Orientador: Margarete Arroyo / Resumo: Esta tese versa sobre três problemas filosóficos em torno do conceito de conhecimento musical. O primeiro problema trata dos tipos de conhecimento musical, buscando estabelecer quais parâmetros específicos informam a prática musical. O segundo problema trata das formas de conhecimento, traçando uma trajetória pela relação da música com outras formas de conhecimento, tais como ciência e filosofia, dentre outras. O terceiro problema se refere aos limites da racionalidade no conhecimento musical, buscando por uma razão aberta que contemple a condição humana. Este trabalho se situa no campo da filosofia da educação musical e analisa os problemas filosóficos enunciados à luz dos trabalhos de Bennet Reimer, A Philosophy of Music Education (1970), Keith Swanwick, Musical Knowledge (1994) e David Elliott e Marissa Silverman, Music Matters 2nd Edition (2015). O problema de pesquisa surge da revisão bibliográfica destes trabalhos, a qual aponta que as tipologias do conhecimento musical apresentadas pelos autores são centralizadoras e hierárquicas. Além disso, os autores revisados não estabelecem como o conhecimento musical se articula e se organiza em relação a outras formas de conhecimento, revelando um posicionamento estritamente disciplinar. Logo, a questão da pesquisa se coloca da seguinte forma: Como conceituar o conhecimento musical, evitando o reducionismo, a disjunção e a centralização? O referencial teórico deste trabalho é o pensamento complexo de Edgar Morin, especialmente e... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis approaches three philosophical problems encompassing the concept of musical knowledge. The first problem addresses the types of musical knowledge, seeking to establish which specific parameters inform the musical practice. The second problem deals with forms of knowledge, tracing a trajectory through the relationship of music with other forms of knowledge, such as science and philosophy, among others. The third problem refers to the limits of rationality in musical knowledge, looking for an open reason that contemplates the human condition. This work is situated in the academic field of philosophy of music education and analyzes the philosophical problems formulated in light of the works of Bennet Reimer, A Philosophy of Music Education (1970), Keith Swanwick, Musical Knowledge (1994) and David Elliott & Marissa Silverman, Music Matters 2nd Edition (2015). The research problem emerges from the bibliographic review of these works, which points out that the typologies of musical knowledge presented by the authors are centralized and hierarchical. In addition, the reviewed authors do not establish how musical knowledge is articulated and organized in relation to other forms of knowledge, revealing a strictly disciplinary position. Therefore, the research query arises as follows: How to define musical knowledge, avoiding reductionism, disjunction and centralization? The theoretical framework of this thesis is the complex thought by Edgar Morin's, especially in his wor... (Complete abstract click electronic access below) / Resumen: Esta tesis trata tres problemas filosóficos en torno al concepto de conocimiento musical. El primer problema trata con los tipos de conocimiento musical, buscando establecer qué parámetros específicos informan la práctica musical. El segundo problema trata sobre las formas de conocimiento, trazando una trayectoria a través de la relación de la música con otras formas de conocimiento, como la ciencia y la filosofía, entre otras. El tercer problema se refiere a los límites de la racionalidad en el conocimiento musical, buscando una razón abierta que contemple la condición humana. Este trabajo se ubica en el campo de la filosofía de la educación musical y analiza los problemas filosóficos expuestos a la luz de los trabajos de Bennet Reimer, A Philosophy of Music Education (1970), Keith Swanwick, Musical Knowledge (1994) y David Elliott y Marissa Silverman, Music Matters 2ª Edición (2015). El problema de investigación surge de la revisión bibliográfica de estos trabajos, que señala que las tipologías de conocimiento musical presentadas por los autores son centralizadas y jerárquicas. Además, los autores revisados no establecen cómo se articula y organiza el conocimiento musical en relación con otras formas de conocimiento, revelando una posición estrictamente disciplinaria. Por lo tanto, la pregunta de investigación surge de la siguiente manera: ¿Cómo definir el conocimiento musical, evitando el reduccionismo, la disyunción y la centralización? El marco teórico del trabajo es el ... (Resumen completo clicar acceso eletrônico abajo) / Doutor

The development of Estonia’s national music culture has really taken place over the last 145 years, thanks to the national choral song festival tradition that began in 1869 and has continued until today. Song festivals have been always important as a form of non-political resistance confirming Estonian identity and self-confidence. Many have characterized Estonia as a “singing nation” and we know that a great contribution to this is provided by music teachers at schools.

