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Articulos / Articles

Música Nueva y Educación: Algunas Preguntas y un Intento de Respuesta
Por/By: Ana Lucia Frega
En su convocatoria 2012 para la presentación de artículos, Ideas Sónicas/Sonic Ideas formuló una serie de preguntas orientadoras -algunas de las cuales he incluido a manera de epígrafe en este artículo- que me llevaron a decidir hacer un aporte desde mi experiencia en el campo de las enseñanzas de la música. Será apoyándome en algunas de ellas que presentaré reflexiones y algún ejemplo que ayuden a saber por qué, en casi todas mis publicaciones respecto al fascinante tema de las enseñanzas musicales en el ámbito de la educación general, he sostenido la necesidad y, creo, he demostrado la factibilidad y la conveniencia de que "las nuevas músicas" estén presentes en las instancias sistemáticas de educación musical escolar. ... leer/read

Propuestas para Acercar la Música Electroacústica en la Escuela
Por/By: Edith Alonso
La enseñanza de la música electroacústica en la escuela no sólo potencia la creatividad de los niños y desarrolla su capacidad de escucha sino que además es fundamental para conseguir que la música electroacústica no permanezca en un ámbito cerrado al que sólo acceden los compositores y el público especialista. En este artículo mostramos las actividades llevadas a cabo para dar a conocer la música electroacústica en varios colegios del sur de Francia. Palabras clave: pedagogía, electroacústica, escucha, creatividad, escuela. ... leer/read

La Música Electroacústica en la Formación de Niños y Adolecentes: Experiencia Pedagógica en la Academia de Música Rainier III de Mónaco
Por/By: Mario Mary
Música electroacústica en el conservatorio desde los nueve años Luego de haber enseñado más de 10 años en la Universidad Paris VIII (Francia), en 2008 me hago cargo del puesto1 de Profesor de Música Electroacústica en la Academia Rainier III de Mónaco (único conservatorio del prestigioso principado). Encontré allí un terreno virgen al que había que darle vida: hacer los planes de estudio, crear y equipar un estudio electroacústico, poner en marcha proyectos e insertar la nueva clase en el funcionamiento transversal del conservatorio y en la vida cultural del principado. ... leer/read

New Music In Schools, First Reactions
Por/By: Nasia Therapontos
In this issue of Ideas Sónicas/Sonic Ideas the focus lies on the connection between new music and education, with an initial question: “Should we introduce electroacoustic music concepts and creation in the school?” (Dal Farra, 2012)1. Several researchers in the field of music and education have explored this exact question, and found that this new music can be very beneficial for both students and teachers. New music and more specifically electroacoustic music, has found its way into school curriculums, but has failed to attract students, possibly because of its theoretical nature. In spite of this, individual attempts of researchers to attract students towards electroacoustic music, and explore its potentials through the creative use of technology had positive results. This paper is presenting a summary of previous research by Savage (2005), Higgins and Jennings (2006), Holland (2012) and Wolf (2008) as well as my own (Therapontos Ph.D. thesis, in progress), which investigate the use of electroacoustic music ideas, concepts and techniques in the music classrooms. ... leer/read

Puntos de Partida
Por/By: Juan Campoverde Q.
Varias veces, durante encuentros grupales e individuales con estudiantes de composición en sus años iniciales de formación universitaria, tanto en Ecuador como en Estados Unidos, he propuesto el siguiente ejercicio:   Imaginen que después de haber acumulado experiencias recorriendo caminos ya conocidos, arribando a destinos que ya han sido claramente delineados por la tradición y las convenciones, sienten la necesidad de ampliar sus horizontes y de aventurarse por otras rutas poco conocidas pero potencialmente ricas en posibilidades. Imaginen por ejemplo, digo yo a mis estudiantes en Chicago, que de pronto se encuentran en Cuenca por primera vez, y que se hallan en la terminal terrestre de esta ciudad de los Andes ecuatorianos, a punto de emprender un viaje: ¿Cuáles son algunas de las preguntas fundamentales que deberían formularse en ese momento? ... leer/read

