http://dx.doi.org/10.15198/seeci.2017.43.29-51
RESEARCH

METHODOLOGICAL POTENTIAL OF MOBILE LEARNING IN THE MUSIC CLASSROOM IN SECONDARY EDUCATION
POTENCIAL PEDAGÓGICO DEL MOBILE LEARNING EN EL AULA DE MÚSICA EN SECUNDARIA

Mª Encarnación Alises Camacho¹

¹National Distance Education University. Spain encarniidem@gmail.com

¹Mª Encarnación Alises Camacho: Doctorate in Education in Digital Environments. UNED. Master in Education and Network Communication. UNED. Master in Social Networks and Digital Learning. UNED. Teacher in Music Education in the Junta de Castilla La Mancha.
Correo: encarniidem@gmail.com

Received: 14/03/2017
Accepted: 27/04/2017

ABSTRACT
The current study, based on the musical project born in the Regional Training Teaching Center in Castilla La Mancha in 2013, “Create the Soundtrack of Your Life”, intends to prove how the usage of mobile devices in the music classroom in Secondary School has an enormous pedagogical and educative potential, taking as a reference the current educational methodologies, such as multiple intelligences, emotional intelligence, collaborative work or Mobile Learning, using learning based on projects, entrepreneurship or the integration of the TPACK model, from a relational point of view, proposing a teaching-learning model which uses Mobile Learning appropriately. The widespread usage of mobile devices in the studied population’s daily life, that is, students from secondary education, compel us, to some extent, to incorporate these devices into the school, with a suitable methodological basis, relating formal, informal and non-formal education, using Mobile Learning as a learning strategy, assigned to the learning to learn competence, as well as the other competences in the 21st century.

KEY WORDS: music, Mobile Learning, emotional intelligence , TPACK model

RESUMEN
El presente estudio, basado en el proyecto musical nacido en el Centro de Formación del Profesorado de Castilla La Mancha en 2013, Crea la Banda Sonora de tu vida, pretende demostrar cómo el uso de dispositivos móviles
en el aula de música en Secundaria, tiene un enorme potencial pedagógico y educativo, tomando como referencia las actuales metodologías educativas, como son las inteligencias múltiples, la inteligencia emocional, el trabajo colaborativo o el Mobile Learning, desde el aprendizaje por proyectos, el emprendimiento o la integración del modelo TPACK, desde una perspectiva relacional, proponiendo un modelo de enseñanza-aprendizaje que utilice adecuadamente el Mobile Learning.
El uso generalizado en su vida cotidiana de dispositivos móviles en la población estudiada, alumnado de Secundaria, nos obliga en cierta medida a incorporarlos a la escuela, con una base metodológica adecuada, relacionando educación formal, informal y no formal, utilizando el Mobile Learning como una estrategia de aprendizaje, adscrita a la competencia de aprender a aprender y a las demás competencias del s. XXI.

PALABRAS CLAVE: música, Mobile Learning, Inteligencia emocional, Modelo TPACK

How to cite this article
Alises Camacho, Mª E. (2017). Methodological potential of mobile learning in the music classroom in secondary education [Potencial pedagógico del Mobile Learning en el aula de música en secundaria]. Revista de comunicación de la SEECI, 43, 29-51. Doi:http://dx.doi.org/10.15198/seeci.2017.43.29-51 Recuperado de http://www.seeci.net/revista/index.php/seeci/article/view/459

