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Usted Pregurá Por Qué Cantamos. Acerca Del Valor Del Canto En El Desarrollo Musical De Los Músicos

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Usted Pregurá Por Qué Cantamos. Acerca Del Valor Del Canto En El Desarrollo Musical De Los Músicos En Vocalidades: La voz humana desde la interdisciplina. La Plata (Argentina): GITEV. Usted pregurá por qué cantamos. Acerca del valor del canto en el desarrollo musical de los músicos. Favio Shifres. Cita: Favio Shifres (2019). Usted pregurá por qué cantamos. Acerca del valor del canto en el desarrollo musical de los músicos. En Vocalidades: La voz humana desde la interdisciplina. La Plata (Argentina): GITEV. Dirección estable: https://www.aacademica.org/favio.shifres/474 Acta Académica es un proyecto académico sin fines de lucro enmarcado en la iniciativa de acceso abierto. Acta Académica fue creado para facilitar a investigadores de todo el mundo el compartir su producción académica. Para crear un perfil gratuitamente o acceder a otros trabajos visite: https://www.aacademica.org. I 1 Vocalidades: la voz humana desde la interdisciplina / Nicolás Alessandroni, Begoña Torres Gallardo y Camila Beltramone (Eds.) - 1a Ed. - La Plata: GITeV 506 p.; 6x9 inchs - 15,24 x 22,86 cm ISBN: 9781099886768 Editorial del Grupo de Investigaciones en Técnica Vocal Laboratorio para el Estudio de la Experiencia Musical Facultad de Bellas Artes - Universidad Nacional de La Plata Editores: Nicolás Alessandroni, Begoña Torres Gallardo, Camila Beltramone Asistencia Editorial: Maximiliano Vietri y Florencia Ramírez Diseño y diagramación: Verónica di Rago Queda hecho el depósito que marca la ley 11723. Reservados todos los derechos. “Vocalidades: la voz humana desde la interdisciplina” es propiedad de Nicolás Alessandroni, Begoña Torres Gallardo y Camila Beltramone. No se permite la reproducción total o parcial, el alquiler, la transmisión o la transformación de este libro, en cualquier forma o por cualquier medio, sea electrónico o mecánico, mediante fotocopias, digitalización u otros métodos, sin el permiso previo y escrito del autor. Su infracción está penada por las leyes 11723 y 25446. Primera edición: mayo 2019 Esta publicación es posible gracias al apoyo de 2 I ÍNDICE Introducción 5 - Vocalidades: Algunas coordenadas para un cambio de paradigma en el estudio de los fenómenos vocales. Nicolás Alessandroni, Begoña Torres Gallardo y Camila Beltramone 7 Primera sección: Vocalidad y cuerpo (Körper) 21 - La voz y nuestro cuerpo. Un análisis funcional. Begoña Torres Gallardo 23 - Estudio electromiográfico de los patrones musculares durante el canto. Begoña Torres, Núria Massó, Ferran Rey, Ana Germán, Ferran Gimeno y Elisabet Gimeno-Aragón 43 - Estudio ecográfico del retorno diafragmático en el canto. Primeros resultados. Begoña Torres Gallardo, Xavier Sala-Blanch, Elisabet Gimeno-Aragón, Alber- to Prats-Galino, Núria Massó, Ferran Rey y Ferran Gimeno 85 - Higiene de la voz. Montserrat Bonet 99 - Desde el cuerpo. Explorando la voz. Cecilia Gasull 107 - ¿Qué corporalidad? Nuevas lecturas del cuerpo en pedagogía vocal. Camila Beltramone, Maximiliano Vietri y Nicolás Alessandroni 133 Segunda sección: Vocalidad y corporalidad (Leib) 155 - Volver sobre los pasos del misterio. Pasajes de una investigación sobre y desde el canto popular en La Plata. Gisela Magri 157 - Vocalidad, entre el cuerpo y el sonido. Florencia Ramírez 177 I 3 - Voces y vocalidades trans. Virginia Zangroniz 197 Tercera sección: Vocalidad y educación 219 - Fundamentos y principios para una Pedagogía Vocal Holística. Nicolás Alessandroni 221 - La voz incorporada. Susana Caligaris y Philip Salmon 243 - Cómo abordar la educación vocal en Educación Infantil en opinión del profesorado: lo real vs. lo deseable. Lucía Casal de la Fuente 253 Cuarta sección: Vocalidad y performance 298 - El canto un complejo mente-cuerpo. Claudia Mauléon 301 - Precalentamiento vocal y calidad sonora. Nicolás Alessandroni, Gonzalo Agüero, Camila Beltramone y Camila Viñas 349 - Claves multimodales en la comunicación intersubjetiva del coro. Manuel Alejandro Ordás e Isabel Cecilia Martínez 367 - El rol de la partitura en el coro amateur. Camila Beltramone y María Inés Burcet 419 Quinta sección: Vocalidad y cultura 445 - Usted preguntará por qué cantamos. Acerca del valor del canto en el desarrollo musical de los músicos. Favio Shifres 447 - Disfonía infantil: Un fenómeno, una vivencia, una identidad. Josep M. Vila Rovira 479 - La voz en los docentes Laura González Sanvisens 497 4 I INTRODUCCIÓN I 5 6 I VOCALIDADES: ALGUNAS COORDENADAS PARA UN CAMBIO DE PARADIGMA EN EL ESTUDIO DE LOS FENÓMENOS VOCALES Nicolás Alessandroni, Begoña Torres Gallardo y Camila Beltramone Los debates sobre la vocalidad encuentran en la contemporaneidad la ne- cesidad de un intercambio profundo y dinámico entre las disciplinas que abordan la temática. ¿Qué es la vocalidad?, ¿qué experiencias subjetivas