Prácticas Musicales Educativas para la Justicia y la Transformación Social

Borja Juan Morera; Icíar; Belén

doi:10.5216/mh.v25.81820

Authors

Borja Juan Morera Universidad de Zaragoza, España bjuan@unizar.es https://orcid.org/0000-0002-5943-5012
Icíar Universidad de Zaragoza, España iciarnad@unizar.es https://orcid.org/0000-0003-1325-2373
Belén Universidad de Zaragoza, España belocasa@unizar.es https://orcid.org/0000-0001-9101-6478

DOI:

https://doi.org/10.5216/mh.v25.81820

Keywords:

acción social por la música, proyectos musicosociales, música comunitaria, música para la paz, activismo educativo musical

Abstract

Social Transformation and Social Justice are the ultimate goal of a wide range of musical movements or phenomena that use music or its practice as a means to achieve them. Social Action for Music, Community Music, Social Music Projects, Musical Educational Activism and Music for Peace are concrete initiatives that aim to involve society through practices that promote reflection, creation, listening and musical performance, also known as Musicking. A study is presented with the objective of defining and situating these phenomena, currents or terms that emerged in the last century, understanding music and its practice as ambiguous and ambivalent. Music is not good or transformative per se, it can be used with prosocial objectives or with completely opposite objectives. Music has been used for war, segregation, torture or murder just as it has been used for reconciliation, unity, reconstruction or the creation of positive networks. At the same time, musical practice with positive objectives can generate both beneficial and detrimental impacts, and vice versa. In a way, this challenges the idealistic visions that often appear in numerous studies on music and social transformation.

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Author Biographies

Borja Juan Morera, Universidad de Zaragoza, España bjuan@unizar.es

Borja Rodríguez is a doctoral researcher at the University of Zaragoza (Department of Musical Expression), with a career focused on music for social purposes, inclusion, and music education. He holds a degree in Piano from the Conservatory of Aragón and a PhD from the same university. He has published 13 works (including articles indexed in WoS and Scopus), participated in over 30 conferences, and supervised 14 master's theses. He has completed postdoctoral research stays in Spain and was recently awarded an MSCA fellowship to continue his studies at Uniarts Helsinki. He founded the inclusive choir Cantatutti, which was the focus of his doctoral dissertation, and collaborates with the Chair of Music and Inclusion. He coordinates projects funded by the Government of Aragón and the Ministry of Science and Innovation, and has provided training in China, Lithuania, Ireland, and Morocco.

Icíar, Universidad de Zaragoza, España iciarnad@unizar.es

Icíar Nadal-García is a professor at the University of Zaragoza (Department of Musical, Plastic, and Corporal Expression), with a PhD in Philosophy and Arts from the same institution. She specializes in inclusive music education, choral practices, and auditory stimulation in early childhood. She co-directs the institutional Chair of Music and Inclusion, coordinates research projects on sign language and music, and is a member of the Educaviva and HERAF research groups. She has authored more than 30 academic publications and provided training in Spain and internationally.

Belén, Universidad de Zaragoza, España belocasa@unizar.es

Mª Belén López‑Casanova is an Associate Professor in the Department of Musical, Plastic, and Corporal Expression at the University of Zaragoza, Spain, with a PhD from the same university. Her work focuses on music education in primary education, auditory stimulation, and inclusive, interdisciplinary practices. She teaches courses such as Active Musical Appreciation and Development of Musical Expression, supervises BA and MA theses, and coordinates research in the ETNOEDU group. She has authored over 30 publications, including studies on auditory stimulation in early childhood and Aragonese traditional music in classrooms.