The paper orchestra is a program that was born within the System of Youth and Children's Orchestras and Choirs of Venezuela with a wide didactic projection. This publication tells how it was born in 2005, within the La Rinconada nucleus due to the lack of instruments and as a search for new alternatives to help students from three to six years old to learn the musical instruments of the symphony orchestra for the first time. Josbel Puche, manager of the Musical Initiation program and director of the pre-children's orchestra, creates and develops this program where both students and their families or tutors build instruments for their pedagogical learning. With specific molds and pre-established characteristics for the primitive learning of string instruments, students begin their first steps linked to gripping the bow, positioning the instrument and hand movements always linked to singing as the basis of learning. The melodies serve as a base and support to remember step by step the basic movements and concepts to learn. This publication narrates as an introduction the origin, development of the instruments, learning phases, benefits of the program, social impact and, ultimately, its connection with the cognitive music theory program of the BAPNE method for learning the first musical figures, rhythmic structures and height of the instrument notes linked to the instrument. The paper orchestra program is being implemented in several countries around the world, with significant results for the development of the orchestral base.

Research on body percussion has grown exponentially in the last decade. After the coranavirus pandemic (COVID-19), the presence of recreational body percussion activities more focused on fun and entertainment than on the training of students increased in social networks. In contrast, the BAPNE method is based on research carried out by more than 80 professionals from different fields, positioning itself as the undisputed world leader in research on neuromotricity and the possible stimulation of cognitive functions and executive functions, as well as in the serious and academic substantiation of its activities based on the dual task, publishing 65.71% of the literature on the subject. The BAPNE method has a concrete and systematised tripartite structure for carrying out a neuromotor session (Rite of initation-Cognitive Stimulation-Closing Rite) in which each part has different functions that must be respected for its correct application in the classroom. The purpose of this communication is to present the timing, purpose and objectives of each of the three parts that make up a neuromotricity session of the BAPNE method, as well as to provide a list of activities suitable for each of its parts. This is expected to help the correct implementation of its activities in a serious and academic way to different groups of professionals.

Being part of a choral group requires and develops, among many others, musical, auditory and intellectual skills, but it also involves, in addition to the use of the vocal apparatus, the incorporation of body movements to accompany and increase the sound experience. Trends show that, nowadays, from the early stages in the creation of choral groups to their exposure to audiences, both school and professional choirs, whether they are children's, youth or adult choirs, use the body as a percussive element, enriching the rhythm, and providing visual, auditory and kinaesthetic components, whether with aesthetic or didactic objectives. In many cases, songwriters specifically write or suggest the movements that might be used in their compositions. In other cases, it is the conductors themselves who take on the creation of a particular sequence of movements to add further elements to the performance of a choral arrangement. Finally, it is also noticeable that body percussion is used as a resource in rehearsals to facilitate or enhance learning, although it is not always used in the same way in performances. The aim of this research is to provide an overview of the use of body percussion both in the creation and rehearsal process and in the final artistic product of choral ensembles.

Wind band music is an expression of great relevance in popular culture. It has a very extensive literature, as we find its own works and also orchestral adaptations and popular or modern music, in which there is room for various compositions that use the body and movement. Body percussion, like other existing resources, is an element used with different intentions; it can consist of an expressive resource that enhances a passage of musical relevance, highlight a change in the musical texture, point out a detail to prevent it from going unnoticed or create a special atmosphere that contributes to contextualize the work, among other functions. The main objective of this work is to show a state of the art on this subject, with the intention of discerning if it is an isolated resource used by some composers or if, on the contrary, it is an emerging resource that tends to become generalized. This proposal will also offer the compilation and a first classification of some of the pieces collected during the research. In particular, attention will be paid to Mario Bürki musical production for wind bands in which body percussion is used as a determining musical element of the composition. To complete this proposal, we also incorporate a novel didactic application of interest for specialists and performers, adding to body percussion strategies linked to the BAPNE Method. We present resources applied to the double task as an attentional and motivational improvement linked to the preparation of the repertoire.

Miyake's proposal in relation to nuclear functions (inhibition, cognitive flexibility, working memory) is the basis of this publication in which we provide practical resources from the BAPNE method. There are many models of executive functions with their various corresponding names, whose authors debate the validity of one or the other. Our frontal lobe has a part called prefrontal that groups a series of very important functions that allow the execution of many of the actions that we perform throughout the day, regulating and managing them so that they are as effective as possible. These are the executive functions of which there are many models according to the theoreticians. The executive functions can be worked on and trained, allowing you to stay focused on a task, think before you act and deal with situations you have never been through before as well as solve problems you are facing for the first time. This allows our brain to optimize processes to be as effective as possible. It is true that there is unanimity in accepting Miyake's model as the basis of executive functions. In this publication we provide an introduction and theoretical justification to each of them with the exercises for each of them. There are many models of executive functions with their various corresponding names, whose authors debate the validity of one or the other. It is true that there is unanimity in accepting Miyake's model as the basis of executive functions. In this publication we provide an introduction and theoretical justification to each of them with the corresponding practical exercises in brief.

Neuromotricity is one of the most effective resources to possibly work cognitive and executive functions, highlighting its activities through the dual task in the BAPNE method. There is a bibliography in Web of Science that provides positive data in several investigations with different types of population. Through the BAPNE method, the activities are structured in a specific way to ensure the learning process. In this way, with an adequate progressive sequence in the motor and cognitive difficulty, the independence of the upper and lower limbs and the voice is sought. The learning process of jazz music resides mainly in imitation, but also in the acquisition of knowledge and skills, the creativity of the teacher is as important as that of the learner, so it is proposed that once a certain level is reached, the latter assumes the role of leader in the activity. From the 16-bar form of Happy Birthday, multiple activities can be created, supporting coordination, dissociation and laterality processes, among many other aspects, and thus providing a greater number of tools to professionals in different fields such as education and therapy to better and more widely understand of one of the most famous songs around the world.