{"id":333709,"date":"2016-06-26T15:58:04","date_gmt":"2016-06-26T14:58:04","guid":{"rendered":"http:\/\/www.pressenza.com\/fr\/?p=333709"},"modified":"2016-06-29T14:50:19","modified_gmt":"2016-06-29T13:50:19","slug":"fini-musique-a-lecole-menace-europeenne","status":"publish","type":"post","link":"https:\/\/www.pressenza.com\/fr\/2016\/06\/fini-musique-a-lecole-menace-europeenne\/","title":{"rendered":"Fini la Musique \u00e0 l’Ecole ?! La Menace est europ\u00e9enne !!"},"content":{"rendered":"

Jos\u00e9 A. Rodr\u00edguez-Garc\u00eda Quiles est musicien, professeur d\u2019\u00e9ducation musicale \u00e0 l\u2019Universit\u00e9 de Grenade, Facult\u00e9 des Sciences de l\u2019Education \u00e0 Berlin. Il met en garde l\u2019Europe quant \u00e0 ses choix de valeurs \u00e9ducatives \u00e0 travers les cursus scolaires. Il d\u00e9nonce la situation en Espagne, premier pays europ\u00e9en \u00e0 avoir supprim\u00e9 la Musique du cursus obligatoire \u00e0 l\u2019\u00e9cole. Dans le contexte n\u00e9o-lib\u00e9ral d\u2019une partie des politiques europ\u00e9ennes, cette situation unique en Europe peut faire t\u00e2che d\u2019huile. Dans un large entretien en espagnol, ce professeur passionn\u00e9 nous explique en d\u00e9tail les enjeux historiques et d\u00e9mocratiques de la musique \u00e0 l\u2019\u00e9cole, pour l’Espagne, l’Europe et la soci\u00e9t\u00e9.<\/p>\n

\"Musique\"<\/p>\n

L\u2019article, en espagnol, est disponible en pdf\u00a0:<\/p>\n

http:\/\/www.e-revistes.uji.es\/index.php\/artseduca\/article\/download\/2139\/1830<\/a><\/p>\n

Nous en reprenons ici quelques id\u00e9es-phares.<\/p>\n

D\u2019autre part, la \u00ab\u00a0D\u00e9claration de Grenade\u00a0\u00bb est un appel lanc\u00e9 en 2015 \u00a0\u00e0 la communaut\u00e9 acad\u00e9mique europ\u00e9enne et qui reprend l\u2019essence de son inqui\u00e9tude et de son combat.<\/p>\n

Musique et Soci\u00e9t\u00e9<\/strong><\/p>\n

L\u2019Espagne est le premier pays europ\u00e9en \u00e0 avoir officiellement supprim\u00e9 le cours d\u2019\u00e9ducation musicale du cursus de l\u2019\u00e9cole publique. Outre le fait que cette situation permet de supprimer les cours de musique \u00e0 l\u2019\u00e9cole espagnole, c\u2019est la vision des objectifs de l\u2019\u00e9ducation qui pose question\u00a0: cette d\u00e9cision illustre en effet une approche \u00ab\u00a0rentable\u00a0\u00bb de l\u2019\u00e9ducation de nos enfants, en accord avec des politiques de plus en plus n\u00e9o-lib\u00e9rales.<\/p>\n

D\u2019apr\u00e8s J.A., nous devrions \u00e9tudier comment, dans le champs des connaissances, certaines formes de \u00abdouleur\u00bb sont reconnues et amplifi\u00e9es \u00e0 niveau social (par exemple, lorsqu\u2019on parle de la fuite des cerveaux en raison de la crise, par exemple), alors que les pertes qui se produisent dans d\u2019autres domaines de la connaissance (\u00e9ducation musicale) restent invisibles et \u00abindolore\u00bb comme s’il n\u2019y avait absolument aucun lien entre elles. Il est donc \u00e9vident que certains champs de connaissances en valent la peine et d’autres non. Cette situation implicite illustre une fa\u00e7on d’exercer le pouvoir, pla\u00e7ant des priorit\u00e9s et situant le politique comme \u00e9tant qualifi\u00e9 pour d\u00e9cider ce qui est normativement valable dans un contexte acad\u00e9mique et ce qui ne l\u2019est pas.<\/p>\n

