friendly. The little people suffer from insomnia, and when getting to sleep had nightmares that were no cheese. But Kif and Kof were returning every day to the Central Cheese "Q" and, once there, merely waiting.
- If we strive more - said Kif - may actually discover that things have not changed much. It is likely that the cheese is nearby. Maybe it's hidden behind the wall.
The next day, Kof Kif and returned with tools. Kif Kof held the chisel and hit with a hammer until they made a hole in the wall of the Central Cheese "Q". Looked through it, but found no cheese. They were disappointed but believed they could solve the problem. So they started work earlier, they did so more aggressively and ended up later, but all I did was have a huge hole in the wall.
Kof began to understand the difference between activity and productivity.
"Maybe - Kif said - what we should do is sit back and see what happens. Sooner or later, will have to return the cheese. Kof wanted to believe that Kif was right, so every night he went home to rest and the next morning he returned with his friend, reluctantly, to the Central Cheese "Q", but the cheese did not appear.
The little people were growing weak from hunger and stress. Kof getting tired of waiting that the situation improves.
Beginning to understand that the longer they were without cheese, the worse would be found.
Kof knew they were losing their sharpness. Finally, one day Kof began to laugh at himself. "Look, Kof, look - it said -. Each day I do the same things over and over again, and I wonder why the situation does not improve. If this were not so ridiculous, it would even be fun."
A Kof did not like the idea of ​​having to run back through the maze, he knew that would be lost and had no knowledge that would find more cheese, but seeing how stupid I was becoming because of fear had to laugh at itself - Where you put our tracksuits and sneakers? Kif asked.
Long time to find them because when they found long ago in Central Cheese Cheese "Q", they had kept to the bottom of all thinking they do not need anymore.
When Kif saw his friend putting on sweatpants, asked:
- Do not go out into the maze again, right? Why do not you stay here with me, hoping to return the cheese?
- Look, Kif, do not understand what is happening. I did not want him, but now I realize that we no longer return this cheese. This cheese belongs to the past and it's time to find a new one.
- But what if there is no more? "Said Kif. And even if there is, what if you find it?
- I do not know, "said Kof.
There had been thousands of times those two questions and began to feel again the fear that paralyzed him.
Then he began to think about finding new cheese and all the good things that would mean.
Then he summoned forces and said:
- Sometimes, things change and never again be as before. I think we're in a situation like this, Kif. That's life! Life moves and we also owe us do it.
Kof looked at his emaciated companion and tried to make him see reason, but fear of Kif had become angry and refused to listen.
Kof not want to be rude to his friend, but could not help but laugh at the stupid that both were behaving.
Kof As he prepared to leave, he began to feel more alive to realize that finally was able to laugh at himself, overcome fear and move on.
- It's time to return to the maze! "She said.
Kif did not laugh or react.
Kof took a small sharp rock and wrote a serious thought on the wall for his friend reflect on it. As was his custom, Kof even drew a piece of cheese around the words with the hope of Kif smile and encourage him to seek a new cheese, but his friend refused to look.
On the wall read:
"It will not change extinct"
Then peered Kof and noted the maze anxiety.
He thought of how he came to that situation of lack of cheese.
He had thought that may not have cheese in the maze, or he would not be able to find. Those thoughts were full of fear is paralyzing and would eventually kill him.
Kof smiled. Kif knew was wondering: "Who Moved My Cheese?" But what he asked was: "Why can not I set out before, why I did not move when I did the cheese?".
On entering the labyrinth, Kof looked back, recognizing the convenience of space left, and was drawn to familiar territory that although there had been a long time without finding cheese.
Kof felt increasingly anxious, and wondered if they really wanted to return to the labyrinth. Wrote a sentence on the wall before him and stood a while looking at her.
"What would you do if you had no fear?". He thought about it.
I knew that sometimes, a little fear is good. When you are afraid that things will get worse if you do something, fear can prompt you to action. But when you from doing something, the fear is not good.
Looked to the right. It was a maze in the area had never been and was afraid. So deep breath and stepped into the maze, moving with quick step into the unknown.
While trying to find the right path, her first thought was that maybe they had been waiting too long in the Central Cheese "Q". So long did not eat cheese that was weak. The maze demanded more time and effort than usual. Decided that if ever something like that happen again, would adapt to change faster. That make things easier.
