Pub Date : 2016-12-30DOI: 10.6092/ISSN.2039-9715/6584
Anna Ficarella
An unconventional work like Aufstieg und Fall der Stadt Mahagonny , written by Weill and Brecht between 1927 and 1930, provides an opportunity to address, through a multi-disciplinary didactic approach, a crucial moment in the evolution of opera theatre in the German cultural area in the years immediately following WWI. In the Germany of those years, operatic and theatrical institutions had been undermined both by the impact of the new media, above all by silent cinema, and by the disruptive social pressure of urban mass culture during the Weimar Republic. In this context, the ‘epic’ model of musical dramaturgy developed by Brecht and Weill in Mahagonny appears as an attempt to renew, or possibly reject altogether, the 19 th -century work by using its very means.
威尔和布莱希特在1927年至1930年间撰写的《马哈冈尼的艺术与城市的衰落》(Aufstieg und Fall der Stadt Mahagonny)是一部非传统的作品，通过多学科的教学方法，提供了一个机会来解决第一次世界大战后德国文化区歌剧院发展的关键时刻。在那些年的德国，歌剧和戏剧机构受到新媒体的影响，尤其是无声电影的影响，以及魏玛共和国时期城市大众文化的破坏性社会压力的破坏。在这种背景下，布莱希特和威尔在《马哈冈尼》中发展的音乐戏剧的“史诗”模式似乎是一种尝试，通过使用它的手段来更新，或者可能完全拒绝19世纪的作品。
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Pub Date : 2016-12-30DOI: 10.6092/ISSN.2039-9715/6578
N. Badolato
The paper introduces the structure and guidelines of a series of ‘teaching applications’ to the domain of music, which have appeared in the past few years on two Italian journals that have a wide circulation among scholars and school teachers: «Musica Docta» and «Nuova Secondaria». Both journals contain scholarly research in pedagogy and didactics, as well as articles by academic researchers concerning subjects that are part of the upper-secondary-school curriculum in Italy.
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Pub Date : 2016-12-30DOI: 10.6092/ISSN.2039-9715/6583
Maria Luca
The Music History Classroom collects eleven articles by different authors, who discuss the teaching and learning processes in music history in undergraduate and graduate courses of US universities.
《音乐史课堂》收录了11篇不同作者的文章，讨论了美国大学本科和研究生课程中音乐史的教学过程。
{"title":"The Music History Classroom, a cura di James A. Davis","authors":"Maria Luca","doi":"10.6092/ISSN.2039-9715/6583","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/6583","url":null,"abstract":"The Music History Classroom collects eleven articles by different authors, who discuss the teaching and learning processes in music history in undergraduate and graduate courses of US universities.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"6 1","pages":"151-155"},"PeriodicalIF":0.0,"publicationDate":"2016-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261638","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.2039-9715/6573
Maria Cristina Fava
The increasing number of non-native English speaking students in American universities, mostly from Asian countries, presents unprecedented challenges and calls for an in-depth study on how we teach western art music history. This essay challenges some aspects of liberal multiculturalism and proposes the creation of channels of communication that allow non-native English speaking students to understand the premises of a Eurocentric system of knowledge without undermining their own cultural backgrounds.
{"title":"Teaching a Growing a Population of Non-Native English-Speaking Students in American Universities: Cultural and Linguistic Challenges","authors":"Maria Cristina Fava","doi":"10.6092/ISSN.2039-9715/6573","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/6573","url":null,"abstract":"The increasing number of non-native English speaking students in American universities, mostly from Asian countries, presents unprecedented challenges and calls for an in-depth study on how we teach western art music history. This essay challenges some aspects of liberal multiculturalism and proposes the creation of channels of communication that allow non-native English speaking students to understand the premises of a Eurocentric system of knowledge without undermining their own cultural backgrounds.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"6 1","pages":"93-97"},"PeriodicalIF":0.0,"publicationDate":"2016-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71262005","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.2039-9715/6577
Maria Luca
The paper focuses on some aspects of the teaching-learning of Music History in the school education system. It concentrates upon contents, strategies and methods of teaching transposition of historical and musical knowledge as a training model for music education oriented on the comprehension of music as culture. Based on this branch of teaching’s model, epistemological assumptions are discussed and relied to various degrees of education, considering also the challenges that the teacher faces in the didactic transposition process of topics.
