{"id":30322,"date":"2024-05-29T15:17:56","date_gmt":"2024-05-29T13:17:56","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/?p=30322"},"modified":"2024-05-29T15:17:56","modified_gmt":"2024-05-29T13:17:56","slug":"cultures-musicales-et-hautes-ecoles-de-musique-articulations-tensions-et-bonnes-pratiques","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/basis\/chems\/2024\/05\/cultures-musicales-et-hautes-ecoles-de-musique-articulations-tensions-et-bonnes-pratiques","title":{"rendered":"Culture musicali e scuole di musica: legami, tensioni e buone pratiche"},"content":{"rendered":"<p class=\"p1\"><span class=\"s1\">In questo contesto di maggiore visibilit\u00e0, \u00e8 necessaria una riflessione all'interno delle istituzioni professionali di insegnamento della musica. Che rapporto hanno queste istituzioni con il proprio patrimonio musicale - repertori, pratiche - e con il patrimonio di altre aree culturali? Quali buone pratiche possiamo suggerire su questa questione delle culture e delle tradizioni all'interno delle nostre scuole?<\/span><\/p>\n<p class=\"p2\"><span class=\"s1\">Nel XIX secolo, l'insegnamento della musica in Europa si \u00e8 gradualmente cristallizzato in istituzioni specializzate, sotto forma di conservatori o accademie. Queste istituzioni spesso promuovevano la cultura nazionale: il Conservatorio di Parigi, fondato nel 1795, mirava a \"formare cittadini\" e a costruire una \"scuola francese\" per combattere l'egemonia straniera. Il prospetto di fondazione del Conservatorio di Ginevra, nel 1835, sottolinea un progetto a-culturale di alfabetizzazione solfeggistica, attraverso l'apprendimento della lettura e della scrittura della musica.<\/span><\/p>\n<p class=\"p2\"><span class=\"s1\">\u00c8 senza dubbio da questa tensione tra promozione locale e obiettivo universale che le nostre istituzioni sono state un po' timide nel pensare alla diversit\u00e0 e ad entrare in dialogo con altre culture musicali. Nei primi anni del XX secolo, per un compositore come Debussy, l'incontro stimolante con la musica d'altrove non avveniva frequentando il Conservatorio, ma grazie alle opportunit\u00e0 offerte al di fuori dell'istituzione dalle grandi mostre internazionali. Per molto tempo le scuole d'arte, con il loro orientamento pratico, sono rimaste insensibili alle culture esterne, mentre le universit\u00e0, da parte loro, hanno considerato molto presto le arti non occidentali come oggetti di studio, all'interno di discipline come l'archeologia, la storia dell'arte, l'antropologia e la sua componente musicale, l'etnomusicologia.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p2\"><span class=\"s1\">Le ragioni di questa sordit\u00e0 hanno certamente a che fare con l'arroganza eurocentrica. Il notevole successo della musica classica occidentale al di fuori dell'Europa ha alimentato la tendenza ad attribuirle, nei discorsi, uno status di universalit\u00e0. Anche la musica contemporanea e quella \"popolare internazionale\" sembrano convergere verso una modernit\u00e0 che annuncia la fine della storia e delle culture. Ma sono stati immaginati modelli diversi da questa convergenza per pensare il mondo, come le modernit\u00e0 multiple e parallele proposte da Samuel Eisenstadt.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p2\"><span class=\"s1\">La creazione di un Master in Etnomusicologia, un programma congiunto tra la Haute \u00e9cole de musique de Gen\u00e8ve e le Universit\u00e0 di Ginevra e Neuch\u00e2tel, \u00e8 stata l'occasione per consolidare la pratica delle musiche non occidentali all'interno dell'istituzione. Alcune di queste musiche, come il Gamelan di Bali o di Giava, sono da tempo integrate in alcune istituzioni occidentali. Altre, come la musica cinese o orientale, sono meno diffuse. Queste pratiche si sono diffuse ampiamente all'interno della nostra scuola, riscuotendo un successo inaspettato. Oltre alla padronanza di un repertorio specifico, mettono in discussione i fondamenti del nostro approccio alla musica: emergono temi come il rapporto tra parola parlata e scritta, il virtuosismo nell'improvvisazione e nell'ornamentazione, l'interazione all'interno di un ensemble, le modalit\u00e0 di trasmissione, il rapporto con la tradizione e cos\u00ec via.<span class=\"Apple-converted-space\">\u00a0 <\/span>Soprattutto, queste pratiche sono pensate per cambiare il nostro modo di vedere le cose.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p2\"><span class=\"s1\">Le nostre scuole sono eccellenti esponenti della tradizione classica occidentale - anche se alcune voci autorevoli sottolineano che questa tradizione si \u00e8 ormai ampiamente spostata verso i Paesi dell'Asia orientale. Per mantenerla viva, \u00e8 fondamentale che questa tradizione continui a dialogare con altri tipi di musica, un dialogo avviato dai compositori di tutto il XX secolo.<sup>e<\/sup> secolo. Le nostre strutture accademiche e i nostri programmi di studio faticano a creare spazi per questo dialogo: la nostra visione della storia e del futuro della musica rimane quella della convergenza, relegando le forme esterne allo status di proto-musica, materie prime che la modernit\u00e0 sar\u00e0 in grado di trasmutare in \"vera arte\". Gli stessi conservatori dei Paesi non occidentali stanno lottando per trovare un equilibrio tra la pratica delle proprie tradizioni e quella della musica \"internazionale\". Esiste un notevole potenziale nello sviluppo di dialoghi interculturali che possono nutrire e rivitalizzare i nostri programmi di studio.<\/span><\/p>\n<p class=\"p4\"><strong><span class=\"s1\">Xavier Bouvier<br \/>\n<\/span><\/strong><span class=\"s2\">... \u00e8 direttore del dipartimento di etnomusicologia della Haute \u00e9cole de musique de Gen\u00e8ve - Neuch\u00e2tel.<\/span><\/p>","protected":false},"excerpt":{"rendered":"<p>Gli ultimi due decenni hanno visto una rinnovata consapevolezza della variet\u00e0 di culture e pratiche musicali in tutto il mondo, stimolata dalla Convenzione dell'UNESCO per la salvaguardia del patrimonio culturale immateriale del 2003. <\/p>","protected":false},"author":1,"featured_media":30323,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[31,1563],"tags":[],"class_list":["post-30322","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-basis","category-chems"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Cultures musicales et Hautes \u00e9coles de 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