Documents found
-
611.
-
614.
-
615.More information
The Training certificate of music teacher functions of the Conservatoire national supérieur de musique et de danse de Paris is organized into different modules since 2009. Among them, the module B “Train the Trainer” is evaluated by an oral where the student must “be able to decrypt the knowledge (skills, programs, methods) and the means implemented in an observed in lesson of music” (cf. Booklet of the Department of Teacher Education of the Paris Conservatoire 2010). After watching a movie about an instrumental or vocal lesson, the student must describe, analyze and prepare a commentary that allows an assessment of his knowledge of pedagogy, the quality of his analysis, the relevance of his remarks and the corrections that he would propose to the teacher. We study the correlation between the stated objectives of this module and the results obtained by an analysis of oral skills of students in this test. For this, we rely on the transcript of the student feedback that we compare to the stated objectives of this review and the various expectations of juries and taking as reference the theoretical framework described by Hammerness, Darling-Hammond and Brandsford (2005).
-
616.More information
Every generation has its music, which expresses specific ways of thinking about the world and informs the structures of the social imaginary. Pop music in Bulgaria is analyzed here in terms of discursive strategies and the structure of narratives of identity. This analysis goes beyond rocks subversive image to discuss the way in which pop music's discourse of love can construct a history that reflects, in individual terms, the dominant discourse of the era. Thus, the rock genres of the communist regime and the period that followed, and the pop-folk of the 1990s respectively construct, demolish and reconstruct a particular ideological narrative. Pop-folk music, the syncretic expression of the post-communist dialectic, reflects a profound change in strategies of identity. It transforms the musical and textual discourse of both the traditional folksong and the socialist estrada, and produces its own individual narrative that relates to the new social context. In this way, at specific moments in social history, music manages to create meaningful eschatalogical horizons that seem to express the transformation of social identities.
-
617.
-
619.More information
The comparative analysis of paths here represents a basis for questioning the very notion of acclaim, its mutations and mediations, through the lens of nationalist mass culture, promoted starting in the 1930s in Brazil. While the almost canonical path of Villa-Lobos, the “Brazilian genius, ” seems obvious, it is surprising to note that the “reconversion from the ground up” of Radamés Gnattali in popular Brazilian music would also end up bearing its fruits a few decades later. He would achieve national recognition as the “civilizer” of popular music on the radio, reaching national and international acclaim in the field of art music, all this in the context of a reconfiguration of the relations between popular music and art music starting in the 1950s, then in the context of the military dictatorship in the 1960s.
Keywords: configuration, vocation, consécration, reconversion, musique savante, musique populaire, Brésil, industrie culturelle, enseignement musical, art music, popular music, Brazil, recognition, cultural industry, music teaching, música erudita, música popular, Brasil, consagración, industria cultural, enseñanza musical
-
620.More information
Dominance is most often understood from the dominant's perspective rather than that of the dominated. The Eurocentric Western system's narratocracy, from which contemporary composition has evolved, is in need of a significant shift. This shift towards decolonization is crucial in fostering a more inclusive worldview and transforming the existing narratocracy. The transformation of institutions necessitates a profound shift towards decolonization and indigenization. This reorientation, fostered by an altered worldview, is crucial in promoting inclusivity and countering the existing narratocracy. Artistic practices, which include contemporary compositions, are rooted in the traditions and norms of the past. This is understandable regarding method and practice but can not apply to sociocultural traditions and present-day concerns that aim to counteract dominant cultural biases such as decolonization.
Keywords: autochtone, composition, domination, contemporain, appropriation