1. INTRODUCTION

At the present time, we are facing two well differentiated problems regarding the subject at hand. On the one hand, the music curriculum in Secondary School, which in the current educational law of Spain, LOMCE, is an optional subject within the block of specific subjects to be chosen by each educational administration or the educational center itself, which undermines the importance of Music as a universal language and non-verbal means of communication, which has an unquestionable and indisputable value in the daily life of the human being. Therefore, it is a reality that the subject of music, in our current educational system, has been displaced from the place that should have in the education of secondary school students.
And on the other hand, the use of mobile devices, which practically all the students of this stage handle; in 2015, 98% of young people aged 10 to 14 years already had a state-of-the-art telephone with Internet connection (Ditrendia, 2016). The use of mobile devices is not being adequately adapted to the school, developing all the pedagogical and instrumental potential they have, its use being focused, as Herrington (2009) warns, on an instructional-transmissive model, in which the teacher introduces content and students access them through their mobile devices, that is, their use has been limited to a too guided interaction, a data query or a simple administrative organization.
These multiple modes of communication, together with the combination of media provided by mobile devices, such as mixtures of sounds, images, texts, gestures and videos, opens a range of perceptual and expressive possibilities that challenge the school and, in particular, the subject of music in Secondary Education.
Technological transformations have thus produced a generational gap that has repercussions on young people being “in another frequency of perceptual, mental and attitudinal wave” (Ferrés, 2000), which produces disaggregation between two social strata: “the present youths appear as the most appropriate to understand and use the new technologies that have gradually populated the world, which entails a strong differentiation of the adult world, which in many cases impels us to analyze this process as a process of generational change produced in (post)modern societies ... (Marta & Gabelas, 2013, p. 15).
With this generational change, we manage two concepts, the one of computing (mobile devices are small computers) and the one of communication, with a sufficiently strong relation with education to have these devices, at least in consideration. The concept of computer is based on the development of a language between man, the machine and the machine with other machines. When talking about mobile devices in the classroom, we are talking about communication. The use of these in Create a Soundtrack has three main functions: as communication among students, as communication between students and the outside world and as a technological facilitator of live musical performance; therefore, music serves, once again, to communicate from an emotional language. The usefulness of mobile devices is therefore clear.
What Kodaly teaches us is that education must start from what students know, and from there, and with the role of teacher’s guide, it should reach the knowledge that interests students the most. Learning only occurs if you are curious and if it produces emotion, as Gordon H. Bower demonstrated, the impact of emotion on our memory is immense. If we start from contextual, emotional and communicative teaching, we will have the answer to why we should use mobile devices in the classroom, which we will go through step by step throughout this article.
All this gives meaning to the realization of this study on the pedagogical model that supports the teaching-learning processes in the project Create the Soundtrack of Your Life, a project that was born in the Teacher Training Center of Castilla La Mancha, which in its first year was seconded by 20 teachers from the region and, in its second year, by 58 secondary and elementary teachers and is already being adopted and adapted by teachers throughout Spain due to its high pedagogical and methodological value, trying to return the position the music subject deserves within the official curriculum. A project that aims to form an orchestra in each classroom, self-managed by the students, who assume different roles within it and whose ultimate goal is to create the soundtrack of their life, which is presented in a final concert, together with the rest of the students involved in it.
The project has an enormous pedagogical potential, which is based on six pedagogical pillars, which we will explain below, adding the relational aspect of mobile devices. With these six pedagogical pillars, we will explore more broadly what it consists of.

1.1. Emotional intelligence

Emotional intelligence is totally present in the project Create the Soundtrack of Your Life and we had to include it in our research, for the capital importance it has in the teaching-learning processes of music, complemented with the use of mobile devices. Its development in classrooms is key to improve cognitive learning.
The term emotional intelligence, IE hereafter, was coined by Peter Salovy and John Mayer, psychologists at Yale University, although it has been widely disseminated by the psychologist, philosopher and journalist Daniel Goleman.
EI is the ability to feel, understand, control and modify, both own and others’ mental states. Assuming EI as part of the methodology of the project Create the Soundtrack involves some very important changes in the classroom.
• Work collaboratively. The classroom does not have the teacher as a single reference, but all attendees participate actively in their own education. From this perspective, the emotionally developed students understand that the time spent inside an educational space is fundamental and, for that reason, they assume it as their own. As a second consequence, the students-tutors appear, students who at different moments in the classroom can participate in helping the rest of the classmates to understand the process.
• Learn music empirically. One of the ways to ensure the development of emotional processes is that learning in this subject is absolutely procedural. You learn to make music by making music, not by talking about it. The educational reality that this allows, such as the development of the inner emotional self of students, as well as the need to create a group in which they play together, which improves the social environment of the classroom and make music and EI an inseparable pair.
• Identity signs of one’s own. At the ages with which we are working, pure adolescence, the importance of the group, the tribe, the clan, is fundamental. So far, that aspect has only been reinforced outside the school, with their usual friends. It is there where they are heard, where they are understood, or at least where they are admitted as they are and not as they are expected to be. But in our project, they meet other students in the music classroom. Musical tastes, whether shared or not, but respected, classroom jargon, constant modulation of social relationships among group members. The immobility of the conventional classroom in which each one plays his social role of the street disappears because, in our project, the educational role that each one ends up assigning himself is much more important, part of the reality that surrounds them outside the center of studies disappears and they are clothed by new ways of understanding education and understanding the world that the subject of music is offering them.
• The figure of the teacher in the process of transformation. In this commitment to a new education, teachers are also involved. The process of emotional learning does not go in a single direction, but affects both sides. Students and teachers see their roles in the classroom modulate and move into new spaces that facilitate common cognitive development. Good management of emotions in the classroom will allow total opening of students who, in addition, when encountering mobile devices as natural learning tools, will make them believe in the school, believe in a living space in which they want and need to be to get updated and understand the future. But it will be the teacher who must first change his emotional role in order to be able to extrapolate it and take it to the students.
• The importance of the community. This change of the teacher in the classroom also positively affects the school. The emotional and social stability of a whole school or institute is reconstructed, restored and there appear educational relationships totally necessary for its optimal functioning. There can be no education without Educational Community. The management of emotions in the classroom allows the necessary location for egos, fears and conflicts, facilitating the creation of networks, much larger work groups that, later, do not have to be from the same center, municipality, region or country.
Emotional intelligence positively affects social intelligence, where everyone participates, all are protagonists or leaders at some point in the process and it culminates in cognitive intelligence, thanks to increased interest in the subject of music, attention in classrooms and the effort of all.

