User:Mcguirp/Music education
Music Education in Latin America
[edit]Historical Aspects of Music Education
[edit]Among the Aztecs, a great variety of instruments were used for two main purposes: to curate and play - religious music (the purview of specialized priests; and to perform court music - (played daily for the Aztec ruling class.) [1] The education of Aztecs of all social ranks, were conducted in schools called calmecac, telpochcalli, and cuicacalli. [2] and was a requirement for all people. This emphasizes the great importance that music and dance played in the lives of the Aztecs. [1] In Mayan culture, musicians occupied a space between the elite and the common people. Music played a prominent role and professional musicians using a variety of wind instruments, drums and rattles to celebrate military victories. Music also played a prominent role in the funeral rites of the elite. [3]
With Spanish and Portuguese colonization, music began to be influenced by European ideas and principles.The Catholic Church used music education as a means to spread Christianity to local indigenous populations. [4] One example of an early educator is Esteban Salas considered the first Cuban native-born art music composer developed Santiago de Cuba into a center of music excellence in the country. [5] Salinas’ influence in the development of Cuban music includes a collection of over 100 music compositions that established him as the initiator of the Cuban art music tradition. [5] His legacy continues in modern-day Cuba where the Esteban Salas Early Music Festival is held every year in Havana. The festival attracts classical music artists from around the world to perform and teach music following the tradition of Esteban Salinas. [6]
Since music was taught to the general public by rote, until the nineteenth and twentieth centuries, very few people knew how to read music other than those who played instruments. [4] The development of music in Latin America mainly followed that of European development: [4] Choirs were formed to sing masses, chants, psalms; secular music also became more prevalent in the seventeenth and eighteenth centuries and beyond.[7]
Music Education Today
[edit]Today, music education in Latin America places a large emphasis on folk music, masses, and orchestral music. Many schools teach their choirs to sing in their native language as well as in English. Several Latin American Schools, specifically in Puerto Rico and Haiti, believe music to be an important subject and are working on expanding their programs. In Puerto Rico, there is no official music education policy governing early childhood music instruction. [8] Outside of school, many communities form their own musical groups and organizations their performances being very popular with the local audiences. There are a few well-known Latin American choral groups, such as "El Coro de Madrigalistas" from Mexico. This famous choral group tours around Mexico, showing students around the country what a professional choral ensemble sounds like.[9] There is also evidence of the positive impact of participation in youth orchestras and academic achievement and resilience in Chile.[10]
Benefits of Music Education
[edit]Music education can improve academic results in children. [11] In Colombia, the Medellin Music School network has been in operation for over two decades. It has been demonstrated that students involved in this music program have better academic achievement and are less inclined to participate in violence. The music program increases chances of graduation for participants. [12]
Music Education and Indigenous Cultures.
[edit]Beyond traditional choral music, young Latin American artists are now using hip-hop as a way to promote the revitalization of indigenous languages and celebrate traditions that originated before the Spanish Conquest. [13] Hip-hop in Latin America now acts as a voice of the oppressed, establishing this form of music as an expression of social revolution. [14] Throughout Latin America, young indigenous artists are now using hip hop as a way to express their struggle against poverty and injustice. [14]
The new music coming out of Latin America all shows influences that go back to ancient Indigenous traditions. [13] Uchpa and Alborada are two successful Peruvian bands who have celebrated their indigenous roots. [15] From Chile, Jaas Newen's song “Inche Kay Che” calls for the defense of traditional Indigenous culture. The song “Koangagua” by Brazilian group Brô MC’s examines how Indigenous and modern Brazilian cultures can come together in music. “Presente y Combativo” by Parce MC, Mugre Sur, Sapín celebrates the life of a Bolivian rapper who was murdered in 2009. [13] There are many more examples that show the originality and creativity of modern Latin American music.
References
[edit]- ^ a b Both, Arnd Adje (2007). "Aztec Music Culture". The World of Music. 49 (2): 91–104. ISSN 0043-8774.
- ^ Szoblik, Katarzyna (2020). "Traces of Aztec Cultural Memory in Sixteenth-Century Songs and Chronicles: The Case of Tlacahuepan". The Americas. 77 (4): 513–537. doi:10.1017/tam.2020.35. ISSN 0003-1615.
- ^ Healy, Paul F. (1988). "Music of the Maya". Archaeology. 41 (1): 24–31. ISSN 0003-8113.
- ^ a b c de Couve, Alicia C.; Pino, Claudia Dal; Frega, Ana Lucía (2004). "An Approach to the History of Music Education in Latin America: Part II: Music Education 16th–18th Centuries". Journal of Historical Research in Music Education. 25 (2): 79–95. doi:10.1177/153660060402500203. ISSN 1536-6006.
- ^ a b Lorenzino, Lisa (2013). "Esteban Salas and His Legacy of Music Education in Cuba". Journal of Historical Research in Music Education. 34 (2): 101–118. doi:10.1177/153660061303400203. ISSN 1536-6006.
- ^ Wissner, Reba (2014-01-31), "Early Music America", Oxford Music Online, Oxford University Press, retrieved 2021-11-13
- ^ De Couve, Alicia C.; Pino, Claudia Dal; Frega, Ana Lucía (1997). "An Approach to the History of Music Education in Latin America". The Bulletin of Historical Research in Music Education. 19 (1): 10–39. doi:10.1177/153660069701900102. JSTOR 40214944. S2CID 164674939.
- ^ Hernández-Candelas, Marta (2007-11). "Policies for Early Childhood Music Education in Puerto Rico". Arts Education Policy Review. 109 (2): 27–32. doi:10.3200/AEPR.109.2.27-32. ISSN 1063-2913.
{{cite journal}}: Check date values in:|date=(help) - ^ Lawler, Vanett (1945). "Music Education in Fourteen Latin-American Republics". Music Educators Journal. 31 (4): 20–30. doi:10.2307/3386758. JSTOR 3386758. S2CID 144470265.
- ^ Lawler, Vanett (2019). "The impact of art-education on human Capital: An empirical assessment of a youth orchestra". International Journal of Educational Development. 71 (1): 102105. doi:10.1016/j.ijedudev.2019.102105. JSTOR 102105.
- ^ Kraus, Nina; White-Schwoch, Travis (2020). "The Argument for Music Education". American Scientist. 108 (4): 210. doi:10.1511/2020.108.4.210. ISSN 0003-0996.
- ^ Gómez-Zapata, Jonathan Daniel; Herrero-Prieto, Luis César; Rodríguez-Prado, Beatriz (2021-03). "Does music soothe the soul? Evaluating the impact of a music education programme in Medellin, Colombia". Journal of Cultural Economics. 45 (1): 63–104. doi:10.1007/s10824-020-09387-z. ISSN 0885-2545.
{{cite journal}}: Check date values in:|date=(help) - ^ a b c Villalobos, Mariángel. ""The Indigenous Voice Is the Voice of Today": A Music Video Playlist of Indigenous Latin American Hip-Hop". Smithsonian Center for Folklife and Cultural Heritage. Retrieved 2021-11-08.
{{cite web}}: CS1 maint: url-status (link) - ^ a b Hip hop as empowerment: voices in El Alto, Bolivia Authors Ariana TarifaSource InformationJune 2012, Volume25(Issue4)Pages, p.397To - 415 - International Journal of Qualitative Studies in Education
- ^ Tucker (2011). "Permitted Indians and Popular Music in Contemporary Peru: The Poetics and Politics of Indigenous Performativity". Ethnomusicology. 55 (3): 387. doi:10.5406/ethnomusicology.55.3.0387.
External links
[edit]- Inche Kay Che - Jaas Newen