La ejecución de la guitarra: recomendaciones metodológicas para su desarrollo en el quinto gradoGuitar performance: methodological recommendations for its development in fifth gradeDominico Matos-Vega; Felipe Enio Robas-DíazEscuela Profesional de Música, Guantánamo, Cuba Universidad de Guantánamo, Guantánamo, CubaCorreo(s) electrónico(s)dominicomatos@gmail.comenio@cug.co.cuORCID: http://orcid.org/0009-0000-0439-6960https:// orcid.org/0000-0003-1912-4823 Recibido: 3 de octubre, de 2024Aceptado: 22 de enero de 2025ResumenEl artículo aborda un problema actual y de pertinencia en la escuela profesional de música “Antonia Luisa Cabal Salis” en la provincia Guantánamo, el desarrollo de la habilidad ejecución de la guitarra en los educandos de quinto grado. Su objetivo consiste en ofrecer recomendaciones metodológicas para favorecer el desarrollo de la habilidad ejecución de la guitarra en los educandos de quinto grado. Se emplean como métodos: análisis histórico lógico, análisis de documentos, observación, entrevista y el sistémico estructural funcional, a partir de los cuales se constataron carencias en el orden procedimental que sustenten el desarrollo de las habilidades. Se concluye con la constatación de la validez de la propuesta al posibilitar las transformaciones deseadas en el desempeño de los profesionales de la institución guantanamera.Palabras clave: Habilidad; Ejecución; Guitarra; Recomendaciones metodológicas.SummaryThe article addresses a current and pertinent problem in the professional music school “Antonia Luisa Cabal Salis” in Guantánamo province, the development of guitar playing skills in fifth grade students. Its objective is to offer methodological recommendations to favor the development of the guitar performance skill in fifth grade students. The following methods were used: historical-logical analysis, document analysis, observation, interview and functional structural systemic method, from which deficiencies were found in the procedural order that support the development of the skills. It is concluded with the confirmation of the validity of the proposal by making possible the desired transformations in the performance of the professionals of the Guantanamo institution.Keywords: Ability; Performance; Guitar; Methodological recommendations.Introduction Artistic education at the professional music school focuses on specialization in mastering the guitar as an instrument, with the aim of offering a universal approach aimed at cultivating different musical genres that influence the training of future graduates to perform their work in various contexts.The methodology for playing the guitar from an artistic and academic perspective, although it has points of contact with the instruments involved in the complex musical ensemble, is distinguished by elements that make it unique, and this is where the teacher must focus their efforts to teach the technique. In this sense, it is important to articulate the personal and non-personal components of the teaching-learning process in order to focus attention on the activity of thought, which is valid for the practice of the social subject on the subjective world.An essential complement to guiding the teaching-learning process is the experiences of the students in their environment, in which categories such as philosophy, aesthetics, ethics, sociocultural, pedagogy, and didactics converge, revealing the complexity of human subjectivity linked to the knowledge system and enriching the life of the student. Regardless of the actions conceived in terms of guitar teaching in this type of institution, they are still insufficient to achieve the intended purpose, since normative and formative factors have a negative impact on the proper development of the teaching-learning process; these elements inevitably transcend the family and social environment. A first aspect is that historically, guitar teaching was undertaken by rigorous performers and experts in the field, but with obvious methodological shortcomings, which changed in 1961 with the creation of the National System of Artistic Education. Study plans and programs were developed for the training of new teachers to work in art schools, in the cultural centers of each municipality, as well as in schools within the national education system.Secondly, it has been observed that the teaching staff responsible for the teaching-learning process lacks the necessary methodological training. These teachers generally have an intermediate level of training, and although the curriculum currently includes the subject of teaching methodology for the instrument, it does not meet the needs due to shortcomings in the subject program itself.Finally, the regulatory documents do little to meet the aforementioned needs. The methodological guidelines and the procedures manual, which are the documents that govern teaching, emphasize that it is the teacher's responsibility to guide this activity, but they do not explain how to do so, leaving this element to the teacher's discretion. This jeopardizes the accuracy of the activity, as several factors influence its success, such as the teacher's attitude and experience.In view of this situation, a tool is offered that is capable of meeting the needs raised in the different areas, both educational and regulatory, and that mitigates the communication barriers that may arise in the course of