1.2. Multiple intelligences

We begin with words from the Manifesto Create a Soundtrack, prepared by Antonio Domingo, one of the project directors, to understand the importance of this aspect in the project.
For the CBS methodology, the acronym of our project, it is necessary to fully educate the human being in a comprehensive way, feeding each of his neuronal recesses. Educating by taking into account each human being who lives in our school, each of their differences, and each of their abilities. Educating by taking into account that ALL HUMAN BEINGS are a set of Multiple Intelligences, (hereinafter referred to as IM). Not only there are there mathematical children who will be great researchers, or linguists who will become great writers, or kinetic-corporals who will be filled with Olympic medals. There are also children with space skills that will be great explorers, or interpersonal skills that will make them lead major political parties, or intrapersonal skills that create new philosophical lines, or there are even children with musical skills, with which they will create melodies that will be remembered for centuries of centuries. And all this, united, is a complete human being, the one whom, in our methodology, we propose to raise awareness to towards the path of education. A human being with seven intelligences of which, we can leave none in the gutter, because we have the mission to develop complete minds, men and women whose potential has been 100% explored. (Sunday, 2015)
For this, for that comprehensive development of our students, we have the best tool: music. Within Howard Gardner’s theory, it is one of the MIs, specifically the first one he describes in his book, but its importance goes beyond the mere fact of its expository place.
We will talk about Musical Intelligence in the project Create a Soundtrack as one that agglutinates each and every one of the rest of the IM. Music as a language that develops the linguistic ability of our students. Music as mathematical construction, where chords, rhythm, harmony, formal structure, or the harmonic physical phenomenon are numerical elements that relate music to physics. Music as a neuroplastic tool that develops the necessary psychomotricity of Kinetic-Corporal Intelligence. Music as the ability to use the space within the composition, to assume the movement of the performer when offering their sound results in the classroom or at a concert. Music as a synthesis of the social and the emotional, as part of a group that play together and as a contribution of sound creation, thus bringing us closer to Interpersonal and Intrapersonal Intelligences. Music as a foothold where full education revolves.

1.3. Entrepreneurship in the classroom. Orchestra classes

All this from an integrative perspective, in which the student is recognized as a social, critical, self-critical and propositive subject, who identifies a problematic situation and is capable of activating management mechanisms to solve it, creating community. The project itself allows students to manage their own “company” or orchestra, in which they feel protagonists giving a collaborative solution and transforming traditional musical education, from a horizontal and integrating perspective. We convert all classes into a large orchestra or musical group, in which each one takes on a different role: singers, performers, composers, lyricists, blog or social network editors, financial managers, signage, makeup ... each one with different capacities and profiles that produce a final musical product that they show in front of their project partners in a final concert. Each one is important in their participation and collaboration for the orchestra to develop fully. In short, we are developing in the students emotional intelligence, all multiple intelligences, creativity, self-management of their knowledge, self-confidence, overcoming failure and enjoying success, motivation and leadership, all this by cooperating and collaborating as a team.

1.4. Project or collaborative work

It is part of the philosophy of the project Creates a Soundtrack from the beginning and connects with emotional intelligence. It is a learning process in which students assume a role within the orchestra that allows them to motivate themselves in the search, production or creation of new knowledge through work on a specific issue, proposed by the teacher himself or by the group-class in a consensual way; in the project that the student undertakes autonomously he presents his needs, his own criteria and, ultimately, his illusions and emotions, all in a process of collaborative work to reach an end, in his own musical education, culminating in a final concert. “... this intentional exercise is called learning of self-regulation, which is a self-directed process through which learners transform their mental capacities into academic skills.” (Maldonado, 2008: 159) This way, all students feel they are important within the orchestra and all have a function that complements the others. In short, a common project that is developed with the collaboration of all. Its foundation would be connectivism, nurturing and maintaining connections to facilitate continuous learning.

1.5. Formal, informal and non-formal education

The use of mobile devices in the project Create the Soundtrack of Your Life is allowing us to unify these three types of education which, although we now differentiate them, merge into a single modality of education in the practice of music in the classroom . Formal education is systematic, with a deliberate and regulated intention that is concretized in an official curriculum and by which all the teaching staff in our country must abide; it has a fixed schedule and a defined calendar and is usually offered in a training center that concludes with an academic title. Informal education is rather a spontaneous, unintentional learning process that occurs in interaction with the world around us. And formal education is obtained through groups or community organizations outside the official training center, without certifications or structures. It is difficult in our current society to differentiate non-formal and informal education, continuity existing among the three in a kind of complementarity or pedagogical architecture.
In the project, it is difficult to differentiate them, since it goes beyond the music classroom, with continuous interactions outside the school day, with activities carried out outside the classroom and everything that is shared through social networks, especially by teachers of the project.

