Pub Date : 2015-12-28DOI: 10.6092/ISSN.2039-9715/5884
C. Vickers
In the past 12 years, pianist and educationalist Catherine Vickers developed a series of specific piano exercises for contemporary music, which she published under the title Die horende Hand (“The listening hand”) for Schott publishing, Mainz (two issues, 2007-2008; a third one will be out soon). Tonal music, by virtue of both its chord development in thirds and of its leading-note relationships, prompts pianists to develop special “leaps” of the hand, sometimes even specific muscle mechanisms. However, because contemporary music involves an ever-greater distance from tonality, it is now indispensable to modify, and extend, the internalized ‘leaps’ of the piano tradition to other sound relationships. Thus not only the ear, but especially the hands can ‘dive’ into the various stylistic settings of New Music, as a source of both emotional and physical enrichment. In her article, the author expounds the premises, founding principles and development of these exercises.
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Pub Date : 2015-12-28DOI: 10.6092/issn.2039-9715/5875
S. Savenko
Soviet cultural politics was completely determined in the 1930s and remained unchangeable almost until the collapse of the USSR (1991). Musical creativity was subject to the dictates of the strict ideological standards of socialist realism, which left no room for free artistic experimentation. This situation continued in more liberal times, which began after Stalin’s death. The development of the Russian post-war avant-garde began in the second half of the 1950s, with the first dodecaphonic work dating from 1956: Musica Stricta for piano by Andrei Volkonsky. The truly new works gradually penetrated into concert halls; new music became known and even popular among concertgoers, who perceived it as a symbol of spiritual freedom. All this had no relation yet to educational institutions and to teaching, which remained hopelessly conservative. The real institutional changes came only after the collapse of the USSR in the 1990s. Back then, there were three main directions associated with new music: first of all, the establishment of new composers’ associations, such as the Association of Modern Music and the Centre for Contemporary Music; secondly, festivals of contemporary music, such as the festival Moscow Autumn and the annual international festival of contemporary music Moscow Forum ; thirdly, the performing collectives connected to them, such as the ensemble Studio for New Music. These institutions were established in the Moscow State “Tchaikovsky” Conservatory, and therefore played a crucial role in the formation of new teaching principles for contemporary music.
{"title":"Theory and Practice of New Music in the Academic Courses of the Moscow State Conservatory","authors":"S. Savenko","doi":"10.6092/issn.2039-9715/5875","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/5875","url":null,"abstract":"Soviet cultural politics was completely determined in the 1930s and remained unchangeable almost until the collapse of the USSR (1991). Musical creativity was subject to the dictates of the strict ideological standards of socialist realism, which left no room for free artistic experimentation. This situation continued in more liberal times, which began after Stalin’s death. The development of the Russian post-war avant-garde began in the second half of the 1950s, with the first dodecaphonic work dating from 1956: Musica Stricta for piano by Andrei Volkonsky. The truly new works gradually penetrated into concert halls; new music became known and even popular among concertgoers, who perceived it as a symbol of spiritual freedom. All this had no relation yet to educational institutions and to teaching, which remained hopelessly conservative. The real institutional changes came only after the collapse of the USSR in the 1990s. Back then, there were three main directions associated with new music: first of all, the establishment of new composers’ associations, such as the Association of Modern Music and the Centre for Contemporary Music; secondly, festivals of contemporary music, such as the festival Moscow Autumn and the annual international festival of contemporary music Moscow Forum ; thirdly, the performing collectives connected to them, such as the ensemble Studio for New Music. These institutions were established in the Moscow State “Tchaikovsky” Conservatory, and therefore played a crucial role in the formation of new teaching principles for contemporary music.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"87-93"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261136","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.2039-9715/5864
C. M. Balensuela
American music history textbooks have traditionally covered the entire history of Western music in a single volume. This approach reflects the now dominant teaching methodology at American universities of a multiple-semester survey that covers the breadth of music history from Ancient Greece to modern times. An obvious problem with a broad survey is the lack of depth on issues relevant to current musicological scholarship such as music in society, feminism, archival research, or patronage. As new approaches to teaching music history become more popular in US colleges, in part due to the “pedagogy movement” in American musicology, the canonical status of single-volume history of music is under increased scrutiny and review.
{"title":"American Handbooks of Music History: Breadth, Depth, and the Critique of Pedagogy","authors":"C. M. Balensuela","doi":"10.6092/ISSN.2039-9715/5864","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/5864","url":null,"abstract":"American music history textbooks have traditionally covered the entire history of Western music in a single volume. This approach reflects the now dominant teaching methodology at American universities of a multiple-semester survey that covers the breadth of music history from Ancient Greece to modern times. An obvious problem with a broad survey is the lack of depth on issues relevant to current musicological scholarship such as music in society, feminism, archival research, or patronage. As new approaches to teaching music history become more popular in US colleges, in part due to the “pedagogy movement” in American musicology, the canonical status of single-volume history of music is under increased scrutiny and review.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"107-111"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71260729","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.2039-9715/5880
Paolo Somigli
This article proposes a series of music education activities centring on Luigi Nono’s Il canto sospeso, one of the most significant compositions of the 20th century. It looks at the work within the historical context that saw its creation, suggesting an interpretation of it which relies not so much on the score as on specific references to listening, and in which musical observation goes hand in hand with methodological-didactic suggestions. This approach also contains inter-disciplinary options and can be expanded to include other musical genres. It is addressed to secondary schools, both at the junior and higher levels.