"Better late than never," he said with a smile bloodless.
During the following days, Kof found a little cheese here and there, but amounts were not lasted long. Expected to find a good dose to take to Kif and encourage him to return to the maze.
Kof but had not yet regained enough confidence in himself. He had to admit that disoriented in the maze. Things seemed to have changed since the last time I was there. Just when I thought I had found the right direction, got lost in the aisles. It was as if he were two steps forward and one back. It was a challenge, but had to admit that back to the maze in search of cheese was not as bad as feared.
Over time he began to wonder if the hope of finding new cheese was realistic. Would not it be a dream?: Immediately laughed, realizing that had so long without sleep that it was impossible to sound.
Every time I started to get discouraged, he reminded himself that what he was doing, he proves uncomfortable at the time, was much better than sit idly by without cheese. Was taking charge of your life instead of just letting things happen.
Then it was recalled that Oli and I ran were able to venture out, he was also. Later, Kof reconstructed the facts and concluded that the Central Cheese Cheese "Q" had not disappeared from the overnight, as he had thought at first. In recent times, there were more and less cheese and also the remaining, and did not know so well.
Perhaps the cheese had begun to mildew and he had not noticed. He had to admit, however, that if he wished he would have realized what was happening. But he had not.
At that time realized that the change would not have caught by surprise if he had noticed that this would gradually producing such provision.
Perhaps that was what he had done Oli and I ran.
He stopped to rest and wrote on the wall of the maze:
Smell the cheese often so you know when starting to go moldy cheese When I had not found for a time it seemed very long, Kof came to a vast Central Cheese that looked promising. But when he walked suffered a great disappointment that was completely empty.
"I've had this empty feeling too often," he thought, wanting to give up the search.
A Kof forces began to falter. I knew I was lost and afraid he would not survive. He thought to turn back and return to Central Cheese "Q". At least if I got and Kif was still there, would not feel so alone. Then again ask the same question as before:
"What if you were not afraid?"
I was afraid more often than he was willing to admit. It was not always sure what he was afraid, but knew that state of weakness he was afraid to move forward alone.
Kof did not notice, but was lagging behind because of their fears. Kif was asked whether it would continue to moved or paralyzed by their fears. So
Kof recalled the times he had felt more comfortable in the maze. They had always been happy to be in motion. Wrote a sentence on the wall, knowing it was both a reminder to himself as a sign if your partner Kif was decided to follow:
"Moving in a new direction to find a new cheese
Kof looked at the dark corridor and was aware of her fear. What awaited him there? Was it empty? Or worse, was there hidden dangers? He began to imagine all sorts of frightening things that could happen. Each time I felt more fear. Then he laughed at himself. Realized that all they did was their worse fears. So he did what he had done from fear, moved into a new direction.
When he started running down the dark corridor, a smile crossed her lips. Kof not yet understood, but I was discovering what nourished his soul. She felt free and had confidence in what awaited him, but did not know exactly what it was. To his surprise, saw that every time it went better.
"Why do I feel so good? - -. No wonder I have not an ounce of cheese or know where I go."
Soon realized why he felt that way. And amused to write back to the wall:
"When you leave behind the fear, you feel free"
Kof realized he had been a prisoner of his own fear. Advance in a new direction had freed him.
At that moment he noticed the breeze rushing through that part of the maze and found it refreshing. He breathed deeply a few times and felt revitalized. After leaving behind the fear, everything was much more pleasant than he had thought it would be.
Long ago he did not feel that way. Speaks almost forgotten how much fun it was.
To make everything even better, Kof began to draw a picture in your mind. It looked in detail and authenticity, sitting among a bunch of his favorite cheeses, from cheddar to brie. He was eating all the cheese that he liked and enjoyed what he saw. Then imagine what they would most happy all those flavors.
The more clearly saw the image of New Cheese, the more real it became and the more I sensed it was going to find it.
Kof wrote again on the wall:
"Imagine enjoying new cheese before you even find it, leads to AIDS."
"Why had not done before?" He asked.
Then, she ran through the maze with more energy and agility.

