Quodlibet. Revista de Especialización Musical最新文献

{"title":"EL PATRIMONIO MUSICAL Y SU ENSEÑANZA EN LOS GRADOS UNIVERSITARIOS DE MAGISTERIO EN ESPAÑA.","authors":"S. Sarfson","doi":"10.37536/quodlibet.2022.77.1574","DOIUrl":"https://doi.org/10.37536/quodlibet.2022.77.1574","url":null,"abstract":"La riqueza del patrimonio musical español, tanto en su vertiente histórica como tradicional, integra transversalmente los contenidos y las competencias que se desarrollan en los Planes de Estudio, a través de diversas asignaturas de los Grados de Magisterio. En este capítulo se revisa la presencia de estas cuestiones en las universidades públicas, con el propósito de conocer el estado de la cuestión. Por otra parte, se enuncian categorías dentro del amplio campo del patrimonio musical, y se proponen líneas de actuación para contribuir a la mejora en la formación de docentes en este ámbito","PeriodicalId":284780,"journal":{"name":"Quodlibet. Revista de Especialización Musical","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128844409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Portada e índice","authors":"R. v.","doi":"10.37536/quodlibet.2022.77.2087","DOIUrl":"https://doi.org/10.37536/quodlibet.2022.77.2087","url":null,"abstract":"","PeriodicalId":284780,"journal":{"name":"Quodlibet. Revista de Especialización Musical","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128352957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"MOVIMIENTO Y DANZA EN EDUCACIÓN MUSICAL.","authors":"Gregorio Vicente-Nicolás","doi":"10.37536/quodlibet.2022.77.1578","DOIUrl":"https://doi.org/10.37536/quodlibet.2022.77.1578","url":null,"abstract":"El objetivo de este trabajo es analizar el currículum de música de Educación Primaria en España desde una perspectiva del movimiento expresivo y la danza con la finalidad de enfatizar sus aspectos positivos, subrayar las posibles incoherencias que contiene y reflexionar sobre su viabilidad en las aulas. Contextualizados en una metodología de análisis documental, en primer lugar, se ha realizado una revisión de los diferentes documentos legales que desde mediados del siglo xx han estado vigentesen las aulas españolas. En segundo lugar, se ha analizado el currículum nacional actual, así como los diferentes documentos legales que de este surgen en su proceso de adaptación a los diferentes contextos autonómicos. Los resultados de este análisis revelan que las imprecisiones detectadas en los elementos curriculares que hacen mención al movimiento expresivo y la danza son más de las esperadas, sobre todo en el proceso de secuenciación por cursos o ciclos que realizan las diferentes comunidades autónomas. Por este motivo, se insta a los agentes educativos que diseñan las normas para que elaboren un currículum claro y preciso, que pueda ser considerado como unconjunto de elementos secuenciados que ayuda al profesorado a planificar mejor su docencia. Igualmente, se hace un llamamiento al profesorado para que mantenga una actitud crítica ante los requerimientos legales y se sienta partícipe en la adaptación y reelaboración de los mismos.","PeriodicalId":284780,"journal":{"name":"Quodlibet. Revista de Especialización Musical","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116382591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PROPUESTA CURRICULAR GENÉRICA PARA LA EDUCACIÓN MUSICAL EN LA ETAPA DE PRIMARIA A PARTIR DE LA LEY GENERAL DE EDUCACIÓN Y FINANCIAMIENTO DE LA REFORMA EDUCATIVA (LGE-1070) Y LA LEY ORGÁNICA GENERAL DEL SISTEMA EDUCATIVO (LOGSE-1990).","authors":"Á. Morales","doi":"10.37536/quodlibet.2022.77.1584","DOIUrl":"https://doi.org/10.37536/quodlibet.2022.77.1584","url":null,"abstract":"Los años 70 se presentan como años de intensa actividad económica en España. A nivel educativo, se aprobará la ley que fue llamada «Ley de Palasí». El primer paso fue la elaboración en 1969 del llamado Libro Blanco que llevaba por Título: «La Educación en España. Bases para una política educativa. Proyecto de Ley General de Educación y Financiamiento de la Reforma educativa».\u0000Desde esta realidad hasta el año 1990, no se produce en España ningún cambio educativo. Es entonces cuando se aprueba la Ley Orgánica de Ordenación General del Sistema Educativo (LOGSE- 3 de octubre de 1990).\u0000Analizamos en este artículo la importancia curricular de estas dos reformas para la educación musical en la etapa de primaria; currículos en los que, por una parte, se definen los Principios Metodológicos de acción educativa para la educación musical. Por otra parte, se secuencian para los ciclos los objetivos, contenidos y criterios de evaluación, que configuran un planteamiento completo y estructurado del proceso de enseñanza aprendizaje para la educación musical en la etapa de primaria. A partir de estas propuestas, quedaría por incluir en el entramado curricular el concepto de competencia, que ambas leyes contemplaron de forma implícita en la definición de sus objetivos y finalidades generales. No se detallarán hasta la Ley Orgánica 8/2013, del 9 de diciembre de 2013, para la Mejora de Calidad Educativa (LOMCE), que se verá derogada por una nueva ley: la Ley Orgánica 3/2020, del 29 de diciembre (LOMLOE), de la que se está pendiente el desarrollo curricular.