MUSICOLOGA

Universitat Jaume I de Castelln. Departamento de Educacin. rea de Msica.

penalver@uji.es

Sistemas de notacin
musical alternativos (I)

Una aproximacin a la grafa del ritmo acentual

Resumen
a adquisicin de los conocimientos,
destrezas y habilidades relacionadas
con la lectura y la escritura de la m-
VLFD LPSOLFD XQ JUDGR GH GLFXOWDG FRQVL-
derable. Los enfoques tradicionales de la
enseanza musical se dirigen hacia el co-
nocimiento de los smbolos de la notacin
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alumno pueda emplear, de modo preciso y
HFD]XQVLVWHPDHVSHFtFR\H[WHQGLGR
universalmente para descifrar partituras
o anotar ideas musicales inventadas o es-
cuchadas. Sin embargo, consideramos in-
teresante y efectivo el empleo de grafas
alternativas, como paso intermedio, antes
de presentar el ritmo y la mtrica median-
te la notacin convencional. La prctica
de estos sistemas es muy apropiada para
el aprendizaje de la msica en la etapa in-
fantil y primaria, se adapta al nivel y al
desarrollo psicoevolutivo del nio y poten-
cia su motivacin e inters. Iniciamos bajo
este ttulo una serie de propuestas didc-
ticas de iniciacin musical para la escuela.

nm. 2 | 2012

< 48

Palabras clave
Educacin musical Ritmo y mtrica
Sistemas de notacin alternativa

MUSICOLOGA

Abstract
The acquisition of knowledge, skills and
abilities related to the reading and writing
of music implies a degree of considerable
GLIFXOW\ 7UDGLWLRQDO DSSURDFKHV WR PXVLF
education are directed toward the knowled-
ge of western music notation symbols. Its
aim is that the student can used, so precise
DQGHIIHFWLYHDV\VWHPVSHFLFDQGH[WHQ-
ded universally decrypted scores or score
musical ideas invented or heard. However,
we consider interesting and effective use
of alternative spellings, as an intermediate
step, before presenting the pace and the
metric through conventional notation. The
practice of these systems is well suited for
learning music in the pre-school and pri-
mary stage, adapts to the level and psy-
choevolutive of the child development
and enhances their motivation and inter-
est. Under this heading, we started a series
of didactic proposals for musical initiation
school.
Keywords
Music education Rhythm and meter
Alternative notation systems

Introduccin
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Ha experimentado multitud de
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tiempo desde la notacin ba-
bilnica para el instrumentista
de lira, la notacin alfabtica
griega para el ejecutante de
aulos.
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Estado de la cuestin
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sumario

nm. 2 | 2012

Dr. Jos Mara Pealver Vilar

49 >

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nm. 2 | 2012

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Acentuacin:

Duracin:

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HOHPHQWRPXVLFDOHOULWPRDFHQWXDO

ALTURA: La (2 espacio en el
pentagrama; La3 en el ndi-
ce acstico Franco-Belga).

nm. 2 | 2012

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PiVSHTXHxRVFLWDPRVDOJXQRVHMHPSORV

DURACIN: 2 pulsaciones en
compases simples (Figura de
nota blanca).

sumario

51 >

D$FHQWXDFLyQELQDULD

Agrupamiento de pulsaciones por la acen-

tuacin:
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nm. 2 | 2012

< 52

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MUSICOLOGA

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:X\WDFN

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Leyenda:

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El tiempo lo medimos en pul-

saciones o parcelas ms pe-
queas. El problema radica en
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representar la pulsacin, se
suele partir de la negra como
JXUDGHQRWDGHUHIHUHQFLD
para iniciar a la mtrica.

q


nm. 2 | 2012

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D$FHQWXDFLyQELQDULD

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Acentuacin:

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WLHPSRIXHUWH

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Pulso o pulsacin:

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RITMO ACENTUAL O CUALITATIVO: APROXIMACIN AL CONCEPTO DE COMPS

EXPLICACIN DEL SISTEMA

Tiempo relativo:

Notacin alternativa
del ritmo musical

sumario

53 >

2WURVHMHPSORVVREUHHOHPSOHRGHODQR
WDFLyQ DOWHUQDWLYD VREUH SDWURQHV UtWPLFRV
FDUDFWHUtVWLFRVFRPRODpetenera o bulera
\HOzortziko
Petenera:

3+3+2

2+3+3

Notacin alternativa:

Notacin alternativa:

E E E E E
v

5
8

v
v

q q q q

Zortziko:

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DFHQWXDFLyQ

q q q q

q q q q

q q q q

Notacin convencional:

q q q q

Notacin convencional:

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HMHFXWDVyORODSXOVDFLyQFRQSDOPDVVRUGDV
\ HO RWUR SHUFXWH VyOR OD DFHQWXDFLyQ FRQ
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HQWUHDPEDVPDQRV
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FRQODFRQGLFLyQGHHYLWDUUHSHWLUHOSDWUyQ
HPSOHDGRHQODDQWHULRU

nm. 2 | 2012

< 54

MUSICOLOGA

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3
4

Notacin convencional:

q q q q

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PRDGLWLYRVREUHRFKRVXEGLYLVLRQHVUHSUH
VHQWDGRV PHGLDQWH VLJQRV JUiFRV \ QRWD
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UtWPLFRV IRUPDGRV SRU OD FRPELQDFLyQ GH
DFHQWXDFLRQHVWHUQDULDV\ELQDULDV