training, i.e., in the development of knowledge, skills, and values in learners. At the same time, different institutions such as cultural centers, instructor schools, universities, and other centers where guitar teaching takes place will have a methodology at their disposal that allows all interested parties to facilitate the achievement of the goals set, as well as to promote aesthetic education through the benefits offered by the cultivation of art in all its splendor. Finally, this article aims to offer methodological recommendations to promote the development of guitar playing skills in fifth-grade students, facilitating the correspondence between the time devoted to studying this instrument and the results obtained, and serving as a complement to teachers and family members of students for the necessary guidance and support throughout the process.DevelopmentThe guitar as a musical instrument requires mastery of complex techniques to play it. This is a skill that is sometimes acquired empirically, but when it comes to a professional who has to perform in front of an audience as a musician and teacher, it is essential to have the assistance of a specialist who has mastered the methodology for teaching the distinctive aspects of the instrument: scales, arpeggios, slurs, chords, among others.The components of the complex organic structure are elements to be taken into account, and it is here that the average human relationship is specified, which must function as a holistic system, body positions, main areas of the spine: cervical, thoracic, and lumbar. The position of the legs, arms, hands, and fingers must be taken into account because they specify the systemic structure involved in playing the guitar. All of them must be fully related to the means used from an ergonomic point of view.The components explained that must be adopted for playing are important for the performance of the different genres that use the guitar as an instrument, actions that complicate learning if one is not convinced of the purpose of each procedure in the methodology to be used.There are multiple definitions of methodology, as many as there are authors dedicated to this subject, including: (Bermúdez and Rodríguez, 1996; Cisneros, 2017; Elías; 2015; Matos, 2003 and Valle 2012). In some way, they all agree that it is a set of actions that allow the development of direction to be guided. It defines, classifies, and systematizes the techniques that must be used to master a process, in the case explained in the article, the playing of the guitar. The proposal offered is the result of research carried out at the center under study, as well as the author's experience in teaching guitar for more than thirty years. The analysis of the system of methodological preparation activities and class controls revealed shortcomings in the methodology currently used to teach the aforementioned instrument.The application of various research methods and techniques is considered valuable, including: class observation, review of notebooks, group interviews with students and teachers, and surveys. The analysis of the results of these instruments reveals shortcomings such as: incorrect posture when playing the guitar, inappropriate use of chairs and stools; although the institution has music stands, they are not always used to place the sheet music at the required height. These statements are corroborated by the results of classroom observations; teachers do not always emphasize to students the importance of proper posture. Furthermore, the design of independent work is very general, and there is a lack of assessment that would allow for the necessary clarity in addressing individual differences. The study programs and methodological guidelines lack guidance that would enable the organization of independent work. The recommendations currently offered for the fulfillment of this task are improvised and lack organization and systematicity. In the analysis of regulatory documents such as letters and methodological guidelines, and the procedures manual, they state that it is the teacher who must teach how to study, but they do not suggest how to achieve this. In other words, they do not offer ways to do so; everything remains at a general level. Teachers do not always rely on teaching methods to impart the theoretical and practical knowledge required by the teaching process, the purpose of which is to equip students with the skills for their comprehensive education, which must be based on precise instructions for independent work aimed at developing the ability to play the featured instrument. With regard to independent work, several authors have made contributions, including (Álvarez, 1999; Clavero, 2020; Fleitas et al., 2024; and Pidkasisti, 1982), all of whom agree on actions aimed at cognitive independence and ways of organizing student activity, among other things. The definition of independent work offered by Álvarez (1999, p. 64) is assumed when he posits that it is: “A way of organizing the teaching process, aimed at fostering independence, (...) its nature as a system, a method, insofar as it is a way, a means, a form of organizing student activity.” As can be seen, the system of knowledge acquired when there is good guidance from the teacher is recorded or stored in the mind, in which independent work must be present as a means of including students