Search

Emotional intelligence is a psychological variable that affects personal well-being and transcends the educational field. It is known that learning music provides emotional benefits for people and that emotional intelligence varies by age and gender. Based on these principles, we propose this research with the following objectives: to measure the perceived emotional intelligence of adolescent students of obligatory secondary education from Valencia, to compare by the variables of musician-non-musician and gender; and to explore the effect of music on the perceived emotional intelligence of young musicians considering gender as a variable. The final sample comprised a total of 409 adolescents of between 11 and 16 years of age. The data collection tools were an ad hoc sociodemographic questionnaire and the Trait Meta-Mood Scale (TMMS-24). The results of the statistical analyses displayed significant differences by gender in emotional attention; a positive correlation between age and attention, which increases with progress through adolescence; and a significant effect that reveals greater emotional clarity in musicians. This effect occurs independently of the gender of the subject, and so it benefits boys and girls equally. [ABSTRACT FROM AUTHOR]

From the framework of enactive cognition, musical sense emerges-at least in part-from the movements that people make during musical perception or performance. In cases of social musical practices, movements are coupled both to sonic changes (synchronies with musical metrical structure and form, for example) and to other's people movements. Motor patterns emerge from these person-music and person-person interactions and express the sense-making of the environment. Since the case of the dance is rarely studied by the psychology of music, it was necessary to introduce the anthropology perspective, which considers that dances-at least the folkloric ones-have a structure made by spatiotemporal regularities of the movements. In this article, it is proposed that dance at electronic parties is organized in motor patterns defined by the interaction of each person with the music and the other people. An empirical study was based on the audiovisual record of a tech house party (La Plata city, Argentina), and a microanalysis arms and legs movements of 20 persons at the dance floor, with the aim to identify and describe the motor patterns shared by people and their links with music. Based on this analysis, a dance structure formed by the constant repetition of a motor patterns' set, spatiotemporal defined was identify. The predominant motor patterns of the legs are two: one formed by two steps (44 % of the total time) and the other by four (50.8%). In both cases, people synchronize their steps with the musical beat, which produce a pattern of two beats length and other of four. The predominant motor patterns of the arms are also two, each formed by a direct movement and another in the opposite direction: one pattern's spatial trajectory is horizontal (48.8 %) and the other, sagittal (47.4 %). People synchronize their arms' movements with the metrical structure of music; the pattern's length varies between one (39.7 %), two (46.7 %) and four beats (9 %). People repeat each arm and leg's pattern multiple times before switching to the next. The moment at which each person switches their movements from a pattern to another is not temporarily aligned either with other people change of movements or with significant musical changes. Although motor coordination with metrical structure is a characteristic feature of a huge number of musical genres, the omnipresent synchrony with metrical levels of one, two and four beats of this type of dance is probably promoted by the specific features of electronic music for dance, which is analyzed in the article. The temporality of these dance movements can be described as an emergency from the interaction with the music and therefore reciprocally determined by both the music and the person. Instead, spatial features of motion patterns do not seem to have any relation with music. These features can be described as an emergency from the coordination of spatial trajectories between people at the dance floors of several parties, and therefore determined by the social interactions and the culturally right ways of moving in this context. Thereby, the dance structure at electronic parties emerges from the union of the musical and the other's dance sense making. [ABSTRACT FROM AUTHOR]

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to describe and interpret the role of music in Chilean Pentecostalism to highlight its relevance in foundationalism, its literary imaginary and its importance and meanings in mortuary time and places. Our theoretical approach will focus on the perception of musical realities, as well as on the musical feelings that an individual belonging to a certain group transmits and produces when stricken by illness, pain, death, loss and/or misery. Methodologically, we worked with Fuego del Pentecostés, a magazine belonging to the Evangelical Pentecostal Church. We also studied two novels in which the authors included Pentecostal characters in their narratives and where music plays an important part in the religious culture of the movement depicted. Both sources have allowed us to enrich and complement the role of music in Pentecostalism. [ABSTRACT FROM AUTHOR]

