Origen, Trayectoría Y Efectividad De La Formación De Enseñanza Media Técnico Profesional en Chile

Abstract

Resumen En Chile, los orígenes de la enseñanza técnica profesional se remontan al siglo dieciocho. Respondiendo a las emergentes necesidades de contar con recursos humanos especializados se establecieron los primeros establecimientos escolares de esta modalidad de enseñanza. A través del análisis de la trayectoria de la formación profesional se pueden apreciar diferentes momentos históricos, situaciones y características, referidas tanto a las instituciones y especialidades impartidas, como a su efectividad en cuanto a los requerimientos de la sociedad. El artículo da cuenta de parte del trabajo realizado en el Proyecto Fondecyt Nº1100473, institución a la que se agradece como también a quienes han colaborado en la realización del estudio.

Informal and non formal music experience: power, knowledge and learning in music teacher education in Chile

“…Repertoires are linked to specific cultural codes, referring to a cultural basis historically built from experiences of “doing music.” At the same time, the distinction between performing one or another type of repertoire implies assuming a degree of specialization inherent in each one of them (Bernstein 1999). In particular, popular and folk repertoires done by our respondents refer to a type of language segmentally defined as “oral, local, context-dependent and specific, tacit, multi-layered, and contradictory but not within contexts” (Bernstein, 1999, in Poblete, 2016, p 39).…”

“…Together these studies provide important insights into the relation between musical experiences and contexts and spaces of socialization: from studies that distinguish the influence of diverse agents in the configuration of the musical experience (Cremades, 2011; Graziano, 1991; Stålhammar, 2003, 2004), the acquisition of new repertoires and the development of new ways of learning in different contexts (Cremades & Herrera, 2008; Green, 2001; Karlsen, 2011; Poblete, 2016; Wright, 2008, 2016), to the influences of cultural capital, contexts of practices and the sociocultural configurations of the musical experience (DeNora, 2004; Wright, 2010; Wright & Froehlich, 2012).…”

“…Repertories are understood as a complex area of musical knowledge that conceptualizes aesthetic and cultural boundary-making processes. In the words of Poblete (2016), musical repertories constitute a specialized cultural basis, part of the professional knowledge of music teachers, which represents the hearth of knowledge for the discipline. It implies the mastery of technical knowledge, as well as highly elaborated cultural devices that respond to intra- and extra-musical factors.…”

“…It implies the mastery of technical knowledge, as well as highly elaborated cultural devices that respond to intra- and extra-musical factors. Here we classify repertories by combining categories described by Tagg (1982) and concepts of vertical and horizontal discourses of Bernstein (1999) to establish a relation of homology between musical repertoires and types of knowledge, differentiated in terms of specialized languages associated with specific practices, and the culture and contexts in which they are performed (Poblete 2016).…”