Eufonía : didáctica de la música

Resumen basado en el de la publicaciónSe analizan las contribuciones teóricas provenientes de otros ámbitos de la psicología y su empleo para llevar a cabo investigaciones relacionadas con la organización del proceso de audición de la música. A través de estas aportaciones, se percibe la presencia de un potencial de constantes que confluyen en un conjunto de actividades perceptivas. Asimismo, se manifiesta de qué manera han desembocado en la elaboración del modelo de "extracción de índices" en la audición de la músicaBiblioteca de Educación del Ministerio de Educación y Formación Profesional; Calle San Agustín, 5 - 3 Planta; 28014 Madrid; Tel. +34917748000; [email protected]

Similarity relations in listening to music: How do they come into play?

In this essay, similarity relations in the perception of music are studied on the basis of two different standpoints. The first is said to be external and studies comparisons between distinct and autonomous musical entities, i.e. different works or different interpretations. The second is internal and looks at similarity relations, which the listener identifies in the same work or part of a work, and in the same interpretation. This last procedure is developed in different directions. We show the importance of the similarity factor: (i) in the actual composition process as the composer seeks unity and coherence in his or her piece; (ii)in folk music; (iii)as an essential element for the listener who strives to understand the piece as he listens to it in real time. This last point is of fundamental importance for the study of cognition in general i.e. the implicit or explicit role of similarity in perception processes. Concrete examples of the main theoretical points described here can be identified in the course of the different phases of the cue extraction model that I developed recently, i.e. segmentation, categorization, schematization, imprint formation (Deliège, 1989, 1991). The SIMILARITY/DIFFERENCE axis is a central element in the structure of the model. The empirical approaches used in experimenting with the different phases of the model are analyzed in this two-fold perspective. From the very beginning, this was the aim of a series of procedures that aimed at showing the implicit or explicit aspects of the processes that musician and non-musician participants use during the experimental listening process. An overall view of the results obtained confirms that the assumptions were correct

Prelude: The spectrum of musical creativity

The present chapter is not aimed at reviewing all the (generally unanswered) questions that have been raised in various subfields of the study of creativity. We shall limit ourselves to a few of them, from the point of view of psychologists, not of “psychology”, because these authors may not be typical of the average representative of a science still lacking unity, let alone consistency (for a survey of the current state of affairs in psychological research on creativity, see Sternberg, 1999)

GTTM 25 years on

cote interne IRCAM: Andreatta10aNone / NoneNational audienceGTTM 25 years o

Music and the Cognitive Sciences

cote interne IRCAM: McAdams89lNone / NoneNational audienceNon

Mécanisme d’extraction d’indices dans le groupement

I. INTRODUCTION 1. Remarques préliminaires Certains psychologues voient dans l’écoute musicale un acte créatif. On serait même en présence d’une « composition » en ce sens que l’auditeur y injecterait à son gré des éléments issus de ses préférences et de son imagination personnelle. A ce titre, l’écoute — et il en serait de même de toute approche d’œuvre d’art — pourrait ne jamais connaître deux éditions identiques, puisque les apports du sujet sont essentiellement variables et liés à son éta..

Development of grouping processes in listening to music: An integrative view

International audienc