Revista Académica Estesis

19

Authors: Bernardo Alonso Ciro Gómez

This text approaches the reflections, on musicology and mu-sic research, that Venezuelan musicologist Juan Francisco Sans presented at the First International Research Seminar in Artistic Practices Débora Arango 2017. In his speech, Sans spoke about three current and sensitive topics, but which are scarcely treated by the specialized literature. From documen-tary sources, we pretend to examine the antinomies between musicology and music research, with the purpose of demon-strating how these affect the current research processes in the context of the postgraduate music education in Colombia

41

Authors: Rubén López Cano

It is an inescapable fact: we should do research in higher level artistic education centers. Perhaps educational insti-tutions finally understood the importance of continuous knowledge production. Perhaps it is nothing more than an administrative requirement or an uncouth strategy to accu-mulate points in the hateful rankings and quality indexes of universities and higher educational centers imposed by the neo-liberal educational thinking. However, we should do research. Students in their different stages: undergraduate, master's degree or doctoral degree; and teachers in their var-ious categories; all of us should do and produce research. In this paper, I will point out four research trends that I perceive in some conservatories, schools and universities. Then, I will briefly mention the characteristics of the model that I follow, and I will end with some guidelines for the evaluation of re-search-creation projects in formative contexts

69

Authors: Magalí Giselle Pinoaga Luis Enrique Carmona Muñoz Daniel Alejandro Cortés Chavez Luis Manuel Espinoza Valverde Ariel René Tacacho

Between August and September 2017, the First International Seminar on Decolonial Music Education between universities in Costa Rica and Argentina was held in order to problema-tize music training models to undertake an arts education free of Eurocentric hegemonic standards in favor of multi and inter -culturality that crosses Latin America. This work gath-ers conclusions that collectively addressed some participants from Argentina, Colombia, Costa Rica and Nicaragua

89

Authors: Paula San Cristóbal Carmen Álvarez

This text, written by the artist herself in third person as to preserve academic format, has given the audience the op-portunity to gain insight into the artist ́s point of view that otherwise would not be known. This work takes a conceptu-al look at an artistic experience made by using a thousand-year-old technique. These challenges are faced by taking a deeper look at muralism, an art form that artists have had to fight to turn art into a device that could effectively inte-grate and affect the masses. Rendering this result proposes the idea that art is a conscious process and that the artist is responsible for his own environment and social awareness. Such struggle has allowed the aforementioned technique to survive the times as well as current discussions attempting to call into question its validity as a modern technique. For example, thinkers such as Marta Traba have questioned its value but it has continued to prosper thanks to Nelly Richard and Marchan Fiz, among others, who have been successful in highlighting where the aesthetics of the reception goes to the aesthetics of participation