Pub Date : 2015-12-28DOI: 10.6092/ISSN.2039-9715/5879
L. Izzo
The article describes a didactic approach to comprehension and production for junior secondary school, focusing on the Kyrie of the Missa Hercules dux Ferrariae by Josquin Des Prez. As is known, Josquin composed this work using the technique of “soggetto cavato” and ‘carved’ the tenor out of a text motto addressed to the dedicatee. The first step in the assignment is listening comprehension, which also includes a brain teasing and an ear training activity. Students are asked to codify the succession of pitches in the tenor in a way that allows to go back to the original motto used by Josquin. This experience puts students back to the center of the interpretive process, and at the same time helps introduce some important notions in Renaissance musical reception, such as that of musica reservata. In the ensuing step, that of production, the rules inferred from the analysis of the Kyrie are put into practice, for the purpose of creating a small two-part polyphonic composition. For students this involves composing a tenor with the “soggetto cavato” technique, converting a short verbal motto of their choice into a short sequence of pitches. Students are then asked to complement the tenor with a second, freer part, modeled after Josquin’s Kyrie. During the whole assignment, in particular during the production stage, students use a music notation software, which gives them greater control over the final result while writing the composition. The author personally supervised these activities in several classes as part of the Music curriculum program for junior secondary schools, collecting the results in the Aulodie blog.
本文以Josquin Des Prez的《Missa Hercules dux Ferrariae》为例，介绍了一种初中理解和生产的教学方法。众所周知，Josquin使用“soggetto cavato”的技巧创作了这部作品，并在献给献词的文字座右铭中“雕刻”了男高音。作业的第一步是听力理解，其中还包括大脑戏弄和听力训练活动。学生们被要求整理男高音的音高序列，以一种允许回到Josquin最初使用的座右铭的方式。这种体验使学生回到了阐释过程的中心，同时也有助于介绍文艺复兴时期音乐接受中的一些重要概念，如保留音乐。在接下来的生产阶段，从Kyrie的分析中推断出的规则被付诸实践，目的是创造一个小的两部分复调作品。对于学生来说，这包括用“soggetto cavato”技术创作一个男高音，将他们选择的简短的口头座右铭转换成简短的音高序列。然后，学生们被要求以乔斯金的Kyrie为模型，用第二个更自由的部分来补充男高音。在整个作业中，特别是在制作阶段，学生使用乐谱软件，这使他们在写作文时对最终结果有更大的控制。作为初中音乐课程计划的一部分，作者亲自指导了几个班级的这些活动，并在Aulodie博客中收集了结果。
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Pub Date : 2015-12-28DOI: 10.6092/issn.2039-9715/5874
P. Taylor
Recent developments in university internationalisation, including transnational partnerships between Western and Eastern institutions, raise challenging questions about the global mutability of arts and humanities degree programmes such as music. This article considers the international educational significance of western art music from the perspective of transnational undergraduate teaching, based on the author’s experience of working at KM Music Conservatory in Chennai, India. A summary of art music’s problematic role in contemporary Western society leads to consideration of the global expansion of Western art music as practice and academic discipline. The reflective discussion focuses on several core pedagogical issues associated with the teaching of Western classical music in a non-Western environment, particularly the relevance of the historical contexts of colonialism and post-colonialism in shaping the meanings of the art form in present-day India.
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Pub Date : 2015-12-28DOI: 10.6092/issn.2039-9715/5869
L. Hakobian
The core of the history of musical thought consists of large-scale doctrines striving to explain the multitude of observed phenomena in terms of immutable categories and universals. All such doctrines are based on the belief of their authors that all the complex and differentiated phenomena have their origins in simple principles. Accordingly, any music that cannot be convincingly reduced to these principles is either ignored or declared ‘abnormal’. Any doctrine inevitably stops before what in music is not quite ‘system-defined’. Though doctrines may point to ‘irregularities’, they can hardly justify them aesthetically. The by-effect of their influence is the growth of prejudices around anything that is new and unusual. A huge array of musicological literature, developing the methodological principles of ‘big’ classical conceptions or propounding new conceptions that also claim to be scientific and universal, can hardly help the reader to clarify his perception of the unfamiliar or to discover new meanings in what is well known (the present paper illustrates this using several examples from different brands of musicology, both Russian and non-Russian). This arguably means that the ‘scientistic’ (reductionist) paradigm in musicology has been exhausted and the new, deeper knowledge of music has to be acquired through alternative, not strictly scientific – perhaps rather literary, openly subjective, authority-free – ways.