[ES] Esta Tesis Doctoral propone un desarrollo de las líneas generales de la filosofía del arte y de la música del Materialismo Filosófico de Gustavo Bueno, acotando la especificidad material de la categoría musical a partir de la reconstrucción y despliegue de la idea helénica de melos, expuesta en el libro Sobre la música de Arístides Quintiliano, desde la Teoría de la esencia genérica de la música. De esta manera, se expone el sistema filosófico constituido por Bueno y se realizan una serie de propuestas concretadas a partir de tres planos de estudio, a saber, el plano gnoseológico, en el que se propone un sistema de análisis de partituras a partir del desarrollo de la idea de Glomérulo acuñada por Gustavo Bueno; el plano noetológico, constituyente de una teoría de la racionalidad musical; y el plano alegórico, desde el cual se propone el estudio de las diversas formas de ejercitar las ideas que envuelven la categoría musical a partir del análisis de las velocidades de despliegue de la obra artística. Todo ello establece la referencia de la idea de música sustantiva, la cual precisa de un material estético que concatene estos tres planos en un espacio determinado que, por otra parte, constituye la tesis fuerte de esta investigación, esto es, el espacio melológico. / [CA] Aquesta Tesi Doctoral proposa un desenvolupament de les línies generals de la filosofia de l'art i de la música del Materialisme Filosòfic de Gustavo Bueno, acotant l'especificitat material de la categoria musical a partir de la reconstrucció i desplegament de la idea hel·lènica de melos, exposada al llibre Sobre la música d'Arístides Quintiliano, des de la Teoría de l'essència genèrica de la música. D'aquesta manera, s'exposa el sistema filosòfic constituït per Bueno i es realitzen una sèrie de propostes concretades a partir de tres plans d'estudi, és a dir, el pla gnoseològic, en el que es proposa un sistema d'anàlisi de partitures a partir del desenvolupament de la idea de Glomèrul encunyada per Gustavo Bueno; el pla noetològic, constituent d'una teoría de la racionalitat musical; i el pla al·legòric, des del qual es proposa l'estudi de les diverses formes d'exercitar les idees que envolten la catego-ria musical a partir de l'anàlisi de les velocitats de desplegament de l'obra artística. Tot això estableix la referència de la idea de música substantiva, la qual necessita d'un material estètic que concatene aquests tres plans en un espai determinat que, per altra banda, constitueix la tesi forta d'aquesta investigació, és a dir, l'espai melològic. / [EN] This doctoral thesis proposes a development of the general lines of the philosophy of art and music of the Philosophical Materialism of Gustavo Bueno, delimiting the material specificity of the musical category from the reconstruction and unfolding of the Hellenic idea of melos, exhibited in Sobre la música's book of Arístides Quintiliano, from the Theory of the generic essence of music. In this way, the philosophical system constituted by Bueno is expo-sed, as well as a serie of concrete proposals made from three study planes, namely, the gnoseological level, in which a system of analysis of scores is proposed from the development of the idea of Glomerule coined by Gusta-vo Bueno; the noetological level, that constitutes a theory of musical ratio-nality; and the allegorical level, from which the study of the various ways of exercising the ideas that surround the musical category is proposed from the analysis of the unfolding rate of the artistic work. All this establishes the reference of the idea of substantive music, which requires an aesthetic material that concatenates these three levels in a specific space that, on the other hand, constitutes the strong thesis of this research, that is, the melological space. / Chuliá Ramiro, VF. (2022). Constitución del "Espacio melológico" como fundamento de una filosofía materialista de la música. El materialismo filosófico de Gustavo Bueno aplicado al campo musical [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/181360 / TESIS

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The contemporary society of the United States of America is becoming an increasingly stressful environment to live in. Our rapid advances and developments in virtual, electronic, and high-speed technology have led us to a lifestyle that operates more quickly. However, our attachment to such a face-paced lifestyle has unfortunately led us towards an increasingly stressful lifestyle. This research focuses on identifying our current society's perceptual outlook and illustrating how the practice of mindfulness can help reduce the anxieties, struggles, and mental flaws which cloud our perception. The intent of this thesis is to show how the practice of mindfulness is beneficial towards our mental health. The practice of mindfulness originated within the Buddhist tradition and has evolved into a new area of interest in the fields of mental health, psychology, philosophy, and humanities. Also, the connection between the practice of mindfulness, and the practice of authentic creativity, as demonstrated in playing the piano, is illuminated within this research. Authentic creativity thus serves as an enlightening metaphor for the elusive practice of mindfulness, and creates a more vivid understanding of the concept of mindfulness. For this thesis I have conducted a literature review in the areas of philosophy, religion, aesthetics and cognitive science. Also, I am actively participating in my research by personally practicing mindfulness and piano. Part of my methodology involves critical thinking on the personal level as I am writing journal entries about my views and thoughts concerning these processes.