\u0000La propuesta es que, sea cual sea la ley educativa vigente, el currículo de música para la etapa de primaria debe estar presidido por las áreas de trabajo musical, bloques de contenidos y desarrollocompetencial secuenciado para un aprendizaje basado en la construcción y aprendizaje de la música.\u0000Los datos que se presentan, tanto desde un punto de vista de evolución histórica como a nivel legislativo, están extraídos de la tesis de Morales Fernández, Á. (2008).\u0000 \u0000 ","PeriodicalId":284780,"journal":{"name":"Quodlibet. Revista de Especialización Musical","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127783901","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Onset asynchrony in Western art music","authors":"J. Dunsby, Yannis Rammos","doi":"10.37536/quodlibet.2021.76.1465","DOIUrl":"https://doi.org/10.37536/quodlibet.2021.76.1465","url":null,"abstract":"Melodic onset asynchrony, whereby the upper or some component of a musical simultaneity may strike the ear ahead of other sounds, is a common feature in the performance of Western art music. It seems to be of high aesthetic value in the history of pianism, often harnessed to the seemingly contradictory “bass lead” that prevailed in the early 20th century, though in fact the two are far from exclusive. Departing from an application of Brent Yorgason’s taxonomy of “hand-breaking” (2009) to canonical, composed examples of onset asynchrony from Beethoven, Schumann, and Liszt, we examine timbral, organological, and aesthetic continuities that underly distinct practices of asynchrony. We consider the physical nature of such normally non-notated “microtiming”, ranging in performance from a few ms of melodic onset asynchrony to about 100ms, above which it is generally agreed that even the casual listener may perceive it. A piano-roll recording by Claude Debussy, of “The Little Shepherd”, illustrates the mix of melodic onset asynchrony, bass lead, and apparent simultaneity that may be applied in a single interpretation. We then discuss the concept of “audibility” and the question of to what extent, and in what ways, the combined transients of piano attacks may interact. We consider with reference to 20th century Russian piano pedagogy why onset asynchrony seems to have been a little documented, rather than an explicit playing technique, even though certain sources, such as a 1973 treatise by Nadezhda Golubovskaya, show it to be ubiquitous and well theorised. Finally, regarding the thinking that has predominated in musical performance studies in recent decades, with its emphasis on average practices and “ordinary” listeners, we suggest that a new emphasis will be fruitful, that is, research on what is particular about the embodied creativity of expert musicians.","PeriodicalId":284780,"journal":{"name":"Quodlibet. Revista de Especialización Musical","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128575410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Escaping aesthetic control","authors":"Marco Fatichenti","doi":"10.37536/quodlibet.2021.76.1404","DOIUrl":"https://doi.org/10.37536/quodlibet.2021.76.1404","url":null,"abstract":"Spanish pianists, educators, and commentators have relished passing down to following generations the performance practices of their own tradition, with the renowned institution L’escola de música de Barcelona claiming to offer specialist training in “Spanish music”. In this context, Granados’s Goyescas have inevitably become the almost-exclusive domain of native musicians, herding artists’ creativities towards sets of performance instructions familiar to them. That we should continue to consider this repertoire as a specifically separate entity, fully knowable only by local artists or those trained within their tradition, is worthy of attention, as it places anyone outside this educational background and performing tradition as ‘other’ in need of acceptance. While the study of Granados’s output has recently been enriched by analytical investigations, recording projects, and new critical editions, it is the still unfamiliar early-recorded legacy by the composer/pianist that will be the catalyst for insights in this article. His Welte-Mignon roll recordings show a dynamic and flexible artistry, unsurprising in pianists of his generation, together with a lack of highly articulated ornamental inflexions and the rhythmical rigour we might expect in performances of such repertoire. The question that I wish to raise is whether at some point during the twentieth century there was a cultural shift that shaped ‘Spanish music’ to sound as distinctively national as possible. Such a shift would have occurred, in the minds of players, in parallel to wider changes in performance styles taking place throughout the continent. Exploring these