Este trabajo trata acerca del rol que se le asigna al sujeto que aprende en el proceso de adquisición de la notación musical. Con el fin de conocer las hipótesis de lectura que proponen quienes no conocen la notación musical, se desarrollaron una serie de entrevistas individuales a 40 jóvenes de entre 18 y 25 años. Los entrevistados debían señalar entre 4 partituras la que consideraban más adecuada para representar diferentes canciones del repertorio infantil tradicional, justificando en cada caso su elección. Se analizaron las justificaciones y, de acuerdo con los elementos y relaciones mencionados, se definieron cinco tipos de respuestas. Todos los sujetos lograron establecer asociaciones entre las canciones y las partituras proponiendo hipótesis acerca de los principios que sustentan la notación musical. Esto evidenciaría que los jóvenes, al encontrarse con un sistema de representación altamente normalizado no esperan obtener conocimiento específico para poder interactuar con la partitura Este estudio tendría importantes derivaciones para la educación musical, especialmente para el desarrollo de un enfoque que permita pensar el proceso de adquisición y apropiación de la notación musical desde la perspectiva del sujeto que aprende.

In this paper, we explore the interrelationships between knowledge construction in the field of Vocal Pedagogy and compositional forms of the academic music of the 20th century. We propose that research logics within Vocal Technique contributed to the thinking of the time providing a matrix to consider the vocal instrument from an objectivist position. The importance of the inquiries presented lies on the slow expansion that contemporary vocal music acquired in the last years, and in the absence of a Vocal Technique teaching method that considers the particular characteristics of this repertoire. As a current challenge, we consider necessary to chart a new model in Vocal Technique that favors the interpretation of the vocal repertoire of the 20th Century, and to establish a corpus of knowledge about (i) which are the new required skills and abilities, (ii) how they are produced, and (iii) how they should be taught.

In this paper, we explore the interrelationships between knowledge construction in the field of Vocal Pedagogy and compositional forms of the academic music of the 20th century. We propose that research logics within Vocal Technique contributed to the thinking of the time providing a matrix to consider the vocal instrument from an objectivist position. The importance of the inquiries presented lies on the slow expansion that contemporary vocal music acquired in the last years, and in the absence of a Vocal Technique teaching method that considers the particular characteristics of this repertoire. As a current challenge, we consider necessary to chart a new model in Vocal Technique that favors the interpretation of the vocal repertoire of the 20th Century, and to establish a corpus of knowledge about (i) which are the new required skills and abilities, (ii) how they are produced, and (iii) how they should be taught.