The delegating of thought, memory and action outside of the human body, inseparable from the process of individuation and identity formation, and the following implications for music establish an underlying theme of this text. It is a reflection on the process of "supplementation," of prosthetization or exteriorization in the recent and contemporary milieu of music making, in which nothing is any longer immediately at hand, where everything is found mediated and instrumentalized, technicized, unbalanced.

Die Einleitung beschreibt das Konzept des Symposions und des Buchs zusammen mit Grundlinien der Situation der Musikdidaktik bzw. Musikpädagogik in Deutschland. Ein zweiter Abschnitt gibt Zusammenfassungen der Beiträge und zeigt Querverbindungen, ein dritter Abschnitt skizziert die Themen und Struktur der drei Diskussionsrunden („Fishbowls“) zwischen jeweils 3-4 Autoren des Buchs und der letzte Abschnitt gibt Anregungen für die Arbeit mit dem Material, insbesondere den DVDs (die jede Stunde aus drei Kamerawinkeln zeigen). / The introduction describes the concept of the symposion and the book together with some baselines of the situation of music didactics in germany. A second part gives summaries of the articles and connections between them, a third part is about the three discussions (“fishbowls”) between the authors of the book and the last part offers suggestions how to work with the material, specially the DVDs (which show each lesson with three camera-angles).

本研究旨在探討音樂經驗的教育實踐意涵，採取理論分析的方法，探究音樂教育哲學典範的衝突根源，在技術與實踐智的關係詮釋中，闡述音樂經驗的教育實踐本質。 回顧音樂經驗本質的理論脈絡，古希臘以強調和諧、淨化、教化的音樂倫理學與發展以娛樂目的的音樂美學為主，近代則以知覺解釋的心理學與本質描述的現象學為主。就音樂經驗的知識本質而言，從功效、審美到實踐的北美音樂教育哲學典範，基本上是從技術走向實踐、從一元走向多元、從穩定走向不穩定的價值典範。 綜合研究結論，就音樂的教育實踐途徑而言，技術造成一種手段與目的的對象化關係，實踐智則建立手段與目的合一的自我知識，前者發展音樂認知的科學方法，後者開拓音樂意義的可能性。當然，本研究並不否定技術存在的價值，而是從一種存有美學來關照音樂經驗中的意義可能性，在審美無區分的自我陶養經驗中，音樂同時是一種教育實踐，實踐智典範與技術的本質最終在教育實踐意義裡相通，而倫理學與美學在音樂經驗中彼此共融。 / The purpose of this study was to explore the significance of educational practice in the nature of musical experience. The theoretical analysis was applied to inquire the cause of the conflicts among the different philosophical paradigms of music education and the hermeneutic analysis of techne and phronêsis was used to explain the educational essence of musical experience. Based on the context of the essential theory of musical experience, there were two ways in the ancient Greece: the musical ethics and the aesthetics of music. The musical ethics emphasized the metaphysical speculation about harmony, purification, and cultivation; while the aesthetics of music developed the science of experience on the aim of pleasure. In the modern history, the psychology and the phenomenology were the main research approaches of musical experience. The former explained the music perception; the latter described the nature of musical experience. Regarding the essential standpoint of musical knowledge, the trend of the philosophical paradigm of music education (utilitarian, aesthetic and praxis) developed in North America was a value paradigm that was from technique to practice, singular aspect to multiple aspect, and steady situation to unsteady situation. In conclusion, from the standpoint of educational practice, the technical way reified the relationship of the means and the purposes, and the practical way (self-knowledge) was a way of two-in-one; the former developed the scientific methods of musical cognition, the latter developed the possibility of musical meaning. Certainly, the value of techne was not denied, but more concerned the meaning’ possibility of musical experience, that was to say, music as an educational practice of self-cultivation in the aesthetic non-differentiation, the paradigm of phronêsis and the nature of techne were eventually the same one in the significance of educational practice, and the ethics and the aesthetics were two-in-one in the musical experience.