1.6. Mobile Learning

Basically, Mobile Learning is the use of mobile devices or technologies as an educational tool at the service of teaching-learning processes. It is a natural evolution of information and communication technologies, a small device that has permanent connection to the network, with high multimedia capabilities.
According to Brazuelo F. and Gallego D. (2011: 17), we can define Mobile Learning as the educational modality that facilitates the construction of knowledge, the solution of learning problems and the development of diverse skills autonomously and ubiquitously thanks to the mediation of portable mobile devices.
“Mobile learning is the intersection of mobile computing and eLearning, which is characterized by the ability to access learning resources from anywhere, anytime, with high search capabilities, high interaction, high support for effective learning and consistent performance-based assessment.”
Mobile Learning can be understood as an extension of eLearning, but it differs from it in the ubiquity and the high interactivity and connectivity that mobile devices have.
In order not extend further, the technological features associated with Mobile Learning are: its portability, ubiquity, immediacy and connectivity and adaptability to the user, both of services and applications and interfaces.
Although mobile learning is still an emerging kind of learning, it is possible to find different proposals that take into account different aspects that must be taken into account when designing the teaching-learning processes.
These proposals are usually framed within the four categories proposed by Winters (2006, pp. 5-9):
• Techno-centric: based on learning how to operate a mobile device.
• Related to E-learning: mobile learning being understood as an extension of E-Learning
• Extension of formal education: they wonder if, in mobile learning, the same strategies as in traditional teaching can be developed.
• Student-focused learning: understanding mobile learning from the perspective of lifelong learning, of protagonism of students and their mobility and communication with the context.
From the pedagogical point of view of Mobile Learning, below we offer advantages and disadvantages that we will divide into two types: functional and pedagogical.
• Advantages:
– Functional:
- Learning anytime, anywhere, resulting in more customized, permanent, interactive learning. Ubiquity
- It is within reach of almost everyone, with the circumstance that almost 100% of ESO students have a mobile phone.
- They encourage exploratory learning, learning on the ground, experiencing.
- Greater accessibility, connecting through the Wi-Fi in the center or with data packages with Internet services.
- It is cheaper than a laptop or PC
- Increased portability and functionality.
- Dexterity in student management
- Multimedia enrichment of learning
– Pedagogical:
- It improves reading and math skills
- It motivates both individual and group learning experiences
- It encourages collaborative, exploratory and active learning
- It helps identify learning deficits in students
- Improvement of technological and informational proficiency
- It maintains a high level of interest and motivation in students
- It promotes flexible learning
- It improves didactic interaction synchronously and asynchronously
- Diversity: heterogeneous students must be given heterogeneous solutions and mobile devices provide customization and individualization in learning.
- The touch screen of mobile devices promotes learning to students with special educational needs, as it has specific applications and accessibility options.
- It provides immediate responses and assessments
- Contextual learning and increased reality
- Greater scope and equal opportunities
- Link among formal, informal and non-formal education
- It enables new learning environments
• Disadvantages:
– Functional:
- Small screens
- Difficulty in generating complex systems
- Lack of autonomy, the battery of mobile devices, with intensive use, usually lasts very little and, if we have to charge them, we lose the concept of mobile.
- Limited storage space and incompatibility between systems, for example iOS and Android.
- Costly computational processing
- Small keyboards
- Price. Technology is constantly changing and mobile devices need to be frequently updated (scheduled obsolescence)
- Loss or theft of mobile devices
– Pedagogical:
- If not well used, they can be a distraction in learning
- Accessibility. If teachers are not familiar with accessibility standards, they may harm or isolate students, especially those with motor problems.
- Lack of uniform criteria for teaching-learning with mobile devices.
- Adapt traditional pedagogies to activities with mobile devices.
- Possible difficulties in their implementation due to resistance from families and / or public institutions.
As can be seen, there are more advantages in the use of mobile devices in teaching than disadvantages, which are more of a functional type and, with their advancement and development, they can be solved. Mobile Learning is present in the project Create the Soundtrack of Your Life, to alleviate, in part, the lack of musical resources in the classrooms of the centers of Castilla La Mancha and to take advantage of their great creative potential and their possibility of sharing content immediately through social networks.

1.7. Relational Aspect of Mobile Devices

Mobile devices have an obvious relational technological foundation. In the current transmedia communicational media, the presence of mobile devices is a great platform for very powerful interaction, especially from social networks, where there is ubiquitous consumption of both narrative and musical products, where content is shared and constant remixing occurs, from a multi-screen consumption. Secondary-school students use the mobile device especially to communicate, to share audiovisual content and it has become an indispensable tool in their daily work.
... we are immersed in the creation of a social and democratic hacker model that intends to make the person and collaborative action stand out, with the implementation of a leadership that transcends the individual to become shared and collective, taking advantage of the potential of social networks . (Marfil-Carmona et al., 2015: 34).
The project generates constant interactions and communication, from continuous remixing among its members, both teachers and students, with the use of mobile devices in the music classroom. We pass from talking about ICT, information and communication technologies, to TRIC, we added the R of relation, in which “the concept of TRIC surpasses mere technological determinism, the term relation imbricates the full potential of multi-literacy that occurs in the interactions in the creative plane and in the receptive dimension of each of the co-authors or mediators.” (Gabelas et al., 2012)
Pierre Lévy considers cyberspace to be a “collective intellect” or the sum of shared intelligences that create a kind of common brain. This author affirms that virtual environments are the conversational space par excellence, where collaborative actions will lead individuals to the construction of their knowledge. On the other hand, Howard Rheingold proposes the term Smart Multitudes to define the social organization of the people who participate in the cyberspace where, without an explicit organization, they coexist and act collectively. The most important thing is that the interactivity of individuals in the digital space will create a collective knowledge without, in many cases, the existence of an express intention to create such collective knowledge. (Osuna et al., 2012, p.7)