6
8

Creacin, improvisacin

 (PSOHDPRV ORV SDWURQHV FRPR osti-

nato GH DFRPSDxDPLHQWR D OD FDQFLyQ /D
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PDV XQR GH ORV  ULWPRV FDUDFWHUtVWLFRV \
FDGDDOXPQRUHVSRQGHLQGLYLGXDOPHQWH/D
LPSURYLVDFLyQ LQGLYLGXDO VH UHDOL]D  DGDS
WDQGRHQHOPRPHQWRODUtWPLFDFDUDFWH
UtVWLFDGHOSDWUyQDFXDOTXLHUHOHPHQWRFRU
SRUDO
,PSURYLVDPRVDOWHUQDQGRODSUHJXQWD
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GLYLGXDOVHOLEUHGHXWLOL]DUFXDOTXLHUUHFXU
VRWUDEDMDGRDQWHULRUPHQWH
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WXDFLRQHV ELQDULDV \ WHUQDULDV R FXDOTXLHU
WLSR GH FRPELQDFLyQ 'LFKR SDWUyQ UtWPLFR
FRQVWLWX\HHOOtPLWHGHDWDTXHVTXHVHSXH
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\ IDYRUHFH OD FXDGUDWXUD HQ OD IRUPD SUH
JXQWDUHVSXHVWD 'H HVWH PRGR SRGHPRV
LPSURYLVDUVREUHXQSDWUyQUtWPLFRGHRFKR
SXOVDFLRQHVTXHVLUYHGHEDVHSDUDODLPSUR
YLVDFLyQGHYDORUHVDFHQWXDOHVUHSUHVHQWDGR
JUiFDPHQWHGHOVLJXLHQWHPRGR

sumario

nm. 2 | 2012

Notacin alternativa:
(PSOHDPRV ORV ritmos caractersticos
DIURFXEDQRV R FODYHV SDUD UHDOL]DU HMHUFL
FLRV GH LPLWDFLyQ \ VHQVLELOL]DU DO DOXPQR
VREUHSDWURQHVUtWPLFRVDFHQWXDOHV

q q q q q q

Observacin, imitacin, reproduccin

3+2+3

q q q q q q

ACTIVIDADES

55 >

Ejemplo
,PSURYLVDFLyQVREUHXQSDWUyQGHRFKRSXOVDFLRQHVUHSUHVHQWDGRFRQJXUDVGHQRWD\
VLJQRVJUiFRV

DOXPQR

v
v

v
v

q q q q q q q q
v
v

JUXSR

q q q q q q q q

DOXPQR

JUXSR


Conclusiones

nm. 2 | 2012

Bibliografa

< 56

%XUURZV 7  Mtodo fcil para

leer msica.%DUFHORQD3DUUDJyQ
&KDSXLV -  3DQRUDPD SHGDJyJL
FR GH OD HGXFDFLyQ PXVLFDO :LOOHPV 'H OD
HGXFDFLyQPXVLFDODOVROIHRYLYRMSICA Y
EDUCACINQ

MUSICOLOGA

'H3HGUR'Teora completa de

la msica.0DGULG5HDO0XVLFDO
)UHJD $ /  Msica para maes-
tros.%DUFHORQD*UDy
-RIUp -  El lenguaje musical.
%DUFHORQD5RELQERRN
/ySH] $  Ritmo y lectura. Ma
GULG5HDO0XVLFDO
0HMtD3Didctica de la Msica.
0DGULG3HDUVRQ(GXFDFLyQ
3D\QWHU -  Sonido y estructura.
0DGULG$NDO
6DQX\ 0 \ *RQ]iOH] /  Orff-
Schulwerk, msica para nios. 0DGULG
8QLyQ0XVLFDO(VSDxROD
6DQX\ 0  Aula sonora. 0DGULG
0RUDWD
6FKDIHU50El compositor en el
aula.%XHQRV$LUHV5LFRUGL
:LOOHPV(Solfeo curso elemen-
tal, Libro del Maestro.6XL]D3UR0XVLFD
:X\WDFN -  Msica viva. 3DUtV
/HGXF

nm. 2 | 2012

2EVHUYDPRVFyPRHQHVWHWLSRGHDFWLYL
GDGHVHODOXPQRHQSHUtRGRVGHLQLFLDFLyQ
\VLQQRFLRQHVGHPpWULFDSXHGHLPSURYLVDU
ULWPRV DFHQWXDOHV WHUQDULRV \ ELQDULRV PH
GLDQWHHOHPSOHRGHVLJQRVJUiFRV6RPRV
FRQVFLHQWHVGHTXHODLPLWDFLyQHLPSURYL
VDFLyQ GH ULWPRV DFHQWXDOHV SRGUtD WUDED
MDUVH GLUHFWDPHQWH GHVGH OD REVHUYDFLyQ H
LPLWDFLyQVLQODQHFHVLGDGGHHPSOHDUHVWH
VLVWHPDGHVLJQRVVLQHPEDUJRHVWDQRWD
FLyQ DOWHUQDWLYD SHUPLWH GHVDUUROODU HQ HO
DOXPQRXQJUDGRPiVGHFRQFLHQFLDFLyQTXH
ODVLPSOHLPLWDFLyQRUHSURGXFFLyQGHOPR
GHORSURSXHVWRSRUHOPDHVWUR

sumario

57 >