This thesis analyzes the teaching material Caminando 3 from a neurodidactic perspective. The discipline of neurodidactics is young and controversial and the aim of this investigation is to present an understanding of the use of practical applications of neurodidactics in written material of education in Spanish as a second language. The methods applied are a quantitative and objective analysis of measurable aspects in Caminando 3 and a qualitative, subjective analysis which is interpreting fundamental understandings of language learning which Caminando 3 reflects in its structure and content. The results show that there are several aspects in Caminando 3 which are supported by the evidences and advices of the neurodidactic theories and simultaneously there are details in exercises and parts of the layup containing a level of repetition and prediction which are directly harmful to the process of acquisition, according to neurodidactic theories. The conclusion is that a more dynamic teaching book can be produced with guidelines that can be created using these results. Further investigations will have to measure the knowledge and success of the pupils to decide whether neurodidactics is a successful complement to traditional didactics of second language learning.

Up until recent technological developments in neuroscience and advancements in brain imagery techniques, educators and scientists had little insight into what was occurring in the minds of learners. These developments in the field of neuroscience have led to increased knowledge about how the brain develops and learns in childhood. Understanding how music is processed in the brains of young children may provide educators with insights about how to teach more efficiently and effectively, with the potential to either support or refute current classroom practices. Many music educators appear eager to bring strategies with a grounding in neuroscience to their classrooms. It is important then, to understand not only the limits of neuroscientific data and its applicability to classroom settings, but also the degree to which current music teaching practices either correspond or run contrary to current understandings in neuroscience. The purpose of this study is to explore the use of neuroscience recommendations by teachers in elementary general music classrooms; that is, whether current classroom practices correspond with the latest understandings of the developing brain as well as how and to what degree these recommendations for music teaching based on neuroscience are reflected in elementary general music pedagogy.