Desarrollo de la audición musical en prácticas curriculares y extracurriculares de estudiantes de composición y arreglos
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Resumen
“I am a Music teacher of a subject called Auditory Training,” Genoveva Salazar Hakim tells us at the beginning of the book. This is the starting point from which it embarks on a journey through those tensions that reveal their origins, causes, developments and consequences. The territory covered is that of auditory training, a paradoxical and kaleidoscopic space, at the crossroads of the demands of the mastery of musical notation of the musicians of the century. XIX and the needs that the protagonists of the post-literate musical culture have. Personally, I share this professional field with her and I can say that perhaps this is one of the most brutal academic-musical spaces. and inexplicably generates adhesions, frustrations, submissions, stigmatizations, violence and renunciations. The view with which Genoveva makes this journey is frankly that of a sensitive, attentive, critical and intelligent teacher, unreservedly concerned about her students, as sensitive and creative beings, their musical development and their links with culture. Therefore, the object of study here is clearly that sensitivity, reported by its own bearers. Here the author She is deeply committed to the universe she investigates. He does not dress in antiseptic suits in order not to become contaminated; On the contrary, he is deeply interested in the fate of the people and institutions he analyzes and presents his work as part of his commitment to their well-being.