Ricercare, Núm. 14 (2021)
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Ítem Enseñanza colectiva de la guitarra: una investigación bibliográfica en las actas de los encuentros anuales de la ABEM entre 2003-2017(Universidad EAFIT, 2021-03-04) Amat, Carlos Augusto; Correa, León; Universidad de GranadaEsta pesquisa teve como objetivo geral mapear e analisar as publicações acerca do ensino coletivo de violão nos Anais dos Encontros s da ABEM entre os anos 2003- 2017. A partir do método de pesquisa bibliográfica, a investigação categorizou e analisou as publicações nesta fonte de divulgação cientifica específica. Através da análise e reflexões sobre os materiais coletados, foram identificadas: 51 publicações já realizadas na temática no período 2003-2017; realizou-se a quantificação de incidências das palavras chave; identificou-se 22 trabalhos de pesquisa e outros 29 de relatos de experiência, os quais foram categorizados pelos seus objetivos correspondentes; da mesma forma categorizou-se os níveis acadêmicos dos trabalhos, separados por aqueles que são de monografia, mestrado, doutorado e especialização. Finalmente, identificou-se os contextos sociais e culturais que permeiam o desenvolvimento das práticas ou investigações encontradas.Ítem Reflexiones sobre la percepción musical: El cuerpo artificial y la empatía(Universidad EAFIT, 2021-03-04) Hidalgo Valbuena, Crhistian Esteban; Universidad INCCA de ColombiaLa conexión emocional que el receptor experimenta mientras escucha la música, es un concepto de vaga definición en la investigación en música. Alrededor de hace tres décadas, apareció la psicología musical como disciplina para intentar comprender este fenómeno y, recientemente, la neurociencia y los estudios humanísticos se han visto involucrados también en el tema. Sin embargo, los científicos todavía no han completamente entendido las implicaciones de las respuestas automáticas e inconsciente del escucha. En línea con autores y estudios modernos que sugieren que la empatía es el principal órgano de percepción debido a la ilusión de un cuerpo artificial, este artículo presenta un acercamiento interdisciplinario para entender las emociones que derivan del escuchar música.Ítem Staring Wei Jie to Death(Universidad EAFIT, 2021-03-04) Nacimiento Brito, Paulo do; University of TorontoStaring Wei Jie to Death uses the notion of evocation to give musical form to a peculiar story from ancient China. Wei Jie is a historical figure who served as a court official under the Jin dynasty during the late 3rd to early 4th centuries C.E. The Book of Jin relates that he was legendary even in his own time for his astonishing physical beauty, and that it proved to be the cause of his death. For when the Jin empire was threatened by barbarian invaders, Wei Jie fled south, to the city known today as Nanjing; there, people were so eager to catch a glimpse of his unearthly beauty that a crowd gathered to see him arrive. But Wei Jie, frail in health, could not withstand the force of their collective gaze, and thus, the story goes, he was stared to death. Rather than narrating events in a linear or programmatic fashion, Staring Wei Jie to Death instead takes certain aural “cues” from the ancient text and calls upon the orchestra to evoke the textual narrative by giving sound to key elements associated with it. Each of the work’s four sections is constructed around one of these elements, moving from sonically “concrete” to “abstract”: the ringing of jade in “The Man of Jade” (jade being a Chinese metaphor for beauty), the din of battle in “Great Chaos under Heaven,” the remote splendor of “Ancient Nanjing,” and finally, the consuming power of the gaze in “Staring Wei Jie to Death.”Ítem Educación Musical para la Paz: Proyectos musicales con fines sociales(Universidad EAFIT, 2021-03-04) Cobo Dorado, Karina; Université Toulouse-Jean Jaurès, École supérieure des beaux-arts de ToulouseMusical programs with a social vocation, currently widely spread throughout the world, constitute genuine professional spaces where music teachers play the role of peace mediators. There, music becomes a peace-building tool not only thanks to its expressive and artistic dimension, but also to the proper management of the pedagogical situations in which one learns. This article is a reflective essay based on an exploratory research on the music-social programs of the Batuta Foundation in Colombia and Démos in France. In these cases, music education for peace can be considered as a process of cultural democratization, in which creativity, group dynamics and territorial social inclusion are developed, and where planning and pedagogical innovation are essential. Teacher training must therefore adapt to these new challenges and needs of contemporary society.