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.
{"title":"“The Listening Hand”: Piano Exercises for Contemporary Music","authors":"C. Vickers","doi":"10.6092/ISSN.2039-9715/5884","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/5884","url":null,"abstract":"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.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"75-86"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261333","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.2039-9715/5875
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.
{"title":"“Il canto sospeso” di Luigi Nono: un percorso didattico","authors":"Paolo Somigli","doi":"10.6092/issn.2039-9715/5880","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/5880","url":null,"abstract":"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.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"151-165"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261268","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.2039-9715/5871
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。
{"title":"Musikpädagogisches Handeln. Begriffe, Erscheinungsformen, politische Dimensionen, a cura di Jens Knigge e Anne Niessen, Essen, Die Blaue Eule, 2012","authors":"Maria Teresa Arfini","doi":"10.6092/ISSN.2039-9715/5876","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/5876","url":null,"abstract":"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.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"127-130"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261149","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.2039-9715/5870
Elena Petrušanskaja
The paper, which was the opening speech to the conference Musicians and Musicologists as Teachers: How to Construct Musical Comprehension for Students , raises questions of central importance about the purpose of music teaching and the more general issues of cultural education: what is most important today for teaching? What do we mean by ‘transmission of knowledge’? Are we referring to the experience of music making? A specific position in relation to the values of culture, science and moral? Or a rational system of scientific knowledge based on past experience? In an age in which all sorts of information and materials can be easily retrieved online, the main goal of educational action becomes the teaching of appropriate methods for working on data, and the awakening of a sense of curiosity about art. The paper provides an updated map of music education institutions in Russia, dwelling on the specific features of the current education system in that country.
{"title":"Diffondere la curiosità per l’arte","authors":"Elena Petrušanskaja","doi":"10.6092/ISSN.2039-9715/5870","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/5870","url":null,"abstract":"The paper, which was the opening speech to the conference Musicians and Musicologists as Teachers: How to Construct Musical Comprehension for Students , raises questions of central importance about the purpose of music teaching and the more general issues of cultural education: what is most important today for teaching? What do we mean by ‘transmission of knowledge’? Are we referring to the experience of music making? A specific position in relation to the values of culture, science and moral? Or a rational system of scientific knowledge based on past experience? In an age in which all sorts of information and materials can be easily retrieved online, the main goal of educational action becomes the teaching of appropriate methods for working on data, and the awakening of a sense of curiosity about art. The paper provides an updated map of music education institutions in Russia, dwelling on the specific features of the current education system in that country.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"1-3"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261411","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：