Pub Date : 2019-12-20DOI: 10.6092/ISSN.2039-9715/10180
James Vincent Maiello
Because aesthetic philosophies, which have long dominated music education, privilege music as an aesthetic object, they minimize aspects of musicology concerned with music as a cultural practice and provide too narrow a view of music itself. This has also minimized the role of musicology in the school music curriculum. First, I argue that musicological praxis is congruent with praxial philosophies of music education and that it is appropriate for inclusion in the secondary music curriculum. Second, I offer a set of criteria and recommendations for applying this philosophy and integrating musicological praxis into that curriculum. Finally, I use two brief examples by way of illustration. I hope this paper outlines at least one path for making musicology a more integral part of curriculum and instruction and that it will provide a broadly applicable philosophical framework.
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Pub Date : 2019-12-20DOI: 10.6092/ISSN.2039-9715/10195
M. Luca
L’articolo affronta aspetti riguardanti l’insegnamento-apprendimento della storia della musica nell’attuale sistema educativo scolastico italiano di grado superiore. Nella prima parte si focalizza l’attenzione su oggetti e metodi per la trasposizione del sapere storico-musicale in relazione a un modello di educazione musicale orientato alla comprensione della musica come cultura . Nella seconda parte si propone un esempio di trasposizione didattica incentrato su un brano tratto dal melodramma I Puritani (1835), composto da Vincenzo Bellini su libretto di Carlo Pepoli: si tratta della stretta «Suoni la tromba e intrepido» del duetto Giorgio-Riccardo «Il rival salvar tu dei» (Atto II, scena 4). In prospettiva multidisciplinare, esso e organizzato in due livelli: il primo sulla didattica dell’ascolto, il secondo sul passaggio dalla didattica dell’ascolto alla didattica della storia della musica.
本文论述了当前意大利高等教育体系中有关音乐史教学的几个方面。第一部分侧重于将历史音乐知识转化为音乐教育模式的对象和方法，该模式旨在将音乐理解为文化。在第二部分中，我们提出了一个教学换位的例子，重点是文森佐·贝利尼根据卡洛·佩波利的剧本创作的情节剧《I Puritani》（1835）中的一首作品：这是乔治·里卡多的二重唱《Il compatible salvar tu dei》中狭窄的“Suoni la tromba e intrapido”（第二幕，第4幕）。从多学科的角度来看，它分为两个层次：第一个层次是听力教学，第二个层次是从听力教学向音乐史教学的过渡。
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Pub Date : 2019-12-20DOI: 10.6092/ISSN.2039-9715/10183
Brian Thompson
Questo contributo esplora la collocazione della musica nell’educazione pubblica a Hong Kong. Negli ultimi vent’anni il sistema educativo ha subito trasformazioni, dal livello primario fino all’universita. I cambiamenti sono iniziati negli anni immediatamente successivi al 1997, ovvero dal passaggio di Hong Kong a regione a statuto amministrativo speciale nella Repubblica Popolare Cinese, dopo piu di 150 anni di dominio britannico. In questo contributo vengono analizzate le linee guida del Ministero per l’educazione di Hong Kong e alcune pubblicazioni che sottolineano il ruolo della musica e l’importanza della qualita della vita tra gli obiettivi dell’amministrazione scolastica. Ci si concentra in particolare sul curriculum della scuola secondaria, comparando tra loro i programmi musicali delle universita di Hong Kong. Se da un lato il confronto mostra che vi sono strette connessioni tra gli studi secondari e di livello universitario in musica, dall’altro esso illustra anche alcuni divari nel sistema, specialmente nelle aree della teoria musicale e della storia della musica.