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Pub Date : 2015-12-28DOI: 10.6092/issn.2039-9715/5868
Edmund J. Goehring
Ever since Kant, we have thought of the rule guiding an exemplary and original work of art as contained within the work itself, discovered not prior to but in the act of composition itself. Everything else is copy. This paper weighs that position against a tendency in the teaching of music history which subordinates the individual work to general style. It concludes with examples of what it might look like to study a musical work by looking for its rule.
{"title":"“De stilo et opere”; or, Looking for the Rule","authors":"Edmund J. Goehring","doi":"10.6092/issn.2039-9715/5868","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/5868","url":null,"abstract":"Ever since Kant, we have thought of the rule guiding an exemplary and original work of art as contained within the work itself, discovered not prior to but in the act of composition itself. Everything else is copy. This paper weighs that position against a tendency in the teaching of music history which subordinates the individual work to general style. It concludes with examples of what it might look like to study a musical work by looking for its rule.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"39-49"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261508","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}
Pub Date : 2015-12-28DOI: 10.6092/ISSN.2039-9715/5872
Irina Susidko
The paper focuses on the issue of the role played by the 18 th Century Italian aria within the general system of musical forms. This question is relevant for both music theory and pedagogy. Did the aria influence instrumental genres or was it the opposite? Throughout the history of professional musical education in Russia (from the 19 th century to the present day), both general music theory and courses in musical form have usually been based on instrumental music. However, studies in recent decades show that, in the process of crystallization of a number of structures and principles of composition in the first half of the 18th century, the aria takes a prominent position. Among these are such principles as the ritornello , which underlies the Baroque concerto; principles of recapitulation and ternary form that became established in Italian arias in the 1680s (earlier than in the instrumental genres), as well as the principle of thematic contrast . Italian opera played a key role in the formation of classical musical Thematik (Ger.) - not only in its lexical topoi , but also in the treatment of homophony, metric and syntactic periodicity, and the fractionality of motivic structure. The development of the two-subjects sonata form took place within the framework of da capo arias simultaneously with instrumental music (1720-1750s). The Italian aria played a decisive role in the birth of the sonata form with two initial sections typical of the classic concerto. In the musical form course for musicologists and musicians-performers at the Russian Gnessins Academy of Music, I discuss the theory and history of music forms during the 17 th and 18 th centuries, taking into account all these factors. This method introduces significant adjustments in the traditional practice of music form teaching in Russia, thereby bringing the understanding of students closer to the real processes that occurred in the music history of the 18 th century.
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Pub Date : 2015-12-28DOI: 10.6092/issn.2039-9715/5877
Matteo Casari
The book focuses on music traditions and explores the policy, ideology and practice of preservation and promotion of East Asian intangible cultural heritage. In view of the framework defined by globalization, modernization, urbanization and the spread of the mass media, the essays provide an overview on East Asia’s case study (Japan, China, Korea and Taiwan).
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Pub Date : 2015-12-28DOI: 10.6092/issn.2039-9715/5862
Luca Aversano
L’articolo affronta, in prospettiva didattica, il tema della rappresentazione delle immagini militari nei concerti per violino e orchestra di primo Ottocento, proponendo una riflessione metodologica sul modo di collegare, nell’insegnamento scolastico, l’analisi di forme musicali del passato con la storia della cultura europea. Al contempo il saggio esemplifica un modello di possibile percorso didattico, utilizzabile essenzialmente nelle classi delle scuole secondarie di secondo grado, ma utile anche a insegnanti di altri gradi scolastici.
{"title":"Un itinerario didattico tra musica e storia: le immagini militari nei concerti per violino di primo Ottocento","authors":"Luca Aversano","doi":"10.6092/issn.2039-9715/5862","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/5862","url":null,"abstract":"L’articolo affronta, in prospettiva didattica, il tema della rappresentazione delle immagini militari nei concerti per violino e orchestra di primo Ottocento, proponendo una riflessione metodologica sul modo di collegare, nell’insegnamento scolastico, l’analisi di forme musicali del passato con la storia della cultura europea. Al contempo il saggio esemplifica un modello di possibile percorso didattico, utilizzabile essenzialmente nelle classi delle scuole secondarie di secondo grado, ma utile anche a insegnanti di altri gradi scolastici.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"51-74"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71260716","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}
Pub Date : 2015-12-28DOI: 10.6092/issn.2039-9715/5865
F. D. Seta
{"title":"La manualistica per la storia della musica","authors":"F. D. Seta","doi":"10.6092/issn.2039-9715/5865","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/5865","url":null,"abstract":"","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"103-106"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71260776","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}
Pub Date : 2014-12-29DOI: 10.6092/ISSN.2039-9715/4606
Antonio Serravezza
I have read with much interest Transforming Music Education by Estelle R. Jorgensen (Bloomington, Indiana University Press, 2003). Although the book is not very recent, it prompted some reflections, which I would like to share with readers. My interest in the book has to do with the fact that it contains points of view on which any individual, as having a specific identity (or maybe multiple, fluctuating identities, such as worker, parent, son, teacher or student, as someone who cultivates a particular taste, or owns a piece of material or immaterial heritage, as a member of smaller or larger communities, as having a certain idea of community, or possibly believing in, or practicing, one or more activities in their spare time, etc.) has the chance, indeed the right, to let her/his voice be heard.