Copyright of Human Review is the property of Eagora Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The syllabi of the Primary Education degree include a compulsory subject related to basic aspects of music teaching. The purpose is to provide future generalist teachers with tools to use music as another didactic resource in the classroom. The main objective of this study is to analyze the self-perception of specific musical competences of the students of this subject., specifically in the Primary Education degree of the University of Barcelona. An evaluation of programs has been carried out through an ad hoc questionnaire, applied before and after the completion of the subject, to a sample of 72 students. The results obtained indicate the acquisition of basic musical skills by the students who did not have out-of-school musical knowledge, but there are some factors that could be improved, such as the low score in musical skills that require more time for their consolidation or the little evolution of the students who did have previous musical knowledge. Based on the analysis of the results, some proposals for improvement are made that may be applicable not only to the subject analyzed here but also to other subjects that work similar in other universities. [ABSTRACT FROM AUTHOR]

Copyright of Kepes is the property of Universidad de Caldas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines questions related to the 2014 Enade for Brazilian music education undergraduate programs. Therefore, this study's research questions are: how are Enade's 2014 questions regarding music majors organized in the test concerning their content and form? What is the relationship between the Enade 2014 and the Brazilian National Curricular Guidelines (DCNs) for Music undergraduate programs? The research approach for this study is document analysis (Peña-Vera & Pirela-Morillo, 2007) and seeks to understand the orientation in Enade's questions. With this aim, data was organized considering two dimensions: form and content. Findings suggest that a) questions are directed to one or another music career that is not, necessarily, addressed in all music education curricula; b) the questions are not fairly distributed among the three DCN axes, in which "specific content" axis prevails; c) some questions present contents often built on contextual constructs of musical or social biases, which may undermine the assessment reliability. Results show that the Enade 2014 is a test that requests from students only written knowledge, with or without the use of a music sheet. The previous does align with the guidelines of the music undergraduate program construction because they should be built on abilities and competencies. [ABSTRACT FROM AUTHOR]

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Procesamiento del Lenguaje Natural is the property of Sociedad Espanola para el Procesamiento del Lenguaje Natural and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Boletin de Antropologia is the property of Universidad de Antioquia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The exploratory research reported here aimed to a) knowing the reasons why students do music teaching before concluding their studies; b) identify the areas in which they work; c) characterize the students they serve; d) determine their perceptions concerning the teaching competencies they believe they have; e) characterize their views on how they could be supported; f) define their perceptions about the relevance of the degree plan they are pursuing. Students from the UAA's Bachelor of Music participated. A questionnaire made up of general questions, Likert-type items, and open-ended questions was used. The questionnaire underwent a process of expert judgement validation. The results reflect the problems faced by student-teachers and shed light on how they could be addressed by the institution and the Academic Group UAA-CA-117. Finally, opportunities for linking with the public and private musical educational sector emerged. [ABSTRACT FROM AUTHOR]

Music, from its several possibilities, induces emotional responses, which are reflected in the physiological and cognitive changes of the listeners, this is a thematic of study in common among different disciplines: music psychology, music therapy, music anthropology, neuropsychology, among others. At the neuroanatomical level, neuroimaging studies have shown that music can modulate the activity of limbic and paralimbic structures, that is, structures that are especially involved in the initiation, generation, maintenance, completion and modulation of emotions. Being able to understand how music can affect the mood of people allow us to contribute to the creation of new techniques oriented to emotional regulation through music. The current study was develop with the aim of evaluating the effect of perception of a musical piece, with activating characteristics (experimental group) vs. white noise (control group), as mood modulator, from a neuro sientific perspective. Participated 29 young adults (55 % man), between 18 to 40 years old (M = 22.07, SD = .43), with no presence of neurological diseases or amusia, nor consumption of medications at the time of the study. The selection of the musical piece with activating characteristics was evaluated in a preliminary study, which counted with the participation of 24 young adults, who valued three pieces of music in terms of valence (emotion that the piece generated) and arousal (activation level). The 3 pieces were: “Tika Tika Walk” by Carlos D’alessio; “Leafmen” by Danny Elfman and “Define Dancing” by Thomas Newman. From this preliminary study, the activating stimulus that would be used for emotional modulation was selected (“Leafmen” by Danny Elfman). The emotional induction of the participants was carried out through the observation of 24 images with negative emotional valence (extracted from International Affective Picture System). About procedure, the study consisted of a single session of activity, divided into the following five phases: (1) information phase: participants signed the informed consent and completed the socio demographic questionnaire, (2) emotional induction phase: participants observed 24 negative images, and they had to rate each image from 0 to 10 (not arousing/ emotional at all to highly arousing/emotional), (3) pre- measurement phase: participants completed a scale of mood, instrument used to measure transient moods, (4) perception phase: under a random distribution, a group of volunteers listened the activating music piece and another group listened the white noise (both for 3 minutes), and finally (5) post-measurement phase: participants completed a scale of mood after music or white noise perception. We analyzed the assumptions of normality and homogeneity of the sample using the statistics of Levenne and Shapiro Wilk. The results analyzed through non-parametric tests (Wilcoxon test, with a p value of .05). In the premeasurement of mood, no significant differences were found between groups. Results of post- measurement phase indicated that music with activating characteristics, modulated the emotions of sadness and anxiety, decreasing them significantly. The results obtained indicate that music, specifically selected, aided as a modulator of emotions. It is important not to generalize the results obtained to the whole population, in this sense and thinking in future research, it would be necessary to expand the sample to a larger n, as well as to investigate this effect in other samples. The results obtained allow to open new paths in terms of the intrinsic qualities of music and its elements to promote relief of anxiety and stress, regulate moods and, promote motivation or enable the development of mechanisms to adapt to situations new and/or traumatic. Finally, it could be assumed that music constitutes an effective stimulus to modulate emotional responses, which are reflected in the mood changes of the listeners. [ABSTRACT FROM AUTHOR]