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Pub Date : 2019-12-20DOI: 10.6092/ISSN.2039-9715/10177
Pierpaolo Polzonetti, Maggie Youngblood
Since the 1960s “aesthetic education” has heavily informed American pedagogy of music from primary school to college, as pointed out by philosophers of education like Bennett Reimer and Philip Alperson. Aesthetic education, originally grounded on Hanslick’s idea of absolute music, generated a strict formalist approach to teaching, which made it difficult for teachers to use music as part of a cross-disciplinary educational context, resulting in the isolation of music from the rest of the curriculum. At the root of the problem is what Wayne Bowman identifies as the “tremendous difference between educating in and educating through music.” In 2015 Pierpaolo Polzonetti offered a seminar on “Teaching through Opera,” directed to pre-college teachers of different disciplines, encouraging them to use opera as a way to educate students in a variety of skills and seek knowledge across the curriculum. Maggie Youngblood, a primary-school music teacher who attended the workshop, continued to experiment and collaborate with Polzonetti to educate both in music and through music. Their joint contribution shows how this is another false dichotomy, like the one denounced by Giuseppina La Face between making music and listening to music (between “far musica” and “ascoltare”). Both dichotomies are products of ideological biases that we believe should be dismantled in order to promote active teaching, as opposed to passive acceptance of abstract pedagogical tenets.
正如贝内特·雷默(Bennett Reimer)和菲利普·阿尔伯森(Philip Alperson)等教育哲学家所指出的那样，自20世纪60年代以来，“审美教育”在美国从小学到大学的音乐教学中占据了重要地位。美学教育最初基于汉斯利克的绝对音乐思想，产生了一种严格的形式主义教学方法，这使得教师很难将音乐作为跨学科教育背景的一部分，导致音乐与课程的其他部分隔离开来。问题的根源是韦恩·鲍曼所说的“音乐教育和通过音乐教育之间的巨大差异”。2015年，Pierpaolo Polzonetti举办了一场名为“通过歌剧教学”的研讨会，针对不同学科的大学预科教师，鼓励他们利用歌剧作为一种方式来教育学生各种技能，并在课程中寻求知识。玛吉·扬布拉德(Maggie Youngblood)是一名小学音乐老师，她参加了研讨会，并继续与波尔佐内蒂进行实验和合作，以音乐和通过音乐进行教育。他们的共同贡献表明，这是另一种错误的二分法，就像朱塞皮娜·拉·菲斯(Giuseppina La Face)对制作音乐和听音乐(在“远音乐”和“ascoltare”之间)所谴责的那样。这两种二分法都是意识形态偏见的产物，我们认为应该消除这种偏见，以促进积极的教学，而不是被动地接受抽象的教学原则。
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Pub Date : 2019-12-20DOI: 10.6092/ISSN.2039-9715/10193
P. Gallarati
La lectio magistralis tenuta da Paolo Gallarati in occasione del suo congedo dall’Universita di Torino spiega il perche l’insegnamento di Storia della Musica, tenuto per piu di quarant’anni, si sia concentrato sulla storia dell’opera, e quali siano i benefici che gli allievi possono trarre dalla conoscenza del teatro musicale per quanto riguarda la formazione culturale, la fruizione artistica, la capacita di ragionare per forme e sentire per sfumature, e la possibilita di acquisire una visione dell’uomo e del mondo suggerita dal singolarissimo incrocio di musica, testo e realta scenica.
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Pub Date : 2019-12-20DOI: 10.6092/ISSN.2039-9715/10181
Luca Aversano
This contribution offers a summary of a wide range of recent legislative measures concerning music education in Italian public schools, starting with the laws promulgated in 1999. The examination of the different norms for each type of school and grade level, from primary to upper secondary school, leads to some general reflections, some of which are technical in nature, about the idea of musical education as a result of the intervention of the State in matters of public education. A substantial portion of the essay is devoted to the analysis of the latest law on education (law 107 of 2015), which had a tremendous impact on Italian musical education.
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Pub Date : 2019-12-20DOI: 10.6092/ISSN.2039-9715/10191
F. Comploi, Sarah Schrott
A partire della situazione dell’educazione musicale in Italia e Alto Adige e in particolare della Libera Universita di Bolzano, il contributo affronta potenzialita e sfide future per realizzare un’educazione musicale individuale e di qualita. Presentando un progetto di ricerca e intervento scolastico della Libera Universita di Bolzano si intende fornire una visione concreta di possibili pratiche, potenzialita e prospettive dell’educazione musicale.