in cognitive activity from the logical and psychological organization that it requires; it is essential for acquiring the skill of playing the guitar. The category of skill, addressed by several specialists, constitutes a reference point due to the scientific nature that must be present in the methodology, among them (Álvarez, 1999; Creagh, 2022; Petrovsky, 1988; Talízina, 1988), among others. Petrovsky (1988) states: “Skill constitutes the mastery of a complex system of mental and practical actions necessary for the rational regulation of activity with the help of the knowledge and habits that the person possesses” (p. 23). It is important to recognize that skill is a category, i.e., a condition, quality, nature, among other meanings accepted by the language. Precisely the development referred to in this work represents a higher step in the learning process of students for the performance of the guitar.It is important to recognize that this definition includes essential elements to be taken into account for the performance of the guitar as a musical instrument. From the researcher's point of view, the dimension of the content requires accuracy in flexibility, coherence, and logic in the conduct of actions so that the performance of an instrument corresponds to the genre to be interpreted. This means the relationship with the classification of skills into three groups: specific, logical or intellectual, and communication.In the context of guitar playing (Nicola, 2013), when specifying in his method all the valid experience for the direction of the teaching-learning process, he refers in particular to the fact that guitar playing has a long history in the conception of the instrument, allowing it to emit sounds that are pleasing to the sensory-perceptual structure of humans; in a general sense, a state of well-being that enriches spiritual life. The analysis of the documents presented in the work confirmed the relevance of the methodological recommendations presented. Indicators to be taken into account by the teacher are specified, which enrich the teaching of the stated skill: flexible, developmental, differentiated, and cross-cutting. These are explained below:Flexible: this means considering the variety of resources that can be used during the process, which respond to the characteristics of the classroom context and the needs of each student.Developmental: this is achieved when students are placed in conditions of active knowledge seeking, leading to cognitive independence. Differentiated: this takes into account the diversity in the development of communication skills, educational needs, and the experiences of learners.Cross-cutting: this refers to formative relationships, which serve to bridge the gap between scientific knowledge and everyday knowledge, integrating the content covered in each area of study with the prioritized values.Although the indicators are explained independently, there is a relationship and interdependence between them, and they form a coherent system. In the opinion of the authors of this paper, valid statements are suggested to promote the development of guitar playing skills.What am I going to study?At this initial stage, the teacher will clarify with the student whether it is a piece, a study, or a technical exercise as part of their preparation for the assigned task, playing the guitar. Here, we begin with the organization of time and order to delve into the elements of the program. It is advisable to move between the different units of knowledge in the program in an orderly, progressive manner, according to the instructions given in class and established for each student. The program consists of technical material and repertoire. The technical material contains the new elements of knowledge to be mastered and those to be consolidated, so that the student needs to be clear about this in order to allocate the appropriate time to each action. The repertoire is the part where the artistic aspect is specified and to which the technical preparation contributes, where both the characteristics of the styles and the aesthetic conception of the performer are manifested.The guidance must be precise and, from that moment on, control must be established to ensure that everyone understands it properly.What is my goal? Having complete clarity about the goal to be achieved contributes to a high percentage of task completion. It is not enough to devote time to playing the instrument; each action must be performed with the conviction that it is being done correctly and consciously. This is the cardinal point of where the student must arrive. For this reason, the teacher plays a fundamental role, as success in learning will depend on the proper definition of what we propose for each moment. Only then will the action be fruitful.Here, the mixture of objectives at the beginning usually becomes apparent, which constitutes an organizational problem that undermines the development of the activity. As the content progresses, the teacher adds questions that contribute to the overall objective, which is the interpretation of the assigned work or study.How am I going to achieve the objective?A set of actions can be implemented at this point. The achievement of a specific objective can be reached through different approaches. However, at this point, procedures are proposed that guide the execution process