Music software have revolutionized the way musicians nowadays develop their musical practice in terms of composition, musical arrangements and orchestration, that is why in the present research the objective was set; to determine the influence of music software in the teaching-learning process of music students at the Nacional University of the Altiplano in Puno. The approach was quantitative, being the design quasi-experimental and applied instruments such as pre-test, and post-test, for the collection and analysis of data, resulting in students have new skills in the process of composition, musical arrangements and orchestration, using the Sibelius and Finale software, compared with traditional techniques; It is concluded that there is a significant influence of the use of the Sibelius and Finale software in the teaching-learning process of the students; since it was observed that there was improvement in the development of the abilities in composition, musical arrangements and orchestration. [ABSTRACT FROM AUTHOR]

Copyright of Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article deals with the initial training of future teachers through the development of artistic projects, using the Project Based Learning methodology. The main objective of the work was to find out the opinion of the future teachers and their university professors regarding the ABP proposals developed from the Music Education in Primary Education Teacher Degree. For this purpose, we have carried out a qualitative research, with an exploratory and descriptive character, through the case study method. A questionnaire and a discussion group were used to collect data. After their analysis, we concluded that the ABP is an appropriate methodology for learning musical contents, which empowers students to be builders of their own learning, considering it innovative, effective and alternative to behavioral learning models. [ABSTRACT FROM AUTHOR]

The goal of this article is to analyse the adequacy of the written programs offered by Spanish universities in relation to the training of High School music teachers to the demands of schools and music classrooms in the knowledge-based society and economy. To reach this goal, a comparative documentary analysis of the programs of 26 Masters that offer music teacher education in Spain is executed. The results both in a general way, describing denominations, competences, structures, and credits of the programs; as well as in a specific way, defining typologies in the musical modules and practical training are presented. The conclusion is drawn that certain programs promote the construction of fundamental capacities to respond to the knowledge-based society and economy, such as reflective collective thinking and interdisciplinarity, creative thinking and entrepreneurship, technological integration, and innovation, as well as sensitivity to social issues. Although currently this is not the most common university orientation, since music teacher programs are still focused on the adaptation and perpetuation of eminently academic models, it does offer a positive vision of a commitment to teacher training that is desirable for all university programs. [ABSTRACT FROM AUTHOR]

This has been the fi rst summer without festivals. For some it has been an economic debacle. For others, a dry season in their live music consumption habits. The few festivals that have managed to be held are precisely those that had a reasonable size and could be readjusted to the new measures. It is a clue that forces us to think if those events of superhuman dimensions make any sense. It is time to consider the pros and cons of this big events and, perhaps, propose models of musical consumption where festivals gradually lose the excessive prominence they have obtained in recent decades. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Atacameños is the property of Estudios Atacamenos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Religião e Sociedade is the property of Instituto de Estudos da Religiao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Lúdica Pedagógica is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ERAS: European Review of Artistic Studies is the property of European Review of Artistic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Following Bourdieu (2000), I assume that the understanding of the symbolical forms of artistic representation depends on the understanding of the "worldview" of the social group to which the artist belongs and from which he creates his works. This perspective, when applied to the studies dedicated to the German musical poetics of the Sixteenth, Seventeenth and Eighteenth centuries, justifies the recovery of the theological-political fundaments of this tradition and the elaboration of its understanding. Besides that, it demands the reestablishment of the structural homologies between them and the creative principles of the music, evidencing the religious and political nature of the musical act, compromised with the maintenance of the social order, the construction of the common good and God's design. In addition to composing and performing, this act implied a commitment to making musical discourse intelligible to the public and accessible to future generations of composers, as material for imitation. [ABSTRACT FROM AUTHOR]

