El método de enseñanza musical Ward y su recepción en España. Entre la cuestión social y el motu proprio (Ca. 187-1965)
Ramón Salinas, Jorge (Universidad de Zaragoza) ; Zavala Arnal, Carmen M. (Universidad de Zaragoza)
Resumen: En el presente artículo se reflexiona sobre el significado y alcance del método de enseñanza Ward concebido en su momento de forma genérica para la alfabetización musical de escolares, además de orientado al aprendizaje musical básico del Canto Gregoriano. Del mismo modo, se profundiza también en la figura de su creadora, la pedagoga norteamericana Justine Bayard Cutting Ward (1879-1975), atendiendo especialmente a la coyuntura y contextualización de la época en la que su sistema musical se desarrolla. Posteriormente se aborda el tema de la recepción del método Ward en España, enmarcada por la crisis sufrida por la Iglesia en el ochocientos, la cuestión social abordada por el Papa León XIII y la posterior reforma de la Música Sacra abanderada por Pío X, ratificada hasta el Concilio Vaticano II (1962-1965). Este método de enseñanza musical también toma como referencia la revitalización y normalización solesmense del canto gregoriano. La revisión que aquí se plantea a través del análisis del origen del método Ward así como la combinación de factores y circunstancias que lo propiciaron puede coadyuvar a la actualización de algunas de sus premisas en el ámbito pedagógico-musical, cuyos principios básicos muestran todavía vigencia e influencia en algunos de los principales métodos activos de educación musical.
This article reflects on the meaning and scope of the Ward teaching method, which was conceived at the time in a general way for developing musical literacy in schoolchildren as well as providing a basic musical learning of Gregorian Chant. We also delve into the figure of its creator, the American pedagogue Justine Bayard Cutting Ward (1879-1975), paying special attention to the conjuncture and contextualization of the time in which her musical system developed. Subsequently, the issue of the reception of the Ward method in Spain is addressed, framed by the crisis affecting the Church in the nineteenth century, the Social Question addressed by Pope Leo XIII and the subsequent reform of Sacred Music championed by Pius X and ratified until the Second Vatican Council (1962-1965). This method of musical teaching also takes as a reference the revitalization and normalization of the Gregorian chant from Solesmes. The review that is proposed here through the analysis of the origin of the Ward method as well as the combination of factors and circumstances that led to it may contribute to updating some of its premises in the pedagogical-musical field, whose basic principles are still a valid influence on some of the main methods employed in music education.
Idioma: Español
DOI: 10.5944/hme.16.2022.31505
Año: 2022
Publicado en: Historia y Memoria de la Educacion 16 (2022), 491-532
ISSN: 2444-0043
Factor impacto CITESCORE: 0.4 - Arts and Humanities (Q2) - Social Sciences (Q4)
Factor impacto SCIMAGO: 0.236 - History (Q1) - Education (Q3)
Tipo y forma: Article (Published version)
Área (Departamento): Área Didáctica Expres. Musical (Dpto. Expres.Music.Plást.Corp.)
You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. You may not use the material for commercial purposes.
Exportado de SIDERAL (2023-09-13-14:51:56)
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This article reflects on the meaning and scope of the Ward teaching method, which was conceived at the time in a general way for developing musical literacy in schoolchildren as well as providing a basic musical learning of Gregorian Chant. We also delve into the figure of its creator, the American pedagogue Justine Bayard Cutting Ward (1879-1975), paying special attention to the conjuncture and contextualization of the time in which her musical system developed. Subsequently, the issue of the reception of the Ward method in Spain is addressed, framed by the crisis affecting the Church in the nineteenth century, the Social Question addressed by Pope Leo XIII and the subsequent reform of Sacred Music championed by Pius X and ratified until the Second Vatican Council (1962-1965). This method of musical teaching also takes as a reference the revitalization and normalization of the Gregorian chant from Solesmes. The review that is proposed here through the analysis of the origin of the Ward method as well as the combination of factors and circumstances that led to it may contribute to updating some of its premises in the pedagogical-musical field, whose basic principles are still a valid influence on some of the main methods employed in music education.
Idioma: Español
DOI: 10.5944/hme.16.2022.31505
Año: 2022
Publicado en: Historia y Memoria de la Educacion 16 (2022), 491-532
ISSN: 2444-0043
Factor impacto CITESCORE: 0.4 - Arts and Humanities (Q2) - Social Sciences (Q4)
Factor impacto SCIMAGO: 0.236 - History (Q1) - Education (Q3)
Tipo y forma: Article (Published version)
Área (Departamento): Área Didáctica Expres. Musical (Dpto. Expres.Music.Plást.Corp.)
You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. You may not use the material for commercial purposes. Exportado de SIDERAL (2023-09-13-14:51:56)
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Record created 2022-09-30, last modified 2023-09-14