走向音乐记谱学的非殖民化认识论

IF 0.3 0 MUSIC
M. I. Burcet
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引用次数: 9

摘要

在关于知识殖民形式的辩论中,音乐记谱法似乎是一个有问题的方面。它经常被视为一种统治工具,因为它将自己作为一种表现方式强加给来自口头传统的音乐,而口头传统在其记录的符号中发现了无数的限制。这里被质疑为霸权的音乐记谱的认识论是:(i)将其局限于学术曲目的可能性;(ii)警告其注册其他音乐的能力;(iii)限制其功能,并将其缩小为登记册的功能;(iv)特别鼓励发展阅读技巧;并且(v)假定阅读活动是解码,写作活动是编纂,并伴随着它的教育学。这种认识论需要一种以欧洲为中心的乐谱观,这种观点已经殖民了音乐教育,不仅在音乐训练领域,而且在日常生活中也被自然化了。在本文中,我们提出质疑这种认识论,提供经验证据和论据,使我们能够估计将音乐符号视为一种表征系统的替代假设,以及由此暗示的非殖民化可能性。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Hacia una epistemología decolonial de la notación musical
Musical notation appears as a problematic aspect in the debate about the forms of coloniality of knowledge. It is often seen as an instrument of domination because it imposes itself as a mode of representation for music coming from oral tradition, which finds innumerable limitations in the notation for its record. The epistemology of musical notation that is questioned here as hegemonic is that which: (i) limits its possibilities to academic repertoire; (ii) warns about its (in)ability to register other music; (iii) limits and reduces its function to that of a register; (iv) encourages the development of reading skills in particular; and (v) assumes the activity of reading as decoding and writing as codifying with its concomitant pedagogy. This epistemology entails a Eurocentric perspective of musical notation that has colonized music education, naturalizing not only in the fields of musical training, but also in ordinary life. In this article we propose to question that epistemology, providing empirical evidence and arguments that allow us to estimate alternative assumptions for thinking about musical notation as a system of representation, with the consequent decolonial possibilities that this implies.
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