Introduction: The appearance of social networks has enabled users to massively share and broadcast content, multiplying its impact. Occasionally, large success quotas are reached in very short time frames, leading to "viral" productions, among which music videos are the most prominent and YouTube is users' preferred platform. Methodology: To know the essential bases that explain the viral capacity of a music video, research has been carried out using as a methodological technique the content analysis applied to a sample of 400 video clips, 200 in 2015, and 200 in 2018 following broadcast criteria. Results: video clips have evolved, in the 3 years that separate the two analyzes, in aspects such as the language of the songs, their style, or the theme. Discussion and conclusions: From the analysis, a change in the musical tastes of the audiences that access this type of content is perceived, and, as a consequence, the evolution towards a new video clip model that users are willing to share through their social networks. [ABSTRACT FROM AUTHOR]

In postmodern music education there has been a great demand for new ways of conceptualizing teaching-learning processes to make musical appropriation and empowerment more meaningful and effective. This demand calls for the use of tools derived from modern music, from rhizomatic learning as well as those from the participant's own social context. As a result of this demand many educational proposals have arisen, such as the Informal Music Learning and the Performative Music Education This research paper is a case study on collective instrumental classes given in a further education center for music in Spain, made in order to investigate the methodological practices used and to analyse the way in which they are moving towards the practices previously mentioned. It also serves as a means of research to see if these practices have a significant impact on the training of future professional musicians. [ABSTRACT FROM AUTHOR]

This study aims to identify teaching factors that influence the implementation of music arrangements in the classroom of primary education, given that educators can face difficulties balancing musical and teaching aspects at the moment of elaborating and implementing music arrangements. This research holds a qualitative, nonexperimental, and cross-sectional design, utilising it the constant comparative method in an inductive order for collecting and analysing data. The purposive sample is integrated by two teachers specializing in music education who have a vast experience in primary schools. Results display that control of musical and pedagogical competencies are essential for solving teaching problems linked to the creation and implementation of music arrangements. In conclusion, three teaching factors have identified in milieus of primary education: teacher autonomy, lesson structure, and musical structure of the arrangement. [ABSTRACT FROM AUTHOR]

Grouping influences the mental fragmentation of sounds in memory, which is why it is considered a fundamental element in modern theories of musical cognition. This work reviews research on the phenomena of temporal structuring, grouping of events and formation of rhythmic patterns. Therefore, an updated panorama is offered regarding certain facilitating factors of temporal processing that may be relevant in musical training contexts, for example, that regularity and the 2:1 relationship are important elements for the perception and production of rhythmic patterns. [ABSTRACT FROM AUTHOR]

Copyright of Revista Virtual Universidad Católica del Norte is the property of Revista Virtual Universidad Catolica del Norte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Musical is the property of Consejo Superior de Investigaciones Cientificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Plurentes is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Laocoonte is the property of Sociedad Espanola de Estetica y Teoria de las Artes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Buena Risa Social Club is a humoristic-musical performance by Cuban-Mexican singer-songwriter Alejandro García Villalón ("Virulo"), who presented it at the Café Antropía in León de Los Aldama, Guanajuato, Mexico, on November 30, 2018. Considering the few studies carried out on his performative compositions, for the present essay a live sound recording of the musical event was used, the segmentation of the show, analysis of the literary-musical discourse, and an interpretation of the data obtained during the fieldwork. For this approach, methodological tools from the ethnomusicology of performance were used in its link to phenomenology and hermeneutics. This enabled an understanding of the creative mechanisms used by Virulo to subjectively exercise a critique of the prevailing social reality in Cuba, Mexico, and the United States from a sited perspective. [ABSTRACT FROM AUTHOR]

This article presents the most relevant results of a work focused on the perception of perception of Primary teachers about digital musical didactic materials. The study, of a descriptive and interpretive character, is developed through the application of a semistructured interview to a sample of teachers who teach in primary education in five Galician educational centers of different ownerships. The dimensions under analysis refer to: assessment and teaching use regarding digital musical didactic materials. The results show, on the one hand, the need to improve the quality of didactic and musical materials in order to take full advantage of the potential related to image, music and movement to help students become the protagonist of the process teaching-learning, and on the other hand, the lack of initial and continuous training of teachers on the use of digital musical didactic materials. The teaching staff highly considers the creation of communication networks and exchange of experiences and musical digital didactic materials. The research also includes some recommendations about the educational measures to be taken by institutions and professionals involved in the process of designing and using digital materials. [ABSTRACT FROM AUTHOR]

