Artículos de revistas:

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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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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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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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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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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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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11

Ennis, Georgia C. "Affective Technologies." Resonance 1, no. 4 (2020): 376–93. http://dx.doi.org/10.1525/res.2020.1.4.376.

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The ways Amazonian Kichwa (Quichua) women produce, circulate, and engage with other women’s songs demonstrates that both music and radio media are significant methods for linguistic and cultural activism in the province of Napo, Ecuador. Indigenous engagements with aural mediation and media, particularly those of Indigenous women, allow for new insights within both studies of media and cultural revitalization. Media technologies alone may not be enough to return a language to daily use, but they are an important support for language activism and site of soundwork for Indigenous peoples. Focused on the convergence of new radio forms and screen-based technologies, speech has been taken as the primary dimension of soundwork, with noise and music as secondary aspects. Kichwa radio media reveals that music can also comprise a primary dimension of soundwork, which produces affective and interpersonal experiences for listeners through aural engagements that encourage the vitality of shifting languages.

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12

Holguín Barrera, Daniela. "THE USE OF CLASSICAL MUSIC TO IMPROVE READING COMPREHENSION." Investigación y Desarrollo 11, no. 1 (2019): 27. http://dx.doi.org/10.29033/id.v11i1.640.

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This study focuses on an action research project related to the use of classical music to improve reading comprehension in a foreign language classroom at a university level in the town of Ambato, Tungurahua, Ecuador. The need for university students to improve reading skills in this society was analysed, due to the fact that young people have not developed reading habits, even in their mother tongue. This aspect was conside- red, as well as students’ results on reading exercises applied to them, before and after being exposed to the use of classical music in the language classroom, which were evaluated through a comparison between the different experiences revealed in the surveys applied to the students, and their grade reports. The conclusion highlights that there was a significant improvement in the academic performance of students when they felt comfortable in their classroom environment while classical music was played. Even though research has not yet proved scientifically that the use of classical music influences students to improve their reading comprehension in the language classroom, there are studies related to the use of classical music in education and the learning process, related to the topic of this study, which contributed to conclude that further research must be done in this specific area.

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13

González, Juan Pablo. "Third Latin American Conference of the International Association for the Study of Popular Music." Popular Music 20, no. 2 (2001): 263–74. http://dx.doi.org/10.1017/s0261143001001465.

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Thanks to the generous support of the Municipality of Bogota, the Academia Superior de Artes of Bogota and the Colombian Ministry of Culture, IASPM held its Third Latin American Conference under excellent technical and organisational conditions. Almost seventy papers and plenaries were presented and debated in the Luis Angel Arango Library in Bogota between 23 and 27 August 2000. Scholars took part from Colombia, Venezuela, Argentina, Chile, Uruguay, Brazil, Mexico, Peru, Bolivia, Ecuador, Cuba, Puerto Rico, El Salvador, Canada, the US, the UK, Switzerland and Spain.

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14

HERRERA, EDUARDO. "Electroacoustic Music At CLAEM: A Pioneer Studio in Latin America." Journal of the Society for American Music 12, no. 2 (2018): 179–212. http://dx.doi.org/10.1017/s1752196318000056.

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AbstractDuring the 1950s and ’60s, many composers began exploring the possibilities provided by commercially available magnetic tape recording and electronically produced sound. In Latin America, the most successful early electroacoustic studio was hosted at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM), part of the Torcuato Di Tella Institute in Buenos Aires, Argentina. This article chronicles the eight years of existence of CLAEM's Laboratorio de música electrónica (1964–1971), and its role in the training of composers hailing from Argentina, Bolivia, Brazil, Colombia, Costa Rica, Chile, Ecuador, Guatemala, Mexico, Peru, Puerto Rico, Uruguay, and the United States. This historical account of pioneering Latin American electroacoustic music provides insight into the aesthetic and technical developments that earned the laboratory at CLAEM a place in the regional and transnational world of contemporary music making and demonstrates the crucial role of locality in the adoption, consumption, and rearticulation of international musical models.

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15

O’Neil, Megan. "A stranger in my own home: Prolonged travel and the (re)negotiation of Otavalo identity in Carlos Arcos Cabrera’s Memorias de Andrés Chiliquinga (‘Memories of Andrés Chiliquinga’) (2013)." Crossings: Journal of Migration & Culture 11, no. 1 (2020): 55–70. http://dx.doi.org/10.1386/cjmc_00016_1.

