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ilustraciones, fotografías color En la actualidad, componer una pieza colombiana basada en la música del pacífico se está volviendo cada vez más popular en el territorio colombiano, ya que esta región maravillosa ofrece una variedad y riqueza musical que cada vez se está explorando con más frecuencia tanto en el ámbito académico como popular. Desde obras académicas como conciertos, suites, fantasías, etc., hasta canciones y fusiones populares han estado elaborándose recientemente, sin embargo, esta es la primera vez que se compone una suite para trompeta y marimba de chonta como instrumentos solistas. Por lo tanto, este trabajo propone explicar el proceso creativo de la Suite Marimpeta, inspirada en tres ritmos tradicionales del pacifico colombiano: el currulao, el aguabajo y la rumba. La elaboración surge como necesidad de promover la gran riqueza musical que tiene el folclor del pacifico colombiano y que representa la base principal de inspiración para esta composición. Consecuentemente, podremos encontrar una fusión entre la música tradicional del pacifico y la europea a través de la mezcla sonora de la trompeta y la marimba de chonta, acompañados de instrumentos tradicionales como él bombo, cununo, guasá e instrumentos sinfónicos como violines, contrabajo y piano. Para tal objetivo, se realizó una investigación en las que se resaltan algunas personalidades de la región del pacifico como algunas de sus agrupaciones más importantes, además de la llegada y evolución de la trompeta en esta región por parte de algunos referentes de este instrumento, considerando que Colombia es un país lleno de una gran diversidad cultural que encontramos claramente en la música tradicional del pacífico. (Texto tomado de la fuente) Currently, composing a Colombian piece based on the music of the Pacific is becoming increasingly popular in the Colombian territory, since this wonderful region offers a musical variety and richness that is being explored with more frequency in the academic field as much as in the culture. From academic masterpieces like concerts, suites, fantasies, etc., to songs and popular fusions that have been recently created; however, this is the first time that a trumpet and marimba de chonta suite has been composed as solo instruments. Hence, this document explains the creative process of the Marimpeta Suite, which is inspired by three different rhythms of the Colombian pacific: Currulao, Aguabajo, and Rumba. The elaboration arises as a need of promoting the great musical richness that Colombian pacific folklore possesses and it also represents the main inspirational reason for this composition. Therefore, we can find a fusion between the traditional pacific and European music through the sound mixture of the trumpet and marimba de chonta, altogether with traditional instruments such as Bombo, Cununo, Guasá and symphonic instruments such as violins, contrabass, and piano. Hereby, research on some pacific regions where the most representative groups are highlighted, additionally to the arrived and evolution of the trumpet within this region by the means of some artists of this instruments, considering that Colombia is a country overflowed with cultural diversity that is clearly found in the traditional music of the Pacific. Maestría Maestría en Interpretación y Pedagogía Instrumental

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Resumo Este pequeno ensaio é uma discussão sobre os significados da expressão música popular. Nosso ponto de partida provém das constatações de Richard Middleton sobre a polissemia da música popular. No entanto, problematizamos as questões de Middleton quando o cotejamos com a perspectiva dos Estudos Culturais sobre o que se entende por cultura popular, bem como com a perspectiva da teoria crítica sobre o que se entende por vanguarda. Assim, a expressão música popular, mais que um conceito, torna-se um campo em disputa pelas várias forças culturais que constituíram a sonoridade contemporânea, do folclore ao modernismo, da cultura de massa ao experimentalismo. Absctract This short essay is a discussion of the meanings of the expression popular music. Our starting point are Richard Middleton’s findings on the polysemy of popular music. However, we problematize the discussion of Middleton when we compare it with the perspective of Cultural Studies on what is meant by popular culture, as well as with the perspective of Critical Theory about what is understood by the vanguard. Thus, the expression popular music, rather than a concept, becomes a field for disputing various cultural forces that constituted the contemporary sonority, from folklore to modernism, from mass culture to experimentalism.

