Women and Music. Overcoming Obstacles and Ways to go

La historia de las mujeres, se ha centrado fundamentalmente en hacer visible lo que se había ocultado durante años, dando voz a dicho silencio. Así también, ha sido de suma importancia la atención dada a las manifestaciones que la cultura patriarcal ignoró y no reconsideró. La tendencia hasta los años 80 del pasado siglo XX en musicología, se ha basado fundamentalmente en la recogida y acumulación de datos. El hecho que la incorporación del feminismo a la musicología haya sido considerablemente tardía, ha comportado consecuentemente una falta de tradición, una carencia de estudios en los cuales se refleje el gran número de músicas con talento, que fueron marginadas en su época. El hecho que los estudios musicológicos hayan sido elitistas y muy especializados hasta fechas recientes, ha acentuado todavía más el retraso y el lento avance producido en la musicología con respecto al resto de las ciencias sociales. La musicología feminista en la actualidad, no puede comprenderse sin la influencia del postmodernismo y los vínculos que alrededor de este se establecen. A pesar de que no existe una teoría postmoderna unificada, podemos considerar esta un pensamiento que proliferó aproximadamente en la década de los 80, el cual critica ideas propias del periodo ilustrado tales como la razón, la identidad, el progreso, la objetividad.Women’s history, has focused mainly on making visible what had been hidden for years, giving voice to that silence. Likewise, attention has been paid to the manifestations that the patriarchal culture ignored and did not reconsider. The trend up to the 80s of the last century XX in music, is based mainly on the collection and accumulation of data. The fact that the incorporation of feminism into music has been considerably late, has consistently led to a lack of tradition, a lack of studies that reflect the large number of talented musicians who were marginalized at the time. The fact that musical studies have been very elitist and very specialized until the latest news has further accentuated the delay and the slow progress made in musicology with respect to the rest of the social sciences. Feminine musicology today cannot be understood without the influence of postmodernism and the ties that surround it. Although there is no unified postmodern theory, we can consider this a thought that proliferated in the 1980s, which criticizes the ideas of the period illustrated as reason, identity, progress, objectivity

The Claretian Community: The Exit Profile of Students at the Claret School of Barcelona

This paper provides an analysis of the exit profile of a student who completes their studies at the Claret School of Barcelona, a primary and secondary educational institution belonging to the Claretian Community in Spain. The Claret School of Barcelona is a center that is partially funded by the government, however, all students must pay tuition. The final two grades at the school, that is the baccalaureate years, are private and receive no public funding. During a five-year period (2014-2019), a group of teachers from both the primary and secondary schools, along with the management team and external psycho-pedagogical advisors with expertise in educational innovation, undertook a project to identify the values that are taught and developed during the course of a student's compulsory educational career at the Claret School of Barcelona. To verify that the values identified by the faculty complied with the students' reality, a questionnaire to survey students' perceptions regarding the 14 ideal characteristics of a Claret student upon the completion of their studies was designed and validated, obtaining a CVI (content validity index) of 0.77. Completed by a total of 312 students, the results confirmed the importance of 12 of these characteristics, while two received rather low results when compared to the average score (66.04%). The characteristic which scored the lowest score was the question regarding the religious dimension of the student (question 10)

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Guillaume Apollinaire: a reference in the life and musical works of the Spanish composer José Soler Casabón

This article summarizes the biography of José Soler Casabón, an Aragonese composer who lived and developed his artistic career during the first decades of the 20th century between Barcelona and Paris. From the different works of the author, the Ballet L'homme sans yeux sans nez et sans oreilles (HOSYNO) will be described. This ballet was based on the poem Le musician de Saint Merry written by the french poet Guillaume Apollinaire and its sets were commissioned to Pablo Picasso. For various reasons, such as the war context and the change of the director of the opera house in Paris, the ballet was never performed.This article summarizes the biography of José Soler Casabón, an Aragonese composer who lived and developed his artistic career during the first decades of the 20th century between Barcelona and Paris. From the different works of the author, the Ballet L’homme sans yeux sans nez et sans oreilles (HOSYNO) will be described. This ballet was based on the poem Le musician de Saint Merry written by the french poet Guillaume Apollinaire and its sets were commissioned to Pablo Picasso. For various reasons, such as the war context and the change of the director of the opera house in Paris, the ballet was never performe

Anna Isabella Leonarda (1620 - 1704): 400th anniversary of the brilliant composer of the italian baroque.

