Unveiling the Dark Side of Tonewoods: A Case Study about the Musical Instrument Demand for the Venezuelan Youth Orchestra El Sistema

Niscia, Attilio Lafontant Di

doi:10.22176/act18.3.259

Cited by 14 publications

(1 citation statement)

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“…Esto ha permitido controlar ecosistemas, lo que propicia la obtención de recursos para construir herramientas y tecnologías, como los instrumentos musicales (Morley, 2013). Es decir, el ser humano capitalizó culturalmente el medio ambiente, estableciendo relaciones de poder con la naturaleza misma, pues otras especies vegetales y animales comenzaron a subordinarse dada la necesidad cultural y humana de practicar y vivir la música (Fischer et al, 2019;Lafontant, 2019).…”

Section: Resultsunclassified

Capital y educación musical: Análisis desde la controversia

Angel-Alvarado

2023

Revista Interuniversitaria de Formación del Profesorado (RIFOP)

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El capital se entiende como los elementos materiales y simbólicos que se valoran socialmente y que son acumulados por las personas, lo que da lugar a brechas sociales porque el capital no se acumula de manera justa y equitativa en la población. El presente estudio busca analizar el capital musical y sociomusical desde las visiones del capitalismo y el Capitaloceno, pues se fundan en la acumulación de todo tipo de capital. En este sentido, se realiza un análisis deductivo desde el método comparativo constante, lo que implica procesos de categorización y codificación. Los resultados dan cuenta que la educación musical se concibe como productora y producto del capitalismo, pues se ha desarrollado a partir de la propiedad privada, los medios de producción y el lucro como incentivo comercial. Esto afecta paralelamente a los ecosistemas debido a que las materias primas para las actividades musicales se recogen de la naturaleza. Se concluye que el capitalismo en la música no es malo per se, pues las prácticas musicales otorgan innumerables beneficios al desarrollo de la personalidad humana y la vida en comunidad. Sin embargo, hay también mermas de carácter social debido a que la estructura sistémica da lugar a desigualdades, estereotipos y violencia. Se presentan implicaciones teóricas que servirían para profundizar el análisis.

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Section: Resultsunclassified

Capital y educación musical: Análisis desde la controversia

Angel-Alvarado

2023

Revista Interuniversitaria de Formación del Profesorado (RIFOP)

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Music education for social change: constructing an activist music education

Shevock

2021

Music Education Research

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Rethinking Social Action through Music

Baker

2021

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I gratefully acknowledge support from the Arts and Humanities Research Council, whose Leadership Fellowship (grant reference AH/P011683/1) enabled the fieldwork; Royal Holloway University of London, which assisted throughout the process and provided research leave to allow the drafting of the book manuscript; and Agrigento, whose trustees were patient and understanding during the final stages of writing and publication, permitting me to finish the project calmly. The Music & Letters Trust and Royal Holloway generously contributed towards the publication costs, and the Red kindly provided some of the photos.My thanks to all at Open Book Publishers, particularly Alessandra Tosi, Lucy Barnes, Anna Gatti, and Luca Baffa. I am thrilled to have the opportunity to publish this book in open access so that it can be freely available to readers in Latin America and around the world. Fig. 1. Archive of Red de Escuelas de Música. CC BY. 1All translations by the author. 2The Spanish term convivencia has more positive connotations than the English "coexistence." It suggests more than just tolerating others. There are hints of the English "conviviality."Music education has historically had a tense relationship with social justice. On the one hand, educators concerned with music practices have long preoccupied themselves with ideas of open participation and the potentially transformative capacity that musical interaction fosters. On the other hand, they have often done so while promoting and privileging a particular set of musical practices, traditions, and forms of musical knowledge, which has in turn alienated and even excluded many children from music education opportunities. Self-Critique, Change, and ConflictAfter I made a short reconnaissance trip to Medellín in 2016, the Red went through a change of leadership. When I arrived in 2017 to begin my fieldwork, the program had a new general director, and it was in a slightly tense state of transition and anticipation. At our first meeting, program leaders articulated a self-critique of the Red's history and a vision of change. It immediately became clear that there were interesting This continual dialogue led the Red to offer me a consultancy position in 2018 (one that I was unfortunately unable to take up for contractual reasons). I also dusted off my clarinet and joined in workshops for teachers and students, and I took part in professional development seminars for staff. In short, I became a participant observer. I interviewed the Red's first four general directors, in some cases more than once, and interacted extensively with the fifth, who was in charge during my fieldwork. I also had a conversation with the sixth, appointed in 2020, shortly before I finished this book. I carried out a large number of interviews with managers, staff, and students, but I also witnessed and took part in many discussions as I hung out with staff over lunch and in coffee breaks between meetings, and I had many informal, private conversations. Most interviews were undertaken under conditions o...

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Unveiling the Dark Side of Tonewoods: A Case Study about the Musical Instrument Demand for the Venezuelan Youth Orchestra El Sistema

Cited by 14 publications

References 5 publications

Capital y educación musical: Análisis desde la controversia

Capital y educación musical: Análisis desde la controversia

Music education for social change: constructing an activist music education

Rethinking Social Action through Music

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