Respuestas cerebrales a diferentes tipos de música académica: implicaciones en la pedagogia musical

  1. Santapau Calvo, Manuel
Supervised by:
  1. Antonio Gamundí Gamundí Director
  2. Julián Jesús González González Director
  3. Mourad Akaârir El Ghourri Tutor

Defence university: Universitat de les Illes Balears

Year of defence: 2021

Type: Thesis


The present work deals with the study of the cerebral responses to the audition and musical interpretation of different academic music styles of and its implications in the field of music pedagogy. It will be studied whether the musical learning/training from an early age of specific musical structures such as tonality, which is present in all academic styles before the advent of contemporary music, and the new developments of structures of contemporary styles, little present in elementary and profesional studies may have links in functional brain connectivity. To this aim, it will be investigated on one hand whether the audition of different music styles -extracts of baroque music, contemporary music and noise- produce differences in the structure of cortical communications of the brain and, consequently, in the cerebral musical perception through the use of EEG functional connectivity measures in musicians and nonmusicians. On the other hand, it will also be studied whether the musical interpretation (in our study of the cello) of different musical styles modifies the functional connectivity between brain regions (mainly related to motor, somatosensory, auditory and decisionmaking activities, among others) involved in the interpretation task through the analysis of images obtained by functional magnetic resonance imaging (fMRI). The arrival of contemporary music produces new stylistic, structural, sound and formal models in addition to the development of new techniques for the musical interpretation of cello and other instruments that may imply that the interpretation of contemporary music produces the intervention of different brain networks for those involved in the interpretation of previous styles. Comparatively evaluating this new music in relation to tonal academic music historically prior to 1950, from the point of view of its cerebral perception and interpretation, may have implications in music pedagogy in relation to concepts such as musical familiarity and learning musicals studies. That is why the presence of contemporary music in the musical curriculum of the national scene will also be analyzed.