Teaching Electroacustic Music Composition Within A University Environment: The Application Of A Creative Practice Model
Por/By: John Coulter
Over the past ten years I have been slowly developing and refining a model that aspires to define the process of composing electroacoustic music. Although there are some notable deficiencies in attempting to pin down creative practice in this way, there are also many benefits, not the least of which is the supply of detailed procedural information that can be applied to the design and assessment of University coursework. Defining the topic more clearly – the proposition under discussion in this article is that gaining a better understanding of the intricacies of the compositional process itself is the key to effective teaching and learning of electroacoustic music composition. In most circumstances the application of this information is obvious, so my approach is simply to present the model itself with the expectation that readers will make their own deductions. The study examines the practice of composing electroacoustic music using three task-based frameworks. The first addresses singular creative tasks – resulting in the development of a general three-phase creative process model; the second, multiple tasks – resulting in the development of a general model that describes production phases relevant to all styles of electroacoustic composition; and the third, multiple creative projects – resulting in the development of a general model that specifies the phases of a prolonged practice-led study (typically lasting several years). A 3-tiered model of reflective practice is then offered alongside a summary of main points. The discussion and conclusion section also supplies examples of the model in practice. ... leer/read

No Hay Que Enseñar Música Electroacústica
Por/By: José Halac
Ante la pregunta de cómo se puede enseñar hoy la “música electroacústica” esta es mi primera reacción. Alejarme de esta pregunta lo más que pueda. Si se hace esta pregunta es porque todo lo que se ha hecho hasta ahora ha cesado de tener sentido. Y no hay peor forma de encontrar un nuevo modo de hacer algo, que cuando el viejo modo de hacerlo está pegado a uno como una goma grasosa de la que uno no puede despegarse aunque quiera, o incluso aunque uno esté desesperado por hacerlo. ... leer/read

Electronic Music At The Venice Conservatory
Por/By: Alvise Vidolin
In this paper I shall use the expression electronic music in its broader meaning, in accordance with the Italian tradition that prefers this expression although it would be more correct to call it electroacoustic music or other music that uses modern technology. I shall also be using it in a broader meaning since electronic music is not a closed music genre but, on the contrary, a much broader, irregular archipelago encompassing, with the common denominator of electronic technology, philosophies and aesthetics that vary greatly from one another and that lead to choices regarding the function or social role of the music itself, in fields that range from the music of art to entertainment music. In addition to these general differences there are also technological ones that follow the developmental rhythm imposed by technological-scientific research with its new theoretical scenarios, as well as by industry that is continuously transforming these results into new hardware and software products. There are also differences that are of a more typical musical nature such as composition and performance techniques that are linked to different schools of composition or interpretation, and from an aesthetic point of view these may differ widely from each other. Further confirmation of this heterogeneity of electronic music is the names it has been given during the course of its brief history: musique concréte, elektronische musik, fonologia musicale, musica elettroacustica, musica elettronica, experimental music, computer music, live electronics, sound and music computing, etc. ... leer/read

The McGill EMS... How It Began... Machinery And Teaching Strategies... [1]
Por/By: alcides lanza [2]
It was a modest beginning. Prof. István Anhalt (1919-2012) was the first to explore the idea of starting an electronic music studio at the Faculty of Music of McGill University (now the Schulich School of Music). Anhalt had been collaborating with Hugh Le Caine (1946-1974) in developing machinery suitable for the production of electronic music. In the early 1960s, such notions were still something of a novelty. It was on June 16th, 1964 that a truck loaded with equipment arrived at McGill’s Faculty of Music. Basically, the instruments were the Oscillator Bank and the Spectrogram – both invented by Le Caine. The Oscillator Bank, which produced sine tone electrical waves in three frequency ranges, was controlled by a touch sensitive polyphonic keyboard. This was the first time that multiple oscillators were available in one machine, and controllable with such a mechanism. The Spectrogram permitted a composer to draw music on a graph-paper grid in ink, defining rhythm, intensity and duration graphically. These drawings would then be read by the Spectrogram as on-off control signals activating the Oscillator Bank, among other machines in the studio. The Spectrogram also had the ability to work with twenty tracks simultaneously, and did not require any splicing. At a time when tape splicing was a required skill – and very tedious task - in the composition of electronic music, this was a real ‘wow!’. These two were added to the Special Purpose Tape Recorder3 which Le Caine had already loaned to McGill in September 1963. The Special Purpose Tape Recorder at McGill was capable of modifying the playback speed of ten stereo tapes, and then recombining these sounds into a single stereo output. ... leer/read

Un geógrafo, un rey, algunos libros, dos piedras y un pingüino
Por/By: Carlos Mauricio Bejarano
En muchos sitios del mundo era visto un curioso caminante; se trataba de un viajero, coleccionista, auditor y asiduo fonografista que recorría los rincones auscultando y recogiendo extraños artefactos sonoros y registrando fonográficamente sucesos y lugares, sorprendiéndose a cada paso con la diversidad de ruidos y silencios que fluyen y confluyen en los paisajes. ... leer/read