This article presents a research that has tried to strengthen the technological formation in the initial teacher training of High-School music-education teachers in a Chilean university. Starting with the detection of a training problem related to the technological contents received in a subject of the career, a teaching intervention was designed, implemented and evaluated over a semester. The intervention design took into account technological literacy components, project-based learning strategy (ABP) and a methodology for integrating disciplinary-technological-pedagogical content known as TPACK. The training products, objects of the students' projects, have been teaching materials applicable in the High School music classroom. The results show a good reception and assessment of the subject by students, who assign meaning to technology in their profession, improve their self-perception of their technological skills in educational situations and perceive that technology can helps consolidate their professional profile. [ABSTRACT FROM AUTHOR]

Copyright of Itinerarios (1507-7241) is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Language, Society & Communication / Llengua, Societat i Comunicació is the property of Llengua, Societat i Comunicacio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present article exposes the results of a research project developed between 2011, 2012 and 2016 with Trío Los Cholos in the city of Lima, in which I sought to problematize the sense and use given to the notion of «traditional» within the musical practice of the ensemble, in interaction with its performance contexts. Our departure point was not to consider such term as an objective trait, characteristic of a variety of cultural artifacts according to authenticity rhetorics or academic folklore theories, but as an abstract principle constructed based on a set of meanings, perceptions or valuations defined by the ensemble's performers. In this sense, it is not sought to determine what is «traditional» but which processes operate to determine the applicability of that category and the actors involved in them. To do this, we reconstructed the life histories of the members of the ensemble and conducted controlled sessions of musical exposition. This allowed us to observe that what we understand as «traditional» responds to a process that starts from the identification of sonorities and styles, which in turn activates representations of place associated to musical geographies and abstract performance contexts. [ABSTRACT FROM AUTHOR]

En este estudio se investigó la relación entre las habilidades de discriminación de variables musicales y la conciencia fonológica, en niños entre seis y ocho años. Investigaciones previas en inglés se reportan la relación entre estas habilidades, pero no existen estudios de este tipo en español. Los resultados indican que no existe esta relación en español y se discute que estos resultados se explican por las characterísticas ortográficas de los idiomas (opaca vs transparente) y su implicación en el aprendizaje de la lectura. [ABSTRACT FROM AUTHOR]

The main research about the effect of musical training in adult and childhood brain was revised in this work. The music realizes unique demands to our nervous system. This call the attention of several researchers causing, in the past years, an enhancement of the exploration about this topic; this increment was benefit for the emergence of new neuroimaging techniques, the music positioned as an investigation tool of human cognition and superior brain mechanisms. The musical perception and production are specific functions of the human brain that depend of a wide cortical-subcortical neural net distributed across both hemispheres and cerebellum. The main findings in this area indicated structural and functional differences in the adult and child brain due to musical training, and this is more relevant that innate properties of the subject. There is brain plasticity due to adaptive processes product of the environmental stimulation. [ABSTRACT FROM AUTHOR]

The article presents the topics addressed in this issue of the journal including the philosophy of music, natural and cultural-kind theories of art applied to music and music as the structuring of sounds.

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Music is the ordered combination of sounds through time. In order to perceive, interpret and create it, composing or playing a musical instrument, different cognitive abilities must work together. It is perceived and prompts emotions in every human being. Since birth, newborns react favorably to consonant sounds and to the melodic pattern of their mothers' voices, having been present in every human society since the origins of man. Some hypothesis argue that it has been present long before the appearance of man (without artistic value), in the form of animal strategies to reproduce or socialize. New metabolic and functional neurological imaging technology and the study of some musician and non-musician patients suffering neurological diseases have begun reveal and unveil neuronal systems for music. Musicians perceive music in a different way than the general population because they process it in their left hemisphere and possess specific regional asymmetries in primary motor and auditory cortexes. Some musicians develop perfect pitch, which is defined as the ability of a person to identify or re-create a given musical note without the benefit of an external reference. New research on the subject is needed to betteridentify neural networks and general cerebral function when listening to or creating music. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)