Learning to Listen, Teaching to Understand: The Democratization of Music Analysis
The information society has enabled the universalization, to some extent, of the access to classical music. The emerging technologies have helped remove most of the geographic and economic barriers that prevented the entirety of mankind to reach this kind of music, giving birth to a whole new audien...
Guardado en:
| Autores principales: | , |
|---|---|
| Formato: | Artículo revista |
| Lenguaje: | Español |
| Publicado: |
Facultad de Filosofía y Letras, Universidad de Buenos Aires
2023
|
| Materias: | |
| Acceso en línea: | http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/12285 |
| Aporte de: |
| id |
I28-R250-article-12285 |
|---|---|
| record_format |
ojs |
| institution |
Universidad de Buenos Aires |
| institution_str |
I-28 |
| repository_str |
R-250 |
| container_title_str |
El oído pensante |
| language |
Español |
| format |
Artículo revista |
| topic |
music analysis methodology culture accessibility music divulgation music and audience metodología de análisis musical accesibilidad de la cultura divulgación musical música y público metodologia da análise musical acessibilidade da cultura divulgação da música música e público |
| spellingShingle |
music analysis methodology culture accessibility music divulgation music and audience metodología de análisis musical accesibilidad de la cultura divulgación musical música y público metodologia da análise musical acessibilidade da cultura divulgação da música música e público Fuentes Fernández, Samuel Díaz de la Fuente, Alicia Learning to Listen, Teaching to Understand: The Democratization of Music Analysis |
| topic_facet |
music analysis methodology culture accessibility music divulgation music and audience metodología de análisis musical accesibilidad de la cultura divulgación musical música y público metodologia da análise musical acessibilidade da cultura divulgação da música música e público |
| author |
Fuentes Fernández, Samuel Díaz de la Fuente, Alicia |
| author_facet |
Fuentes Fernández, Samuel Díaz de la Fuente, Alicia |
| author_sort |
Fuentes Fernández, Samuel |
| title |
Learning to Listen, Teaching to Understand: The Democratization of Music Analysis |
| title_short |
Learning to Listen, Teaching to Understand: The Democratization of Music Analysis |
| title_full |
Learning to Listen, Teaching to Understand: The Democratization of Music Analysis |
| title_fullStr |
Learning to Listen, Teaching to Understand: The Democratization of Music Analysis |
| title_full_unstemmed |
Learning to Listen, Teaching to Understand: The Democratization of Music Analysis |
| title_sort |
learning to listen, teaching to understand: the democratization of music analysis |
| description |
The information society has enabled the universalization, to some extent, of the access to classical music. The emerging technologies have helped remove most of the geographic and economic barriers that prevented the entirety of mankind to reach this kind of music, giving birth to a whole new audience. However, many of these new listeners find trouble when trying to decode the language and resources used in a significant part of the repertoire, specially the one emerged from the avant-garde movements from the 20th century. In this scenario, music analysis becomes an ideal tool to overcome these difficulties and break through the last barrier for the general audience to access classical music. But to reach this new audience, analysis itself must be democratized: it should focus on its most accessible methodologies and avoid becoming a victim of the technicalities it aims to decode. This democratization can only be achieved by observing the features of the new audience and by studying the available techniques that analysts can use to offer the new listeners the proper tools and methodologies to understand and enjoy classical music. |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2023 |
| url |
http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/12285 |
| work_keys_str_mv |
AT fuentesfernandezsamuel learningtolistenteachingtounderstandthedemocratizationofmusicanalysis AT diazdelafuentealicia learningtolistenteachingtounderstandthedemocratizationofmusicanalysis AT fuentesfernandezsamuel aprenderaescucharensenaraentenderlademocratizaciondelanalisismusical AT diazdelafuentealicia aprenderaescucharensenaraentenderlademocratizaciondelanalisismusical AT fuentesfernandezsamuel aprenderaouvirensinaracompreenderademocratizacaodaanalisemusical AT diazdelafuentealicia aprenderaouvirensinaracompreenderademocratizacaodaanalisemusical |