MUSICAL BIOGRAPHIES AND METHODOLOGIES

The different methodologies and biographies that we are in music education and is now summarized as follows:

Orff: Carl Orff (Munich 1895 - id 1982) a school founded in 1924 and created a method of teaching music that would be widely adopted, the Orff - Schulwerk. In 1930 he wrote Schulwerk (1930), a work which includes his teachings in the school gym, music and dance that was founded in 1924 together with Dorothee Günther. Enter the percussion instruments in school, and language associated with the musical rhythm and rhythmic prosody or recited. Pentatonic scale works and sounds studied in sequence SOL, MI, LA DO, RE. Places great emphasis on improvisation, creativity and do not yet pay no attention to the song (big mistake). Jos Wuytack collected his tales and teaches courses on methodology.
 
- Kodàly: (Kecskemét, 1882-Budapest, 1967) Zoltan Kodàly studied Hungarian folk heritage with Bela Bartok and developed an innovative method of teaching music. Fononímia makes use of the works the singing and the relative height of the sounds. Call the notes C, D, E, F, SO, THE TI, DO, and puts them Roman numerals (it notes as degrees). Get the child to internalize the intervallic distances, and so can sing in all keys. Singing is natural. For example, if the piano is given an MI, and is the first note of the scale (I) for children will be a DO, and not tuned to the LA = 440 Hz (He calls this "method tonic DO" .) Kodàly also due to address without writing, rhythmic language (TA, TI), and "live piano." Szekely Hungarian composer Katalyna teaches courses in Spain on the Kodaly method (in Hungarian is pronounced "Koday)

- Dalcroze, Emile Jacques Dalcroze (Vienna, 1865-Geneva, 1950) was a Swiss musician and educator. Creator of the rhythm method to acquire the musical sense of rhythm through body, their research was one of the leading innovators who had a decisive influence on modern dance. In analyzing the motion in terms of their sense of rhythm, found the principles of "tension-easing", "contraction - decontraction" basis of modern dance. His work and its principles were published in 1920, "The rhythm, music and education." Had the merit of finding a teaching gesture on the genesis of the movement: the music stirs in the brain an image which, in turn, gives impetus to the movement, which, if the music has been well perceived, becomes expressive .

