Ethnomusicology and the Meeting of Knowledges in Music

2021 ◽  
pp. 185-206
Author(s):  
José Jorge de Carvalho
Keyword(s):  
Music Education ◽  
Latin American ◽  
Western World ◽  
Music Schools ◽  
Dance Theater ◽  
Musical Tradition ◽  
European Universities ◽  
Musical Traditions ◽  
Musical Genres ◽  
The University

Universities in Latin America (and, to a certain extent, in the entire non-Western world) were created in the colonial and republican periods as replicas of modern European universities, which had stabilized criteria for the classification, organization, and hierarchy of knowledge and for the legitimation of truth following closely the Napoleonic and Humboldtian reforms in the 1800s. Traditional Latin American traditions of knowledge, both scientific and artistic, were discriminated against and totally excluded from the university curricula in the name of an exclusively eurocentric epistemic paradigm. As a consequence of this epistemicide, all the music schools today, both basic and superior, teach primarily the erudite European musical genres, whereas the popular, Indigenous and African-derived musical traditions, which are extremely rich in the entire continent, do not form part of the curriculum available for music students. In order to offer a positive alternative to this monothematic and historically limited musical environment, we have devised the methodology of the Meeting of Knowledges, through which masters of traditional music, most of them people with little or no formal literacy, are hired to teach regular courses in music, dance, theater, and correlated arts, in courses given equal relevance and prestige to those of the Western erudite musical tradition. Started in the University of Brasília in 2010, the Meeting of Knowledges has already expanded substantially. This chapter sums up the theoretical and methodological foundations of the Meeting of Knowledges and explore connections with other epistemic and political interventions in ethnomusicology and music education.

scholarly journals The study of Chinese opera culture on the example of the genre palette

2021 ◽  
Author(s):  
Maryna Antoshko
Keyword(s):  
Music Education ◽  
Living Organism ◽  
Cultural Traditions ◽  
Chinese Opera ◽  
Historical Method ◽  
Musical Tradition ◽  
Original Culture ◽  
Comprehensive Development ◽  
Musical Traditions ◽  
The Individual

The purpose of the article is to study the problem of Chinese opera culture on the example of the genre palette. The methodology is to use the historical method in the study of this topic. It is thanks to this method that genre genres of Chinese opera are revealed in the work. Information on roles and make-up is provided, based on the historical method. The scientific novelty of the article is to study the feasibility of the issue of Chinese opera culture, drawing on the country's musical traditions. The historical names of the philosophers who influenced the development of the musical arts and education system, which affected the cultural traditions of China, were highlighted. The scientific novelty of the article is the study and study of Chinese opera culture on the example of the genre palette. Based on the country's musical traditions, we single out important factors of opera genres, including Tibetan opera, Shaoxing, Sichuan, Henan, Guangdong, etc. Conclusions are based on the study of the problem of Chinese opera culture on the example of the genre palette, revealed the original culture of the country, its worldview system. The problem of the genre palette of Chinese opera culture has interested many scholars, among which we single out scientific works: L.S. Vasiliev, Hou Jiang, U Gen-Ir, and others. This question highlighted the philosophical trends that underpin China's traditions. The problem of studying the worldview system of ancient China as the basis for the emergence of the musical tradition has interested many scholars because it influenced the cultural life of the countries of the East. Based on the study of the problem of opera culture, they discovered the original art of China. Philosophical views influenced both theatrical life and the country's musical art. Special attention was paid to the issue of education, in particular aesthetics, in China. Music education has played an important role in China's culture. Confucius emphasizes the comprehensive development of humans while emphasizing the morality of the individual. The opera culture of the country is peculiar. Musical load played a big role. The Chinese worldview is based on a vision of nature as a living organism. The first sprouts of musical and theatrical art emerge. XII-XIII centuries marked the birth of Chinese opera. The Chinese theater was in full understanding of the people. The article highlights the types of opera genres. The musical side of classical theater is characterized by an unbroken unity of sound, words, and dance. The circle of images, moods, techniques of acting is characterized by a certain type of melody, rhythm, composition of the orchestra. The study of this issue regarding the opera culture of China is interesting and not fully understood, which necessitates further development in the study of this issue.