2. OBJECTIVES

Through the present study we have tried to:
• Know and assess the educational, pedagogical and communicative implications of mobile digital environments in the Secondary music classroom in public centers of Castilla La Mancha of the project Create the Soundtrack.
• Identify the competencies that are developed with the use of mobiles and tablets in the music classroom.
• Demonstrate the effectiveness of a training system based on digital environments.
• Know the experience and / or suggestions of students and teachers on the use and production of music with mobile devices
• Propose a teaching-learning model, an educational paradigm or a theory of learning which, based on mobile digital environments, emerges from the reflection on the teaching practice of the studied teachers and student learning.

3. METHODOLOGY

For our study, we chose a qualitative technique of triangulation, called participatory or collaborative Research-Action, which was complemented by quantitative surveys and a critical view of the educational practice with mobile devices, through interviews with experts in the subject; with discussion forums with both the volunteer teachers who participated in the surveys and the pedagogical team of the project and follow-up sheets in the classroom.
This research-action methodology was in line with the objectives set out from the beginning of the study, since it was a way of studying and exploring a concrete educational situation, with the aim of improving it and involving the participants in the researched reality as inquirers. All of this allowed us to identify various action strategies that were implemented during this piece of research and which were continuously subjected to observation, reflection and change. It was divided into two school courses: 2014-2015 and 2015-2016 and six phases were developed in each of them in continuous feedback: diagnosis, problem and objective approach, action plan, evaluation, results and implications and action proposal.
In addition, the Teacher Training Center provided training both technically and methodologically to the teachers involved in the study, by professionals competent in these matters. (Project-Based Learning, Multiple Intelligences and Emotional, Musical and Educational Applications on Mobile Devices, Keys to Incorporate Mobile Learning into Education, the challenge of training Smartusers, Relationship among Social Networks, Mobile Devices and Emerging Pedagogies)
We briefly disaggregate the instruments used and their sample:
• As for the surveys, designed with closed questions and Likert Scales, the following were performed:
– Students: two, at the beginning and end of the 2014-2015course, with 350 and 100 participants respectively, on information competence and use of mobile environments and, specifically, in the subject of music and within the project Create the Soundtrack.
– Teachers, also two at the beginning and end of the 2014-2015course, with 11 and 9 participants respectively, on the same subject previously indicated, use of TRIC in the subject of music and on the development of competences and educational, pedagogical and communicating implications with mobile environments, including the evaluation and implementation of the six pedagogical pillars of the project.
– Teacher survey, on the TPACK model and its classroom development as a framework for designing teaching-learning experiences with 28 participants and another survey on the Coomey and Stephenson framework with 20 other participants during the 2015-2016 academic year. These surveys were conducted after the second discussion forum, in which the entire pedagogical team decided to conduct a survey on these two frameworks that best fit the project.
• The qualitative analysis was carried out with the following instruments:
– During the 2014-2015academic year, in the third quarter, teachers made follow-up records in the classroom, with 42 records and 7 participating centers, with a series of items that allowed assessment of the teacher and students’ activity from the organization of the session and the integration of mobile devices in the teaching-learning processes. In addition to having audiovisual material of the final productions.
– During the two school years, 5 interviews were conducted with experts in the field, (Tíscar Lara, Adolf Murillo, Pilar Soro, José Luis Miralles and Andrea Giráldez), which dealt with the concept of Mobile Learning from which we have narrowed down a definition, the current situation in our educational system, strategies, advantages and disadvantages of its implantation in secondary schools, skills and competences necessary for teachers and students for it to be a valid educational tool at the pedagogical level, which paradigm or teaching-learning model best fitted Mobile Learning, valuing the six pedagogical pillars of the project.
– Two discussion forums on models, methodologies and frameworks to design teaching-learning experiences with the pedagogical team of the project, in total 8 people, during the 2015-2016 academic year, which, as mentioned above, made two proposals for surveys with teachers.
– The results we collected during the 2014-2015course were presented at the meeting held in Cuenca, in October 2015, to the entire community of Create the Soundtrack and they served as a starting point to start working with the teaching team of the project, for the 2015-2016 academic year.
– The pedagogical team consensually developed a Bloom Taxonomy with the educational and musical apps that the project teachers frequently use in their music classroom.