- Wards: An old method, but makes much of the singing and intonation. Makes a fononímia related body parts.
- Chevais: Dactilorítmia (work of musical figures with their fingers, they achieve considerable independence and power). It also uses song and fononímia.
Edgar Willems invented the musical method that bears his name. It focuses on reading music, the method of absolute height and diatonic. Work hard auditory discrimination (with bells, chimes intratonal). "DO mobile" and read on.
5 .- Dalcroze Method:
Emile Jacques Dalcroze (1865-1950), composer and teacher born in Vienna, but of Swiss origin. As a professor at the Geneva Conservatory, he found many of the deficiencies of traditional musical education, which prompted him to realize his "method of education about the pace and rhythm, known as Rhythm. Although in 1910 he had published two articles that summarized the essence of his thought, was in 1920 when there was the appearance of Le Rythme, la Musique et l'Education, which originally was designed for the senior pupils conservatory.
At present there are numerous music education centers in which the method is practiced, among which we cite the Dalcroze Institute in Geneva, Belgium, France, Germany, Spain, Japan, USA, Austria, etc ...
In Spain it was untroducido by Joan Llongueres (1880-1953), poet, musician and educator. After studying a year in Dresden Institulo Dalcroze (1911-1912), founded in Barcelona, ​​the Institut Catalá de Rhythm and Art, the first of its kind in Spain and second in the world. Among his contributions include the Dalcroze method gestures songs (more than one hundred).
Its foundations are:
• The body or body action is the source, the instrument and the first action of any further knowledge.
• Impressions of the wake rhythms drive images in the mind of the listener and body instinctive motor reactions.
• The existence of networks of associations between brain areas (recently tested) corroborate his belief that musical talent does not reside only in the hearing, but in multimodal representations. For this reason many exercises would design stimulation of all sensory modalities, exercises requiring muscles to execute the orders accurately (start of movement or inhibition) with those who sought to develop the speed of the motor reactions of the brain, reinforcing exercises motor images, designed to automate a series of movements, exercises that seek to eliminate unnecessary innervations in motor action, or exercises to identify the muscular sensations.
Its objectives are:
• Remedying the shortcomings of traditional musical education.
• Harmonize all the powers of being.
• Explore the possibilities of movement.
• Mastering the reactions and body movements.
• Consolidate the meaning metric measuring the space and time of movement.
• Develop attention, concentration, memory and personal expression.
Much of these objectives were designed to solve the problems of arrhythmia was detected in their students. We can define the arrhythmia as a lack of harmony and coordination between the conception of movement and its execution, caused by a deficiency of nerve and muscle function.
Some signs of arrhythmia could be:
• Being unable to continue a movement throughout the time.
• Accelerating or delaying a move that has to be uniform, or otherwise (not being able to speed up or slow movement).
D • Start or end of season.
• Not knowing how to chain movements.
• Not being able to simultaneously execute two or more opposite movements.
Its contents are:
• The body as pivotal.
• Music education through rhythm, body awareness, spatial, temporal and motor coordination.
• The musical elements and their graphic representation through listening and body language.
• Development rate: pulse, accent, rhythm.
• Development melodic height, direction, design melodic.
• The tempo and intensity.
The musical education through the song with gestures and movements.
- Method Willems:
Edgar Willems (1890-1978). After consrvatorio musical training in Paris, in 1925 travel to Geneva where he studied the Dalcroze method, which would be a follower. In 1949 he founded the Pro Musica editorial in Fribourg (Switzerland), where all his work published in French.
The main approaches to the method outlined in the psychological basis of music education. Willems intended to awaken and harmonize the powers of every human being: his life physiological (motor and sensory), intuitive mind.
The dissemination of his method is due to his disciple Facques Chapuis, President of the International Society for Music Education Edgar Willems, pricipales whose headquarters are in Lyon and Paris.
 
Spain began to spread in 1983 in Santander, in a course organized by ESME SPAIN.
His method, connected with developmental psychology, part of Dalcroze, who dedicates his book The musical ear, calling him "a pioneer of the hearing culture."
Attaches great importance to the initiation of the youngest musical. Defend musical awareness from the cradle (lullabies) and sensory education at home (to be rocked or jumping on the lap of an adult).
Part of the relationship between music and human being, its vital principles, such as voice or movement.
That the sound and rhythm preceded the music itself. Relates to the three basic musical elements (rhythm, melody and harmony) with three vital aspects: the physiological, the emotional and mental, respectively. Thus, the pace will help the child and the adult to find their vital energies, instinctive and inborn, the melody and the song as its most natural, will provide the power to express their moods, and finally, the choral practice , polyphony and harmony developed intelligence.
Its objectives are:
• To provide musical education rooted deeply human.
• Contribute to the general and artistic openness and the individual.
• Raise the masters of music.
• Develop sensitive hearing and sense of rhythm.
• Develop memory, imagination and expression.
• Developing the singing, music theory, instrumental practice or harmony.
Its contents are:
• Development of auditory sensitivity. To Willems cultivation precedes the auditory acuity of musicality and study music theory. Education includes the sensorial auditory (response to the sound), emotional sensitivity and emotional (melody), the mental consciousness (harmony). Be based on sound object (sets of hearing, discovery of sounds). Heights were studied sound, space intratonal, ups and downs of the melody, sensitivity to the intervals, scales and chords.
• A sense of rhythm. Although the melody is the rule, the pace is essential for its relationship to physiological life. Willems believes that rhythm is innate and studied through body movement (impact sound, walking, running, jumping, balancing, galloping, etc ...).
• Musical notation (using from the beginning the name of the notes and diagrams).
• Songs, works with the melody, rhythm, harmony, scales (major and minor), intervals, chords.
• rhythmic and melodic improvisations.
• The interior hearing.
7 .- Method Martenot:
The method developed by Maurice Martenot tries to combine all the elements to make teaching music education at the service of general education.
Martenot believes that music education is an essential part of the overall formation of the person, attributing the idea to raise the music faculties of the child in school education. Believes that his method is rather a way to ...
The method itself is based on the author's research on acoustical materials in psychology and direct observation of the child.
To work on music theory, is the first part of everything lived through a musical introduction to the music designed to awaken people. This stage is carried out through various recreational games and music projects, in which are presented separately rhythm, melody and harmony. Once this stage is passed to the study of music theory, so that writing and reading music involving the memory of a musical experience which integrates knowledge to express, improvise, interpret and compose.
Overall, the musical education consists of:
• Rhythmic Sense
• Relaxation
• Auditory attention
• Intonation
• tonal balance
• Introduction to music theory
• Harmony and transport

