La influencia del estilo musical en la emoción percibida

• Tizón Díaz, Manuel ^[1] ; Gómez Martín, Francisco ^[2]
  1. [1] Universidad Internacional de La Rioja

     Universidad Internacional de La Rioja

     Logroño, España

     
  2. [2] Polytechnic University of Madrid
• Localización: Revista Electrónica Complutense de Investigación en Educación Musical, ISSN-e 1698-7454, Vol. 17, 2020, págs. 85-131
• Idioma: español
• DOI: 10.5209/reciem.65311
• Títulos paralelos:
  • The Influence of Musical Style in Perceived Emotion
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• Dialnet Métricas: 1 Cita
• Resumen
  • español

    En este trabajo se aborda la cuestión de cómo el estilo musical influye en la emoción percibida y sus consecuencias pedagógicas. El primer problema lo encontramos en la propia definición de estilo. En este trabajo proponemos una definición del estilo y una aplicación del mismo. A posteriori, llevamos a cabo experimentos a sujetos para entender las respuestas emocionales al propio estilo. Escogimos seis estilos o “técnicas” (Barroco, Clasicismo, Romanticismo, pandiatonismo, dodecafonismo serial y modo frigio). Se mide la respuesta emocional y se analizan los resultados (los cuales se miden en músicos y no músicos). Encontramos diferencias en los estilos, tanto en el modo (mayor-menor) como en la experiencia (músicos-no músicos), incluyendo patrones complejos en la valencia y activación. Por último, proponemos que todo el conocimiento derivado de este trabajo sea incorporado a los temarios de los conservatorios y facultades de música.

  • English

    In this work we address the problem of understanding how musical style influences perceived emotion as well as their pedagogical consequences. The first problem arises when considering the very definition of style. The definition of musical style and how to apply it is thoroughly discussed. Several experiments were carried out in order to gain understanding about the emotional response to musical style. Six styles (Baroque, Classicism, Romanticism, pandiatonicism, twelve-tone serialism, and Phrygian mode) were selected and pieces were composed in those styles to be later played to both musicians and novices. Their perceived emotional response was measured and the results were analyzed thereafter. Differences were found across styles, mode and musical background, including complex patterns in valence and arousal. Last but not least, the knowledge acquired from this research can be incorporated a corpus for application and future study and use in music conservatories and centers for higher education and investigation.

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