4. ANALYSIS AND DISCUSSIONS

Mobile devices have become a fundamental tool, indispensable for most of today’s society. We have collected data from many projects in the theoretical part of the study, which allow us to affirm that, for adolescents, it is an extension of their hand, and they are tools that students control and master technically better than their own teachers. In addition, it is a tool that motivates them to learn, allows them to communicate, reinforces innovation and critical thinking from ubiquitous and flexible learning that contrasts with the data of our study.
A very powerful tool, with a very advanced technology and in continuous progress, both in access technology and localization, with technical evolutions of applications such as mobile services or operating systems, which have forced us to constantly review and update the theoretical part. In the near future, the performance of mobile devices will improve as regards hardware, with ultrathin mobiles that will work with gestures and voice commands and will be used as telecommunications equipment, as a multimedia computer and even as a remote control, which favors what is called the Internet of Things, where everything will be interconnected.
Since its inception, technology has been present in music with the constant evolution of musical instruments or the invention of sound playing and recording systems, which have meant a real revolution in the systems of production, performance, composition and music consumption. And for the subject of music, the study demonstrates the number of apps that can be used in the classroom, both to create personal learning environments and to use them as a musical instrument, in performance or in creation not only of music but also of audiovisual material, in which to mix music, art and technology, along with the rest of the subjects of the official curriculum in Castilla La Mancha. Technological development has been changing the musical references: simultaneous listening, instant recognition of music or the way to share it massively in the network. Not to take advantage of the technological resources and tools that exist for the subject of music would entail not to give an adequate answer to the social demands of our information and communication society. A subject of music that is an essential element in the training of any individual, developed by great pedagogues and currently studied by neuroscience with surprising results, since it is the subject that activates most zones in the human brain, especially at the emotional level.
Despite these considerations, there are voices raised against their use at the educational level and they even ban them at their centers. The reasons provided are that they are sources of distraction in the classroom and promote economic inequality of students. This second aspect falls short as it has been demonstrated that 97% of the students of the surveyed project and of other presented studies have mobile devices, as we will see below in figure 2.
With regard to the issue of distraction and poor attention, we must point out that, for mobile devices to be a tool and a useful pedagogical resource in the classroom, the teacher must play a fundamental role as mediator and guide in the teaching-learning processes, promoting a methodological change in the classroom, beyond their use, creating meaningful experiences and providing real-time resources and information to students. As we will see below, the CBS project is working in this direction, but this pedagogical approach is not done in all school projects. The problem is not technology, but the methodology and how we work the contents in the classroom. It is true that our students spend many more hours in front of a screen than at school; the difference is whether they use it educationally or just as entertainment and that is where teachers have to teach how to do it properly.
Executives from the most technologically powerful companies in Silicon Valley send their sons and daughters to Waldorf School of the Peninsula, a school where there are no screens of any kind. Their reason is that they detract from the students’ ability to create a meaningful connection with others and the world around them. It is another challenge to the school, to teach students to create meaningful connections in real and virtual time. Constructivism is related to Mobile Learning (Scopeo, 2011), fostering a social interaction that makes it possible to build social knowledge, allowing students to build a scaffolding from meaningful learning. He also points out that Mobile Learning raises the need to generate spaces for the construction and exchange of information.
In a report on trends that will drive changes in university education (NMC Horizon Report, 2014), they point out the integration of collaborative, online and hybrid learning; ubiquity in social media; content prosumers, learning and evaluation through data, flexible approaches. How will our students come to these changes, if we have not prepared them before in elementary and secondary school? How will they access new jobs that will exist in a few years, if we have not educated them in the use of the ever changing and evolving technologies?
In the current situation of Mobile Learning in Spain and in the educational stage of ESO, it seems that there has been an important step but it has not been enough for its implementation. There are projects, but they are still very isolated, without support from institutions or centers, which are far behind the technology that our students use. Therefore, an integral design, more solid designs with clear structures are necessary, facilitating their incorporation into the classrooms with help, training, allowing a more global penetration. In addition, it is necessary to adopt appropriate methodologies, a clear and shared pedagogy, so that mobile devices improve the teaching processes and approaches; if we keep on doing the same thing so far, to incorporate them into the classroom does not make any sense.
An aspect that has been pointed out continuously as important in our study has been that of motivation. To the students, the use of mobile devices and the project Create the Soundtrack is very positive and has meant a different vision of the subject of music, which motivates them more to learn. The final concert that is performed and the concerts in the center are an extra motivation and point it as one of the most important aspects of the project, along with the distribution of roles. We should also note that 44.3% agree that the class climate is improved and that 34.9% indicate that it has helped improve their grades in some subjects, 9.1% in all. This is supported by studies we have gathered: the vast majority of students believe that mobile devices will have a positive impact on learning, it is more fun and lightens their backpacks. (Pearson Student Mobile Device, 2013).
We insist that, with an appropriate pedagogical and methodological use, together with motivation, mobile devices can become a very powerful tool in education. We must consider the difference of use that they manifest in the surveys, between teachers and students. Students have more intuition in the use and management of mobile devices than teachers, (there is some fear in teachers in the domain of this technology), but teachers have shown enough mastery of their subject and of the methodologies to undertake proper teaching with mobile devices, showing an open mind to students teaching teachers that more intuitive use. Teachers must be at all times facilitators in the teaching-learning processes, showing that they have significant, active learning.
CBS teachers have a very high percentage of technological knowledge, with 65% who say they are really knowledgeable of mobile devices and who know how to solve technical problems. Seventy percent say they know how to select new teaching approaches and active methodologies to guide students’ learning.
Adequate training, both technological and pedagogical and methodological, is urgent in the teachers of our schools. During our study, we have pointed out that it is important to consider the TPACK model and its application in classrooms. Current teachers generally do not have continuous training, especially in active methodologies and in the use of TRICs, making it difficult to use mobile devices in the classroom.
80% of students say that the use of mobile devices favors learning, although only 52% agree to use mobile devices for that purpose. If we focus on the music classroom, their use favors the aspects of composing and performing music, finding and sharing information, managing tasks and collaborative work. It is the subject in which students most use mobile device, an evident fact because they participate in the project, but the fact that, in the core subjects, they are practically not used draws attention.
It is indispensable, according to these data, to use these active methodologies at the level of the whole faculty of teachers in the schools, which should have a pedagogical and reflexive foundation on the processes of teaching learning, with a commitment at the institutional level, both nationally and regionally, to facilitate this training, not only the contribution of technological material, as has happened in recent years, for example, with the Althia project in Castilla La Mancha. The teachers at Create the Soundtrack are isolated in the implementation of the project, because the rest continue to teach from a more traditional view of teaching.
Another aspect that leads us to a discussion is the integration of formal, informal and non-formal education. In our schools, too much emphasis is placed on the formal one, with no integration with the other two occurring. We have pointed out in the theoretical part that the integration of the three is necessary, due to the dizzying and not always predictable change of the current social reality, because human life is a cycle of permanent training and construction of the person in which the individual is in constant learning and because the reality of the studied projects and our own study show us students constantly learning beyond the classroom, which they attend very few hours, and where they are using mobile devices without a pedagogical orientation aimed at learning.
To conclude this section on discussions, we point out that we have found no study or project with mobile devices that addresses the critical aspect of their use in the classroom, objectively. Our study has shown that the critical aspect is not sufficiently worked in the music classroom or, at least, explicitly, despite the fact that curricula have been modified towards the development of competences, especially learning to learn, because current teaching continues to be supported by a focus primarily aimed at content acquisition. With the taxonomy of Bloom that was carried out in a consensual way with the mobile apps, the pedagogical team of the project has tried to make students reach categories of higher thinking, but in practice it has been shown that there is no awareness or enough planning on this assumption. This higher-order thinking involves a fusion of both critical and creative thinking and they are mutually reinforced and are essential in the teaching of 21st century. We have reviewed the current emerging pedagogies and have contrasted them with our project and this aspect will help us to apply critical thinking in it.
Let us break down in more detail the aspects that we have been discussing so far in this section.
The surveys allowed us to know objective data regarding age, course and sex of the participating students: mainly 2nd and 3rd ESO, 56% female and 44% male. As for teachers, the average age was 36-45 years and 91% had a bachelor’s degree, with more than 5 years of active service, that is, who already have experience in teaching and are prepared to teach their subject.