Educational foundation
There are a number of principles underpinning the method among them should be:
• Understanding music as a liberating energy, which can soften and shed complex and sad feelings. Music is a powerful factor of balance and harmony, allowing the child to express themselves freely.

• Give great importance to the influence of musical environment in which education takes place, particularly in relation to the teacher, both in terms of personality and the method used. Among the qualities of the teacher, Martenot indicates the capacity for affective direction of the class, so a flexible disciplina.El reign teacher must be firm and soft, active, friendly, inspired confidence and respect. The method should foster the knowledge that promote the development of musical abilities.

• Factor Tempo.
In his research, noted that the active involvement of children during the lesson should be developed at a time close to the movement of the metronome placed at 100.
He also found that a time longer than 100 produces agitation and overexcitation, and conversely, less time producing and inattention low activity.

• The relaxation, breathing and balance quiet gestures are necessary for health and musical interpretation. The method contains a series of exercises designed to achieve mastery of the movements and perform these on a regular and harmonious with the right proportion of effort, the muscles needed for each event.

• Silence must be both internal and external. He is so necessary in musical practice, the method is reached through relaxation.

• Switching between activity and relaxation. In class sessions should be scheduled and other moments of relaxation concentration, interspersed in the past. At first active sessions with games, exercises and after auditory attention.

• The importance of the principle of progression, by using different levels of complexity of games and exercises.

Development of rhythmic sense
It is the primary function of music education because it is manifest the living rhythm characteristic of every human being. According to the guidelines Martenot, to promote the state's rhythmic activity is necessary to stand, while the body rests naturally on the ground of the right foot forward, and the bust is kept free, or sitting on the edge of a chair with the torso erect, head high.

The development of the sense of rhythm will be achieved through the work of the following capabilities:
• The ability to externalize rhythmic syllables accurately through a syllable sores.
• The ability to sense the pulse of time with strict precision.
• The ability to express simultaneously with perfect accuracy independence and the rhythms and beats of time.

Relaxation
The relaxation is aimed to give students peace and inner strength. The proposed activity is segmental, ie separate parts of the body.
Martenot attaches great importance to relaxation, and describes the teacher's attitude about who should create an atmosphere of peace and quiet.
The series of relaxation of the members pursue physical and mental rest, the flexibility of all joints and control over the muscle groups that govern them.

