Application of research in music theory to Music Education: globality as a basic content

Abstract

Research in Music Education has basically represented a reflection on how to better teach Music, but has often left out, or implicit, what to teach Music. This question should answer Research in Music Theory, thus generating what is understood by knowledge of Music. We understand that the improvement of a teaching depends not only on the way in which specific content is presented, but also, and above all, on the content itself, on the type of content. Thus, content based on a reductionist and fragmentary conception of the object or situation that will be taught will not allow a true global understanding of the object or situation in question. In the case of Music, the evolution of Theory about the musical object in the The last 50 years, has generated a knowledge of another type, of another level; A knowledge no longer of fragmentation and reduction of the musical work to certain determined elements, but a knowledge of what generates and produces the globality and the unity of the work. This type of knowledge represents an organismic and systemic conception of the musical object, in which it is explained not so much from its most visible and external dimension, sounds and time, as from its non visible but perceptible dimension , Internal, formed basically by the relations between the sounds and produced outside the time. Thus, this second dimension is what justifies and gives meaning to the first. Thus, from this conception, the explanation of the musical object no longer excludes or cancels its more immediate perception, the sensation, as it happens with the reductionist conception, but precisely it reaches this sensation showing what produces it. The globalization of contents from the knowledge of the globality in Music, the globality of the musical work, that is, from a global type of knowledge. It is necessary, therefore, contents of globality that also allow to connect really the knowledge with the sensation, in a true global comprehension. And so, then, we can, for the first time, in Music and music teaching, feel what we understand and understand what we feel.