La vision europ\u00e9enne<\/strong><\/p>\n

Jos\u00e9 A. est coordonnateur national pour l’Espagne de la EAS (European Association for Music in Schools). Professeur titulaire de l’\u00e9ducation de Musique \u00e0 l’Universit\u00e9 de Grenade, il collabore r\u00e9guli\u00e8rement avec plusieurs universit\u00e9s en Europe en tant que professeur et chercheur invit\u00e9, en particulier avec les universit\u00e9s de Potsdam et de Berlin. Il dirige le groupe de recherche RIMME (Recherche et innovation dans la musique et l’\u00e9ducation musicale) et le r\u00e9seau international \u00ab\u00a0Performative Musique Education Network\u00a0\u00bb. Il est \u00e9galement directeur des \u00ab\u00a0Congr\u00e8s contemporains de Musique espagnole-allemande\u00a0\u00bb dont la troisi\u00e8me \u00e9dition a eu lieu.<\/p>\n

Il est donc bien plac\u00e9 pour apporter un point de vue global sur la situation europ\u00e9enne. A la question de savoir si la situation est meilleure en Allemagne par exemple, il r\u00e9pond, \u00e0 partir du Processus de Bologne. Pour lui, ce Processus est une erreur parce qu\u2019il ne tient pas compte des contextes particuliers de la culture de chaque pays. On nous a vendu une image de \u00ab\u00a0convergence\u00a0\u00bb possible dans un espace sup\u00e9rieur d\u2019\u00e9ducation et de recherche, v\u00e9ritable catastrophe dans les champs de la musique et de l\u2019\u00e9ducation musicale. On ne peut comparer le pass\u00e9 musical allemand d\u00e9velopp\u00e9 et formalis\u00e9 depuis tellement longtemps \u00e0 la musique en Espagne\u00a0! Les particularit\u00e9s culturelles doivent absolument \u00eatre mises en valeur dans un respect de la diversit\u00e9 culturelle et non de l\u2019uniformisation insipide et absurde.<\/p>\n

Son exp\u00e9rience en Allemagne lui permet cependant de souligner l\u2019attitude des allemands face au Processus de Bologne. Les allemands l\u2019ont discut\u00e9, explor\u00e9 et int\u00e9gr\u00e9 avec grande prudence, respectant les institutions \u00e9ducatives existantes, que ce soient les Hautes Ecoles de formation des musiciens et les conservatoires. En Espagne par contre, l\u2019interpr\u00e9tation du Processus de Bologne s\u2019est faite rapidement, par quelques politiques et acad\u00e9miques qui ont consid\u00e9r\u00e9 qu\u2019il n\u2019est pas n\u00e9cessaire de former les enseignants de musique avec un cursus europ\u00e9en et, de plus, ont d\u00e9cid\u00e9 de supprimer la formation qui existait \u00e0 l\u2019universit\u00e9, en Sciences de l\u2019Education.<\/p>\n

Aujourd\u2019hui, l\u2019Espagne se retrouve au dernier wagon du train europ\u00e9en de la Musique \u00e0 l\u2019Ecole.<\/p>\n