The listening activities are sometimes preceded by one or two relaxation exercises to promote hearing care.
Hearing
The student should begin with the intangible nature of music, not the height of his placement on the staff. It should be noted that the instrument Martenot waves is indicated for the hearing of tones and different heights.
The basis of the hearing will be on creating auditory attention from silence. To do this we must:
• Listen to the silence of the classroom and then contrast display mode and the sound of an instrument.
• awareness that, to appreciate the true sound, it is necessary that everything is rather quiet around us and in our own person.
Some methodological guidelines that favor the climate necessary for the audition:
• Building on the recognition of previously known melodies and timbres.
• Play different sounds in the game sounds collection week, where students recorded all the listeners.
• in pitch discrimination, sure sounds previously proposed that are perfectly tuned.
• Sing pianissimo sounds, not abruptly.
• Provide an atmosphere of trust, highlighting more correct answers than their errors.
Intonation
The voice is a quality that enables students to express their moods. In the intonation is necessary atmosphere of benevolence, of heartfelt acceptance, confidence, animation created by the teacher. The quality of the teacher has to be good, as students try to imitate.
• The exercises will be conducted in the average size of the voice of the students without ever exaggerating the strength, and with the breath flowing forward, as a generous gift.
• Just intonation depends on fair hearing. Hence, even in singing activities, it must be assumed correct first hearing before the issuance of sound.
The song by imitation is an aspect of elementary education ye heard the voice, and also favors the association of gesture with melodic movement facilitates the correct intonation and musical dictation.
With different formulas rhythmic chant calls or echoes:
• Varying rates and / or sounds
• Varying with open mouth
• Varying the expressive intonation
The preparation of singing solfege Martenot puts it to the Game of the word melody. This game part of the overall impression of sound moving and learn to help students hear better sound and find the correct intonation.
• Reading sung.
To train the children in the association between the movement of the melodies sound and melodic sense of the intervals are formed by chants scores.
• The phrasing and intonation
Like the spoken phrases, the phrase developed in time a stream of thoughts ending in a male or female, corresponding to the grave or acute accent words. Martenot instead uses exercises that start from the grave or acute accent on the words, male or female termination. The purpose of these is to practice the phrasing on the syllable "la", seeking not only the pulse and accents, but also the quality of expression.
Maceration and development of tonal balance
While the method starts with pentaphony soon be working tonal sense. The methodology therefore part melodic improvisation in which little by little, they discover the laws of equilibrium and the attraction of Hue.
Introduction to music theory: rhythm and reading notes
• Reading rhythmic forms

To Martenot, the duration of a note is one element of a whole. Represents one of the members of the body rhythm (formula); And separate becomes meaningless. Consequence of this is the overall design of rhythmic reading, which presents the elements in a rhythmic cell and not separately, as other methods (Kodaly, Willems ...)

Considers that the rhythmic and intonation problems can be solved by working hard herself the rhythmic and tonal. It is essential to disregard at first the names of the notes and musical notation of the figures (white, black, eighth ...)

The verse should be made globally without an analysis of securities, directly related to the drawing. Then, once experienced numerous formulas rhythmic rhythmic sounds are related to their corresponding values, saying "the" for Black, "the .. a" white, "shit" to silence.

• Reading melodic
Reading notes begins on the first phase of musical development, as is presented here, focuses on the development of the sense of rhythm, listening and relaxation.
To solve reading Martenot uses race notes, for speed and regularity and get healthy at the finish. You win a race when you read a line without any hesitation and time indicated by the metronome.

Martenot consonants replaced notes at the beginning and the names and O, E, I, A, OL ... in order that while the information is recorded. However, for the repetition of sounds, consonants are essential to avoid hitting with the glottis.
To differentiate the nature of the altered notes, adopts a nomenclature simpler than other methods such as Kodály. The altered notes are sung adding B or S to the natural sound that is flat or sharp, respectively.

Harmony
The study of harmony is made from knowledge of the scale and major or minor chord.
Various exercises are performed according to an order quite melodic, which have as their purpose the development of intonation and tonal effect to the study of chords. Begins the study of chords and their investments since the beginning of music reading and a strong emphasis on the 3 rd, 5 th, 7 th and 9 th major and minor.

Materials
Repertoire of nursery rhymes
Psychomotor Material
Audiovisual media for the development of creative imagination
Educational games: letters and words melodic
Educational games: Race notes, self
Domino dominoes with rhythmic and metric values
Tuning fork and metronome
Wireless keyboard with the names of the notes that are placed on the piano keys
The purpose of these games, as stated is to acquire knowledge of musical elements, facilitating and script theory.

The wave instrument consists of:
• The instrument, which consists of a 7 / 8 keyboard, a ribbon, placed on the index finger of the right hand can make sounds like humans, glissandos, etc ... , A roller-hand keys, a drawer on the left with the control box that regulates the dynamics, timbres, broadcasters, etc ...
• Broadcasters (principal, cash and another called "Palma").