| first_indexed |
2023-11-08T21:10:20Z |
| last_indexed |
2025-05-13T05:03:36Z |
| _version_ |
1831980359299891200 |
| spelling |
I28-R250-article-122852025-04-14T20:02:52Z Learning to Listen, Teaching to Understand: The Democratization of Music Analysis Aprender a escuchar, enseñar a entender: la democratización del análisis musical Aprender a ouvir, ensinar a compreender: a democratização da análise musical Fuentes Fernández, Samuel Díaz de la Fuente, Alicia music analysis methodology culture accessibility music divulgation music and audience metodología de análisis musical accesibilidad de la cultura divulgación musical música y público metodologia da análise musical acessibilidade da cultura divulgação da música música e público The information society has enabled the universalization, to some extent, of the access to classical music. The emerging technologies have helped remove most of the geographic and economic barriers that prevented the entirety of mankind to reach this kind of music, giving birth to a whole new audience. However, many of these new listeners find trouble when trying to decode the language and resources used in a significant part of the repertoire, specially the one emerged from the avant-garde movements from the 20th century. In this scenario, music analysis becomes an ideal tool to overcome these difficulties and break through the last barrier for the general audience to access classical music. But to reach this new audience, analysis itself must be democratized: it should focus on its most accessible methodologies and avoid becoming a victim of the technicalities it aims to decode. This democratization can only be achieved by observing the features of the new audience and by studying the available techniques that analysts can use to offer the new listeners the proper tools and methodologies to understand and enjoy classical music. La sociedad de la información ha permitido universalizar, en gran medida, el acceso a la música clásica. Gracias a las nuevas tecnologías se han eliminado la mayoría de barreras geográficas y económicas para llevar este tipo de música a un nuevo público, que abarca potencialmente a toda la humanidad. Sin embargo, muchos de estos nuevos oyentes se encuentran con dificultades a la hora de decodificar el lenguaje y los recursos utilizados en gran parte del repertorio, especialmente el surgido a partir de las corrientes de vanguardia del siglo XX. Ante este escenario, el análisis musical se erige como una herramienta idónea para solventar estas dificultades y romper la última barrera de entrada a la música clásica. Pero para poder llegar a este nuevo público, el propio análisis debe democratizarse: centrarse en sus metodologías más accesibles y no ser víctima de los tecnicismos que aspira a decodificar. Esta democratización solo puede conseguirse observando las características del nuevo público y estudiando las distintas técnicas a disposición de los analistas para ofrecer las herramientas y metodologías adecuadas a los nuevos oyentes. A sociedade da informação tornou possível universalizar, em grande medida, o acesso à música clássica. Graças às novas tecnologias, a maioria das barreiras geográficas e económicas foram eliminadas para levar este tipo de música a um novo público, abrangendo potencialmente toda a humanidade. No entanto, muitos destes novos ouvintes têm dificuldade em descodificar a linguagem e os recursos utilizados em grande parte do repertório, especialmente a que emergiu das correntes vanguardistas do século XX. Perante este cenário, a análise musical surge como uma ferramenta ideal para ultrapassar estas dificuldades e eliminar a última barreira de entrada na música clássica. Mas para chegar a este novo público, a própria análise deve ser democratizada: deve focar-se nas suas metodologias mais acessíveis e não cair vítima dos aspectos técnicos que aspira a descodificar. Esta democratização só pode ser alcançada observando as características do novo público e estudando as diferentes técnicas à disposição dos analistas, a fim de oferecer as ferramentas e metodologias adequadas aos novos ouvintes. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2023-09-04 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/12285 10.34096/oidopensante.v11n2.12285 El oído pensante; Vol. 11 Núm. 2 (2023): Octubre, 2023 - Marzo 2024 El oído pensante; Vol 11 No 2 (2023): Octubre, 2023 - Marzo 2024 El oído pensante; v. 11 n. 2 (2023): Octubre, 2023 - Marzo 2024 2250-7116 spa http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/12285/11859 Derechos de autor 2023 El oído pensante |