Aprendiendo a interpretar música por medio del Smartphone: la explicitación y reconstrucción de las representaciones encarnadas

Abstract

En este artículo se expone un trabajo descriptivo de enseñanza de la música, basado en un caso, en el que, desde un enfoque emocional y encarnado, alejado de los métodos tradicionales, analíticos y basados en la partitura, se muestra el papel que juegan diferentes representaciones, desde las más encarnadas (la posición corporal, los gestos) hasta las más simbólicas (la partitura), en el proceso de redescripción representacional para dar sentido emocional a la música. Además, se estudia cómo el uso del Smartphone y otros dispositivos similares pueden ayudar a un acercamiento epistémico a la enseñanza y el aprendizaje de la música. Se discuten los diferentes enfoques de acercamiento a la música y las relaciones entre diferentes representaciones.

Teacher involvement in the use of digital tools in conservatory, municipal music school and university classrooms

“…It would also be possible to consider that the technical intensity required in musical training may affect the time that is available to devote to other types of resources. Another aspect that could be considered decisive is the approach regarding the use of digital resources, which in addition to being a supplement could also be incorporated as a tool to generate knowledge (Pozo, Torrado, and Pérez 2020).…”

Oral Tradition as Context for Learning Music From 4E Cognition Compared With Literacy Cultures. Case Studies of Flamenco Guitar Apprenticeship

“…For example, the student who is learning to play the violin can become aware of his bodily representations if he records himself while playing (his body tension, the relationship between the movement of the bow and the sound obtained, etc.) (Pozo et al, 2020b). This in turn feeds back into the neurological activity, because it plays an important role in training the musician's physical abilities and thus developing his sense of himself as a skilled and embodied agent (Høffding and Schiavio, 2021).…”

“…That new 4E mind (Rowlands, 2010;Nagy, 2017) would not only be Embodied, but also Enactive, or based on action rather than on the contemplation of the world (e.g., Bowman, 2004;Pozo, 2017;Schiavio et al, 2020). In the same example above, the actual action performed, even mimetic, and only emulated without the instrument (Pozo et al, 2020b), provides the essential content of the musical representation that links sound and action. Students learn better when they play music instead of seeing someone else playing it (Schiavio and van der Schyff, 2018).…”

“…Finally, Newen et al (2018) defend that a cognitive process is strongly embodied by bodily processes if it is essentially based on processes in the body that are not in the brain, or is strongly embodied by extra-bodily processes if it is partially constituted by extra-bodily processes. In the example mentioned before, when the student records himself to analyse his bodily actions and their relationship with the sound achieved, the video constitutes an external representation from which to redescribe his own action (Pozo et al, 2020b). At a different level, the scores constitute a resource that allows the performer to reconstruct their own bodily action; such as the sequence of actions to perform and fingering (Casas and Pozo, 2008).…”