Der Text berichtet über eine Erhebung zu Praxen des Musikunterrichts in 5 Ländern Europas. Über eine auf Englisch veröffentlichte Erhebung ‚About Different Cultures in Music Classrooms of Europe’ hinaus enthält dieser Text auch die Ergebnisse einer zweiten Erhebung. Nach der Reflexion einiger methodischer Aspekte der Arbeit mit Videos sowie des Kontexts eines europäisch geförderten ‚Intensive Programs’, gibt der Text Information über gemeinsame Inhalte und Methoden sowie unterschiedliche Praxismerkmale im Musikunterricht. Abschließend liefert der Text drei Reflexionen der Daten über (1) die Wichtigkeit von Sound und Gesten im Musikunterricht, (2) Interferenzen zwischen Kulturen der Musik und Kulturen der Pädagogik im Klassenzimmer und (3) Muster von Musikunterricht. / The article is about an exploration about practices of school music in 5 countries of Europe. Beyond an exploration ‚About Different Cultures in Music Classrooms of Europe’, which was published in English, this article includes results of a second exploration. After reflecting some methodological aspects of working with videos and the context of an Intensive Programm, the article gives information about common contents and methods and distinguishing marks of practices in music education. At last the article gives three reflections of the data about (1) the importance of sound and gestures in music education, (2) interferences between cultures of music and cultures of pedagogy in the classroom, (3) patterns of school music.

La question de l’ontologie s’est cristallisée en philosophie de la musique autour de la notion d’œuvre, mais il est possible de centrer le raisonnement sur d’autres objets, tels que la formation instrumentale ou le genre musical. Il est ainsi possible de construire une ontologie du quatuor à cordes. Le quatuor est à la fois une formation, un genre né à l’époque classique et un ensemble de quatre musiciens, ces trois niveaux sémantiques constituent les éléments fondamentaux de ce système. La formation est une instrumentation cristallisée, plus techniquement, elle est une structure des moyens d’exécution devenue autonome, potentiellement séparable de la structure sonore pure qui lui était adjointe dans les premières œuvres pour ces instruments. Il s’est formé, au fil des ans et des œuvres, une réalité quatuor à cordes ontologiquement dense. Cette densité ontologique s’explique en partie parce qu’un genre a découlé de cette formation. Le genre « quatuor à cordes » a un fonctionnement historique qui peut être comparé à celui des autres grands genres de la musique savante occidentale, grâce à deux concepts : la cristallisation et la plasticité. Tout genre oscille en effet entre ces deux tendances antagonistes : la cristallisation qui transforme l’inédit, le nouveau et l’occasionnel en norme, règle et tradition et la plasticité qui, elle, pousse à l’innovation, à l’exploration et à la recherche compositionnelle. Le quatuor à cordes n’est pas un genre paradigmatique, il est exceptionnel, puisque son histoire montre un équilibre spécifique entre une forte plasticité et une forte cristallisation. Si la formation peut être définie en termes d’autonomisation d’une structure des moyens d’exécution, le genre, lui, gagne à être pensé comme une réunion d’archi-structures. Une dernière partie est consacrée au corps et au geste musicien. Il s’agit alors de voir si les outils conceptuels platonistes permettent de penser les réalités plus concrètes, physiques et matérielles, du quatuor. Tout comme l’équilibre dialogique des quatre voix est une caractéristique essentielle du quatuor à cordes, le dialogue entre les analyses conceptuelles, les développements historiques, les observations esthétiques et les études musicologiques constitue la spécificité de ce travail. / The aim of this thesis is to build an ontology of the string quartet. The designation ‘string quartet’ can refer to three different meanings: a group of four musical instruments (formation), a genre, or a group of four musicians who play together. In musicology, a string quartet is distinguished by the homogeneity of the timbres, the individuality of voices, the quaternity and the specific dialogism of the voices. This work proposes to describe these three semantic levels and their essential characteristics, hence a wide selected corpus: Haydn, Mozart, Beethoven, Reicha, Bartók, Schönberg, Feldman, F.Baschet amongst others. The first part consists of an ontology of the instrument formation and shows that a quartet is a “structure of performing means” which became autonomous with regard to the “pure structure” as defined by Jerrold Levinson. From that point of view, the string quartet is a reliable paradigm to think of the birth of other formations and their historical developments. The second part consists in constructing an ontology of the genre and demonstrates that the historical evolution of the string quartet is not paradigmatic but exemplary; and that its development is determined by a balance between plasticity and crystallisation. The final part examines the ontological limits of the string quartet: on the one hand, the timbre, and on the other, the musicians’ bodies through specific physical gestures. This thesis, therefore, aims to develop an ontological system that is characterised by its different essential elements, its specific rules (plasticity versus crystallisation), and its limits. These philosophical analyses not only relate to existing musicological research, but also involve a consideration of dance performance, film and various other artistic works.