Pentagramas y algoritmos. Reflexiones sobre las competencias tecnológico-musicales y los horizontes de la educación superior en música en una era post-digital

Gustavo Alberto Servín Viveros

doi:10.33064/12ais8577

Authors

Gustavo Alberto Servín Viveros Universidad Autónoma de Aguascalientes https://orcid.org/0009-0003-5480-1313

DOI:

https://doi.org/10.33064/12ais8577

Keywords:

techno-musical competencies, higher music education, Post-Digital Pedagogy, Technological Mediation, Artificial Intelligence

Abstract

This text examines how techno-musical competencies influence contemporary musical practice and the professional training of musicians in the twenty-first century within the university context of the central region of Mexico. Drawing on a critical review of the literature and the author’s own artistic and teaching experience, it adopts a reflective stance to analyze how digital technologies have reshaped processes of performance, composition, and pedagogy, establishing a new paradigm in which technological mediation transforms the very notion of making music. The discussion also addresses the challenges and opportunities faced by some higher education institutions in Mexico in light of the pressing need to integrate digital resources as a transversal axis in music education. Finally, the paper highlights the importance of fostering a critical post-digital pedagogy that balances artistic sensitivity, ethical reflection, and mastery of new technologies applied to music, with the aim of preparing musicians capable of engaging in dialogue with these tools without becoming subordinated to them.

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Author Biography

Gustavo Alberto Servín Viveros, Universidad Autónoma de Aguascalientes

Gustavo Servín is a performer, composer, and professor originally from Veracruz, Mexico. He holds a Master’s degree in Teaching, a Bachelor’s degree in Music, and a Diploma in Sound Creation with New Technologies. His guitar and composition training includes studies with renowned mentors such as Carlos Ávila, Pablo Garibay, Oman Kaminsky, Matthew McAllister, Mauro Zanatta, Ana Lara, Marvin Camacho, and Lupino Caballero, among others.

Specializing in the interpretation and creation of contemporary music, he has performed at national and international festivals and forums such as the Contemporary Music Series, Festival Expresiones Contemporáneas, Festival Ramón Noble, International Guitar Meeting of Salamanca, Semana de la Música (UAA), and Festival Aires.

He has been a two-time recipient of the PECDA grant and was awarded as a composer at the Aguascalientes Chamber Music Festival. He collaborates with the Center for Experimentation and Production in Sound Arts, Inter and Transdisciplinary Studies (CEPROASIT) and serves as coordinator of the Festival Expresiones Contemporáneas in Aguascalientes.

His works have been performed by distinguished musicians and ensembles —including the Cuarteto José White, Fractal Guitar Trio, UCR Coral, Dirén Checa, and Daniel Olmos, among others— and featured in several recordings, most notably his album Pozo con Viento.

He is currently a professor and researcher at the Universidad Autónoma de Aguascalientes and is pursuing a Doctorate in Humanities and Arts, where he continues to explore the dialogue between contemporary musical creation, artistic education, and sound technology.

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