In Mexico, in the first half of the 19th century, the aspiration to create a different music, independent of the one that had been cultivated in previous centuries, still fails to propose or implement a new musical aesthetic that erases the traces of the European, but rather, stagnates in a parenthesis with hardly any original creations of its own, composers and performers import foreign works or take inspiration from existing styles and works, resulting in easy, superficial scores, in demand for the consumption of a bourgeois public that will impose a trivial taste, destined only to the learning of an instrument or to simple social entertainment, as can be seen in the compositions of the so-called "salon music". It wasn't until the last decades of the 19th century that a Mexican musical idiosyncrasy emerged, expressed in the work, of greater quality and merit, of outstanding national masters. In this process, Zacatecas was not left out.

The viola has played a different role from the violin in the development of chordophones, this has also impacted on its social recognition; however, its sonorous and expressive potential has been evident throughout the centuries. With the appearance of different artistic styles, composers have been used the instrument in a creative way, expanding their technical-expressive capacities, which has favored a higher level of preparation in the interpreters and their ability in the mastery of musical repertoires. They not only welcome new works, but also project new challenges. This work aims to recognize the role of romanticism as an aesthetic movement in the promotion of the broad compositional and interpretative growth of the viola, from some compositions for the chamber music of Johannes Brahms. As a methodological strategy, historiographic review, contextual analysis, and document analysis are combined, highlighting the place of the viola in the instrumental ensemble, its leading role and the Brahms compositions for this musical instrument.

Music teaching today represents a greater effort compared to previous eras. Before, quality and rigor, combined with ideas, resources, techniques and emotions were shared, inside or outside of the school environment. Currently, the same process is accelerated: the considerable number of research in, about and in favor of art, joined with technological impact, and the existence of social networks, activates informational exchange, and causes contrasts that require higher creativity from the teacher in order to offer tools for the student to qualify the cumulus of information at their grasp. This is made possible by integrating teaching with research, a popular theme in education-related events; which constitutes the objective of this work: to popularize alternatives for the achievement of the possibilities the research process offers in music teaching. The analytic-sinthetical metod, the life history method, documental analysis method and interview were combined from a qualitative standpoint, which was conducive to a multilateral study of the composer and his creativity's developmemt, and also to the activities' design, and the search for information. Ideas and experiences about the potential of research for art education, plus extracurricular activities designed and based on the research are therefore offered.

Through the ages, music has always been a fundamental element in the cultural development of mankind. Musical apprenticeship among children has had a positive impact in their psychomotor development, as well as in their sociocultural medium, either coming from general arts education, or, a specialist-oriented musical training. There are certain parameters that contribute to the broad arts education of children, and others that impact specifically the children that are perceived as future professional performers. The information that integrates this work was gathered from a comparative study and analysis of documents. The objective in this article is to observe the interactions of the infants' musical teaching processes with professional and artistic educative ends, highlighting identity values and the methods applied, which contribute to a better integration of a child’s musical culture, his own formative needs considered.

One of the most laborious aspects at the beginning of a research process for graduation project into the musician professional training is the title of the thesis. This requirement could not represent much difficulty however, sometimes the rush with which a first vision of the project or research design is made brings into a title proposal that could not satisfy the expectations of the student in the future. The experience in these situations have shown late progress and loose of motivation. The alternatives that could be used in order to prevent this situation are many and can be applied during the professional training, nevertheless at the ending of the studies, time is important and the chores get busy; different tools are offered so the student, professor or adviser can develop the idea of the final project and thesis.