{"title":"Constructing Music History in the Classroom","authors":"Maria Luca","doi":"10.6092/ISSN.2039-9715/6577","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/6577","url":null,"abstract":"The paper focuses on some aspects of the teaching-learning of Music History in the school education system. It concentrates upon contents, strategies and methods of teaching transposition of historical and musical knowledge as a training model for music education oriented on the comprehension of music as culture. Based on this branch of teaching’s model, epistemological assumptions are discussed and relied to various degrees of education, considering also the challenges that the teacher faces in the didactic transposition process of topics.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"6 1","pages":"113-121"},"PeriodicalIF":0.0,"publicationDate":"2016-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261720","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.2039-9715/6571
P. Somigli
The article describes the situation of Music Pedagogy learning at the Free University of Bozen, in a multi-ethnic, non-state context. As it turns out, these special conditions have allowed, within the general framework set by Italian legislation, to reshape the educational offer by placing a strong emphasis on laboratory activities, which are of great help to students for acquiring didactic competences in the domain of music, considering that their initial musical knowledge is often minimal, sometimes almost non-existent.
{"title":"Music Didactics at the Free University of Bolzano-Bozen","authors":"P. Somigli","doi":"10.6092/issn.2039-9715/6571","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/6571","url":null,"abstract":"The article describes the situation of Music Pedagogy learning at the Free University of Bozen, in a multi-ethnic, non-state context. As it turns out, these special conditions have allowed, within the general framework set by Italian legislation, to reshape the educational offer by placing a strong emphasis on laboratory activities, which are of great help to students for acquiring didactic competences in the domain of music, considering that their initial musical knowledge is often minimal, sometimes almost non-existent.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"6 1","pages":"83-86"},"PeriodicalIF":0.0,"publicationDate":"2016-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261837","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.2039-9715/6572
P. Taylor
This paper argues for a deeper understanding of the challenges posed to undergraduate western music history by an increasingly globalised higher education system. Reflecting on the experience of delivering programmes at a music conservatory in Chennai, India, I suggest how curriculum can be adapted to explore the social history of cross-cultural musical practices. A brief case study surveys the role of western music in colonial and post-colonial south India to illustrate how we might foster critical approaches to music history at a global level.
{"title":"Navigating the Global Turn in Western Music History Pedagogy","authors":"P. Taylor","doi":"10.6092/issn.2039-9715/6572","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/6572","url":null,"abstract":"This paper argues for a deeper understanding of the challenges posed to undergraduate western music history by an increasingly globalised higher education system. Reflecting on the experience of delivering programmes at a music conservatory in Chennai, India, I suggest how curriculum can be adapted to explore the social history of cross-cultural musical practices. A brief case study surveys the role of western music in colonial and post-colonial south India to illustrate how we might foster critical approaches to music history at a global level.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"6 1","pages":"87-92"},"PeriodicalIF":0.0,"publicationDate":"2016-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261991","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.2039-9715/6567
J. Briscoe
A recent survey by the National Endowment for the Arts found that only 2% of Americans listen to “Classical” music with regularity, and fewer practice or play art or historic music even once in a year. The rotating kaleidoscope of new technologies, repertories, interpretation, and cultural values can become not an ultimate bewilderment, a nail in the coffin of art and historic music, but a powerful tool for revitalizing how it engages persons of all age groups and how it can broaden its understanding. The table of musical places we set can respond to the narrative we carefully conceive for any condition at hand, for the student or scholar or layperson we address, for an intentional kaleidoscope of presentations. Such an attitude might let the other 98% discover art and historic music and see their lives mirrored and bettered.