 <\/p>\n

La Formation des Enseignants<\/strong><\/p>\n

La substitution de la formation universitaire en Education Musicale par une ridicule\u00ab\u00a0Mention Musique\u00a0\u00bb dans le cursus des futurs enseignants du primaire, correspond \u00e0 une strat\u00e9gie politique, d\u00e9nonce J.A. \u00a0 Concr\u00e8tement\u00a0\u00a0la musique se retrouve marginalis\u00e9e dans la\u00a0nouvelle cat\u00e9gorie disciplinaire\u00a0: \u00ab\u00a0Autre\u00a0\u00bb !!??. Cette situation engendre une pr\u00e9carit\u00e9 et une violence dans le domaine acad\u00e9mique, qu\u2019il est urgent d\u2019analyser. Demain, les futurs \u00ab\u00a0Sp\u00e9cialistes de la Musique\u00a0\u00bb le seront avec une formation facultative de 24 cr\u00e9dits et \u00a0un enseignant du primaire qui aura suivi 6 cr\u00e9dit heure, pourra, s’il le veut donner cours de musique aux enfants jusqu\u2019\u00e0 12 ans, toute sa vie. Cette insuffisance de formation entra\u00eenera de graves lacunes p\u00e9dagogiques et servira d\u2019argument aux adversaires des cours de musique qui pourront ainsi pointer le manque d’int\u00e9r\u00eat de ce cours.<\/p>\n

L’ autre sujet qui \u00a0f\u00e2che notre inconditionnel de la musique, ce sont les cours propos\u00e9s de plus en plus en semi-r\u00e9sidentiel ou en virtuel. Comment transmettre et partager l\u2019\u00e9motion musicale, par internet\u00a0? Impossible et totalement absurde, s\u2019\u00e9nerve-t-il\u00a0!<\/p>\n

\"Grenade\"<\/p>\n

Mais alors, que faire\u00a0?<\/strong><\/p>\n

Pour Jos\u00e9 A., dans ce contexte de grande confusion espagnole, nous devons tout d\u2019abord d\u00e9finir ce qu\u2019est un professeur \u2013 versus \u2013 ma\u00eetre de musique. Par extension, une d\u00e9finition s\u2019impose sur la fonction de l\u2019enseignant. Dans la soci\u00e9t\u00e9 d\u2019aujourd\u2019hui et de demain, qu\u2019est-ce que \u00ab\u00a0\u00eatre enseignant\u00a0\u00bb\u00a0?<\/p>\n

Une d\u00e9finition de la Musique est \u00e9galement n\u00e9cessaire. Ce manque de d\u00e9finition porte s\u00e9rieusement pr\u00e9judice \u00e0 la formation.<\/p>\n

Ensuite, et progressivement, il faut qualifier suffisamment les professeurs en fonction de leur niveau. Le dialogue doit s\u2019installer entre les \u00e9coles de formation des enseignants et les conservatoires. Le potentiel \u00e9ducativo-musical de l\u2019Espagne peut \u00eatre d\u00e9velopp\u00e9 avec fiert\u00e9 au sein d\u2019une Europe riche de sa diversit\u00e9.\u00a0Il faut comprendre que cette n\u00e9cessaire d\u00e9finition ne se fait pas, non par ignorance mais par une logique corporatiste compl\u00e8tement absurde et irresponsable.<\/p>\n

La raison et l\u2019\u00e9motion doivent se retrouver \u00e0 l\u2019\u00e9cole. La Musique en est leur langage.<\/p>\n

Pour Jos\u00e9 A., la musique est un langage, tout comme le langage math\u00e9matique, la langue maternelle ou les langues \u00e9trang\u00e8res. C\u2019est \u00e0 ce titre qu\u2019elle m\u00e9rite toute sa place \u00e0 l’\u00e9cole, en Espagne et partout ailleurs.<\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Jos\u00e9 A. Rodr\u00edguez-Garc\u00eda Quiles est musicien, professeur d\u2019\u00e9ducation musicale \u00e0 l\u2019Universit\u00e9 de Grenade, Facult\u00e9 des Sciences de l\u2019Education \u00e0 Berlin. Il met en garde l\u2019Europe quant \u00e0 ses choix de valeurs \u00e9ducatives \u00e0 travers les cursus scolaires. Il d\u00e9nonce la…<\/p>\n","protected":false},"author":156,"featured_media":334875,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11386,94,1249,85,40],"tags":[11883,28285,28286,18565],"class_list":["post-333709","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-contenu-original","category-culture-fr","category-education-sujet","category-europe-fr","category-international-fr","tag-diversite-culturelle","tag-education-musicale","tag-formation-des-enseignants","tag-neo-liberalisme"],"yoast_head":"\nFini la Musique \u00e0 l'Ecole ?! 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