El proyecto propuesto es una Escuela Superior de Música en la ciudad de Lima, Perú. La escuela se encuentra ubicada en el Centro de Lima, en el barrio de Monserrate, en la ladera del Río Rímac. Propone generar una conexión entre ciudad y río, y de esa manera revitalizar la ladera “olvidada” del río Rímac. Su ubicación es importante ya que el proyecto se encuentra conectado, mediante un malecón peatonal, al proyecto de la Municipalidad Metropolitana de Lima llamado “Río Verde”, el cual propone elementos de carácter cultural a lo largo de la ladera del río. Es por esto que el proyecto no sólo cumple con dar solución a una necesidad encontrada, en este caso la falta de infraestructura para una educación de carácter superior musical en la ciudad, sino también como elemento complementario a un gran proyecto urbanístico. Está compuesto por dos áreas principales: el área académica, de carácter privado, y el área cultural, de carácter público. El área académica contiene todos los ambientes de la escuela: aulas, salones de música, salas de ensayo, biblioteca, entre otros; el área cultural está conformada por un área de tiendas con sala de exposición, un área de comidas anexada a un malecón peatonal, y el elemento principal es el gran auditorio, con un área de bar y un gran foyer de ingreso, al cual se accede a través de una gran plaza pública. / The proposed Project is a School of Music in the city of Lima, Peru. The school is located in Lima’s City Center, in the Monserrate neighborhood, on the side of Rimac River. It proposes to create a connection between the city and the river, and thus revitalize the “forgotten” riverside of Rimac river. Its location is important since the project is connected, through a pedestrian boardwalk, to the project of the Metropolitan Municipality of Lima called “Rio Verde”, which proposes elements of a cultural nature along the riverside. That is why the project not only meets a solution for an identified need, in this case the lack of infrastructure for a musical higher education in the city, but also as a complimentary element to a large urbanistic project. It is made up of two main areas: the academic area, which is private, and the cultural area, which is public. The academic area contains all the rooms dedicated to the school: classrooms, music rooms, rehearsal rooms, library, etc.; the cultural area is made up of music shops, and exhibition hall, food court next to the pedestrian boardwalk, and the main element is the big auditorium, with a bar area and a large entrance foyer, which is accessed through a large public square. / Tesis

This dissertation focuses on a recent but growing movement in Argentina, state-sponsored formal institutions of popular music education. The musics taught in these schools – tango, jazz, and Argentine folk idioms – have historically been excluded from the country’s formal music education systems. Recent moves to standardize and legitimize these musics in this new institutional context raise questions of canon formation, pedagogical praxis, aesthetics and musical meaning that have implications far beyond the classrooms where they are implemented. I examine two of these schools based in and around the capital city of Buenos Aires: the Escuela de Música Popular de Avellaneda, and the Tango and Folklore department of the Conservatorio Superior de Música “Manuel de Falla.” I adopt an ethnographic approach that considers broad structural and policy issues of power distribution, state intervention, and cultural nationalism. I also examine how these structures play out in discourse and practice within and beyond the classroom, shaped by and in turn shaping students’ and teachers’ aesthetics, politics, and subject positions. I then analyze the output of several musical groups composed of current students and recent graduates of these programs, exploring the notion of an emerging institutional aesthetic and the extent to which these institutions act as homogenizing influences or engender creative divergence. Finally, applying Pierre Bourdieu’s concept of a field of cultural production, I question the extent to which this new “música popular” is truly popular, ultimately arguing that it occupies a sort of third space between mass culture and high culture, replicating some avant-garde assumptions about the role of art as anti-commercial, yet simultaneously embracing a symbolic economy that valorizes populist and subaltern identities and ideologies. / text

La educación musical en el Perú afronta una problemática de carácter social, que se refleja en el centralismo de las entidades educativas que imparten este conocimiento. A su vez, se reconoce esta profesión como una salida laboral más que factible para miles de jóvenes estudiantes e interesados en la misma los cuales curiosamente provienen de sectores socioeconómicos precarios. Ante esta situación contradictoria surge la pregunta, si es factible y necesario descentralizar la enseñanza musical a puntos más pobres de la ciudad. Esta investigación concluye que no solo es pertinente debido a un análisis de oferta y demanda poblacional. si no que, además, la educación musical como actividad tiene el potencial de aminorar otras problemáticas sociales en la juventud, Además de otorgar un proyecto público que sea beneficioso para el desarrollo de la comunidad. Ante este último punto se analiza la situación de la Arquitectura pública del país, identificando como principal problema la pobreza Arquitectónica, la precariedad de la infraestructura, la falta de relación de este tipo de edificaciones públicas con la ciudad y el poco compromiso en entender como la arquitectura puede influir en sus usuarios. para finalizar, se analizan ejemplos referenciales a fin de lograr un entendimiento claro de las posibilidades a desarrollar en el proyecto. Se plantea es una Escuela Superior de Música destinada a Jóvenes matriculados y alumnos libres quienes quieran involucrarse con esta actividad además de otras actividades complementarias beneficiosas para la comunidad. / Music education in Peru faces a social problem, which is reflected in the centrality of the educational entities that impart this knowledge. In turn, this profession is recognized as a more than feasible job opportunity for thousands of young students and those interested in it, who curiously come from precarious socioeconomic sectors. Faced with this contradictory situation, the question arises, whether it is feasible and necessary to decentralize music education to poorer parts of the city. This research concludes that it is not only relevant due to a population supply and demand analysis. if not, in addition, music education as an activity has the potential to reduce other social problems in youth, in addition to granting a public project that is beneficial for the development of the community. Faced with this last point, the situation of public architecture in the country is analyzed, identifying as the main problem Architectural poverty, the precariousness of the infrastructure, the lack of relationship of this type of public buildings with the city and the little commitment to understand how the architecture can influence its users. Finally, referential examples are analyzed in order to achieve a clear understanding of the possibilities to be developed in the project. It is proposed to be a Higher School of Music for young people enrolled and free students who want to get involved with this activity as well as other complementary activities that are beneficial to the community. / Tesis