Academic journal article Review of Artistic Education

Pedagogical Implications in Approaching Music

Academic journal article Review of Artistic Education

Pedagogical Implications in Approaching Music

Article excerpt

This study appeared after my personal involvement in the practical activities of students from the Musicology section of the George Enescu University of Arts on Iasi. These activities became articles on musical journalism (chronicles, interviews, reviews, essays) and were published in specialized cultural magazines. As a coordinator of the discipline Musicological Practice and the designer of its syllabus, I have found that young journalists, aspiring to master the art of writing display some inconsistencies in the way they present a complex issue of the relationship between journalism and musicology. We refer to the role and importance played by the young musicologist-journalists within a sub-field Music Criticism that seems to be more and more affected by the ramifications and promotion of entertainment genres and subgenres many times of doubtful quality, and especially by the increasing number of amateurs involved in artistic management who ignore the opinions, value judgments of a specialized critic viewing them as being redundant or too scientific for current magazines.

Also, the low number of specialized publications, the space given to music chronicles, viewpoints or, even more, the modified content of rubrics as to present the specialized information in a more accessible and attractive manner in order to cover a larger audience have been only a few factors that definitely discourage a young journalist musician. A potential solution for learning and getting training in this field, very sensible in modernity, takes knowledge and keeping the tradition of music criticism, the subfield of musicology. Linked to the manifestation of the sound phenomenon in triple hypostasis - compositioninterpretation-reception, music criticism presents to the public new meanings in interpreting famous works or comments opuses at first audition, promotes valuable creations and interpreters, educates the general public's taste in terms of accepting and cultivating high-quality music. Therefore, the critic must be such a good musician so as to be able to get psychologically, aesthetically and (partially) technically under artist's skin. Having a solid musical education - a vocal/instrumental/ training, academic knowledge through readings, auditions and reviews - is the first condition in becoming a music journalist.123

Commenting the above citation in the Context of 21st century, we become aware that general cultural and musical education of a future journalist takes place in an extremely difficult time, dominated by a policy of consumerism, in which the success of the image comes before content, whose time of construction, synthesis and power seems to have lost its resources before being psychologically exploited. The taste of the past for reading, meditation on ideas, willingness to listen consciously to works in all styles and to make stylistic connections between them, the natural passion of a musician in training to study an instrument as to discover its resources and to overcome technical and expressive difficulties are replaced today by sluggish reactions, by lowering of a passion to look for spirituality, in favor for immediate solutions or temporary employment, which do not involve affective and effective involvement of a musician in achieving his goals.

One possible answer of the mentor, of any dedicated teacher of any discipline, involves an attitude of return, by selecting the most important moments in the history of music journalism to determine the critic to understand that his mission is to integrate and continue a beautiful tradition in the evolution of this phenomenon. Remembering some events, we stop at the beginning of the eighteenth century, at the figure of Johann Matheson, the representative of the theory of emotions, a polemical spirit of contemporary works Critica Música magazine (1722-1725). In the same period, concern for the art of writing well and responsibly about music become more frequent, so, in 1798, Friedrich Rochlitz founds Allgemeine musikalische Zeitung in Leipzig. …

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