AZERBAYCAN BESTECİLERİNİN ESERLERİNDE ETÜD TÜRÜ THE GENRE OF ETUDE IN THE WORKS OF AZERBAIJANI COMPOSERS

2021 ◽  
Vol 6 (12) ◽  
pp. 77-86
Author(s):  
Gulnar MIRZEYEVA
Keyword(s):  
Music Education ◽  
Piano Music ◽  
Development Stage ◽  
Main Function ◽  
Music Schools ◽  
Russian Music ◽  
Different Types ◽  
The Aesthetic ◽  
Russian Composers ◽  
Musical Genres

The etude genre is one of the examples characterized by the emergence of different types of music that develop at certain stages of musical art. Although the introduction of studies as an independent genre in musical literature dates back to the XVII-XVIII centuries, its main function in the development of piano art was already present in other musical genres. The next stage in the development of the study genre is related to the work of the Romantic Movement representatives F.Chopin, R.Schumann, F.List. The acquisition of new features of the genre is due to the work of Russian composers. Thus, with the increase in the content features of art-concert studies, new features such as programming and integration with other genres were observed in Russian music. Interest in piano in Azerbaijan in the late 19th and early 20th centuries first appeared in aristocratic strata, but gradually spread to a wider area. The development of the art of performing on the piano also influenced the creativity of the composer an gave impetus to the formation of the national repertoire for this instrument. Although the etude genre in the works of Azerbaijani composers is not common in the works of European and Russian composers, there are important examples only in the early stages of the formation of miniatures. Azerbaijani composers E.Nazirova, F.Guliyeva, A.Azizov, A.Abbasov, Niyazi, J.Hajiyev, R.Shafag, Kh.Mirzezadeh and others managed to create interesting examples of this genre. One of the main features of the analysis of Azerbaijani somposers etudes is that these examples are pioneered for educational purposes. For this reason, some of the studies we analyzed (M.Mirzayev, J.Hajiyev etc.) are aimed at the first stage of music education with its small volume and simple structure. Studies of relatively large artistic and technical complexity (E.Nazirova,Niyazi,F.Guliyeva) are suitable for the upper classes of music schools. Although the evolution of the study genre and the features of its various genres are not embodied in these works with the splendour seen in the works of European and Russian composers, Azerbaijan is an interesting example of piano music in its educational repertoire. As a result, we can say that the etude genre is not a special development stage in the works of Azerbaijani composers, but each of the existing examples is important in the formation of the aesthetic tastes of young pianists, musical performances on a national basis, and it is successfully applied in the educational repertoire.

Janusz Miketta – organizer and reformer of music education in Poland

2020 ◽  
Vol 6 (1 (10)) ◽  
pp. 11-26
Author(s):  
Jarosław Domagała
Keyword(s):  
Music Education ◽  
Layer Structure ◽  
Stage Structure ◽  
Program Committee ◽  
Music Appreciation ◽  
Music School ◽  
Music Schools ◽  
Music Department ◽  
School Year ◽  
The University

Janusz Miketta (1890-1954) – Polish musicologist, pedagogue and music life organizer. He studied philosophy at the University of Warsaw. He completed his music studies at the Music Institute in Warsaw and in Leipzig, as well as at the F. Chopin Higher Music School in Warsaw. Next, he was the principal of the Music School in Warsaw and from 1919 – the director of the Music Society and the S. Moniuszko Music School in Lublin. In 1924, he started his teaching career at the F. Chopin Higher Music School in Warsaw and later at the M. Karłowicz Music School in Warsaw. In the years 1926–1931, he was a desk officer for music affairs in the Ministry of Religious Denominations and Public Enlightenment and from 1931 – the secretary of the Local Sightseeing Society in Warsaw and Stanisławów. From 1945 to 1948, he was the head of the Music Education Section of the Music Department in the Ministry of Culture and Art and the chairman of the Program Committee of Music Education in the above-mentioned Ministry. Based on Janusz Miketta’s own concept of music education, the Ministry of Culture and Art issued a directive of 7 December 1945 on a special system of music education. Music schools in Poland were divided into vocational ones (lower, middle and higher) and those providing music appreciation classes. This three-stage structure made it possible to adjust teaching program to new needs and select a specialization based on the degree of a pupil’s talent. As a result of reforms introduced in the 1949/1950 school year, schools providing music appreciation classes were liquidated, though the three-layer structure of the school system was maintained. This schooling system, with minor changes, is still in operation in Poland. In the years 1948-1954, Miketta was a professor of the State Higher Music School in Cracow.

