InstrumentUM2026, N. 6
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Browsing InstrumentUM2026, N. 6 by browse.metadata.contributordepartment "Sin departamento asociado"
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- PublicationOpen AccessA paso firme, para cuarteto de trompas(InstrumentUM, 2026) Otazo Lozano, Felipe; Sin departamento asociado
- PublicationOpen AccessAmistax, para piano(InstrumentUM, 2026) Beltrán Martínez, David; Sin departamento asociado
- PublicationOpen AccessAzogue, para violín, violonchelo y percusión(InstrumentUM, 2026) Andreo Gázquez, Francisco José; Sin departamento asociado
- PublicationOpen AccessCon seis cuerdas y española(InstrumentUM, 2026) López Melgarejo, Alba María; Sin departamento asociado
- PublicationOpen AccessEl tambor como terapia en atención temprana(InstrumentUM, 2026) Jiménez García, Mariana; Sin departamento asociadoOver time, music has evolved from being an element of daily activity to an art that demands sensitivity and emotion. Their association with developmental difficulties has enabled them to improve the emotional well-being of individuals by promoting their social, personal and academic functioning. The purpose of this article is to explore the possibilities of intervention in early care with a proposal that incorporates listening and playing the drum to comprehend the advantages that this can provide for children between 0 and 6 years experiencing developmental difficulties with this information we will include suggestions on how to use the drum during stimulation sessions. It is concluded that the union of the rhythmic patterns of the drum in the early attention sessions optimizes the quality of life of the children.
- PublicationOpen AccessEl tambor en el Candomblé: músicas afro-latinoamericanas, trance y religiosidad.(InstrumentUM, 2026) Ares Yebra, Javier; Sin departamento asociadoThis article reflects on the sacred meaning of the drum in Candomblé through an interdisciplinary methodological approach that integrates comparative religious history, ethnomusicology, and decolonial theory. Using the concept of hierophany, the drum is analyzed beyond its sonic dimension, as an object that makes the sacred present, reconfiguring time, space, and (inter)subjectivity during the worship ceremony of the Orishas. The decolonial perspective adopted in this research provides tools to revalue historically marginalized knowledge and challenges traditional epistemological frameworks that have tended to exoticize and reduce the syncretism and complexity of Afro-Brazilian religious experiences. This theoretical and methodological framework also enables the study of the drum culture in Candomblé as a relational practice that connects body, community, and memory. The conclusions emphasize that, in addition to being a manifestation of the sacred, the drum serves as a central element in the religious experience of the Orisha worship, a bridge between the human and the divine, through which individual and collective identities can be woven. The research demonstrates that understanding these practices requires a critical perspective that recognizes their own rationality and their legitimacy within non-subordinated epistemic frameworks. The drum is not only a ritual object but also a fundamental symbolic and spiritual operator in Afro-descendant religious ceremonies.
- PublicationOpen AccessFriendship war, para dos clarinetes en sib y piano(InstrumentUM, 2026) Vidal Avilés, Francisco J.; Sin departamento asociado
- PublicationOpen AccessLa afinación justa en el trombón y la notación microtonal de Manfred Stahnke: análisis interpretativo y estructural de beating.(InstrumentUM, 2026) Escorihuela, Guillem; Marín, Antonio; Sin departamento asociadoThis article examines Beating (1987) by Manfred Stahnke, a trio for trombones that stands as one of the most significant examples of applying just intonation and microtonal notation to brass instruments. The study combines quantitative and qualitative approaches to analyse the work’s acoustic structure, intervallic organisation, beating behaviours, the structural role of glissandi and the presence of difference tones as mechanisms for auditory verification. The comparison between the 1999 manuscript and the revised 2013 edition reveals a process of graphical refinement aimed at improving clarity and performative functionality without altering the acoustic foundations of the work. The intervallic analysis highlights the coexistence of two complementary layers: the equal-tempered system as a point of reference and natural proportional relationships as the structural engine. This duality allows the piece to traverse different acoustic regions while maintaining global coherence. Quantitative results confirm the internal consistency of Stahnke’s system, while the use of difference tones and strategic glissandi demonstrates its empirical verifiability and practical effectiveness. Overall, Beating emerges as an acoustic laboratory in which notation, sound physics and instrumental practice converge, offering a model of interpretation grounded in active listening and a deep understanding of natural tuning.
- PublicationOpen AccessLa batucada: propuesta teórico-práctica para las enseñanzas profesionales de música en la especialidad de percusión(InstrumentUM, 2026) Tortosa Sancho, Francisco; Sin departamento asociadoThe batucada is a Brazilian musical group centered on percussion and characterized by its energy and vibrant rhythm. Its origins date back to African traditions that arrived in Brazil, merging with indigenous and European influences. This article proposes the implementation of this activity in the context of Professional Music Education, integrating the characteristics of these groups as an educational tool that fosters technique, creativity, and teamwork among students majoring in percussion. It is proposed that it could be implemented in the curriculum through subjects such as Instrument, Instrumental Ensemble, and Chamber Music, with a focus on collective practice and improvisation. A justification of the objectives and content based on current legislation is included, enriching not only musical training but also providing a valuable cultural connection and opportunity for artistic expression.
