Publication: Canon, tradicionalismo y vanguardia en los estudios superiores de conservatorio
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2016-11-29
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Universidad Complutense de madrid
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Abstract
Ante la ausencia de músicas de vanguardia en los programas de estudio de conservatorios superiores de diferentes partes del mundo, esta tesis toma el Conservatorio Superior de Música de la Ciudad de Buenos Aires Ástor Piazzolla como estudio de caso instrumental. A partir de un programa implementado en el año 2011 en los cursos de Piano Superior dictados en ese conservatorio propugnando la inclusión de músicas contemporáneas en los recitales públicos de egreso, se indaga en la tensión Tradición–Vanguardia en las aulas de esa institución y los modelos de gestión resultantes. Si bien se trata de una investigación en apariencia local, enmarcada en contextos culturales específicos, la bibliografía y la evidencia que se presentan permiten una indagación global del conservatorio, este concebido como entidad (Chasins, 1974; Kingsbury, 1988; Nettl, 1995; Kramer, 1996; Musumeci, 1998, 2001, 2002, 2003, 2004, 2007, 2008). Se trata de un estudio que apela a la metodología de indagación cualitativa (Denzin y Lincoln, 2005), a la indagación etnográfica y autoetnográfica presentada narrativamente (Alexander, 2005; Clandinin y Connelly, 2000; Clandinin, 2007; Wolcott, 2001), y a la indagación basada en las artes e informada mediante las artes (Mello, 2007). Por pertenecer el investigador a la institución indagada, se han considerado también enfoques de investigación-acción (Stenhouse, 1998) con posicionamiento de experiencia próxima/experiencia lejana (Geertz, 1983). Los componentes del diseño de la investigación se encuentran diagramados en un todo interactuante (Maxwell, 1996). Los resultados de esta indagación permiten afirmar que, más allá de que el conservatorio se ofrece a la sociedad como un espacio dedicado a las músicas de vanguardia, tal propuesta no tiene correlato con su verdadera identidad y gestión cultural, que excluyen la vanguardia para optar por una gestión y repertorios tradicionales. Se concluye que los motivos de este oxímoron se remontan al modelo del conservatorio francés de fines del siglo XIX y comienzos del XX, fuente en la que se basaron los primeros conservatorios argentinos y en la sigue reflejando la formación del pianista clásico profesional en el seno de la institución.
Provided the absence of avant-garde music in the programs of studies of conservatories around the world, this dissertation focuses on the Conservatorio Superior de Música de la Ciudad de Buenos Aires Ástor Piazzolla as an instrumental case study. In 2011 a new program was implemented in the piano courses for advanced students taught at this conservatoire, favoring the inclusion of contemporary music in the public recitals given by graduating students. This dissertation examines the tension between Tradition and Avant-Garde within this institution and the different institutional political models of decision-making related to it. Even though this may seem a local type of research that takes place within a specific cultural framework, the bibliography and the evidence presented later allow for a global inquiry on the conservatory as an institution. The study is informed by qualitative research methodologies (Denzin y Lincoln, 2005), narratively presented ethnographic autoethnographic inquiry (Alexander, 2005; Clandinin y Connelly, 2000; Clandinin, 2007; Wolcott, 2001), and arts-based and arts-informed inquiry (Mello, 2007). Since the investigator belongs to the institution under study, action-research approaches (Stenhouse, 1998) have been taken into account with experience-far, experience-near perspectives (Geertz, 1983). The details of the design of the investigation can be found diagramed in an interactive approach (Maxwell, 1996). Based upon the results from this research it is possible to state that even though the Conservatory presents itself to society as a space devoted to avant-garde music, the reality shows that this description does not match the real politics of decision-making in the administration of the institution, which exclude the vanguard and chooses traditional conceptions and repertoires. The reasons for this oxymoron are based on the French conservatory model at the end of the 19th century and begining of the 20th, upon which the first Argentinian conservatories were conceived and which continue to impact the training of profesional classical pianists within the institution.
Provided the absence of avant-garde music in the programs of studies of conservatories around the world, this dissertation focuses on the Conservatorio Superior de Música de la Ciudad de Buenos Aires Ástor Piazzolla as an instrumental case study. In 2011 a new program was implemented in the piano courses for advanced students taught at this conservatoire, favoring the inclusion of contemporary music in the public recitals given by graduating students. This dissertation examines the tension between Tradition and Avant-Garde within this institution and the different institutional political models of decision-making related to it. Even though this may seem a local type of research that takes place within a specific cultural framework, the bibliography and the evidence presented later allow for a global inquiry on the conservatory as an institution. The study is informed by qualitative research methodologies (Denzin y Lincoln, 2005), narratively presented ethnographic autoethnographic inquiry (Alexander, 2005; Clandinin y Connelly, 2000; Clandinin, 2007; Wolcott, 2001), and arts-based and arts-informed inquiry (Mello, 2007). Since the investigator belongs to the institution under study, action-research approaches (Stenhouse, 1998) have been taken into account with experience-far, experience-near perspectives (Geertz, 1983). The details of the design of the investigation can be found diagramed in an interactive approach (Maxwell, 1996). Based upon the results from this research it is possible to state that even though the Conservatory presents itself to society as a space devoted to avant-garde music, the reality shows that this description does not match the real politics of decision-making in the administration of the institution, which exclude the vanguard and chooses traditional conceptions and repertoires. The reasons for this oxymoron are based on the French conservatory model at the end of the 19th century and begining of the 20th, upon which the first Argentinian conservatories were conceived and which continue to impact the training of profesional classical pianists within the institution.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Educación, Departamento de Expresión Musical y Coporal, leída el 14/01/2016. Retirada por expreso deseo del autor.