Esta obra está bajo una Licencia Creative Commons Atribución -No Comercial -Sin Obra Derivada 4.0 Internacional de Creative Commons. Puede copiarla, distribuirla y comunicarla públicamente siempre que cite su autor y la revista que lo publica (Epistemus -Revista de estudios en Música, Cognición y Cultura), agregando la dirección URL y/o un enlace a este sitio: http://revistas.unlp.edu.ar/Epistemus. No la utilice para fines comerciales y no haga con ella obra derivada. La licencia completa la puede consultar en https://creativecommons.org/licenses/by-nc-nd/4.0/ Problematizando la herencia colonial en la educación musicalEste trabajo revisa las ontologías y epistemologías involucradas en los modelos de educación musical formal como resultado de la cristalización institucional del pensamiento colonial operado durante siglos a través de dos modelos educativos durante la modernidad: el modelo jesuita y el modelo conservatorio. La colonización del pensamiento musical en América a partir del siglo XVI excede el silenciamiento y la consecuente sustitución de los repertorios originarios extendiéndose al concepto mismo de música, de músico y sus respectivas formas de existencia. Así, la cosmovisión colonial pervive en la educación musical a través de sus objetivos a menudo incuestionados orientados marcar la diferenciación del sujeto músico del no músico. Esa marca tiene dos pilares fundamentales: el dominio de la notación musical y el desarrollo experto de las habilidades de ejecución instrumental. Esta perspectiva prevé una pedagogía particular para cada caso (músico y no músico), sobre la base de diferencias ontológicas que se definen con relación a los modos privilegiados de circulación musical característicamente plasmados en el concierto y más recientemente en el disco y los medios masivos de comunicación. Se describen aquí ambas pedagogías y se proponen bases para una pedagogía musical decolonial. Resumen Palabras Clave:colonialidad, educación musical, modelo jesuita, modelo conservatorio.Epistemus -Revista de estudios en Música, Cognición y Cultura.

The aging population is growing rapidly. Proposing interventions that enhance the cognitive functions or strategies that delay the onset of disabilities associated with age is a topic of capital interest for the biopsychosocial health of our species. In this work, we employed musical improvisation as a focal environmental activity to explore its ability to improve memory in older adults. We present two studies: the first one evaluated neutral memory using the Rey Complex Figure (RCF) and the second one evaluated emotional memory using International Affective Picture System (IAPS). A group of 132 volunteers, between the ages of 60 and 90, participated in this investigation. Fifty-one of them were musicians with more than 5 years of formal musical training. After acquisition of neutral (Study 1) or emotional (Study 2) information, the groups of older adults were exposed to music improvisation (experimental intervention) or music imitation (control intervention) for 3 min. We then evaluated memory through two tasks (free recall and recognition), by means of immediate and deferred measures (after a week). We found a significant improvement in memory among participants involved in music improvisation, who remembered more items of the RCF and images from IAPS than the imitation group, both in the immediate and deferred evaluation. On the other hand, participants who had musical knowledge had a better performance in neutral visual memory than non-musicians. Our results suggest that a focal musical activity can be a useful intervention in older adults to promote an enhancement in memory.

The brain processes temporal statistics to predict future events and to categorize perceptual objects. These statistics, called expectancies, are found in music perception, and they span a variety of different features and time scales. Specifically, there is evidence that music perception involves strong expectancies regarding the distribution of a melodic interval, namely, the distance between two consecutive notes within the context of another. The recent availability of a large Western music dataset, consisting of the historical record condensed as melodic interval counts, has opened new possibilities for data-driven analysis of musical perception. In this context, we present an analytical approach that, based on cognitive theories of music expectation and machine learning techniques, recovers a set of factors that accurately identifies historical trends and stylistic transitions between the Baroque, Classical, Romantic, and Post-Romantic periods. We also offer a plausible musicological and cognitive interpretation of these factors, allowing us to propose them as data-driven principles of melodic expectation.ike any cultural phenomenon, musical style evolves through history in recognizable form, driven by technical and societal changes, in part, but largely following its own dynamics. An essential question for both music theory and cognitive science is to what extent, and how, these putative dynamics are constrained by fundamental perceptual structures. Style can be recognized by characteristic uses of form, texture, harmony, melody, and rhythm (1), yielding patterns that can then be mined to reveal hidden structures in music (2). Melody, in particular, defined as pitched sounds arranged over time in accordance with given cultural conventions and constraints, is an essential component of style (1). When played in a sequence, notes form perceptual relations with each other. Specifically, two adjacent notes define a melodic interval, measured as the distance in semitones between the second note and the first note. Current cognitive theories, such as implication-realization (IR) theory (3), and experimental results on short-term music expectation (4-6) propose that only three consecutive notes-two melodic intervals, or one bigram-are required to induce strong expectations on melodic continuations. This connection between a fundamental element of style and basic perceptual mechanisms provides a departing point to understand how style dynamics may be cognitively constrained.In this context, our contributions are threefold. We first take advantage of the availability of a large music dataset (7) and propose a unique method for analyzing bigram probability distributions that exploits its latent structure to identify accurately the transitions between the Baroque, Classical, Romantic, and PostRomantic periods. Second, we propose a cognitive interpretation of results, consistent with current musicological theories. Finally, we show that the prediction power of our model greatly exceeds that of the IR theory, letting u...

Music improvisation is a technique frequently used in the music therapy field. Its application involves emotional support, cognitive evaluation or cognitive/motor rehabilitation. However, its effect as a valid treatment to moderate memory has not been studied. The aim of the present study is to investigate the effect of music improvisation on emotional memory, in adults with or without musical training. Participants watched emotional or neutral images, and rated simultaneously how emotional they felt the images were, from 0 to 10 ( nothing to highly arousing). Later, participants were exposed to a treatment (music improvisation, imitation, or silence). Immediately afterwards, recall and recognition were evaluated. After a week, free recall and recognition were tested again. The main findings of this study were that music improvisation improves free recall and recognition of neutral and emotional images. The results also indicated that musicians showed better emotional memory performance than non-musicians.

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