- PublicationOpen AccessLa evolución de la escritura pianística en la obra de Manuel Seco de Arpe(InstrumentUM, 2026) Picó Soriano, Alberto; Sin departamento asociadoThis paper examines the evolution of piano writing in the work of Manuel Seco de Arpe (1958), with special attention to the transition from avant-garde procedures to stylistic synthesis in his recently created cycle of sonatas. Using several reference works from the composer's catalogue as case studies, and drawing on articles, programmes, works and field notes, it highlights the different aesthetics, motivic procedures, and, ultimately, the characteristics that make up a coherent and personal pianistic language. Seco de Arpe has more than 180 works in his catalogue, with his piano works being an example of the different languages that the composer has explored throughout his career.
- PublicationOpen AccessLos intrumentos de Pleyel y su influencia en la obra de Frédéric Chopin(InstrumentUM, 2026) Kubala, Malgorzata; Sin departamento asociadoThe article examines the influence of Pleyel pianos on Frédéric Chopin's artistic and creative life within the flourishing piano culture of Paris in the first half of the 19th century. This city, which had become a veritable Pianopolis, was a center for the most innovative piano makers, including Érard, Pleyel, and Pape —and the leading European virtuosos. In this environment, Camille Pleyel modernised the family business, introducing technical advances that gave his instruments unique sound qualities. Chopin considered that Pleyel pianos responded sensitively to his playing and allowed him to express his ideal sound with precision: perfect legato, a vocal conception of piano sound and extraordinarily varied dynamics. The study shows how the sound aesthetics of Pleyel instruments influenced Chopin's aesthetics, providing an insight into his compositional and interpretative style.
- PublicationOpen AccessL´alba dell´imbrunire, para Piano(InstrumentUM, 2026) Montoya Rubio, Juan Carlos; Sin departamento asociado
- PublicationOpen AccessPelagio Ferrer y Rigo (1865-1945): maestro, músico e instrumentista(InstrumentUM, 2022) Beltrán Martínez, David; López Núñez, Norberto; Sin departamento asociadoThe present study describes the life and professional legacy of Pelagio Ferrer y Rigo (1865-1945), a primary school teacher and a currently unknown figure in the educational and cultural history of the Region of Murcia. The main objective is to identify Pelagio Ferrer's relationship as a teacher and his connection with music and musical instruments, with the intention of highlighting the importance of his biographical legacy. The methodology used is a qualitative study focused on documentary analysis, mainly of his memoirs and of the archives related tohim extracted from the newspaper archives. The results reveal that Pelagio Ferrer worked as a teacher in different towns in Murcia, leaving his mark not only for his educational work but also for his ability to integrate music into the school, social, and religious contexts. He learned and taught instruments such as the accordion, guitar, harmonium, and flute, contributing to the artistic development of his students and to the cultural development of the communities in which he worked. In conclusion, it is highlighted that his work allows us to better understand the role of music as a pedagogical tool in rural contexts and in an era marked by material and social limitations, highlighting how music became a cross-cutting resource in his teaching practice, facilitating teaching-learning processes, promoting social cohesion, and consolidating his image as a cultural reference.
- PublicationOpen AccessPreludio encantado, para guitarra(InstrumentUM, 2026) Alves Tremura, Welson; Sin departamento asociado
- PublicationOpen AccessSonido, imagen y narrativa del tambor en The Monkey (Perkins, 2025): una aproximación desde Musscreen(InstrumentUM, 2026) Buendia Vivo, Dolores F.; Belando Lajarín, María José; Sin departamento asociadoEste artículo propone un análisis de la película The Monkey (2025), dirigida por Osgood Perkins y basada en el relato homónimo de Stephen King. Se examina el mono de juguete como símbolo sonoro y visual que articula los temas centrales de la película: la muerte, la culpa, la infancia perturbada y el destino inevitable. El objetivo es analizar el tambor del mono como eje sonoro-narrativo desde el método MusScreen, con una especial atención a las funciones expresivas y narrativas de la música cinematográfica descritas en el método, además de proponer una aplicación didáctica en contextos educativos audiovisuales. El tambor se presenta como un símbolo que no solo conecta emocionalmente con el espectador, sino que también refuerza la narrativa de horror sobrenatural. Las categorías analizadas incluyen su función como herramienta narrativa, gesto de amenaza, contraste sonoro, presencia visual constante y ritmo como reflejo emocional. Esta clasificación nos muestra cómo el tambor del mono actúa como hilo conductor de los eventos trágicos y como espejo de los protagonistas Hal y Bill.