Abstract
What is musical pedagogy? A way to teach someone the technical practice of an instrument? To learn how to express oneself through sounds? Something between these two approaches? We tend to think that this latter assertion is the closest to the truth. We learn how to play music by our countless hours of instrumental practice; however, it doesn’t sum up our way to play: reading sheet music or playing a song alike the original is not a proof of a real musical expression. Therefore musical pedagogy grasps a third dimension: musical knowledge. Not necessarily on theoretical elements, but on our knowledge of a musical culture: the genre’s genealogy (i.e. from which previous style it came from), the great names in the style, or the musical characteristics of it. A great deal of our musical vocabulary (whether we are composers or performers) arises from our familiarity with these musical universes (when we play it, hear it or learn it). In the case of French musical pedagogy, this last dimension is slightly left behind. It is from this conclusion that the idea of a new project in pedagogy is born: the OGMA project . Its only purpose is to improve the ways of teaching music, toward students or music professionals . The main goal of this virtual presentation is to introduce the main axes of our research in pedagogy, and our will to establish, in long term, a cooperation network through the research centers (private and universities) in different countries.
Author Information
Guillaume Deveney, Aix-Marseille Université, France
Paper Information
Conference: ACCS2015
Stream: Cultural Studies Pedagogy
This paper is part of the ACCS2015 Conference Proceedings (View)
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