Poscolonial Peruvian Sheep and Their Digital Dreams: Pure Data as a Tool for Conceptual Reconfiguration in Peruvian Musical Education

In this work, I discuss the use of Pure Data as the main tool for the development of paradigmatic changes in Peruvian musical education, through the implementation of the Laboratorio de Música Electroacústica y Arte Sonoro of the Universidad Nacional de Música in Lima - Perú. This analysis is made taking under consideration the particularities present in the development of the study of technology-based music in the country and the historical shortcoming that have marked that development. This work complements my previous research regarding the relevance of specific social narratives present through the history of the nation in regards to technology and musical innovation. In that sense, it presents a historical that seeks to revert the course of a musical learning history that excludes technology based musical practices associated with Pure Data, from becoming part of the official processes for musical creation in the country.

Group Identity in a Secondary School Classroom Constructed through Musical Creation / Oblikovanje grupnoga identiteta glazbenim stvaranjem u srednjoj školi

Music plays an important role in the construction of identity in adolescence. However, few studies have explored the relationship between the formation of group identities in adolescence and musical creation as an experiential group activity in secondary school. Therefore, the aim of the present study was to shed light on the formation of group identities in the classroom and determine the factors involved in this process. An educational project focusing on participatory musical creation was carried out in three Spanish secondary schools, involving 267 students. Data were collected by means of participant and non-participant observation, a classroom diary, a questionnaire and video recordings, analysed within the framework of activity theory. The results revealed the influence of a number of interconnected determinants on the formation of group identity in the classroom: (1) student involvement in all stages of the project; (2) the construction of meaningful musical experiences through the students’ role as musicians; (3) the classroom climate; (4) the emergence of positive emotions; (5) high motivation to learn; and (6) student identification with their own music. These results indicate the useful role of music creation in the formation of group identity. Keywords: activity theory; creative learning; music; participation; secondary education---Glazba ima važnu ulogu u izgradnji identiteta tijekom adolescencije. Unatoč tome, malo je studija istraživalo odnos između oblikovanja grupnih identiteta u adolescenciji i glazbenoga stvaranja kao iskustvene grupne aktivnosti u srednjoj školi. Stoga je cilj ovoga istraživanja bio osvijetliti oblikovanje grupnih identiteta u razredu i utvrditi čimbenike uključene u taj proces. Proveden je obrazovni projekt s fokusom na participacijsko glazbeno stvaranje u tri srednje škole u Španjolskoj. U projektu je sudjelovalo 267 učenika. Podatci su sakupljeni metodama sudioničkoga promatranja, promatranja bez sudjelovanja, razrednoga dnevnika, upitnika i videozapisa, a analizirani su unutar okvira teorije aktivnosti. Rezultati pokazuju utjecaj određenoga broja međusobno povezanih faktora na oblikovanje grupnoga identiteta u učionici: (1) učenički angažman u svim stadijima projekt, (2) stvaranje značajnih glazbenih iskustava kroz učeničke uloge glazbenika, (3) razredno ozračje, (4) javljanje pozitivnih emocija, (5) visoka motivacija za učenje i (6) poistovjećivanje učenika s vlastitom glazbom. Navedeni rezultati otkrivaju pozitivno djelovanje glazbenoga stvaralaštva na oblikovanje grupnoga identiteta. Ključne riječi: glazba; kreativno učenje; sudjelovanje; srednjoškolsko obrazovanje; teorija aktivnosti.

Adaptation of the Extra-Ordinary Music Camp during a pandemic: resilience as vector of innovation

<p>The <i>Extra-Ordinary Music Camp</i> is a research project whose objectives are: (1) to offer an inclusive environment for musical creation adapted for extra-ordinary youths, and (2) to study how participatory, informal, inclusive, and adaptive musical creation activities impact extra-ordinary youths’ communication and social interaction abilities. The present article addresses adaptations made to the project following the arrival of the COVID-19 pandemic, which disrupted the originally planned activities. Using viewpoints from four undergraduate and graduate student facilitators who served as session leaders and researchers on the project, the <i>Extra-Ordinary Music Camp’s</i> evolution from an in-person to a remote research project will be described. First, the initial study design is introduced. Then, we detail the ways the project was adapted online as a consequence of the COVID-19 pandemic: we present the adaptations made to musical training (pedagogical plan), research tools, and modalities of collaboration between team members. Finally, certain preliminary results are presented and contextualized in light of these significant adaptations to the organizational, scientific, and pedagogical plans.<br></p>

Adaptation of the Extra-Ordinary Music Camp during a pandemic: resilience as vector of innovation

