Vol. 5 -3, Septiembre-Diciembre 2011
Considering the benefits of Digital Music Grammar in a music educational program
Throughout many centuries, the musical structure has had numerous modifications. We can observe the constant use of digits for convenience of notation of the music sounds, for example: digital organ bass, lute tablatures, guitar jazz ciphers (Bril 1985). Nowadays the digital system of teaching is absent in educational programs and is not applied in practice because of teachers’ insufficient professional knowledge in the sphere of the child’s physiology.
The following scientific article “Digital Music Grammar” raises the question of the necessity of application of the digital technologies in the system of music education. The findings of our scientific investigations have permitted us to understand the most delicate mechanisms of child’s mental activity and to detect new creative abilities. Our goals: directed application of the information technologies will help schoolmasters to improve the quality, speed and efficiency on music teaching of children. The solution of these questions depends on welfare of society and desire of every man to contribute towards the future of children.
Digital Music Grammar, Children Education, Music Teaching, Digital Technologies
“Différance and Intertextuality in the Third Movement of Luciano Berio’s Sinfonia
Luciano Berio’s Sinfonia, premiered in 1968, is probably the most interpreted and analyzed postmodernist work in the last decades of the twentieth century. However, research and theoretical analysis have rarely transcended the purely musical aspect of this work. Beyond an analysis of the composer’s language and a meticulous description of the many literary and musical references which underlie its five movements, there are no studies, in my opinion, which deal with the work’s complex discursivity from a semiologic perspective. Using the post-structuralist focus of Jacques Derrida’s concept of différance, this essay attempts to address the semantic implications by the narrow relationship between Samuel Beckett’s novel, The Unnamable, and the scherzo from Mahler’s Second Symphony throughout the third movement of the Sinfonia. The movement’s eminently intertextual character undeniably entails a reterritorialization of meaning.
Derrida, Berio, Beckett, Intertextuality, Sinfonia