Entornos e-learning como soporte de aprendizaje a la asignatura educación musical en infancia

The music is a compulsory subject in the first stage of primary education. We detected several teachers from different educational areas, including the area of music, using e-learning platforms and web tools for teaching the curriculum that marks the “Department of Education of the Generalitat de Catalunya”. From the body of analysis has drawn the picture in e-learning platforms, analyzing the types and uses. Through the sample of e-learning platforms in music education, have identified four schools with e-learning platforms in advanced stage. We performed a case study on one of these platforms for content analysis and validate the interview format used; this has served to create a model that can be used in other centers with e-learning platform for music subject.

Descobrim els clarinetistes de Barcelona : de la segona meitat del segle XIX fins la Guerra Civil

La finalitat d’aquest Projecte Fi de Grau és descobrir els clarinetistes que hi havia a Barcelona des de la segona meitat del segle XIX fins a la Guerra Civil, tant a nivell d’intèrprets com a nivell de professors. A més, ens hem proposat conèixer en quines institucions educatives aquests professors impartien les seves classes, com l’Escola Municipal de Música de Barcelona o el Conservatori del Liceu. Això ens ha portat, també, a identificar en quines agrupacions musicals desenvolupaven la seva carrera —com l’Orquestra Pau Casals, la Banda Municipal de Barcelona, l’Orquestra del Liceu o diferents orquestres de ball en les quals oferien concerts populars al llarg del territori. La metodologia utilitzada ha estat l'extracció i l’anàlisi de ressenyes hemerogràfiques i la recerca específica sobre la carrera artística del clarinetista que possiblement va realitzar a nivell estatal els primers enregistraments per a aquest instrument: en Josep Nori.

Estructuración natural de las relaciones entre sonidos de altura definida : aproximación fenomenológica a las relaciones tonales

La mayoría de tratados de armonía enfocan las relaciones armónicas como el resultado de unas combinaciones concretas y hasta cierto punto aleatorias de sonidos y solamente muy de vez en cuando encontramos justificaciones de por qué unos determinados procesos armónicos tienen un resultado vivencial específico; incluso en esos casos, las explicaciones se quedan habitualmente en nada. En este trabajo estudiaremos a fondo cuáles son los fundamentos esenciales sobre los que se basa la música, entendida como un encadenamiento de frecuencias que, si bien es solamente una parte del todo musical, constituye un elemento muy importante. Para ello, la fenomenología de la música –el estudio del efecto de los sonidos sobre la conciencia humana– nos proporcionará las herramientas necesarias.

Liikkumisen etiikkaa laimeana cocktailina

Kirjallisuusarvostelu

Musiikki muistin tukena

Kirjallisuusarvostelu

Paikan eettiset ulottuvuudet

Ajankohtaista: Examining the Ethics of Place. The American Folklore Societyn 121. vuotuinen tapaaminen 21.-25.10.2009 Idahon Boisessa.

Comparison Structure Analysis

This study presents an automatic, computer-aided analytical method called Comparison Structure Analysis (CSA), which can be applied to different dimensions of music. The aim of CSA is first and foremost practical: to produce dynamic and understandable representations of musical properties by evaluating the prevalence of a chosen musical data structure through a musical piece. Such a comparison structure may refer to a mathematical vector, a set, a matrix or another type of data structure and even a combination of data structures. CSA depends on an abstract systematic segmentation that allows for a statistical or mathematical survey of the data. To choose a comparison structure is to tune the apparatus to be sensitive to an exclusive set of musical properties. CSA settles somewhere between traditional music analysis and computer aided music information retrieval (MIR). Theoretically defined musical entities, such as pitch-class sets, set-classes and particular rhythm patterns are detected in compositions using pattern extraction and pattern comparison algorithms that are typical within the field of MIR. In principle, the idea of comparison structure analysis can be applied to any time-series type data and, in the music analytical context, to polyphonic as well as homophonic music. Tonal trends, set-class similarities, invertible counterpoints, voice-leading similarities, short-term modulations, rhythmic similarities and multiparametric changes in musical texture were studied. Since CSA allows for a highly accurate classification of compositions, its methods may be applicable to symbolic music information retrieval as well. The strength of CSA relies especially on the possibility to make comparisons between the observations concerning different musical parameters and to combine it with statistical and perhaps other music analytical methods. The results of CSA are dependent on the competence of the similarity measure. New similarity measures for tonal stability, rhythmic and set-class similarity measurements were proposed. The most advanced results were attained by employing the automated function generation – comparable with the so-called genetic programming – to search for an optimal model for set-class similarity measurements. However, the results of CSA seem to agree strongly, independent of the type of similarity function employed in the analysis.

Aivojen rakkaudesta musiikkiin

Kirjallisuusarvostelu

Musikaliska möten man minns : om musikundervisningen i årskurserna sju till nio som en arena för starka musikpplevelser

Earlier research has shown that strong experiences related to music (SEM) can occur in very different contexts and take on many different forms. Experiences like these seem significant and have among other things reportedly had an affect on the individual's continuing relationship towards music, which makes them interesting from a pedagogical point of view. Formal teaching situations, though, are under-represented in studies where people have been asked to describe strong experiences that they have had in connection with music. The purpose of my thesis is to investigate what SEM may mean to pupils and teachers in lower secondary school (grades 7-9), and to inquire more deeply into the potential "space" for such experiences within school music education. On a comprehensive level my ambition is to deepen the understanding for SEM as a possible element in pedagogical situations. Three empirical perspectives are employed: pupil-, teacher- and curriculum perspectives. The pupil perspective involved an analysis of written accounts of 166 fifteen-year-olds, describing own strong experiences. The teacher perspective involved studying 28 music teachers' conceptions of the purpose of teaching music in school as well as their understanding about strong music experiences in school context. Further, the teachers' descriptions of SEM that they have had themselves were analysed. The curriculum perspective is reflected through a study of how music experience was represented in 24 local and 2 national curriculum texts for music. Grounded in a phenomenological-hermeneutical perspective the material have been analyzed both qualitatively and quantitatively. The result points towards the fact that the music education in school has the potential to become an arena for SEM and that this can happen in relation to a multitude of activities and genres and take on many different expressions. Only one pupil referred to a musical encounter in the classroom environment; all other experiences that occurred inside the frame of school activity had taken place in other arenas (the school hall, public concert halls, and so on). However, more than 98 % of the descriptions concerned musical encounters in leisure time contexts. The significance of SEM is further clarified by narrative constructions. SEM as a conception does not occur on the curriculum level; however the analyze revealed a number of interesting "openings" which are illustrated. Even though all teachers displayed a fundamentally positive attitude towards the idea of regarding SEM as a feature of formal musical learning, it became clear that many teachers never had approached this theme from a pedagogical point of view before. Still, they proved to have an evident "familiarity" towards the phenomenon based on their own experiences of receptive and performative musical encounter. The possible space for strong musical experiences within school music education is specified through a detailed illustration of six specific themes derived from the reasoning of the teachers. Furthermore, this is described through a mapping of the potential experiencing zone, constructed from the teachers descriptions of educational aims.

[My Lady Hundon's Puffe]

Soitinnus: kitara.

[Fantasia]

Soitinnus: kitara.

[Rosenlied]

Soitinnus: lauluääni (mezzosopraano), piano.

[Preludi ja fuuga a-molli, BWV 543]

Soitinnus: urut.

[May Night]

Soitinnus: piano.

[Säf, säf susa ; Die stille Stadt]

Soitinnus: lauluääni (mezzosopraano), piano.