我饶有兴趣地阅读了Estelle R. Jorgensen的《音乐教育转型》(Bloomington, Indiana University Press, 2003)。虽然这本书不是最近出版的，但它引起了我的一些思考，我想与读者分享。我对这本书的兴趣与这样一个事实:它包含任何个人观点,具有特定的身份(或者多个,波动的身份,比如工人,父母,儿子,老师或学生,作为一个培养一个特定的味道,或者拥有一件物质或非物质文化遗产,作为更小或更大社区的一员,具有一定的社区,或有可能相信,或练习,一个或多个活动在课余时间,等)有机会，实际上是有权利，让她/他的声音被听到。
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Pub Date : 2014-12-29DOI: 10.6092/issn.2039-9715/4610
G. Pagannone, Silvia Cancedda
L’articolo illustra un percorso didattico d’ascolto incentrato sul primo movimento del Quinto concerto brandeburghese di Bach, e destinato ad alunni della scuola primaria. Il concerto prescelto e d’importanza storica per il ruolo preminente assunto dal cembalo, in confronto agli altri due solisti (flauto traverso e violino). Il “ponte” didattico utile per affrontare tale brano, e per ritagliarne ad hoc i contenuti conoscitivi, e stato individuato da Giorgio Pagannone in un cartone animato di Disney, basato su una fiaba celeberrima: I tre porcellini ( Three Little Pigs , 1933). Ad una iniziale presentazione e analisi del brano e del cartone, segue la descrizione dettagliata e articolata del percorso didattico, che e stato attuato da Silvia Cancedda in una scuola bolognese, e che ha condotto a risultati molto soddisfacenti, tra cui la lettura intuitiva di frammenti di partitura. In appendice sono riportati alcuni dei lavori svolti dagli alunni.
这篇文章描述了一个以巴赫第五场勃兰登堡协奏曲的第一乐章为中心的倾听课程，目标是小学生。与另外两位独奏者(侧笛和小提琴)相比，这首协奏曲被选为具有历史意义的协奏曲。乔治·帕格纳内(Giorgio Pagannone)根据著名的童话故事《三只小猪》(Three Little Pigs, 1933)，在迪斯尼(Disney)的一部动画片中，确定了处理这首歌并特别编辑其认知内容的教学“桥梁”。在对这首歌和这幅漫画进行了初步的介绍和分析之后，我们对西尔维亚·坎塞达(sylvia Cancedda)在博洛尼亚一所学校实施的教学路线进行了详细而清晰的描述，并取得了非常令人满意的结果，包括对乐谱片段的直观解读。附录列出了学生所做的一些工作。
{"title":"Disney spiega Bach: un percorso didattico sul Quinto Concerto Brandeburghese","authors":"G. Pagannone, Silvia Cancedda","doi":"10.6092/issn.2039-9715/4610","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/4610","url":null,"abstract":"L’articolo illustra un percorso didattico d’ascolto incentrato sul primo movimento del Quinto concerto brandeburghese di Bach, e destinato ad alunni della scuola primaria. Il concerto prescelto e d’importanza storica per il ruolo preminente assunto dal cembalo, in confronto agli altri due solisti (flauto traverso e violino). Il “ponte” didattico utile per affrontare tale brano, e per ritagliarne ad hoc i contenuti conoscitivi, e stato individuato da Giorgio Pagannone in un cartone animato di Disney, basato su una fiaba celeberrima: I tre porcellini ( Three Little Pigs , 1933). Ad una iniziale presentazione e analisi del brano e del cartone, segue la descrizione dettagliata e articolata del percorso didattico, che e stato attuato da Silvia Cancedda in una scuola bolognese, e che ha condotto a risultati molto soddisfacenti, tra cui la lettura intuitiva di frammenti di partitura. In appendice sono riportati alcuni dei lavori svolti dagli alunni.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"4 1","pages":"139-160"},"PeriodicalIF":0.0,"publicationDate":"2014-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71260601","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}
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