Pub Date : 2017-12-29DOI: 10.6092/issn.2039-9715/7623
Giuseppina La Face
Fedele d’Amico (1912-1990), an engaged critic and Professor of Music History at Rome’s La Sapienza University, was definitively aware of the low standard of musical culture in Italian students and citizens. On several occasions, the musicologist (rightly appreciated for his critical insight, extensive knowledge, and polemical attitude) made public statements in which he exposed the severe deficiencies of music education in Italian schools, advocated a reform and enhancement of teaching curricula, and pleaded for the inclusion of choir singing and chamber music in the education of young people and adults, but also tried to curb the excesses of certain fashionable figures of music culture, who wanted to undermine the (alleged) dominance of art music, tipping the balance in favour of ‘other types of music’ (folk, world, commercial), in the hope that this would bring the public closer to New Music. Fedele d’Amico therefore did possess a clear perception of the limits and obstacles that hindered the development of music education in our country. And yet, like so many Italian musicologists, he lacked adequate knowledge and mastery of the conceptual and working categories of education science. As a result, no dialogue was possible with his academic colleagues from the domains of Pedagogy and General Didactics, who in their turn were mostly wary of music education, which they ultimately saw as a marginal subject. This failure to initiate a debate gave free rein to a music teaching that was far too indulgent towards amateurism and spontaneism, and at the same time turned out to be far from effective in raising the standard of musical culture in the population.
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Pub Date : 2017-12-29DOI: 10.6092/issn.2039-9715/7620
P. Somigli
Starting from the reading of two recent publications, the proceedings of the panel Towards a Critical Pedagogy for Undergraduate Popular Music History Courses in the Twenty-First Century (in «Journal of Music History Pedagogy», V, 2014, pp. 99-152) and Popmusik-Vermittlung. Zwischen Schule, Universitat und Beruf (edited by M. Ahlers, Berlin, LIT, 2015), this article critically addresses some aspects of the relationship between commercial music, school and education (to what end should we introduce popular music in schools, which contents and methods should we use, etc.), paying attention in particular, but not exclusively, to Italy. The conclusion emphasizes the need for the school didactics of popular music to become fully integrated into the discipline-specific knowledge, and stresses that this requires advanced, specific musical and musicological competences on the part of teachers.
从阅读最近的两份出版物开始，《走向二十一世纪本科生流行音乐史课程的批判教育学》小组会议记录（载于《音乐史教育学杂志》，V，2014，pp.99-152）和《流行音乐史》。Zwischen Schule，Universitat und Beruf（由M.Ahlers编辑，柏林，LIT，2015），本文批判性地探讨了商业音乐、学校和教育之间关系的某些方面（我们应该在学校引入流行音乐的目的是什么，我们应该使用哪些内容和方法等），特别关注但不限于意大利。结论强调，学校流行音乐教学法需要完全融入特定学科的知识，并强调这需要教师具备先进、特定的音乐和音乐学能力。
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Pub Date : 2017-12-29DOI: 10.6092/ISSN.2039-9715/7622
P. Cardì, Felicita Fichera, G. Seminara, Alessandro Solbiati
This article presents the first results of the project “Nuovi approcci per godere la musica d’oggi” (New approaches to enjoying today’s music), developed within the SagGEM workgroup with the collaboration of composer Alessandro Solbiati. The aim is to fine-tune coherent, well-planned didactic modules based on the 20th and 21st-century repertory, through very close interaction between the acquired knowledge and tools of musicology and music pedagogy, and field work based on direct interaction with students. In particular, the article reconstructs didactic activities carried out on the compositions of Gyorgy Ligeti, Poeme symphonique pour 100 metronomes and Lux aeterna. These pieces belong to the early maturity of the Hungarian musician, and require that listeners develop new perceptual strategies, since they are conceived and built around music parameters that used to be regarded as secondary, such as ‘texture’, timbre and sound gesture.
本文介绍了SagGEM工作组与作曲家Alessandro Solbiati合作开发的项目“Nuovi approvci per godere la musica d’oggi”（享受当今音乐的新方法）的第一个成果。其目的是通过音乐学和音乐教育学的知识和工具之间的密切互动，以及基于与学生直接互动的实地工作，在20世纪和21世纪的剧目基础上，微调连贯、精心策划的教学模块。特别是，本文重构了对焦吉·利盖蒂、坡的《100节拍器交响曲》和卢克斯·埃捷尔纳的作品所进行的教学活动。这些作品属于匈牙利音乐家的早期成熟，需要听众开发新的感知策略，因为它们是围绕过去被视为次要的音乐参数来构思和构建的，如“纹理”、音色和声音手势。
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Pub Date : 2017-12-29DOI: 10.6092/issn.2039-9715/7621
Luca Aversano
Il contributo recensisce un volume di Katrin Reiners ( Interkulturelle Musikpadagogik. Zur musikpadagogischen Ambivalenz eines trans- bzw. interkulturell angelegten Musikunterrichtes in der Grundschule , Augsburg 2012), dedicato alla teoria e alla pratica della pedagogia musicale interculturale in Germania, evidenziando alcuni temi di interesse per il futuro sviluppo dell'educazione musicale in Italia.