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As one of Ecuador’s largest indigenous groups, Otavalos have become unique in their successful marketing of cultural products both nationally and internationally. The Otavalo diaspora has led to sizeable communities settling not only in larger cities within Ecuador, but around the world. Travel, especially to Europe and the United States, is now a rite of passage for young Otavalos, and these travelling merchants spread their heritage through the sale of products, from clothing and fabrics, to music and handicrafts. In turn, many spend a significant portion of the year (and their life) detached from the Otavalo community, moving through spaces in which they are labelled as ‘other’ to ones in which they are exclusive members of an ‘imagined community’. With a focus on Carlos Arcos Cabrera's 2013 novel Memorias de Andrés Chiliquinga (‘Memories of Andrés Chiliquinga’), this article explores the effects of prolonged travel on indigenous identity, and the ways in which the young Otavalos today are facing traditional and Eurocentric stereotypes in order to (re)negotiate what it means to be indigenous in a globalized world.

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16

Smith, Sandra, and John M. Schechter. "The Indispensable Harp: Historical Development, Modern Roles, Configurations, and Performance Practices in Ecuador and Latin America." Ethnomusicology 38, no. 3 (1994): 530. http://dx.doi.org/10.2307/852120.

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17

Carola Schormann. "Marimbas in Latinamerika. Historische Fakten und Status quo der Marimbatraditionen in Mexiko, Guatemala, Belize, Honduras, El Salvador, Nicaragua, Costa Rica, Kolumbien, Ecuador, und Brasilien (review)." Latin American Music Review 30, no. 1 (2009): 105–7. http://dx.doi.org/10.1353/lat.0.0027.

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18

Olsen, Dale A., and John M. Schechter. "The Indispensable Harp: Historical Development, Modern Roles, Configurations, and Performance Practices in Ecuador and Latin America." Notes 50, no. 1 (1993): 181. http://dx.doi.org/10.2307/898739.

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19

Lindfors, Antti. "Sisällysluettelo." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 32, no. 2 (2019): 2. http://dx.doi.org/10.23994/lk.83445.

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LÄHIKUVA 2/2019Teemana MusiikkiToimittaneet Ira Österberg ja Taneli HiltunenPääkirjoitusIra Österberg ja Taneli Hiltunen: Musiikki, elokuvat ja arvostusArtikkelitIra Österberg: Musiikki ja kerronnan tasot Kirill Serebrennikovin elokuvassa KesäKari Kallioniemi: Toposkartta, kliseekokoelma ja moderni panoraama – kansallisen musiikkitähden elämäkertaelokuva mediakulttuurin jatkumossaKaapo Huttunen: Nordic noir -televisiosarjan Rikos ääniraidan Lähi-itään viittaavat topoksetKatsauksetTaneli Hiltunen: Tunteiden ja tunnelmien voimalla: brittinaiset historiallisten elokuvien ja tv-sarjojen säveltäjinäRoos Hekkens: Todellisuutta esittämässä: dokumentaaristen elementtien käytöstä musiikkivideoissaSirpa Reinikainen: Tribuuttiesitykset populaarimusiikin ilmiönäOlli Lehtonen: Countrymusiikin käyttö alkuperäismusiikissa elokuvassa Nuori BonnerArkistojen aarteetJukka Sarjala: Kinomusiikkia salonkiorkesterille: affektien luokittelusta mykkäelokuvakulttuurissaAnu Juva: Glamourista arkeen: huomioita kotimaisen elokuvamusiikin muutoksista 1950- ja 1960-luvullaKirja-arviotBolivia Erazo (2019) How Sound Cinema Arrived in Ecuador: Case Study of Quito in the Late 1920s and Early 1930s (Kimmo Laine)Ira Österberg (2018) What is that song? Aleksej Balabanov’s Brother and rock as film music in Russian cinema (Mia Öhman)

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20

Smith, Justen O., and Robert N. Pate. "Cultures Around the World: A Unique Approach to Youth Cultural Diversity Education." Journal of Youth Development 2, no. 2 (2007): 174–79. http://dx.doi.org/10.5195/jyd.2007.354.

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Increasingly diverse cultural trends have significant implications for the educational needs of American youth. Learning about and valuing diverse cultures will help prepare youth to become better citizens in an ever-changing society. Cultures Around the World was developed to meet the educational needs of youth in the area of cultural diversity. The Cultures Around the World program brings to life exciting cultures and customs from countries all over the world. Countries are presented in a unique format by teaching youth (ages 10 to 18) a specific country’s history, culture, food, music, dance, language, religion, and current issues. The Cultures Around the World program can be used by any youth educator. The program comes in a ready to use CD containing presentations, handicraft instructions, language guides, and resource guides for nine different countries (Armenia, Australia, Ecuador, Egypt, England, France, Ghana, Slovakia and Mexico).

