I r e n e M a r t í n e z C a n t e r o 1 a n d J o r d i -A n g e l J a u s e t -B e r r o c a l 2 1 Music Conservatory of Pilar de la Horadada, C/ Ramon y Cajal, 23, 03190, Pilar de la Horadada (Alicante), Spain 2 Faculty of Communication and International Relations Blanquerna (University Ramon Llull), Plaça Coromines s/n, 08001 Barcelona irenemc2000@yahoo.com, jordiajb@blanquerna.url.edu Motivation is a key word in the arts and, especially, in music since it conveys collective, as well as individual, feelings. The beginning of musical instrument learning should be based on the student's musical interest but, due to the casual and improvised nature of everyday situations in which the choice of a musical instrument takes place, tend to underestimate the attention that such interest deserves. This research paper seeks to expound on the lack of knowledge by students as regards musical instruments and on the powerful influence over them by instrumentalists in their environment.

No abstract

Traditionally, the teaching of music has tended to be a professional subject within the training of virtuosos in conservatories or a playful subject taught in schools, without due consideration given to the potential it offers to developing cognitive capacities. Advances in neuroscience highlight the importance of learning music in relation to the cognitive benefits derived from its practice. Brain exploration techniques show that practising music places a significant demand on the most developed cognitive functions of the human being, confirming the intervention of different cerebral areas involving a large portion of the brain and an increase in attention and concentration levels. After carrying out a literature review of the current state of the question, some of the most common findings in all fields of musical education are cited, considering aspects that are of particular relevance today, such as interdisciplinarity, emotion, cooperative learning, self-regulation and creativity.