Anna Isabella Leonarda nació en la localidad italiana de Novara, a 40 km de Milán, en el seno de una familia nobiliaria. Tomó los votos a la edad de 16 años (1636) y junto con algunas de sus hermanas fue monja en el convento Sant’Orsola en Novara. Isabella Leonarda fue el nombre elegido por ella misma cuando se convirtió en monja de las Ursulinas. Su familia mantuvo estrechos lazos con Sant’Orsola como benefactores. Isabella ocupó varios cargos de autoridad a lo largo de su vida en el citado convento: como madre (1676), superiora (1686), madre vicaria (1693), y consigliera (1700) (Carter, 2002). Una vez alcanzó tal cargo, pudo dedicar más tiempo a la composición. Así, la mayoría de las monjas tenían la obligación de realizar tareas menores en horarios fijos. Sin embargo, la dedicación de su Opus 10 ofrece una visión contradictoria, pues se disculpa por la debilidad de sus obras, exponiendo que las escribió en las horas dedicadas al descanso para no descuidar sus deberes. Posiblemente hizo de la composición un vehículo para la expresión de su intensa devoción.Anna Isabella Leonarda was born in the Italian town of Novara, 40 km from Milan, into a noble family. She took her vows at the age of 16 (1636) and together with some of her sisters was a nun in the convent of Sant’Orsola in Novara. Isabella Leonarda was the name chosen by her when she became a nun of the Ursulines. Her family maintained close ties with Sant’Orsola as benefactors. Isabella held various positions of authority throughout her life in the convent: as mother (1676), superior (1686), vicar (1693), and consigliera (1700) (Carter, 2002). Once she reached such a position, she was able to devote more time to composition. Thus, most of the nuns were obligated to perform minor tasks at fixed times. However, the dedication of her Opus 10 offers a contradictory vision, since she apologizes for the weakness of her works, exposing that she wrote them during the hours dedicated to rest so as not to neglect her duties. Possibly he made of the composition a vehicle for the expression of his intense devotion

Maria Vallès Sostres: cent anys del naixement d'una nena prodigi

Durant les primeres dècades del segle xx van tenir lloc grans canvis per a la humanitat. En poc temps, es van produir fets polítics i descobriments tecnològics i científics que van transformar la vida quotidiana molt més de pressa que en els segles anteriors. En l'àmbit artístic, la música no va ser-ne una excepció. En aquest context d'avantguardes va néixer a Mequinensa la pianista Maria Vallès, que es traslladà amb la seva família a Barcelona amb un futur molt prometedor. Aquest avenir serà truncat per la Guerra Civil, l'agitació cultural i social i una mort prematura. Del naixement d'aquesta nena prodigi ara fa tot just cent anys.In the opening decades of the 20th century, great changes took place for Humanity. In the space of a few years, several political events and technological and scientific discoveries occurred which transformed everyday life much more quickly than in previous centuries. In the artistic field, music was not an exception. In this avant-garde context, Maria Vallès, a young pianist born in Mequinenza with a very promising future, moved with her family to Barcelona. Her future would be cut short, however, by the Spanish Civil War, the cultural and social agitation of the times and her premature death. This child prodigy was born exactly one hundred years ago

Mujeres y música. Obstáculos vencidos y caminos por recorrer. Avances hacia la igualdad y metas por alcanzar en el campo de la composición, interpretación y dirección orquestal.