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21

Tornero, Paz. "Relationships between Art, Science and Epistemology: The Earth as a Laboratory and the “Intruder Artist”." Leonardo 51, no. 2 (2018): 191–92. http://dx.doi.org/10.1162/leon_a_01538.

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This article is a brief review on the contemporary artistic epistemology and its use of the transdisciplinary practices as a form of developing artwork. The main objective is to analyze the artist’s interest and creativity on scientific issues and their peculiar view on new scientific and ecological paradigms to generate new knowledge, critical thinking, creative processes or new innovations. The author also explains his experience as researcher in the Institute of Microbiology at San Francisco University of Quito, Ecuador, where perhaps his presence could have been viewed as an “invasion” of the laboratory. For that reason, he uses the expression “intruder artist”—“the scientific spaces” foreign visitor who tries to understand technical considerations on processes and experiments, so they could produce inspiration on new “hybrid” artworks.

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22

Steere, William Campbell. "Trachyodontium, a New Genus of the Pottiaceae (Musci) from Ecuador." Bryologist 89, no. 1 (1986): 17. http://dx.doi.org/10.2307/3243070.

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23

MENDES, HUMBERTO F., TROND ANDERSEN, and OLE A. SÆTHER. "A review of Antillocladius S ther, 1981; Compterosmittia S ther, 1981 and Litocladius new genus (Chironomidae, Orthocladiinae)." Zootaxa 594, no. 1 (2004): 1. http://dx.doi.org/10.11646/zootaxa.594.1.1.

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A parsimony analysis of recently collected species sharing several features such as scalpellate acrostichals, often setae apically on the wing membrane and often strongly extended costa, together with 38 genera show that the collected species can be assigned to Antillocladius S ther, 1981, Compterosmittia S ther, 1981, and one new genus, Litocladius. Nine new species of Antillocladius are described and figured as male imagines: A. calakmulensis, A. herradurus and A. zempoalensis from Mexico; A. venequatoriensis from Ecuador and Venezuela; A. ubatuba from Brazil and Venezuela; and A. biota, A. folius, A. musci, and A. sooretama from Brazil. The female of A. musci, the pupae of A. antecalvus S ther, A. folius, and A. musci, and the larvae of A. folius and A. musci are also described and figured. New records of A. antecalvus S ther from Brazil and Venezuela; of A. arcuatus S ther from Brazil, Mexico and Venezuela; A. pluspilalus S ther from Ecuador and Mexico and of A. zhengi Wang and S ther from Thailand are given. The genus Antillocladius S ther, 1981, originally described from the British West Indies, now includes 15 species from North, Central and South America, Russia, China and Thailand. Keys to all known males, females, pupae and larvae are given. Four new species of Compterosmittia are described and figured as male imagines: C. aberrans from Costa Rica; C. croizati from Brazil and Venezuela; C. pittieri from Venezuela; and C. berui from Brazil. The genus Compterosmittia S ther, 1981, originally described from the British West Indies, now includes 8 to 10 species from North, Central and South America, Australia, Oceania and Southeast Asia. A key to male imagines is given. The new genus, Litocladius, includes a single species, L. mateusi, described as male, female and pupa. The immatures of all three genera are terrestrial or associated with phytotelmata, and notes on their biology and larval habitats are included.

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24

Cossé, Peter. "Klaviertage in Ecuador." Österreichische Musikzeitschrift 65, no. 1 (2010). http://dx.doi.org/10.7767/omz.2010.65.1.56.

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25

Tuaza Castro, Luis Alberto. "EXPERIENCIAS COTIDIANAS DE INTERCULTURALIDAD EN EL ECUADOR: EL GUARACAZO MUSICAL." REVISTA CIENCIAS PEDAGÓGICAS E INNOVACIÓN 3, no. 3 (2015). http://dx.doi.org/10.26423/rcpi.v3i3.93.

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El presente artículo analiza los alcances de la interculturalidad en la relación interétnica blanco – mestiza e indígena en el Ecuador contemporáneo. Se argumenta que la música del cantautor indígena Ángel Guaraca ha logrado unir a estos dos grupos étnicos históricamente confrontados, más allá de las fronteras étnicas y al mismo tiempo ha posibilitado la valoración de las expresiones culturales indígenas por parte de la sociedad ecuatoriana, dentro y fuera del país. Palabras Clave: etnicidad, música e interculturalidad.  ABSTRACT  This article analyzes the scope of interculturality in relation to the white-mestizo and indigenousethnic relationship in contemporary Ecuador. It is argued that the music of the indigenous composer-singer Angel Guaraca has made it possible to unite these two historically confronted ethnic groups, beyond ethnic boundaries and at the same time has enabled the appreciation of indigenous cultural expressions by the Ecuadorian society , in and out of the country.  Keywords: ethnicity, music and interculturality.  Recibido: septiembre 2015Aprobado: noviembre 2015

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26

Rodeland, Jürgen. "Restauración del órgano histórico Sauer de la Catedral de Loja, Ecuador." Revista musical chilena 51, no. 187 (1997). http://dx.doi.org/10.4067/s0716-27901997018700004.