Made available in DSpace on 2019-10-03T17:31:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2018. Added 1 bitstream(s) on 2021-07-14T17:52:27Z : No. of bitstreams: 1 S0101-90742018000100301.pdf: 86336 bytes, checksum: 8f3574f97ca79bbfa3856df75684be36 (MD5) Resumo Este pequeno ensaio é uma discussão sobre os significados da expressão música popular. Nosso ponto de partida provém das constatações de Richard Middleton sobre a polissemia da música popular. No entanto, problematizamos as questões de Middleton quando o cotejamos com a perspectiva dos Estudos Culturais sobre o que se entende por cultura popular, bem como com a perspectiva da teoria crítica sobre o que se entende por vanguarda. Assim, a expressão música popular, mais que um conceito, torna-se um campo em disputa pelas várias forças culturais que constituíram a sonoridade contemporânea, do folclore ao modernismo, da cultura de massa ao experimentalismo. Absctract This short essay is a discussion of the meanings of the expression popular music. Our starting point are Richard Middleton’s findings on the polysemy of popular music. However, we problematize the discussion of Middleton when we compare it with the perspective of Cultural Studies on what is meant by popular culture, as well as with the perspective of Critical Theory about what is understood by the vanguard. Thus, the expression popular music, rather than a concept, becomes a field for disputing various cultural forces that constituted the contemporary sonority, from folklore to modernism, from mass culture to experimentalism. Universidade Estadual Paulista Universidade Estadual Paulista

Este projecto de aplicação do Método Húngaro no Ensino Especializado da Música – “Música tradicional na Iniciação Musical: Uma proposta de ordem de aprendizagem” – foi previsto para funcionamento na turma de 1º ano de Iniciação Musical no Conservatório Regional de Setúbal. O Método Húngaro foi desenvolvido na década de 40 a partir do Conceito de Educação Musical de Kodály e foi já adaptado a muitos países, independentemente das características da sua música tradicional e dos sistemas de leitura utilizados por norma. Este projecto formulou uma proposta de ordem de aprendizagem dos nomes das notas através de repertório tradicional português. Esta ordem de aprendizagem é apenas numa fase inicial igual à sequência utilizada na Hungria, progredindo posteriormente para um contexto tonal. Foram realizados registos em formato vídeo da performance da turma do repertório tradicional recolhido para o 1º ano. Este é um projecto em continuidade, que terá aplicação prática nas próximas turmas de Iniciação Musical. ABSTRACT - This project of application of the Hungarian Method to the Specialized Music Education – “Folk music in Early Childhood Music Education: Proposing a learning sequence” – was designed to function in a 1st grade class of Early Childhood Music Education in Conservatório Regional de Setúbal. The Hungarian Method was developed in the 1940s from the Kodály Concept of Music Education and has since been adapted in many countries, regardless of the characteristics of their folk music and the pitch labeling systems used. This project framed a proposal of a learning sequence of relative pitch names through Portuguese folk repertoire. The sequence of tone-sets is equal to the Hungarian one merely at the beginning, moving on to a tonal context. The class' performance of the folk repertoire for the 1st grade was recorded in video format. This project is a work in progress, which will be applied in the next years to the classes of Early Childhood Music Education.

Traditional music performance on the Maltese islands of Malta and Gozo, better known as għana, is predominantly vocal, covered in a limited melodic repertoire and with a strong emphasis on textual content related to a local audience. It includes different types of sub-genres, partly singing and improvised in words without further preparation. In particular is a loose term for performing words with forced and tense voice, over long melodic lines and stretched and distorted across long ornamental passages. So far three theories have focused on the origin of Għana la Bormliża : (1) the Spanish,Sicilian origin (assuming that any other Maltese folk music is non,existent); (2) the Arabic,European symbiosis; (3) the indigenous origin. The performance merits attention only while performed locally (and in Australia by Maltese migrants). Until recently it contained attitudes in the affiliation to distinct class division, but it is virtually incomprehensible to any but the initiated in a distinct music milieu. The presentation will focus on the collision and opposition between music and performance, and on possible influences from European and non,European context. Furthermore, its social function is changing within a new cultural context while been recently resuscitated in a process of proactive enculturation., peer-reviewed

Después de la apertura a las diferentes culturas y tradiciones que supuso el Concilio Vaticano II respecto de la liturgia católica, las músicas locales se introdujeron en el desarrollo de las ceremonias religiosas en todo el orbe del catolicismo y también en la actual Región de Murcia (España), donde surgió una variedad de músicas para misa basadas en el folclore musical local, de las que aquí mostramos sus orígenes y parte de su difusión posterior. After opening to different cultures and traditions that Vatican II represented on Catholic liturgy, local music were introduced in the development of religious ceremonies of Catholicism throughout the world and also in the current region of Murcia (Spain), which emerged a v ariety of music for Mass based on local musical folklore, of which we show h ere its origins and some of its further dissemination .