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Bibliografías temáticas / Music – Ecuador

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Literatura académica sobre el tema "Music – Ecuador"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 1 de febrero de 2022

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Artículos de revistas sobre el tema "Music – Ecuador"

1

Wolkowicz, Vera. "Incan or Not? Building Ecuador’s Musical Past in the Quest for a Nationalist Art Music, 1900–1950." Journal of Musicology 36, no. 2 (2019): 228–60. http://dx.doi.org/10.1525/jm.2019.36.2.228.

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When the development of Ecuadorian national art music began at the end of the nineteenth century, composers and music historians followed European models and studied folklore as a window onto the past. In this quest to discover and articulate what was truly “Ecuadorian,” Incan culture occupied a complex position, sometimes hailed as a primary component of Ecuador’s musical heritage and sometimes dismissed as irrelevant. This article explores the music histories written by composers Pedro Pablo Traversari, Segundo Luis Moreno, and Sixto María Durán, and investigates a selection of Traversari’s compositions and Moreno’s music analyses. It demonstrates how they either included Incan culture in or excluded it from a national music history, in dialogue with scholars outside Ecuador. Early twentieth-century musical discourse in Ecuador produced a series of conflicting and converging perspectives on national and continental music that contribute to our understanding of the global history of nationalistic art musics.

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2

Schechter, John M., Carlos Alberto Coba Andrade, Jose Penin, Ronny Velasquez, and Marcelo Valdospinos Rubio. "Musica Etnografica y Folklorica del Ecuador." Latin American Music Review / Revista de Música Latinoamericana 12, no. 2 (1991): 204. http://dx.doi.org/10.2307/780091.

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3

Alberto, Carlos, and Coba Andrade. "Danzas Y Bailes En El Ecuador." Latin American Music Review / Revista de Música Latinoamericana 6, no. 2 (1985): 166. http://dx.doi.org/10.2307/780200.

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4

Windmeyer, J. "THE OTAVALEŃOS OF ECUADOR." Acta Ethnographica Hungarica 44, no. 3-4 (2000): 355–71. http://dx.doi.org/10.1556/aethn.44.1999.3-4.4.

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5

Wibbelsman, Michelle. "Encuentros: Dances of the Inti Raymi in Cotacachi, Ecuador." Latin American Music Review 26, no. 2 (2005): 195–226. http://dx.doi.org/10.1353/lat.2006.0014.

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6

Palacios, Fernando. "ARRULLOS, CHIGUALOS AND ALABAOS: TRADITIONAL AFRO-ESMERALDENIAN MUSIC IN ECUADOR." African Music: Journal of the International Library of African Music 11, no. 2 (2020): 119–40. http://dx.doi.org/10.21504/amj.v11i2.2317.

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In this article I examine traditional Afro-Esmeraldenian music as manifested in religious and spiritual contexts. I discuss the repertoire’s formal musical aspects and its associated factors. I argue that the traditional music of the Afro-Esmeraldenian community is evidence of a performance culture that has taken on the characteristics of first nation Americans and Spanish colonisers, while retaining a distinct African identity mostly in the musical instruments such as the marimba, rattles and drums, in the polyrhythms and in the distinctive responsorial singing. )e religious sphere is a fundamental and representative space for understanding the cosmovision and symbolism of the Afro-Esmeraldenians, a population located on Ecuador’s northern Pacific coast, originally settled during forced migration of Africans to America between the sixteenth and nineteenth centuries. Here, traditional musical practices have survived through generations and reflects the importance of the spiritual world for this cultural group. In addition, it is likely that the religious sphere has contributed significantly to the validity and durability of the Afro-Esmeraldenian musical repertoire and the instruments making up the traditional ensemble.

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7

Abril, Johanna E. "The state of music education in the basic general public schools of Ecuador: The administrators’ perspective." International Journal of Music Education 37, no. 3 (2019): 370–89. http://dx.doi.org/10.1177/0255761419842415.

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This study examines the state of music education in the public schools of Ecuador from the perspective of school administrators. A survey that was distributed to 1800 school administrators (27.4% response rate) was used to answer the following research questions: What are administrators’ perceptions of the current national policies for arts education? What are administrators’ perceptions of the current state of the music curriculum? Is there a difference between administrators’ perceptions of current and ideal states? What are administrators’ perceptions of the degree to which numerous variables impact on the music curriculum in their schools? What are the obstacles and challenges that administrators’ face in supporting the music curriculum? Are there differences by political zone in the ways administrators implement policies and oversee arts education instruction in their schools? Findings show that despite the creation of a national curriculum for arts, there is limited access to music. Moreover, there is a generalized lack of familiarity with policy and curricular implementation, especially among administrators who do have music. Despite this, significant differences between current and ideal conditions showed that administrators believe improvement is possible. The administrators also indicated budget and lack of music teachers were factors that had a negative impact on their music programs.

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8

O´'Reilly Viamontes, Mónica. "Jerarquía de valores y práctica coral en el contexto universitario de Ecuador." Revista Electrónica Complutense de Investigación en Educación Musical - RECIEM 17 (July 3, 2020): 13–20. http://dx.doi.org/10.5209/reciem.66276.

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El objetivo del presente estudio es explorar la contribución de la práctica coral en el desarrollo de los valores dentro de un grupo de cantores universitarios de Ecuador. Para tal propósito, se aplica una encuesta basada en la Teoría de los Valores de Schwartz que busca discernir cuáles valores se desarrollan según el criterio de los participantes, en mayor o menor medida, dentro del coro. De esta forma, se pudo establecer una jerarquía donde hedonismo, conformidad y benevolencia figuran como los valores que más se han desarrollado, mientras que poder y seguridad se ubican entre los valores más bajos. Así, se afianza el principio de que las prácticas musicales colectivas son idóneas para la formación de valores.

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9

Walker, John L. "Incans, Liberators, and Jungle Princesses: The Development of Nationalism in the Art Music of Ecuador." Latin American Music Review 37, no. 1 (2016): 1–33. http://dx.doi.org/10.7560/lamr37101.

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10

DeVale, Sue Carole, and John M. Schechter. "The Indispensable Harp: Historical Development, Modern Roles, Configurations, and Performance Practices in Ecuador and Latin America." Latin American Music Review / Revista de Música Latinoamericana 15, no. 1 (1994): 110. http://dx.doi.org/10.2307/3085951.

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