scholarly journals Competency-based learning: Music education, the great forgotten

2018 ◽  
Author(s):  
Ana Mercedes Vernia-Carrasco
Keyword(s):  
Elementary Schools ◽  
Music Education ◽  
Primary Schools ◽  
Basic Skills ◽  
Music Schools ◽  
Competency Based ◽  
The University

Adapting to the European framework in education, without thinking about the approaches of UNESCO, assumed that there was no type of exclusion, neither by subjects nor by profiles, however, we find a clear void regarding the competencies that a professional of music must acquire, in their training and for their employability. Not only in the strictest areas such as the Conservatories, but also in elementary schools and at the University. Our work required the help of professionals from music schools, because current laws do not refer to work in the area of competences, except in some decrees where professional competences are mentioned, or in other cases, where reference is simply made to integrate the basic skills of primary schools. The results were a proposal of basic Competences in music, which could include both conservatories and music schools, regardless of the instrumental specialty, which is a first step to establish a criterion that unifies the criteria for this group of teachers.

scholarly journals Cultural Approach to Periodization Development of Syrian Music Culture as a Scientific Instrument of Its Development Future Musician-Teachers of Russia

2019 ◽  
Vol 7 (3) ◽  
pp. 138-150 ◽  
Author(s):  
Lyudmila A. Rapatskaya ◽  
Rasha Harfush
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Educational Institutions ◽  
Scientific Instrument ◽  
Higher Educational Institutions ◽  
Musical Culture ◽  
Theoretical Justification ◽  
Musical Tradition ◽  
Higher Educational ◽  
Musical Traditions

The article is devoted to the little-studied problem of pedagogy of music education-the definition of scientific grounds for the content and process of studying the Syrian musical culture by future musicians-teachers in higher educational institutions of Russia. According to the author’s concept, the necessary scientific prerequisite for solving this problem is the theoretical justification of the main periods of the historical formation and development of musical culture of Syria as a way of learning the art of music in the context of the evolution of culture. The article reflects the views of musicologists (Arab and Russian) on the periodization of the history of musical culture of Syria, the authors’ position on the need to develop a new – culturological – approach to periodization, pedagogically focused on the application in practice of Russian pedagogical universities. Its theoretical justification and implementation in relation to the study of Syrian musical culture allowed to summarize the main trends in the formation of musical culture of Syria on the basis of the concept of its openness and the ability to conduct a fruitful dialogue with the musical traditions of the Arab and European world. The proposed periodization is considered by the authors as a scientific tool for mastering the fundamental laws of Syrian musical culture by future musicians-teachers studying in higher educational institutions of Russia. In accordance with the identified historical periods, the article reveals the process of formation and development of mentally significant features of Syrian music. Exploring the content features of each of the selected periods, the importance of typological characteristics of the Syrian musical tradition in the ratio of its ancient origins and imported influences of both Eastern (Arab) and European is emphasized. The analysis of Syrian music from culturological positions allowed to reveal the dominant trend of its development, expressed in the desire to preserve national traditional values throughout the centuries-old history up to the present day, to characterize the ratio of vocal and instrumental music, especially its genres and modal originality.

scholarly journals Open Innovation during Web Surfing: Topics of Interest and Rejection by Latin American College Students

2021 ◽  
Vol 7 (1) ◽  
pp. 17
Author(s):  
José Gómez-Galán ◽  
José Ángel Martínez-López ◽  
Cristina Lázaro-Pérez ◽  
José Carlos García-Cabrero
Keyword(s):  
Social Networks ◽  
Music Education ◽  
University Students ◽  
Information And Communication Technologies ◽  
Latin American ◽  
Digital Literacy ◽  
Open Innovation ◽  
The Internet ◽  
Validated Questionnaire ◽  
The University