本文回顾了Katrin Reiners的一本书（Interculturelle Musikpadagogik.Zur musikpadaggischen Ambivalenz eines trans-bzw.interculturellel angelegten Musikunterrichtes in der Grundschule，Augsburg 2012），该书致力于德国跨文化音乐教育学的理论和实践，强调了意大利音乐教育未来发展的一些感兴趣的话题。
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Pub Date : 2017-01-01DOI: 10.6092/ISSN.2039-9715/7651
E. Pasquini
The article introduces a didactic module, designed for students in the three last years of Music College, and aimed at understanding the 14-century madrigal. The first stage of the module focuses on the development of cognitive-cultural and linguistic-communicative functions, which is inherent in Music learning in schools. Starting from an analysis of the poetic text and from listening, students will undertake a process of structural and formal observation and interpretation of the piece. This part of the module is based on inductive-deductive strategies, which presuppose constant interaction between students and teacher. Subsequently, through further analysis targeted at specific aspects of the composition, the module will reinforce the intellectual competences that have already been developed, connecting the educational functions mentioned above with the critical-aesthetic function - the madrigal will be considered in its historical dimension, as well as in its relationship with the context in which it was produced and received, so that its meaning can be grasped, and defined with the help of literary, social and strictly cultural elements.
{"title":"Un percorso didattico sul madrigale del Trecento: «Appress’un fiume chiaro» di Giovanni da Cascia","authors":"E. Pasquini","doi":"10.6092/ISSN.2039-9715/7651","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/7651","url":null,"abstract":"The article introduces a didactic module, designed for students in the three last years of Music College, and aimed at understanding the 14-century madrigal. The first stage of the module focuses on the development of cognitive-cultural and linguistic-communicative functions, which is inherent in Music learning in schools. Starting from an analysis of the poetic text and from listening, students will undertake a process of structural and formal observation and interpretation of the piece. This part of the module is based on inductive-deductive strategies, which presuppose constant interaction between students and teacher. Subsequently, through further analysis targeted at specific aspects of the composition, the module will reinforce the intellectual competences that have already been developed, connecting the educational functions mentioned above with the critical-aesthetic function - the madrigal will be considered in its historical dimension, as well as in its relationship with the context in which it was produced and received, so that its meaning can be grasped, and defined with the help of literary, social and strictly cultural elements.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"7 1","pages":"161-182"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71262165","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 : 2016-12-30DOI: 10.6092/issn.2039-9715/6564
Á. Torrente
This article reviews the legislation related to music education in Spain, from the 1970 to 2016, to explain how its progressive integration in the schools curricula has recently been suspended under the believe, expressed in the Parliment by the highest education authority, that certain subjects, music among them, deflect students’ attention from the important matters such as mathematics, science or language.
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Pub Date : 2016-12-30DOI: 10.6092/issn.2039-9715/6576
Luca Aversano
The student body in Italian Universities is today made up for the most part of young people with little or no knowledges in music from the technical point of view, one of the reasons being the lack of music education in our secondary schools. The article focuses on the problem of talking about music history in this context, with some comments on possible strategies to be followed in the verbalization of musical discourse.
{"title":"Current Discourse on Music History in Italian Higher Education","authors":"Luca Aversano","doi":"10.6092/issn.2039-9715/6576","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/6576","url":null,"abstract":"The student body in Italian Universities is today made up for the most part of young people with little or no knowledges in music from the technical point of view, one of the reasons being the lack of music education in our secondary schools. The article focuses on the problem of talking about music history in this context, with some comments on possible strategies to be followed in the verbalization of musical discourse.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"24 1","pages":"109-111"},"PeriodicalIF":0.0,"publicationDate":"2016-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261652","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 : 2016-12-30DOI: 10.6092/ISSN.2039-9715/6570
Carol A. Hess
This essay surveys the teaching of Latin American art music in U.S. post-secondary education from the 1930s to the present. After a rush of enthusiasm during the Good Neighbor period (World War II), decades of indifference set in. After 2000, an increasing number of instructors began either (1) teaching the art music of Latin America in courses dedicated to all types of Latin America music or (2) incorporating the subject into existing courses on Western art music. Yet many instructors still omit Latin American art music, as do certain authors. In this essay, I question such a stance. Not only does Latin American art music offer a window into Latin American culture but it can help counteract persistent stereotypes about Latin America, a perspective that is all the more critical in light of recent demographic trends in the United States and recent political developments.
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Pub Date : 2016-12-30DOI: 10.6092/ISSN.2039-9715/6586
Anna Scalfaro
This teaching application focuses on Ludwig van Beethoven’s third Piano and orchestra concerto op. 37 in C minor (1803), in particular on the first movement, the Allegro con brio. The goal is to help students understand the peculiar interaction that unfolds between the soloist and the orchestra, and hence the sonata form, which is condensed especially, albeit not exclusively, in the solo sections. The listening didactics activities are organized in stages, and mostly rely on two methodological principles: segmentation-selection (specific passages are selected to explain the mechanisms and overall ‘meaning’ of the piece) and verbalization (fine-tuning of the musical vocabulary and “reasoned” use of adjectives that qualify the piece).
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Pub Date : 2016-12-30DOI: 10.6092/ISSN.2039-9715/6563
Matthew C. Balensuela
American musicology has experienced a transformation in its acceptance of pedagogy in the past decade but there is still much work to accomplish in the next decade including: (1) strengthening of institutional support for teaching, (2) broadening the documentation on effective methods of teaching, (3) creating required courses on pedagogy in doctoral programs in musicology, and (4) building a greater variety of teaching.
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