La música como experiencia audiovisual en la infancia: entre el contar, entender y sentir

Abstract

Este trabajo se interesa por la comprensión de la música audiovisual en la infancia, abordando un espacio inexplorado e importante por su inmersión cultural e impacto, queremos conocer su experiencia de la música cotidiana en los grandes espacios multimodales. El objetivo es examinar cómo produce significado y sentido la música de audiovisuales favoritos de niños de 11 a 14 años a partir de sus percepciones. Se exploran a partir de la escucha y/o visionado de 14 secuencias editadas en versiones, utilizando una metodología mixta. Los resultados muestran cuatro análisis de contenido comparando las respuestas a exposiciones separadas al Sonido y la Imagen, por Versiones, por estudio detallado de la escucha y, finalmente por Audiovisuales, explorando los factores emocionales, cognitivos y narrativos. Del estudio realizado, marcadamente inductivo, se obtienen cuatro conclusiones significativas: 1) La construcción del pensamiento sonoro se produce por la articulación de lo emocional, lo cognitivo y lo narrativo con una presencia destacada de los dos primeros, 2) La música tiene una importancia decisiva en todo ello, 3) La metodología emergente utilizada ha permitido mostrar las percepciones infantiles sobre la experiencia audiovisual y 4) Los resultados obtenidos son coherentes con los principios de Vigotsky estudiados en la revisión bibliográfica.

Audiovisual Music from the Audience’s Viewpoint

“…The music and soundtrack are part of the audiovisual production, along with the narration and image. In some scenes, their role can be critical for the cinematographic narrative, as well as a major driver of emotions [6,16].…”

“…Its key points are summarised in the topic at issue. The reader is encouraged to read Porta [16] to flesh out the information. Semiotics is the science that studies the communication systems of human societies.…”

“…In these lines, we will go over four of its main proponents. Ferdinand Saussure was the first to talk about semiology, establishing the bases for modern communication by studying everything from fashion to shows, customs, culture, verbal and non-verbal language and multimodal speeches [16]. Peirce [17] believes the sign, item and interpretation are the three main components, providing feedback to one another, creating a spiral process.…”

“…The effects of music on emotions are a field of rising interest, especially in psychology, health sciences and social studies, with a broad bibliography, that we will go over in the bibliographic review. From the experiential side on the effects of music on filmic and audiovisual tales and narratives, Amparo Porta and Porta, Herrera [16,26] performed audiovisual experiences to study their effects on children from a Vygotskian perspective, finding connections between music, emotions and some narrative elements, the first of which is the hero. The perception of the story, the plot and the personality of the hero cause conflicting emotions and are a key process in the tragedy, which requires specific features [29].…”

“…From the Vygotskian viewpoint, emotions, in cinema, create an alternating balancing system of opposite feelings. For the viewer, there is a catharsis when negative emotions are offset or neutralised by positive ones in the filmic process [16].…”