美国国家艺术基金会(National Endowment for the Arts)最近的一项调查发现，只有2%的美国人定期听“古典”音乐，一年一次练习或演奏艺术或历史音乐的人更少。新技术、剧目、诠释和文化价值观的旋转万花筒不会成为最终的困惑，也不会成为艺术和历史音乐棺材上的一颗钉子，而是一种强大的工具，可以振兴它如何吸引所有年龄组的人，并如何扩大它的理解。我们设置的音乐位置表可以响应我们为手边的任何条件精心构思的叙述，为我们所面对的学生、学者或外行，为有意的万花筒式的展示。这样的态度可能会让其他98%的人发现艺术和历史音乐，并看到他们的生活得到反映和改善。
{"title":"Setting Places at the Table","authors":"J. Briscoe","doi":"10.6092/issn.2039-9715/6567","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/6567","url":null,"abstract":"A recent survey by the National Endowment for the Arts found that only 2% of Americans listen to “Classical” music with regularity, and fewer practice or play art or historic music even once in a year. The rotating kaleidoscope of new technologies, repertories, interpretation, and cultural values can become not an ultimate bewilderment, a nail in the coffin of art and historic music, but a powerful tool for revitalizing how it engages persons of all age groups and how it can broaden its understanding. The table of musical places we set can respond to the narrative we carefully conceive for any condition at hand, for the student or scholar or layperson we address, for an intentional kaleidoscope of presentations. Such an attitude might let the other 98% discover art and historic music and see their lives mirrored and bettered.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"6 1","pages":"57-59"},"PeriodicalIF":0.0,"publicationDate":"2016-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261094","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.2039-9715/6565
L. Bianconi
In addition to the International Musicological Society there exists an International Society for Music Education, an association (affiliated with UNESCO) that gathers music educators from over 80 countries. Between the end of the last century and the beginning of the present one, the ISME issued three main policy papers: “Declaration of Beliefs for Worldwide Promotion of Music Education” (1994-96); “Policy on Music Education” (2002); and “Vision and Mission: Leading and Supporting Music Education Worldwide” (2006). A comparative analysis of the three ‘manifestos’ reveals that, while in 1994-96 the ISME explicitly included the triad ‘history – culture – aesthetics’ in its conception, and regarded the ‘listening’ of music as an educationally significant activity, after just a few years the first and third notions (‘history,’ ‘aesthetics’) have all but vanished, and music listening has also disappeared from the agenda. The fact that the notion of ‘history’ and the aesthetic approach to musical art have disappeared from the perspective of music educators worldwide may have to do with scruples about political correctness, motivated by the “Mexico City Declaration on Cultural Policies” of UNESCO (1982), where the notion of ‘culture’ had already replaced that of ‘history’. To be sure, this ignorance, or suspicion, about the historical aspects of music production does not in any way facilitate the task of musicologists (or of ethnomusicologists), nor that of music education teachers.
{"title":"ISME and the Twilight of History","authors":"L. Bianconi","doi":"10.6092/issn.2039-9715/6565","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/6565","url":null,"abstract":"In addition to the International Musicological Society there exists an International Society for Music Education, an association (affiliated with UNESCO) that gathers music educators from over 80 countries. Between the end of the last century and the beginning of the present one, the ISME issued three main policy papers: “Declaration of Beliefs for Worldwide Promotion of Music Education” (1994-96); “Policy on Music Education” (2002); and “Vision and Mission: Leading and Supporting Music Education Worldwide” (2006). A comparative analysis of the three ‘manifestos’ reveals that, while in 1994-96 the ISME explicitly included the triad ‘history – culture – aesthetics’ in its conception, and regarded the ‘listening’ of music as an educationally significant activity, after just a few years the first and third notions (‘history,’ ‘aesthetics’) have all but vanished, and music listening has also disappeared from the agenda. The fact that the notion of ‘history’ and the aesthetic approach to musical art have disappeared from the perspective of music educators worldwide may have to do with scruples about political correctness, motivated by the “Mexico City Declaration on Cultural Policies” of UNESCO (1982), where the notion of ‘culture’ had already replaced that of ‘history’. To be sure, this ignorance, or suspicion, about the historical aspects of music production does not in any way facilitate the task of musicologists (or of ethnomusicologists), nor that of music education teachers.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"6 1","pages":"39-49"},"PeriodicalIF":0.0,"publicationDate":"2016-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261476","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.2039-9715/6574
Pierpaolo Polzonetti
Teaching opera in prison presents challenges, such as limits imposed on printed and recorded material to study it, or the audio-visual technology in the classroom space, yet, no other experience can be so inspiring and rewarding for everybody involved. This essay focuses on teaching opera, in particular Mozart’s Don Giovanni, to imprisoned students in America. It addresses pedagogical challenges on how to teach opera in prison and advocates for the need to leave the ivory tower of academia and engage in social action. If opera is still perceived as an elitist art form, it is because it is artificially kept that way by being practiced, taught, studied, and promoted only among an exclusive sector of our population.
{"title":"Don Giovanni Goes to Prison: Teaching Opera behind Bars","authors":"Pierpaolo Polzonetti","doi":"10.6092/ISSN.2039-9715/6574","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/6574","url":null,"abstract":"Teaching opera in prison presents challenges, such as limits imposed on printed and recorded material to study it, or the audio-visual technology in the classroom space, yet, no other experience can be so inspiring and rewarding for everybody involved. This essay focuses on teaching opera, in particular Mozart’s Don Giovanni, to imprisoned students in America. It addresses pedagogical challenges on how to teach opera in prison and advocates for the need to leave the ivory tower of academia and engage in social action. If opera is still perceived as an elitist art form, it is because it is artificially kept that way by being practiced, taught, studied, and promoted only among an exclusive sector of our population.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"6 1","pages":"99-104"},"PeriodicalIF":0.0,"publicationDate":"2016-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261566","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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