La expresión musical en movimiento: una intervención corporeizada en música de cámara

• Marina Gutiérrez-Vázquez ^[2] ; Ana María Ramírez-Carro ^[1]
  1. [1] Universidad Autónoma de Madrid

     Universidad Autónoma de Madrid

     Madrid, España

     
  2. [2] Escola Superior de Música de Catalunya
• Localización: Apuntes de Psicología, ISSN 0213-3334, Vol. 43, Nº. 3, 2025 (Ejemplar dedicado a: Psicología de la Música), págs. 297-306
• Idioma: español
• DOI: 10.70478/apuntes.psi.2025.43.27
• Títulos paralelos:
  • Musical Expression in Motion: An Embodied Intervention in Chamber Music
• Enlaces
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• Resumen
  • español

    La expresividad y el sentido de la música son elementos esenciales en la experiencia musical, pero frecuentemente no se abordan de forma específica ni suficiente en la educación musical. Además, existe una escasez de metodologías diseñadas para fomentar estos aspectos de manera sistemática. Desde el enfoque de la cognición musical corporeizada, se abre una vía prometedora para abordar este tema. En este trabajo se han adoptado nociones procedentes de este marco para el diseño de una propuesta metodológica orientada a trabajar la expresividad y el sentido musical en el contexto de una agrupación de cámara. Se realizó un estudio piloto con un trío de viento formado por estudiantes de la Escola Superior de Música de Catalunya (ESMUC). Como herramientas de investigación se utilizó un cuestionario de preguntas abiertas y la observación directa por parte de la investigadora. Los resultados son discutidos y sugieren que la propuesta puede contribuir a enriquecer la expresión y la exploración del sentido musical en grupo. Por último, se reflexiona sobre su utilidad y pertinencia como línea de desarrollo futura.

  • English

    Expressivity and musical sense are essential elements of musical experience, yet they are often not specifically or sufficiently addressed in music education. Furthermore, there is a lack of methodologies designed to systematically foster these aspects. The framework of embodied music cognition offers a promising approach to address this issue. This article adopts notions derived from this perspective to design a methodological proposal aimed at working on musical expressivity and meaning in the context of a chamber music ensemble. A pilot study was conducted with a wind trio composed of students from the Escola Superior de Música de Catalunya (ESMUC). The research tools included an open-ended questionnaire and direct observation by the researcher. The results are discussed and suggest that the proposal may contribute to enriching group expression and exploration of musical sense-making. Finally, its usefulness and relevance as a potential line of future development are discussed.

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