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Pub Date : 2015-12-28DOI: 10.6092/issn.2039-9715/5871
C. Ruini
In is fairly usual for music history handbooks to introduce certain remote musical forms, documented since the historical period in which they became established, with an adequate formal analytical support. What they entirely lack, often due to problems retrieving documentation, is any explanation concerning their origin and the genetic process of their evolution. Such an approach leads to a ‘sterilized’ comprehension of the musical phenomenon, by depriving it of the essential contribution of its social and cultural context. Through a couple of examples, the article shows how restoring the historical identity of musical forms that are no longer current can also reconstruct the traits that are able to convey authentic meanings to us and our descendants.
{"title":"«Cercate l’antica madre»: percorsi e ricorsi delle forme musicali medievali","authors":"C. Ruini","doi":"10.6092/issn.2039-9715/5871","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/5871","url":null,"abstract":"In is fairly usual for music history handbooks to introduce certain remote musical forms, documented since the historical period in which they became established, with an adequate formal analytical support. What they entirely lack, often due to problems retrieving documentation, is any explanation concerning their origin and the genetic process of their evolution. Such an approach leads to a ‘sterilized’ comprehension of the musical phenomenon, by depriving it of the essential contribution of its social and cultural context. Through a couple of examples, the article shows how restoring the historical identity of musical forms that are no longer current can also reconstruct the traits that are able to convey authentic meanings to us and our descendants.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"29-37"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261454","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.2039-9715/5866
P. Fabbri
Metodi e prospettive delle ricostruzioni storiografiche non solo non hanno perso validita, ma risultano oggi piu che mai indispensabili in una situazione di subdolo schiacciamento sul presente, e di dati e informazioni reperibili agevolmente in quantita debordante e indifferenziata. Entro questa marea, le ipotesi di letture storiche (anche fissate in un manuale) possono costituire un proficuo orientamento, e un filtro per riconoscere nel presente le tracce di stratificazioni di un passato che non e affatto evaporato per sempre.
{"title":"Una sfida didattica e culturale: insegnare la storia della musica","authors":"P. Fabbri","doi":"10.6092/issn.2039-9715/5866","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/5866","url":null,"abstract":"Metodi e prospettive delle ricostruzioni storiografiche non solo non hanno perso validita, ma risultano oggi piu che mai indispensabili in una situazione di subdolo schiacciamento sul presente, e di dati e informazioni reperibili agevolmente in quantita debordante e indifferenziata. Entro questa marea, le ipotesi di letture storiche (anche fissate in un manuale) possono costituire un proficuo orientamento, e un filtro per riconoscere nel presente le tracce di stratificazioni di un passato che non e affatto evaporato per sempre.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"5-17"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71260787","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.2039-9715/5878
G. Giuriati
This book addresses the otherwise neglected issue of nationalism in music education, starting from a cross-cultural approach that considers various contexts from five different continents and historical periods. The approach is problematic and reconciliatory, and views the use of music as in, for example, the national anthem, as a means of creating relations rather than divisions.
{"title":"Patriotism and Nationalism in Music Education, a cura di David Hebert e Alexandra Kertz-Welzel, Farnham, Ashgate, 2012","authors":"G. Giuriati","doi":"10.6092/ISSN.2039-9715/5878","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/5878","url":null,"abstract":"This book addresses the otherwise neglected issue of nationalism in music education, starting from a cross-cultural approach that considers various contexts from five different continents and historical periods. The approach is problematic and reconciliatory, and views the use of music as in, for example, the national anthem, as a means of creating relations rather than divisions.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"135-138"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261204","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.2039-9715/5881
M. Broggini
The growing presence of foreign instrumentalists and singers in Italian conservatories calls for increased attention to the planning of support didactic activities aimed at teaching the micro-language of music in the context of Italian as a second language. The article describes two didactic activities that are easily replicable, also with different materials than those presented by way of example. Both assignments apply the principles of humanistic-affective language teaching and of cooperative learning to the Italian musical micro-language.
{"title":"«Take a Back Seat»: due attività per l’insegnamento della microlingua straniera","authors":"M. Broggini","doi":"10.6092/issn.2039-9715/5881","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/5881","url":null,"abstract":"The growing presence of foreign instrumentalists and singers in Italian conservatories calls for increased attention to the planning of support didactic activities aimed at teaching the micro-language of music in the context of Italian as a second language. The article describes two didactic activities that are easily replicable, also with different materials than those presented by way of example. Both assignments apply the principles of humanistic-affective language teaching and of cooperative learning to the Italian musical micro-language.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"31 1","pages":"167-183"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261314","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.2039-9715/5876
Maria Teresa Arfini
The volume to be reviewed collects all contributions to the 2011 annual conference of the Arbeitskreis fur Musikpadagogische Forschung (AMPF – Association for research on music pedagogy). It contains theoretical articles, which define the issues at hand, as well as empirical contributions on some specific aspects, the results of a session on the “JeKi” project (“Jedem Kind ein Instrument” – an instrument for every child), and a few essays that partially digress from the main theme. The notion at the centre of reflection is that of ‘pedagogic-musical action’ ( Musikpadagogisches Handeln ), which needs to be defined, exemplified, and contextualized.
要审查的卷收集了2011年音乐教育研究协会(AMPF -音乐教育学研究协会)年度会议的所有贡献。它包含理论文章，定义了手头的问题，以及在某些具体方面的经验贡献，“JeKi”项目(“Jedem Kind ein Instrument”-每个孩子的乐器)会议的结果，以及一些部分偏离主题的文章。反思的核心概念是“教学-音乐行动”(Musikpadagogisches Handeln)，这需要被定义、例证和语境化。
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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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