La educación musical hoy: ¿cita a ciegas o cambio de paradigma?

Abstract

The development of new technologies for storage, distribution, and reproduction of music, as well as the easy access to them is –definitely- generating different types of relationships with what we call sound art.

This situation has brought at least two important and transcendent consequences. First, it is the elimination of all boundaries or diffi culties to find, acquire, and archive different types and styles of music from all over the world. Second, it is the fact that the spaces used for music consumption have changed. The latter has installed a self-absorbed listener and it seems to be breaking the social character that –traditionally- had the listening session.

One area of knowledge or training that should address this issue is the Music Education -if we understand it as a problem. We may wonder if, from this specialty, we are able to assume such a complex task.

To address this issue we have started by doing the analysis of the current educational model in the field of Music Education. Its origins, motivations, and discourses that gave meaning to it. Then, we have tried to establish a rupture with the old model. This rupture is based on the reasons described above, as well as on the different changes that our society has experienced in recent times.