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27

Aguirre Navarrete, Juan. "Intellectual property rights in the Ecuadorian music industry: Digital media." Revista Facultad de Jurisprudencia RFJ, August 5, 2020, 249–67. http://dx.doi.org/10.26807/rfj.v2i8.296.

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Inside the panorama of the music industry have been generated by several legal relationships. Generally, the artist is only concerned with expressing his ideas through songs, based on deep feelings or experiences that have marked him, but he does not realize that he is in a very complicated legal relationship when privatizing his creations. Many artists throughout their careers legal issues related to the use of copyrights in their discography; a very recent case is that of the famous artist Taylor Swift where the problem lies in the snatching of their copyright author. This miscellaneous article focuses on identifying the regulations with which the Ecuadorian government protects intellectual property rights in the Ecuadorian music industry in the current digital era. As a final result, we state that Ecuadorian legislation has an optimal regulation that encourages the operation of the intellectual property regime in Ecuador. However, artists do not choose to enter this industry due to the low performance it has in our country.

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28

Vélez, Jean Carlos López, and Jhonny Saulo Villafuerte Holguin. "Educational innovation into English as a Foreign Language Practices for Early Children: Neuroeducation and the Total Physical Response Method." Education Quarterly Reviews 4, no. 3 (2021). http://dx.doi.org/10.31014/aior.1993.04.03.346.

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This work aims to improve the practices of English as a foreign language of early children through the articulation of Neuroeducation and the Total Physical Response methodology. This work subscribes to the postmodern paradigm and the mixed educational research approach. The participants were thirty-five students from the second grade of primary education from Ecuador. The research team designed an educational intervention that mixed music and dance for creating more meaningful learning environments in language practices. The instruments used were contextualized observation, semi-structured interviews, and tests of English knowledge. The results allow determining the increase in the significant level of the classes and the motivation for learning English in all students. It is concluded that the articulation of the Total Physical Response methodology and Neuroeducation can contribute positively to the creation of meaningful learning environments and to the innovation of didactics for teaching young children of English as a foreign language.

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Hammond, Anita. "Treasure by M. K. Doman." Deakin Review of Children's Literature 4, no. 4 (2015). http://dx.doi.org/10.20361/g2c31g.

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Doman, Mary Kate. Treasure. Costa Mesa: Saddleback, 2013. Print.Treasure, one installment from The Heights series, is the story of Todd Bardo Jr., a junior at Penn State and his adventure diving for treasure off the shore of Ecuador. As a thank you for his work with the poor in that country, Todd’s father, a prominent and respected doctor, was awarded salvage rights to five miles of the reef by the Ecuadorian government. Todd inherits the salvage rights at his father’s death, and needs to complete the dive before his rights expire. With the help of a diving team headed by his best friend’s father, he and his team attempt the impossible – to find and claim treasure from a sunken ship. With her audience in mind, Doman has woven an adventure story driven by plot, dialogue, and simple language. This high-interest low-vocabulary book introduces readers to the country of Ecuador and its colourful history. Through Todd’s eyes we experience the excitement of organizing a treasure dive and some of its challenges. Will Todd find enough money to fund the expedition? Will his ship be targeted by thieves? Will his team be attacked by sharks? Ultimately, will he succeed and find a treasure?Students who appreciate simpler text and an exciting plot will enjoy this read. The resolution of some conflicts seems a bit convenient, but certainly keeps the story moving. The interest level is grade 5 to 8; the reading level is grade 1 to 2. This book is available at Saddleback Educational Publishing.Recommended: 3 out of 4 starsReviewer: Anita HammondAnita Hammond taught English Language Arts and music with Regina Catholic Schools for eleven years. Currently, as a full-time mother, she has returned to Education studies at the University of Alberta in the Masters of Education program specializing in teacher-librarian studies. She has enjoyed the opportunity to read numerous high-interest low-vocabulary titles, and hopes to share these titles and others with colleagues and students to support literacy goals.

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Artículos de revistas sobre el tema "Music – Ecuador"

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