tenemos de ella?, ¿cómo se vincula con la corporalidad (Leib) y con el cuerpo (Körper)?, y ¿cómo se vincula con los marcos socioculturales que nos atraviesan y constituyen?, son algunos de los tópicos que especialistas de diferentes áreas despliegan en la totalidad de este libro. Ahora bien, ¿por qué es relevante responderlos? En primer lugar, porque refieren a un campo de problemas y saberes sobre el cual se ha discutido relativamente poco en los últimos años. La literatura académica no suele abordar como objeto de indagación a la definición misma de vocalidad y, en cambio, procede a postular verdades sobre la misma. Es evidente que ello supone inconvenientes. Sólo por citar uno de ellos, es muy posible que las investigaciones sobre la voz refieran a objetos muy diferentes, tan diferentes que podrían ser inconmensurables entre sí dada la compleji- dad del fenómeno vocalidad. Este es tanto un modo de expresión y comu- nicación como un vehículo para la construcción de identidades individuales y colectivas, portador de signos y significados que moldean el desarrollo del ser y -a través de este- de la cultura. Hablar de vocalidad implica hablar del ser humano. I 7 Introducción La multiplicidad de aspectos implicados en el concepto de vocalidad invi- tan a pensar su estudio como una trama compleja donde los diferentes hilos de análisis se implican los unos a los otros. Hasta el momento, las diferen- tes áreas del conocimiento han abordado el estudio del fenómeno vocal de manera particular. Contamos hoy con innumerables estudios sobre el funcionamiento fisiológico del aparato fonador, el fenómeno del habla y el lenguaje, el funcionamiento acústico vocal, la voz cantada y su pedagogía, la expresión vocal como fenómeno cultural y el rol de la vocalidad en el desarrollo humano, entre otros tantos tópicos. No obstante, nos hallamos frente a una importante vacancia de estudios que vinculen dichos aspec- tos en pos de un conocimiento integral del fenómeno vocal o, desde una perspectiva gestáltica, que propongan pensar el fenómeno vocal como una totalidad significativa. Esto nos lleva a un segundo punto en nuestra reflexión: la mayor parte de las indagaciones sobre la voz humana han respondido a reduccionismos ontológi- cos y metodológicos que es deseable superar. El caso paradigmático es la ense- ñanza del canto. Así, por ejemplo, la pedagogía vocal contemporánea se propuso, desde 1950, desterrar a los métodos tradicionales de la enseñanza del canto ba- sados en una tradición de transmisión oral y en las sensaciones propioceptivas de los maestros de canto, traducidas en expresiones usualmente metafóricas. Se sugirió que el conocimiento científico podría superar las limitaciones de los “profesores poco serios” proveyendo descripciones confiables sobre el fenó- meno vocal. Sin embargo, se ha señalado que estos enfoques han incurrido en una forma de “falacia de abstracción” al entender a la vocalidad como fenómeno físico/fisiológico/anatómico, olvidando así otras aristas insoslayables de la mis- ma. En un intento de complejización, Alessandroni (2016, 2018) propuso la necesidad de crear un programa amplio de investigaciones sobre la vocalidad que trascendiera la voz cantada y los usos de la voz en contextos musicales, y que incluyera más dimensiones de análisis, entre las cuales consideró: (i) las tradiciones pedagógicas, (ii) los aportes anatómico-funcionales, (iii) los avan- ces en psicología cognitiva, (iv) los aspectos musicales-interpretativos, y (v) los enfoques subjetivos y culturales de la naturaleza humana y/o su desarrollo. El autor estima que sólo en la intersección de saberes que el diálogo interdiscipli- nar provee podrá fundarse una nueva comprensión de la vocalidad que haga justicia a la variedad de experiencias, procesos y manifestaciones humanos en las que ella se ve involucrada. 8 I Vocalidades En línea con estas perspectivas de análisis, el Grupo de Investigaciones en Técnica Vocal de la Facultad de Bellas Artes de la Universidad Nacional de la Plata -fundado por el Mg. Nicolás Alessandroni y dirigido en la actualidad por la Lic. Camila Beltramone-, en conjunto con un equipo de investigadores de la Universidad de Barcelona -cuya referente es la Dra. Begoña Torres Ga- llardo-, han realizado en los últimos años numerosos estudios orientados a analizar y deconstruir los principales paradigmas que guiaron el estudio del fenómeno vocal. Muchos de estos estudios surgieron del diálogo con pro- fesionales comprometidos con esta mirada inquieta, como la Prof. Susana Caligaris y el Prof. Philip Salmon. El objetivo de abordar el estudio de la voz desde una perspectiva crítica, condujo a los equipos a incorporar el aporte de investigadores y docentes de otros campos de conocimiento. Psicólogos de la música, profesores de canto, antropólogos, físicos y médicos, entre otros profesionales, han aportado al desarrollo de esta perspectiva a través de
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