aesthetic ideals through the lens of the country’s cultural history during the troubled years across the middle of the last century may hint at the subtle but meaningful ways that defined a canon flavoured with local folklore, both within and without the Spanish borders. The aim throughout is to challenge these orthodox approaches controlling the repertoire, resulting in my own renewed performance of El amor y la muerte; the hope will be that of empowering pianists to make different choices, diversifying performance options in the future.","PeriodicalId":284780,"journal":{"name":"Quodlibet. Revista de Especialización Musical","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121990611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Understanding expressive intonation","authors":"A. Llorens","doi":"10.37536/quodlibet.2021.76.1403","DOIUrl":"https://doi.org/10.37536/quodlibet.2021.76.1403","url":null,"abstract":"Research on intonation has mainly sought for classifying and/or expressive explanations for performers’ strategies. In the field of music psychology and music perception, such explanations have been explored in terms of interval direction, size, or type; in the field of performance analysis, to which this article belongs, investigation on intonation has been not only scarce but also limited to short excerpts. In this context, this article explores Pau Casals’ intonational practice specific to his recording of Bach’s E flat major prelude for solo cello. To do so, on the basis of exact empirical measurements, it places such practice alongside the cellist’s conscious, theoretical recommendations apropos what he called “expressive” string intonation, showing that the interpretation of the latter should is not straightforward. It also proposes several reference points and tuning systems which could serve as models for Casals’ practice and looks for explanations beyond simple interval classification. In this manner, it ultimately proposes a structural function for intonation, in partnership with tempo and dynamics. Similarly, it understands Casals’ intonational practice not as a choice between but as a compromise for multiple options in tuning systems (mostly equal temperament and Pythagorean tuning), reference points (the fundamental note of the chord and the immediately preceding tone), the nature of the compositional materials (harmonic and melodic), and, most importantly, structure and expression.","PeriodicalId":284780,"journal":{"name":"Quodlibet. Revista de Especialización Musical","volume":"263 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114268213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Contar o cantar las cosas","authors":"Antonio Gallego","doi":"10.37536/quodlibet.2021.76.1512","DOIUrl":"https://doi.org/10.37536/quodlibet.2021.76.1512","url":null,"abstract":"","PeriodicalId":284780,"journal":{"name":"Quodlibet. Revista de Especialización Musical","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129717309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Glenn Gould in six scenes","authors":"Adam Behan","doi":"10.37536/quodlibet.2021.76.1400","DOIUrl":"https://doi.org/10.37536/quodlibet.2021.76.1400","url":null,"abstract":"Glenn Gould’s legacy revolves around his retirement from the concert hall in 1964. Studies of his artistry often reflect on that by following a particular impulse: to seek out the rational underpinnings of this decision and to explain them in terms of a larger technological or aesthetic vision. Drawing in particular on the work of Virginia Held and Sara Ahmed, this article conceptualises Gould’s abandonment of the concert hall as an act of self-care, a mechanism for coping with the increasingly intrusive and exploitative celebrity musical culture into which he was catapulted as a young musician. Thus, this article frames Gould’s self-care in terms of six overlapping scenes, as he performed in the concert hall and recording studio, in interviews and essays, and in front of the camera as photographic subject and television actor, culminating with a case study based on an excerpt from Bruno Monsaingeon’s documentary Glenn Gould: The Alchemist. The study concludes by suggesting that Gould’s artistic choices (and achievements) had much more to do with cultivating caring relations that allowed him to thrive than they did with an individual pursuit of a grand musical philosophy.","PeriodicalId":284780,"journal":{"name":"Quodlibet. Revista de Especialización Musical","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133019503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"El análisis de la interpretación y la interpretación del análisis","authors":"Ana Llorens","doi":"10.37536/quodlibet.2021.76.1541","DOIUrl":"https://doi.org/10.37536/quodlibet.2021.76.1541","url":null,"abstract":"","PeriodicalId":284780,"journal":{"name":"Quodlibet. Revista de Especialización Musical","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122553191","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}