Este Futuro es Otro Futuro: The role of social discourse on the [under]development of contemporary academic electronic music in Perú

This dissertation explores the history of Peruvian electroacoustic and electronic musical experimentation since its arrival to the country, while confronting the particular issues that have kept their practice from being academically embraced or implemented into the official channels for musical learning. It reviews the failures and successes of the Peruvian technologically based musical arts in front of the social structures and ideologies that have historically permeated all the cultural activities of the country. By moving away from a traditional technical and formalist approach that confronts academically based electroacoustic and electronic music from the perspective of the musical object, this work unveils the highly politicized history of responses towards these arts in Perú and the direct role of the particular nationalistic postcolonial models on their development or lack of it. It is within a plural and ambiguous set of nationalists, nativist, socialist, anti-foreign and indigenist ideologies, analyzed in this work, that we can identify a constant: the suspicion towards, and ultimately, the rejection of technologically based musical traditions as an element in the construction of a history of Peruvian music. Most actors in this work, whether composers, performers or music researchers, that have attempted to dedicate their efforts towards the implementation of technology beyond the logic of the recording studio and tech-support, have had to negotiate their participation in musical academic and popular cultures according to the way they were perceived by the political and cultural surroundings of their time. This situation would force many of them to construct the cultural identities that could allow them to participate in national institutionalized discourses and practices, moving away from technology or maintaining it as a peripheral activity. In the majority of cases, those musicians interested in technology would either migrate in search of training and professional opportunities, or shift direction towards other musical practices. By analyzing, in this work, the national discourses of/about our actors and the silence of the institutions (public and private) we reveal an agent-structure relational behavioral pattern toward musical technology and related sound arts that is at the heart of its historical undermining

Poscolonial Peruvian Sheep and Their Digital Dreams: Pure Data as a Tool for Conceptual Reconfiguration in Peruvian Musical Education

In this work, I discuss the use of Pure Data as the main tool for the development of paradigmatic changes in Peruvian musical education, through the implementation of the Laboratorio de Música Electroacústica y Arte Sonoro of the Universidad Nacional de Música in Lima - Perú. This analysis is made taking under consideration the particularities present in the development of the study of technology-based music in the country and the historical shortcoming that have marked that development. This work complements my previous research regarding the relevance of specific social narratives present through the history of the nation in regards to technology and musical innovation. In that sense, it presents a historical that seeks to revert the course of a musical learning history that excludes technology based musical practices associated with Pure Data, from becoming part of the official processes for musical creation in the country

La Corporeidad en los procesos de enseñanza-aprendizaje favorece el desarrollo de aulas más inclusivas : Ampliando las perspectivas de los kinesiólogos que se desempeñan en el Contexto Escolar, para incentivar la reflexión sobre su rol en el marco del Programa de Integración Escolar

Tesis (Kinesiólogo)Por medio de esta investigación queremos realizar un aporte a la kinesiología en el contexto escolar, mostrando la relación que encontramos en la literatura en relación a nuestra área de experticia, que es el movimiento corporal humano, con los procesos de aprendizaje desde una perspectiva inclusiva. Con lo anterior buscamos expandir nuestros conocimientos hacia el ámbito educativo y favorecer la reflexión de los colegas kinesiólogos que se desempeñan en esta área, brindando cimientos teóricos a investigaciones futuras, además, pretendemos tender puentes entre el trabajo de los kinesiólogos con los pedagogos, en virtud de que esta labor está fundamentada por una mirada integral al servicio en el tránsito integración-inclusión y así generar argumentos que fundamenten, junto con los docentes que incluyan la corporeidad en los procesos de enseñanza - aprendizaje. Actualmente no existe ningún rol declarado en las políticas públicas respecto al quehacer de los kinesiólogos en el contexto escolar, por lo que queremos brindar herramientas conceptuales, aportando en la reflexión en los profesionales que trabajan en esta área, para que sus intervenciones favorezcan la participación de todos los estudiantes para contribuir al desarrollo de aulas más inclusivas

Este Futuro es Otro Futuro: The role of social discourse on the [under]development of contemporary academic electronic music in Perú

This dissertation explores the history of Peruvian electroacoustic and electronic musical experimentation since its arrival to the country, while confronting the particular issues that have kept their practice from being academically embraced or implemented into the official channels for musical learning. It reviews the failures and successes of the Peruvian technologically based musical arts in front of the social structures and ideologies that have historically permeated all the cultural activities of the country. By moving away from a traditional technical and formalist approach that confronts academically based electroacoustic and electronic music from the perspective of the musical object, this work unveils the highly politicized history of responses towards these arts in Perú and the direct role of the particular nationalistic postcolonial models on their development or lack of it. It is within a plural and ambiguous set of nationalists, nativist, socialist, anti-foreign and indigenist ideologies, analyzed in this work, that we can identify a constant: the suspicion towards, and ultimately, the rejection of technologically based musical traditions as an element in the construction of a history of Peruvian music. Most actors in this work, whether composers, performers or music researchers, that have attempted to dedicate their efforts towards the implementation of technology beyond the logic of the recording studio and tech-support, have had to negotiate their participation in musical academic and popular cultures according to the way they were perceived by the political and cultural surroundings of their time. This situation would force many of them to construct the cultural identities that could allow them to participate in national institutionalized discourses and practices, moving away from technology or maintaining it as a peripheral activity. In the majority of cases, those musicians interested in technology would either migrate in search of training and professional opportunities, or shift direction towards other musical practices. By analyzing, in this work, the national discourses of/about our actors and the silence of the institutions (public and private) we reveal an agent-structure relational behavioral pattern toward musical technology and related sound arts that is at the heart of its historical undermining