- Orff Method:
Karl orff is a composer and teacher born in the city of Munich in 1895. He studied music in his hometown and was appointed professor of composition in 1950. Composer of many choral works, and can highlight your great composition, "Carmina Burana."

This method is an attempt, the final day, to adopt a primary school rational ideas and material for the musical education of children.

Addressing this company has made a series of reactions and review of concepts and ways that had become necessary to a rethinking of what the school required and needed.

The school that we handle is not a specialist music center, as would a music conservatory, the elementary school is the vast world in which children are educated in a very general, there grows the child all that is necessary for life , develop their senses and learn. This is the principle that the work was born "Orff-Schulwek."

Orff's music education is based on the business, which creates a contact with the music from the first moment we have all the elements of rhythm, melody, harmony and timbre, resulting in a simple music, original, and elemental forms a unit along with language and movement.
This method is based on the rhythms of language, being the cell of the music rhythm and the spoken word. Therefore has its basis in the triple activity, word, sound and movement. This method trains children in the musical aspect of a natural and progressive way, by playing and improvising rhythms and melodies.

Objectives:
• Development of intelligence and motor fitness of body possibilities.
• Ensure active participation of children by purchasing a gradual development of knowledge.
Contents:
• Rhythms of the language itself, chanting rhythms, cries, rhymes, riddles, proverbs, tongue twisters, etc ...
• Rhythms and proper body movements or relative to the text.
• sound percussion rhythms determinate or indeterminate.
• Language and echo songs, obstinate and melodic canons.
• Intonation and melodies through intervals of one third less.
• Songs of the country's own folklore, its traditions and dances.
• Instruments and its adequacy.
• Creation and spontaneous improvisation.
• Listening to other music with motion application.
Activities:
• Games rhythmic prosody.
• Games rhythmic-motor coordination.
• Games starting intonation major third and notes of the pentatonic scale, to later move to the level Deaton.
• echoes games, dialogues, fees, etc ...
• Application of folk songs and traditional dances.
• Implementation of improvisation, prosodic, rhythmic and melodic.
• Application specific instrument sound as xylophone, xylophone, chimes, etc ...
• Application of sound instruments undetermined as Chinese boxes, keys, rattles, etc ...
Music auditions • Performing rhythms, exploration of space and movement.

9 .- Method Chevais:
This method is primarily active. Basa progression sounds perfect major chord, and the values ​​of the durations of one, two, three or four times, and sub-multiples of the time after time.
A finger is a sound one time. Several separate fingers represent various sounds of a time. Several fingers together represent a sound several times. To silence closes the appropriate finger. When the closed hand, silence is a rhythm.
It is a vocal method as the only source of sound.
Its objectives are:
• Music education for all without exception.
• Learn to enjoy the music and then move on to technique.
Its foundations are:
• Application of the test on memory and auditory acuity, sensitivity and musical activity.
• Activity auditory, vocal, physical and fun.
Its development is:
• Introduction to music theory from 6 to 10 years.
• Notation and progression of 10 to 12 years.
• Polyphony of 12 to16 years.
• Voice training and employment of fonomimia.
His use of musical language:
• Canto by imitation from 0 to 6 years.
Reading, singing rhythm and recognizing sounds conventional, by age 10.
10 .- <b> Kodaly method:

INTRODUCTION. ORIGIN AND DISSEMINATION

Kodaly (Keiskemet 1882 - Budapest 1967). Along with Bela Bartok made a renewed language of popular song and a great study of Hungarian folk heritage.

The role of Kodaly in Hungary and its international repercussions were more relevant than Bartok for his work teaching and learning, for example, some of his work were to perform a task of training his method among teachers, creating and promoting new Hungarian classical music, songbooks and publish teaching materials for all levels.

The main element is Kodaly singing voice is the first and most versatile musical instrument that too often we in the background to use small musical instruments. The practice of singing is the basis of all musical activity because it derives all the teaching of music. The real goal is to make children sing perfectly sound and sight of a score. The notation is understood only as reading music sung.