<p>The <i>Extra-Ordinary Music Camp</i> is a research project whose objectives are: (1) to offer an inclusive environment for musical creation adapted for extra-ordinary youths, and (2) to study how participatory, informal, inclusive, and adaptive musical creation activities impact extra-ordinary youths’ communication and social interaction abilities. The present article addresses adaptations made to the project following the arrival of the COVID-19 pandemic, which disrupted the originally planned activities. Using viewpoints from four undergraduate and graduate student facilitators who served as session leaders and researchers on the project, the <i>Extra-Ordinary Music Camp’s</i> evolution from an in-person to a remote research project will be described. First, the initial study design is introduced. Then, we detail the ways the project was adapted online as a consequence of the COVID-19 pandemic: we present the adaptations made to musical training (pedagogical plan), research tools, and modalities of collaboration between team members. Finally, certain preliminary results are presented and contextualized in light of these significant adaptations to the organizational, scientific, and pedagogical plans.<br></p>

Adaptation of the Extra-Ordinary Music Camp during a pandemic: resilience as vector of innovation

<p>The <i>Extra-Ordinary Music Camp</i> is a research project whose objectives are: (1) to offer an inclusive environment for musical creation adapted for extra-ordinary youths, and (2) to study how participatory, informal, inclusive, and adaptive musical creation activities impact extra-ordinary youths’ communication and social interaction abilities. The present article addresses adaptations made to the project following the arrival of the COVID-19 pandemic, which disrupted the originally planned activities. Using viewpoints from four undergraduate and graduate student facilitators who served as session leaders and researchers on the project, the <i>Extra-Ordinary Music Camp’s</i> evolution from an in-person to a remote research project will be described. First, the initial study design is introduced. Then, we detail the ways the project was adapted online as a consequence of the COVID-19 pandemic: we present the adaptations made to musical training (pedagogical plan), research tools, and modalities of collaboration between team members. Finally, certain preliminary results are presented and contextualized in light of these significant adaptations to the organizational, scientific, and pedagogical plans.<br></p>

AGENCY IN COMPOSITIONAL WORKFLOW: HOW YOU WRITE AFFECTS WHAT YOU WRITE

The organising of tools, whether real or virtual, is an essential part of composition that is often overlooked. This article aims to generate a discussion about how a composer's working environment can permeate the compositional process and contribute to or inform their ideations. Central to this understanding, in terms of agency, has been to consider workflow as a subset of Actor–Network Theory. Here, a musical composition is viewed as a multiplicity of relationships between workflow and ideations, and suggests an expanded practice of musical creation that explores the various agencies that shape a composition. Nevertheless, this article is not intended as a comprehensive account, but only, as Bruno Latour would put it, ‘to add in a messy way to a messy account of a messy world’.

Music and Corporeal Mimesis: creative frictions for the dramaturgy of the musician-actuator

ABSTRACT Built as a cartographic report, this article aims to give insight to the practical and conceptual procedures carried out during the research process that culminated in the scenic and musical creation of the show Uji - O Bom da Roda. Based on the cartographic method, we focus on encounters and contaminations produced between the theatrical universe and the roda de samba (samba circle) in its multiple expressive dimensions. Within a territory of creative frictions, Corporeal Mimesis presented itself as a fundamental element of articulation between music, body, scene and dramaturgy.

ANTHEM FOR THE DREAM TOWN

Birobidzhan has inspired a large number of cultural figures throughout the world to create numerous creative works in the field of literature and music. A lot of them were published in the 1930s: novels, poems and songs describing life in the Jewish Autonomous region. One of the most unique, but almost unknown to public works of such kind was Jacob Schafer’s large-scale musical creation – the oratorio «Birobidzhan».

Béla Bartόk Bluebeard’s Castle – a new Avatar of the Myth of Orpheus?

Ever since its Greek and Roman mythological and literary sources during Antiquity, the myth of Orpheus has been of paramount importance in the edification of the Artist as a key-character of understanding Music as magic and Love beyond death. Over the course of millennia, the myth has underwent numerous transformations, reflecting cultural and creative views of each period. Up to this day, the myth of Orpheus continues to allure composers` creative imagination. Within the modern and even postmodern tempestuous avatars of the myth in musical creation, the myth stays true to revealing the creator`s inner landscape, his/her reflective searching, and the nature of love between life and death. The current essay proposes a set of correlations between the essential motifs of this ancient myth and the symbols in Béla Bartók`s Bluebeard`s Castle, in a quest for answering the question whether this iconic opera of modernity could be understood, to some extent, as a new avatar of the Orpheus myth.