El treball de recerca que he realitzat s'ha centrat en dones compositores, intèrprets i directores d'orquestra. Es tracta d'un anàlisi històric i sociològic de la dona i la seva contribució musical en aquests camps musicals des de l'inici de la participació musical femenina fins al present. Crec que és molt important saber d'on venim i decidir cap on volem continuar caminant. Al segle XX, la musicologia va començar a estudiar les dones en la història de la música i aviat va sorgir la necessitat de recuperar per a la nostra vida musical el llegat d'aquestes artistes. Aviat es van adonar que els seus programes de concerts oferien una història paral·lela de la música de cada època, des del classicisme fins a la música contemporània, passant pel romanticisme o les avantguardes històriques. Aquestes compositores estaven totalment immerses en el llenguatge musical dels respectius períodes històrics, eren en realitat artistes del seu temps. Tot i que penso que hi ha hagut un gran avanç en termes d'igualtat i oportunitats, encara no es parla d'un gran nombre de dones que es dediquin a la composició i / o direcció orquestral, ni tampoc es troben a les aules manuals que incloguin a les brillants compositores, pedagogues, intèrprets ... que hi ha hagut al llarg de la història. Així com tampoc hi ha un nombre important d'obres programades compostes per dones ni dones que portin la batuta i dirigeixin a les més prestigioses orquestres del món. El mateix llenguatge musical continua estant ple d'al·lusions al sexe femení.El trabajo de investigación que he realizado se ha centrado en mujeres compositoras, intérpretes y directoras de orquesta. Se trata de un análisis histórico y sociológico de la mujer y su contribución musical en estos campos musicales desde el inicio de la participación musical femenina hasta el presente. Creo que es muy importante saber de dónde venimos y decidir hacia dónde queremos continuar caminando. En el siglo XX, la musicología comenzó a estudiar las mujeres en la historia de la música y pronto surgió la necesidad de recuperar para nuestra vida musical el legado de estas artistas. Pronto se dieron cuenta de que sus programas de conciertos ofrecían una historia paralela de la música de cada época, desde el clasicismo hasta la música contemporánea, pasando por el romanticismo o las vanguardias históricas. Estas compositoras estaban totalmente inmersas en el lenguaje musical de los respectivos períodos históricos, eran en realidad artistas de su tiempo. Aunque pienso que ha habido un gran avance en términos de igualdad y oportunidades, todavía no se habla de un gran número de mujeres que se dediquen a la composición y/o dirección orquestal, ni tampoco se encuentran en las aulas manuales que incluyan a las brillantes compositoras, pedagogas, intérpretes… que ha habido a lo largo de la historia. Así como tampoco hay un número importante de obras programadas compuestas por mujeres ni mujeres que lleven la batuta y dirijan a las más prestigiosas orquestas del mundo. El propio lenguaje musical continúa estando repleto de alusiones al sexo femenino.The research work I have done has focused on women composers, performers and orchestra conductors. I have made a historical and sociological analysis of women and their musical contribution in these musical fields from the beginning of female musical participation to the present. I think it is very important to know where we come from to decide where we want to keep going. In the 20th century, musicology began to study women in the history of music and soon the need arose to restore our musical life to the legacy of these artists. Soon they realized that their concert programs offered a parallel history of the music of each era, from classicism to contemporary music, through romanticism or historical avant-gardes. These composers were totally immersed in the musical language of their respective ages, were actually artists of their time. Although I think there has been a breakthrough in terms of equality and opportunities, there is still a small number of women who are dedicated to orchestral composition and / or conduction, nor are they in manual classrooms that include bright Composers, pedagogues, performers ... that have been throughout history. There is still an insignificant number of works composed by women or women who lead the most prestigious orchestras in the world. The musical language itself has lot of allusions to the female sex

Bar-restaurante : proyecto de actividad

Trabajo Científico técnico. El objeto del presente proyecto es justificar las medidas necesarias a implantar en un local ubicado en planta baja de edificio de viviendas para adecuarlo a una actividad de Bar-Restaurante con instalación de televisión y así solicitar la Licencia Municipal de Apertura de la actividad.Barrabés Campo, S. (2011). Bar-restaurante : proyecto de actividad. http://hdl.handle.net/10251/11630.Archivo delegad

Clara Schumann: 200 years since the birth of the great composer, pedagogue and pianist of the 19th century

Si revisamos la historia de la pintura, la escultura, el teatro, el cine, la música etc., en cualquiera de las diferentes artes nos hacemos, probablemente, la misma pregunta: ¿Dónde están las mujeres artistas? Anuladas por sus padres, hermanos y maridos, crearon hogares y gestaron hijos, renunciando a lo que más amaban. En el siguiente artí- culo, se describirá el contexto histórico y social que envolvió a Clara Schumann, niña prodigio que consagró su vida a la música en todas sus facetas en la Europa decimonónica.If we review the history of painting, sculpture, theatre, cinema, music, etc., in any of the different arts we probably ask ourselves the same question: Where are women artists? Annulled by their parents, brothers and husbands, they created homes and raised children, giving up what they loved most. In the following article, it will be described the historical and social context that enveloped Clara Schumann, a prodigy who devoted her life to music in all its facets in nineteenth-century Europe

Urban drainage control applying rational method and geographic information technologies

The objective of this study is to develop a method of controlling urban drainages in the town of Ingeniero White motivated by the problems arising as a result of floods, water logging and the combination of southeasterly and high tides. A Rational Method was applied to control urban watersheds and used tools of Geographic Information Technology (GIT). A Geographic Information System was developed on the basis of 28 panchromatic aerial photographs of 2005. They were georeferenced with control points measured with Global Positioning Systems (basin: 6 km2). Flow rates of basins and sub-basins were calculated and it was verified that the existing open channels have a low slope with the presence of permanent water and generate stagnation of water favored by the presence of trash. It is proposed for the output of storm drains, the use of an existing channel to evacuate the flow. The solution proposed in this work is complemented by the placement of three pumping stations: one on a channel to drain rain water which will allow the drain of the excess water from the lower area where is located the Ingeniero White city and the two others that will drain the excess liquid from the port area.Fil: Aldalur, Nélida Beatriz. Universidad Nacional del Sur. Departamento de Ingeniería; ArgentinaFil: Campo, Alicia María. Universidad Nacional del Sur; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; ArgentinaFil: Fernández, Sandra Noemí. Universidad Nacional del Sur. Departamento de Ingeniería; Argentin