The university is currently involved in complex processes of open innovation through permanent dialogue with institutions and companies in the economic, social, and political fields. Professors, researchers, students, and other members of the institution take part in these processes. This is a phenomenon that has emerged in today’s network society due to digitalization and globalization. It is therefore essential, in this context of open innovation, to know the behaviors, habits, consumption, or lifestyles of university staff and students to achieve, in the best and most effective way, integration of higher education in this new reality. How we interact and communicate with the surrounding people has transformed with wider access to the Internet and the development of information and communication technologies (ICTs), especially through smartphones and the use of apps and social networks (WhatsApp, Twitter, Facebook, etc.). This digital revolution has reconfigured our interests, dispositions, and social participation. From the university field, knowing the interests of students who access the Internet is of vital importance to guide teaching methodologies, adapt content, facilitate communication processes, develop digital literacy practices, etc. The present research, focused on the Latin American sociocultural space, has a double objective: (GO1) to know which are the issues of most interest and consumption for university students; (GO2) to determine which issues they reject while they surf on the Internet. A quantitative research has been developed (n = 2482) based on the validated questionnaire COBADI®. The topics of greatest interest to the Latin American university students were, in this order: “use of social networks”, “news”, “music”, “education”, “work”, and “videos”. The fact that they put education in fourth place, as students, shows that it is not a high priority in their use of the network. On the opposite side, those that show more rejection are “celebrity journalism”, “online games”, and “pornography”. Among their topics of rejection is also “politics”, which is not prioritized by university students. These topics have been presented in different proportions according to the country analyzed, depending on their specific social and political circumstances, and have experienced a different evolution from 2012 to 2019—the time covered by the study.

scholarly journals Genetic components of human pain sensitivity: a protocol for a genome-wide association study of experimental pain in healthy volunteers

BMJ Open ◽  
2019 ◽  
Vol 9 (4) ◽  
pp. e025530 ◽  
Author(s):  
Annina B Schmid ◽  
Kaustubh Adhikari ◽  
Luis Miguel Ramirez-Aristeguieta ◽  
Juan-Camilo Chacón-Duque ◽  
Giovanni Poletti ◽  
...  
Keyword(s):  
Latin American ◽  
Pain Sensitivity ◽  
Genome Wide Association ◽  
Genome Wide Association Studies ◽  
Healthy Individuals ◽  
Genetic Components ◽  
Genome Wide ◽  
A Genome ◽  
The University ◽  
Genetic Contributions

IntroductionPain constitutes a major component of the global burden of diseases. Recent studies suggest a strong genetic contribution to pain susceptibility and severity. Whereas most of the available evidence relies on candidate gene association or linkage studies, research on the genetic basis of pain sensitivity using genome-wide association studies (GWAS) is still in its infancy. This protocol describes a proposed GWAS on genetic contributions to baseline pain sensitivity and nociceptive sensitisation in a sample of unrelated healthy individuals of mixed Latin American ancestry.Methods and analysisA GWAS on genetic contributions to pain sensitivity in the naïve state and following nociceptive sensitisation will be conducted in unrelated healthy individuals of mixed ancestry. Mechanical and thermal pain sensitivity will be evaluated with a battery of quantitative sensory tests evaluating pain thresholds. In addition, variation in mechanical and thermal sensitisation following topical application of mustard oil to the skin will be evaluated.Ethics and disseminationThis study received ethical approval from the University College London research ethics committee (3352/001) and from the bioethics committee of the Odontology Faculty at the University of Antioquia (CONCEPTO 01–2013). Findings will be disseminated to commissioners, clinicians and service users via papers and presentations at international conferences.

Leadership Training in Latin America

1993 ◽  
Vol 7 (1) ◽  
pp. 15-17
Author(s):  
Alice B. Lentz
Keyword(s):  
Latin America ◽  
Latin American ◽  
Leadership Training ◽  
Developing Economies ◽  
Business Leaders ◽  
Private Higher Education ◽  
Enterprise Growth ◽  
The University ◽  
Latin American Countries

Alice Lentz offers a brief view of the role of the Americas Fund for Independent Universities (AFIU) in relation to significant initiatives in various Latin American countries. In a region where the function and development of private higher education institutions is especially important, the focus of the AFIU's activities is on private universities' ability to provide trained business leaders with the skills necessary to meet the challenges of enterprise growth in these developing economies. She mentions in particular the strengthening of financing capabilities within the university, and the evolution of three-way partnerships among business corporations, AFIU, and universities in Latin America.

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