in an organized manner. The teacher will take the opportunity to inform family members and students of the details for carrying out the task in a way that is easy to understand, preparing them to support their children. The actions to be considered will be personalized, as everyone has different qualities, so that the actions respond to the objective and the procedures to the specific qualities of each student.What source should be consulted?Reading the notebook becomes the bridge where the teacher, the student, and the family engage in dialogue. For the development of a specific skill, the first thing is to guide it correctly according to the stage the student is at, based on the diagnosis made, aware that these objectives go through different stages where the knowledge of the action and the development achieved after a few months are demonstrated. At that point, the guidelines are adjusted to the real needs.Other elements of comprehensive training are reflected in this teaching method. In addition to clarifying the context of guitar playing, it is vital, from the outset, to emphasize the importance of reading as a vehicle for acquiring a high cultural level, which should characterize each artist, according to their age.The positioning of the body and the instrumentIt is important that the teacher, through their relationship with the family, contributes to the achievement of this goal. Learning the guitar involves the entire body, from head to toe. Students begin at an average age of 10 in a process of ossification of the cartilage until it becomes bone. If this process is not given proper attention, it can result in deformities and serious health problems. Sometimes, through imitation, students adopt postures that affect their physical development, leading to injuries in the osteomyoarticular system and, consequently, negatively impacting their guitar playing, which can delay their instrumental development to the point of encouraging them to give up studying the instrument. It is important to illustrate to the student that the position when playing the guitar changes as the format or genre changes. To play the guitar in traditional music, the standing position is adopted with a strap holding the instrument, which will be at chest height. When playing rock music, the guitar is held at or below waist level; when playing as a troubadour, the position is generally seated with the guitar on the right leg; and when playing as a concert performer, the instrument is placed between the legs. These are the four positions that the instrumentalist moves through, and they are images that must be captured in the students' knowledge system to avoid improper positions. It is also important to delve into the physiology of instrumental performance, which helps to understand what should be done as the student enters a stage of growth and has to progressively adjust their position according to the needs of their body, something that behaves differently in females and males.Elements such as the height of the chair, the size of the guitar, and the height of the stool are challenges faced by these students, as the existing furniture in the school is not suited to the needs of each individual and must be adjusted in some way. Due to their age, students have to deal with instruments that are unsuitable for their anatomical structure, or that also need to be adjusted to their abilities; the stool is another element that can lead to an inappropriate position of the instrument if it is not adjusted in time.Looking at the score all the timeAn important requirement of the program is to play the instrument from memory, so it is vital to have a high level of confidence in all the elements that come together in the musical discourse: notes, rhythms, fingerings, repetition and dynamic signs. From this perspective, no amount of care is too much when it comes to assimilating the different elements involved, which cannot be changed as this could negatively affect the expected result.Being faithful to the rhythm set by the composer allows the piece to be performed with the character it requires. It is important to note that the teacher's instructions for interpretation will depend on the style of the piece. Fingering is another essential element, bearing in mind that the same sound can be found in different places, but does not offer the same brightness or fluidity, which can make the performance unnecessarily complex. Similarly, repetition signs play an important role; composers use them to abbreviate the writing, and following these instructions carefully guarantees part of the interpretative locality.Each era has its own characteristics, so looking at the whole time during study avoids modifying them. The beauty that is sometimes evident tends to confuse, and even the harmony is not always to the liking of the student due to their lack of knowledge of the era and familiarity with the fragment in question, which unintentionally leads to changing what the composer intended or even failing to recognize a mistake.Repeat each bar, stave, phrase, or half-phrase at least seven timesRepeating the musical discourse according to the needs of the moment guarantees the success of the action. First, sight-reading is practiced. Once the content is known, it is memorized and then given interpretive intent. Once memorized, the intent will be the