Source: Made by the author

Figure 1

We started with the study of strong data on the use of mobile devices by students of the project in the music classroom, with 97%, and by teachers with 91% mobile phones and 87% tablets and in which the most used system is Android. Sixty-nine percent of students have permanent internet connection, although we have to say that almost all musical apps do not need internet connection to work, they just have to be downloaded previously, except those that are social networks, where the creation or remixing of musical pieces is shared. In general, students take their mobile device to the music classroom, in BYOD classes, bring your own device, since teachers have few to use in the classroom and habitually, they are usually their own mobile devices. Therefore, lack of mobile devices to use in the classroom is no excuse, since at these ages, practically all students have them.

Source. Made by the author

Figure 2

On the knowledge or evaluation of the educational, pedagogical and communicative implications of mobile devices, teachers emphasize significant, active learning based on constructivism and connectivism, the teacher setting himself up as a guide in the classroom, in which students are the protagonists, understanding their own personality, developing their potentialities, from creativity, multiple intelligences, with continuous student-teacher feedback and facilitating the construction of their own learning networks, generating reflexive and critical thinking, without forgetting the importance of emotional intelligence, social skills, motivation and empathy. To students, mobile devices have helped them mostly to develop social skills (remember the relational aspect of using mobile devices), motivation, self-awareness and control of emotions, as well as learning with mobile devices, with a positive discovery of the musical apps and their practical and motivating aspect, which allows them to make more motivating and richer creations and performances.

