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Resumen:
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The incorporation of creativity into the music curriculum in Secondary Education celebrated its 25th anniversary in 2015 (LOGSE, 1990). The LOGSE represented a substantial transformation in the curriculum and the starting point of a new consideration of music in secondary schools. From this perspective, this field is a young one, with a limited cultural tradition when compared to other countries in the European Union. The study presented here arose from a desire to make transformations in the area of music in secondary schools, in addition to my own experience as a teacher, researcher and student. In this regard, the influence of my own convictions in the field of music education (Whitehead y McNiff, 2006), is evident. These convictions have taken shape through a vital process determined by biographical factors within my family, professional and academic environment. Alongside this initial knowledge and experience, a process of “Action Research” emerged and was carried out for six years, while I occupied the position of a research professor in three public educational institutions in the Autonomous Region of Madrid. This resulted in a constant evolution, from a research point of view, both from the perspective of the teaching-learning and teaching-methodology processes. Thus, a transformation of my classroom was proposed, through an axis comprised of the creation of music and the active participation of the students, and via a series of didactic projects focused on the creation of music, characterized by its constant evolution and including the use of visual aids. Students therefore set posters or paintings to music and composed soundtracks using collaborative composition and collective improvisation as didactic strategies. In this way, the use of visual aids had an didactic objective driven by various motives...
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