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

Abstract

The awareness of the last 20 years about embodied cognition is directing multidisciplinary attention to the musical domain and impacting psychological research approaches from the 4E (embodied, embedded, enactive, and extended) cognition. Based on previous research regarding musical teaching and learning conceptions of 30 young guitar apprentices of advanced level in three learning cultures: Western classical, jazz, and flamenco of oral tradition, two participants of flamenco with polarised profiles of learning (reproductive and transformative) were selected as instrumental cases for a prospective ex post facto design. Discourse and practice of the two flamenco guitarists were analysed in-depth to describe bodily issues and verbal discourse on the learning practice in their natural contexts. Qualitative analysis is performed on the posture, gestures, verbal discourse, and musical practice of the participants through the System for the Analysis of Music Teaching and Learning Practices (SAPIL). The results are organised attending: (a) the Embodied mind through differential postures and gestures of flamenco participants that showed a fusion among verbal, body language, and musical discourse with respect to the musical literacy cultures; (b) the Embedded mind and a detailed description of circumstances and relationships of the two flamenco participants, and how music is embedded in their way of life, family and social context, and therefore transcends musical activity itself; (c) the Enactive mind, regarding the active processes that make differences between the reproductive and the transformative flamenco apprentices, then tentative relationship are observed in the discourse of each apprentice and the way in which they practice; finally, (d) the Extended mind through the bodily, technical and symbolic tools they use during learning. Flamenco culture of oral tradition made use of listening, and temporary external representations instead of notational, but also the body played a central role in a holistic rhythm processing through multimodality, such as singing, playing, and dancing. Conclusions point out the embodied mind as a result of the culture of learning reflected through the body and the gesture in instrumental learning.

Technology-Mediated Hindustani Dhrupad Music Education: An Ethnographic Contribution to the 4E Cognition Perspective

“…Recent developments in the domains of music improvisation and participatory music making [72], as well as music education [71], have undergone a transformative shift influenced by the principles of 4E cognition. In accordance with the viewpoint put forth by Casas-Mas et al [73], I aim to employ the 4E cognition framework in order to structure the thematic analysis of the interview material related to synchronous network-based Dhrupad music pedagogy. The subsequent section will delineate the methodology I employed in pursuit of this endeavor.…”

Possible Gender Differences in Classical Music, Flamenco and Fado

“…The music and songs are related to their experiences in family, labor, or social context. 41 This music usually took place in specific places (“ colmao ” or “ tabanco ”) and one of its peculiarities is its ability to sublimate the sorrow, pities, hardships, or sacrifices that are linked to traditional jobs in the South of Spain (fishing, hunting, harvesting, mining, salt flats) and only show with the music the happiness and joy of the active hard-working person in love. This music expression is able to transcend domestic difficulties to make common familiar and social troubles more bearable, unifying feelings inside entire communities.…”

“…This music expression is able to transcend domestic difficulties to make common familiar and social troubles more bearable, unifying feelings inside entire communities. 41 …”

“…This music expression is able to transcend domestic difficulties to make common familiar and social troubles more bearable, unifying feelings inside entire communities. 41 On 16 November 2010, UNESCO declared flamenco as one of the Masterpieces of the Oral and Intangible Heritage of Humanity (5.COM 6.39). Like mostly all the vocabulary and words for definitions this genre uses, they are sui generis, that is, with very pronounced intra-cultural traits and sometimes very different between distinct but close regions.…”