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.

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.

Judaism is not a uniform religion. In it, different groups are differentiated, among which stand out, for their fundamentalism, the orthodox and the ultra-orthodox. The first ones strictly comply with religious precepts, although they coexist with "gentiles" and even lay people, adapting to certain "modern" social behavior. On the contrary, the second ones, called haredi jews or "God-fearing", follow extreme judaism in their interpretation and practice. These groups are today affected by heterodox and secular overmodern influences to such an extent that in the jewish media there is already talk of the emergence of a "new orthodoxy".

We cannot, sensu stricto, point out Miguel de Cervantes as a pacifist, it would be an anachronism that is not justified in the Golden Age in which violence, war and peace had different meanings and objectives than the current ones. However, his humanistic spirit of concord, of compromise between opposites, of respect for the other, permeates all his work, and principally El Quijote, where, his immortal protagonist, from the paradox of the walking cavalry, invites men to the prudence and to the calm, leaving behind absurd fights by rivalries and revenges.

Artistic education today involves a superior amount of effort compared to previous decades; with no intention of discrediting the quality and rigor exerted, in the past, student, group and teacher shared gradually ideas, resources, techniques and emotions inside and outside the classroom. Currently, the process is accelerating; the considerable amount of research on, about and for the sake of art, along with the technological impact and the existence of social networks that facilitate sharing, stimulates information inequalities, which assign new challenges to the teacher: to foster creativity and motivation towards studying, while offering the student suitable tools to assimilate the available set of information. This is possible when teaching and research are integrated, a recurring theme in forums and educational events, which motivates the objective of this work, which is to consider the potential of the research process in music teaching. An analysis of documents and the results of a non-structured group debate offered alternatives to exploit the potential of the research process in music teaching.