Figure 3. Importance given to the six pedagogical pillars. ProfessorsSource: Made by the author

Source: Made by the author

Figure 4
Mobile devices, of course, develop digital competence, both in knowledge, selection and configuration of instruments and applications, as well as in the treatment of information, organization of work and learning environments and interpersonal communication and collaboration, participating in environments of interpersonal communication and publication in network to share information, generating new products out of the already existing ones (mashup). They also develop musical competence, both in the implementation of content, creating learning communities (orchestras in the classroom), enhancing improvisation, composition and group performance. The professors adequately integrate content, pedagogy and technology (TPACK model), they know and handle mobile devices adequately, they sufficiently master the subject that they teach, in this case music, and they have a good pedagogical base in their educational practice.
Source: Made by the author

Source: Made by the author

Figure 5
We insist that, to the teaching staff, Mobile Learning is an aid to understand musical aspects in a practical way, it favors collaborative work and collective performance; as there is a distribution of roles in the orchestra, it implies greater emotional involvement, especially in the use of social networks, and it improves behavior with greater satisfaction and group responsibility. The major difficulties of using it have to do with technical aspects such as latency, connectivity, difficulty in coordinating digital and traditional instruments and efficient information management. Students indicate that it is a great help to understand the different musical aspects, it especially helps in performance and musical composition and to surf the internet and interact through social networks.
Summarizing this section, we outline the pedagogical model in which the use of mobile devices is based on constructivism and connectivism, the development of emotional intelligence and multiple and collective intelligences, work through projects and collaborative projects and entrepreneurship in the classroom; distributed, social, networking and connected learning, customized learning, having the TPACK model as the most appropriate framework to design and integrate the objectives pursued with the use of mobile devices in the music classroom in this project. All this was agreed upon in the discussion forums by the pedagogical team of the project and by the interviewed experts.

5. CONCLUSIONS

We witness a mediamorphosis of the media, with a reconfiguration of their uses, with new languages, with audiences that not only consume but are generating knowledge from entertainment with different formats. Mobile Learning promotes the acquisition of basic digital skills for professionals in the 21st century, such as collaborative work, network communication, use of diverse sources of information and continuous and ubiquitous learning. But the 21st-century school is still light years away from working on these pillars in its classrooms. “It is estimated that the audiovisual and multimedia literacy of teachers is a pending subject, prior to the very literacy of young people, who urgently need time, space and curricular content” (Marta et al., 2014: 65 ).
The pieces of research on mobile devices that we include in our study, in its theoretical part, are usually about their dissemination and penetration into society, both in the world and in Spain, and their value in the market and in the telecommunications sector. Others focus on considering mobile devices a dependent and independent variable to be able to measure and evaluate the adoption processes or their use in certain contexts. On the contrary, there are few studies that consider the pedagogical, social and intercultural implications in the educational field.
With this study, we have tried to demonstrate the great pedagogical potential of mobile devices in education and particularly in the music classroom in Secondary School. We dare to define, according to all the results obtained with Mobile Learning:
Teaching-learning methodology or didactic approach that integrates mobile devices as a work tool and in which content-pedagogy and technology are synthesized, offering customized learning at any time and place, connected, collaborative learning that makes use of open digital contents; much more social, multimedia, from a networked culture and that removes the boundaries between formal and informal learning.
There must be a dialectical co-evolution between learning processes and mobile devices to fulfill their pedagogical function.
In the teaching-learning processes, we point out, as strengths of the project, the co-production of knowledge, interactivity and autonomy, the necessary relationship between formal-informal and non-formal learning. It is always this collective learning, with dynamics of co-learning and inter-learning, building together. There occurs an adequate level of motivation, therefore, that favors joint learning by group experimentation.
It enhances contextual and ubiquitous learning, at any time and place, transcending classroom boundaries, becoming expanded education. The initiative of students, their creative capacity and collaborative work are prioritized, favoring the creation of music, starting from the already existing knowledge, mixing and remixing until arriving at a final product (mashup). And, as transversal axes, we have the six pedagogical pillars that we have been pointing out previously.
It is necessary to contrast this study with others of the same characteristics, but few still exist, as we have pointed out. A broader pedagogical reflection on the project Create the Soundtrack should be pursued, on aspects such as media education, emotional intelligence, connectivism, educational inclusion, working more deeply on the critical aspect of the use of mobile devices and the advances of neuroscience, getting more knowledge with projects already being developed in our country such as Soundcool, which integrates plastic, music and technology with mobile devices, with continuous training supported and sponsored by both educational administrations and the entire educational community.

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AUTHOR
Mª Encarnación Alises Camacho
Diploma in Teaching Musical Ed. from the University of Burgos and official teacher of this specialty in the Board of Communities of Castilla-La Mancha. Bachelor’s degree in Religious Sciences from the University of Comillas. Master of Education and Network Communication from UNED. Master of Social Networks and Digital Learning from UNED. Currently, she is doing her doctoral thesis in Education in Digital Environments from the UNED and member of the pedagogical team of the Project Create the Soundtrack of Your Life in Castilla-La Mancha.