Casas-Mas Amalia, Pozo Juan Ignacio, Montero Ignacio
Faculty of Education, Department of Didactics of Languages, Arts and Physical Education, Complutense University of Madrid, Madrid, Spain.
Faculty of Psychology, Department of Basic Psychology, Autonomous University of Madrid, Madrid, Spain.
Front Psychol. 2022 Apr 29;13:733615. doi: 10.3389/fpsyg.2022.733615. eCollection 2022.
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 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 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 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 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 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.
过去20年中对具身认知的认识，正引导多学科关注音乐领域，并影响着来自4E（具身、嵌入、生成和延展）认知的心理学研究方法。基于此前对三种学习文化（西方古典、爵士和口头传统的弗拉门戈）中30名高级水平年轻吉他学徒音乐教学与学习观念的研究，挑选了两名学习风格两极分化（复制型和变革型）的弗拉门戈参与者作为前瞻性设计的典型案例。深入分析了这两位弗拉门戈吉他手的话语和实践，以描述他们在自然情境下学习实践中的身体问题和言语表达。通过音乐教学与学习实践分析系统（SAPIL）对参与者的姿势、手势、言语表达和音乐实践进行定性分析。结果按以下方面进行整理：（a） 具身认知，通过弗拉门戈参与者不同的姿势和手势体现，这些姿势和手势在音乐素养文化方面展现出言语、肢体语言和音乐话语之间融合；（b） 具身认知，详细描述两位弗拉门戈参与者的情况及关系，以及音乐如何融入他们的生活方式、家庭和社会背景，从而超越音乐活动本身；（c） 具身认知，涉及使复制型和变革型弗拉门戈学徒产生差异的积极过程，随后在每位学徒的话语及其练习方式中观察到初步关系；最后，（d） 具身认知，通过他们在学习过程中使用的身体、技术和符号工具体现。口头传统的弗拉门戈文化利用聆听和临时的外部表征而非记谱法，而且身体在通过多模态（如歌唱、演奏和舞蹈）进行的整体节奏处理中发挥核心作用。结论指出，具身认知是器乐学习中通过身体和手势所反映的学习文化的结果。