interpretation, where the discourse is organized by phrases or half-phrases. There are many students who insist on playing large fragments, who find themselves trapped in a process whereby when they reach a certain point, they no longer remember the details and have to go back and analyze and define what to do, regretting the inevitable loss of time.Play very slowlyPerforming the knowledge units very slowly allows each action to be carried out with due care. Previously, mention was made of several elements of knowledge that need to be mastered. Only in this way can each of them be organized and kept in mind, in addition to taking care of muscle tension so as not to press too hard and end up with unwanted contraction. Another way to avoid muscle contractions and injuries is to perform the necessary warm-up before you start playing. In this regard, Pedreira (2015) states that you should condition your body for the activity, not in the traditional way, such as playing technical exercises, to give just one example, but by stretching your muscular system. Did I achieve the objective, the purpose?This is the time to evaluate, in general terms, what has been done, and it is where it is determined whether it is appropriate to change the study, piece, or technical exercise, or to continue, even if it is later or the next day. In this context, the orientation of the activity from a technical and psychological point of view becomes important. An accurate characterization of the student allows the teacher and the family to personalize the organization and allocation of time. The method of encouragement, criticism, self-evaluation, and comparison must be applied appropriately, because they promote self-assessment. A set of highly complex elements have been outlined for the training of guitar students, since in art there is competition or indirect imitation of individuals who possess highly developed natural abilities. Those who have not attended school but can sing and even play instruments masterfully become, for various reasons, role models for everyone, including the apprentice.Conclusions Through historical analysis of teacher training for the development of guitar performance skills, deficiencies in the didactic-methodological order for the exercise of the profession are evident. Regulatory and training factors have a negative impact on the proper development of the teaching-learning process. The tool offered will enable better organization of methodological work in the department and for independent study by students, given that the actions are aimed at developing guitar playing skills in fifth-grade students.Referencias bibliográficasÁlvarez, C. M. (1999). Didáctica. La escuela en la vida. Pueblo y Educación.Bermúdez, R. y Rodríguez, R. M. (1996). Teoría y metodología del aprendizaje. Pueblo y Educación.Cisneros, A. P. (2017). Una metodología para el desarrollo de la habilidad coloproctológica en estudiantes de medicina. [Tesis de doctorado, Instituto Central de Ciencias Pedagógicas]. https://www.iccp.rimed.cu › repositorioClavero. E (2020). El trabajo independiente, ¿forma o método? Edumecentro, 12 (1), 238-242. https://revedumecentro.sld.cuCreagh, Y. (2022). Una metodología de capacitación para el desarrollo de la habilidad diagnóstico de manifestaciones oftalmológicas en enfermedades crónicas no transmisibles. [Tesis de Doctorado, Universidad de Ciencias Médicas de Guantánamo]. https://dialnet.unirioja.esElías, R. (2015). Una metodología para el desarrollo de la habilidad atención médica integral en el médico general en formación inicial. [Tesis de Doctorado, Instituto Central de Ciencias Pedagógicas]. https://www.iccp.rimed.cu › repositorio Fleitas, M., Molinet, A., Martínez, M. y Vázquez, L. (2024). El trabajo independiente: modalidad de la educación contemporánea. https://edumedholguín.sld.cuMatos Columbié, Z. (2003). Un modelo pedagógico para el desarrollo de la orientación profesional vocacional en el preuniversitario. [Tesis de Doctorado, Instituto Central de Ciencias Pedagógicas]. https://www.iccp.rimed.cu › repositorio Nicola, I. (2000). Método de guitarra. Adagio.Pedreira, M. (2015). Ergonomía de la guitarra: Su técnica desde la perspectiva corporal. Adagio.Petrovsky, A V. (1988). Psicología General. Pueblo y Educación.Pidkasisti. P. I. (1982). La actividad cognoscitiva independiente de los alumnos en la enseñanza. Pueblo y Educación.Romero, I. (2013). Método de guitarra, primer curso. Adagio.Talízina. N. (1988). Manual de Psicología Pedagógica. https://cursos.aiu.edu pdfValle Lima, A. (2012). La investigación pedagógica otra mirada. Pueblo y Educación.Vol.10, No.27, enero-diciembre, año 2025 Dominico Matos, Felipe E. Robas: La ejecución de la guitarra: recomendaciones metodológicas para su Ciencia y Progreso Publicada en línea: enero, 2025, RNPS: 2477, ISSN: 2707-7098 http://cienciayprogreso.cug.co.cu. Vol.10, No.27, enero-diciembre, año 2025 Artículo 2 Dominico julio 2024.dot09412222673Microsoft Office Word018853falseTítulo1false26742false62915071805https://cursos.aiu.edu/83887021505https://edumedholguín.sld.cu/4587811205https://dialnet.unirioja.es/2359339905https://revedumecentro.sld.cu/5308436605https://orcid.org/0000-0002-2242-10475308436305https://orcid.org/0000-0002-2242-10477929858005mailto:enio@cug.co.cu6750269005http://cienciayprogreso.cug.co.cu/false16.0000EnioIct22025-10-16T04:44:00Z2025-10-16T04:44:00Z