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Pub Date : 2019-12-20DOI: 10.6092/ISSN.2039-9715/10198
Matthew C. Balensuela
The concepts and ideas of the medieval liberal arts continue to have important relevance in modern training music teachers. The division between a theoretical knowledge about music and a practical experience of musical activities (divisions that might be described as musica speculativa and musica practica) is also being played out in the training of public school teachers in debates regarding the concept of ‘praxialism’ in music education as can be seen in four specific areas: (1) textbooks for courses on the history of music education, (2) resources used in teaching the philosophy of music education, (3) examples of medieval music in contemporary K-12 education, and (4) the scholarship on teaching and learning as applied to music of the Middle Ages. Extending the concept of ‘praxialism’ broadly to include how we teach early music at the college level to future public school teachers may further the discussion of the relevance of medieval music in a positive direction.
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Pub Date : 2019-12-20DOI: 10.6092/ISSN.2039-9715/10196
C. Cuomo
L’articolo illustra le caratteristiche di un progetto scientifico e formativo, Doremat , che congiunge la Matematica con la Musica. Il progetto, nato nel 2007 in alcune scuole di formazione e istruzione professionale dell’Emilia-Romagna, si e esteso sul territorio nazionale ed e in via di espansione. In poco piu di un decennio esso ha conosciuto diverse fasi di sperimentazione e applicazione didattica, anche a livello europeo, in buona parte impostate e condotte quale ricerca-azione. A partire dalla descrizione di tale excursus , l’articolo riporta gli esiti del progetto, gia confluiti in due volumi (2015; 2018) e qui sintetizzati, ne espone i fondamenti epistemologici, spiega i suoi principali aspetti d’innovazione metodologico-didattica, discute sul piano dei contenuti alcuni punti nodali di collegamento tra le due discipline, chiarisce quale sia stato il decorso del progetto nella ricerca sul campo e nella prassi dell’insegnamento anche dopo la pubblicazione dei due volumi, per evidenziarne infine le potenzialita di sviluppo.
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Pub Date : 2019-12-20DOI: 10.6092/ISSN.2039-9715/10194
C. Ruini
Music and singing, which are present in every form of worship in the Christian rite, have acquired from the outset a very particular connotation, in which Jewish tradition and Neoplatonism have merged: every musical manifestation in the liturgy has as its model the perennial praise given to God from the angelic choirs. This conception, combined with the Pythagorean doctrine of the harmony of the spheres, informed throughout the Middle Ages fundamentals aspects of music theory and the aesthetic frame of reference for every sound manifestation, especially in devotional contexts (Gregorian chant, polyphony).The Neo-Platonic Judeo-Christian approach to music, which was associated with a cosmological conception based on music regulated by arithmetical relationships, informed compositional techniques and formal organization of music from the Carolingian era onwards. It is also reflected in great works of art, in architectural solutions in the sacred buildings, and found a scenic manifestation in the first liturgical dramas. Moreover, it was the prototype of the structure of Dante’s Paradise in the Divine Commedy. This essay offers an interpretation of the motet for 24 voices Qui habitat by Josquin Desprez as grounded in these philosophical and aesthetic tenets linking composers from Middle Ages to the Renaissance and presenting still today an extraordinary model of trans-disciplinary education (music, philosophy, art history, literature), when the aim is to preserve exchange and communication among the arts.
音乐和歌唱，在基督教的各种礼拜仪式中，从一开始就有一种特殊的内涵，这种内涵是犹太传统和新柏拉图主义结合在一起的:礼拜仪式中的每一种音乐表现，都有天使唱诗班对上帝的永恒赞美作为其模式。这个概念，结合毕达哥拉斯的球体和谐学说，贯穿了整个中世纪音乐理论的基本方面和每一种声音表现的美学参考框架，特别是在虔诚的背景下(格列高利圣歌，复调)。新柏拉图式的犹太教-基督教音乐方法，与基于算术关系的音乐的宇宙论概念相关联，从加洛林时代起就通知了作曲技巧和音乐的正式组织。它也反映在伟大的艺术作品中，在神圣建筑的建筑方案中，并在最初的礼仪戏剧中找到了风景的表现。此外，它还是《神曲》中但丁天堂结构的原型。本文对Josquin Desprez的《24个声音的栖息地》(24 voices Qui habitat)的格言进行了解读，该格言基于从中世纪到文艺复兴时期作曲家之间的哲学和美学原则，并在今天呈现出跨学科教育(音乐，哲学，艺术史，文学)的非凡模式，其目的是保持艺术之间的交流和沟通。
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