Abstract: Classical composers such as Wagner, Mahler, Handel, and Debussy, among others, noticed that a space’s acoustic qualities affected their compositions, so they made intuitive arrangements to their performances to suit the space. Some contemporary musicians, on the other hand, incorporate those sonic characteristics as part of their composition. Pauline Oliveros, John Butcher, and Paul Bavister are some composers who produce site-specific works, compositions that include the site’s sound as part of their sound works. This project proposes site stimulation as a methodology to extract Basilica del Voto Nacional’s reverberation, a neo-gothic church in Quito, Ecuador, to produce a site-specific sound work: Composition for a Jazz Quartet and for a Basilica. This research aims not only to use spatial sonic qualities for music composition but also to propose a friendly, day-to-day activity, such as listening to music, as a learning method to acknowledge spatial sound phenomena.

Resumen: Compositores clásicos como Wagner, Mahler, Handel y Debussy, entre otros, identificaron que la acústica del espacio afectaba a sus obras durante su ejecución, entonces hicieron arreglos intuitivos en ellas para que se ajustaran al espacio de presentación. Por otro lado, compositores contemporáneos como Pauline Oliveros, John Butcher, y Paul Bavister, producen obras específicas del sitio, obras que incluyen al sonido del lugar como parte de ellas. Este proyecto usa la estimulación del sitio como metodología para extraer la reverberación de la Basílica del Voto Nacional, una iglesia neogótica en Quito, Ecuador, para producir una obra especifica de sitio: Composición para Cuarteto de Jazz y para Basílica. El propósito de esta investigación es, no solamente utilizar las cualidades sonoras del espacio como herramientas de composición musical, sino proponer una manera más amigable y cotidiana para aprender, como lo es el escuchar música.

RESUMEN En este trabajo analizamos la valoración que el alumnado universitario realiza de su trabajo de composición cooperativa durante un semestre académico. Se contemplan, entre otras, las variables de formación musical y de género. El alumnado compone una canción para un aula de Educación Primaria. Son 89 participantes, de los cuales solo 26 declaran haber estudiado música en centros especializados. Los resultados muestran que el alumnado participante se encuentra, en general, muy satisfecho con el trabajo realizado, en especial las mujeres y los estudiantes con conocimientos musicales. La implicación fue alta, y se percibe que la enculturación tonal en la población general repercute en que determinadas actividades de creatividad musical que podríamos considerar complejas pueden, mediante el trabajo colaborativo, ejercerse en contextos ajenos a los que derivan de una formación musical especializada.

ABSTRACT In this paper we analyse how university students evaluate their cooperative composition work during an academic semester. Variables such as musical training and gender, among others, are considered. The students compose a song for a primary school classroom. They were 89 participants, of whom only 26 reported having studied music at specialized schools. The results show that the participating students are, in general, very satisfied with the work carried out, especially the women and students with previous musical knowledge. The involvement was high and it is perceived that tonal enculturation in the general population has an impact on the fact that certain musical creativity activities, that we could consider complex, can be exercised through collaborative work, in contexts other than those derived from specialized musical training.

RESUMO Neste artigo analisamos a forma como os estudantes universitários avaliam o seu trabalho de composição cooperativa durante um semestre académico. São tidas em conta as variáveis de formação musical e género, entre outras. Os alunos compõem uma canção para uma sala de aula da educação básica. Participaram 89 estudantes, dos quais apenas 26 declararam ter estudado música em centros especializados. Os resultados mostram que os alunos participantes estão, em geral, muito satisfeitos com o trabalho realizado, especialmente as mulheres e os alunos com conhecimentos musicais. O envolvimento foi elevado, e percebe-se que a enculturação tonal na população em geral significa que certas atividades de criatividade musical que poderíamos considerar complexas podem, através do trabalho colaborativo, ser exercidas em contextos diferentes dos que derivam de uma formação musical especializada.

Resumo A relevância da investigação sobre a especificidade da composição ucraniana para piano, tanto a solo como em conjunto, é predefinida pela sua procura na sociedade moderna, bem como pelo conteúdo e significado desta esfera da arte musical. O objetivo deste estudo é investigar e elucidar de forma abrangente os meandros do fenómeno em análise, reconhecendo-o como um sistema multifacetado e intrincado. Para atingir o objetivo acima referido, foram utilizados os seguintes métodos: histórico, culturológico, análise, estruturação, síntese, caraterização comparativa e sistematização. A investigação analisa a complexidade do fenómeno. O estudo examinou vários componentes do fenómeno, nomeadamente os principais componentes da fundação da execução de piano na Ucrânia, os sectores de implementação do pianismo e a natureza do seu impacto sobre eles, a modernização das direcções da vida social sob a influência da música, a arte e a execução de piano ucraniano em diferentes épocas históricas, elementos da arte da execução de piano, funções de software na esfera do pianismo moderno. Os resultados da investigação iluminam os processos de integração da arte do piano nacional académico ucraniano na cultura criativa e performativa profissional mundial, bem como a singularidade da música ucraniana, que incorporou realizações estilísticas e técnicas do classicismo, do romantismo, das direcções do século XX e da modernidade, com base nas origens étnicas coloridas originais. O significado prático do estudo proposto consiste no facto de os seus materiais poderem ser utilizados nas actividades de concerto dos pianistas, na compilação de programas educativos de escolas de música secundárias e superiores em execução de piano, bem como na implementação de projectos de investigação destinados a encontrar descobertas no campo do pianismo, a sua especificidade, manifestada em diferentes áreas.

Abstract The research relevance on the specificity of Ukrainian piano composition, both solo and ensemble, is predefined by its demand for modern society, as well as in the content and significance of this sphere of musical art. The purpose of this study is to comprehensively investigate and elucidate the intricacies of the phenomenon under examination, recognizing it as a multifaceted and intricate system. To achieve the above objective, the following methods were used: historical, culturological, analysis, structuring, synthesis, comparative characterization, and systematization. The research analyses the complexity of the phenomenon. The study examined several components of the phenomenon, namely the leading components of the foundation of piano performance in Ukraine, the sectors of pianism implementation and the nature of its impact on them, the modernisation of social life directions under the influence of music, Ukrainian piano art and performance in different historical eras, elements of the art of piano performance, software functions in the sphere of modern pianism. The research results illuminate processes of Ukrainian academic national piano art integration into world professional creative and performing culture as well as the uniqueness of Ukrainian music which embodied stylistic and technical achievements of classicism, romanticism, directions of the twentieth century and modernity on the ground of original colourful ethnic origins. The practical significance of the proposed study consists in the fact that its materials can be used in the concert activities of pianists, in compiling educational programs of secondary and higher music schools in piano performance, as well as in the implementation of research projects aimed at finding discoveries in the field of pianism, its specificity, manifested in different areas.

Resumo Este artigo analisa o sistema de interação entre a composição musical, a execução e a pedagogia. O estudo utilizou uma metodologia multifacetada que incorpora a análise histórica de fontes, a observação da atividade musical, a comparação de abordagens composicionais/performativas e a modelação estrutural para elucidar a tríade interligada "compositor-performer-professor" na música. Determinou-se que a composição, a execução e a educação musical interagem entre os domínios da música, da pedagogia, dos professores e dos alunos e dos contactos entre o pessoal criativo e educativo, tendo como pano de fundo a cultura global e ucraniana. A atualização e expansão dos currículos modernos através da aplicação dos princípios da trindade "compositor-intérprete-professor" melhora as interacções dos músicos profissionais com o público e os estudantes. Isto cria condições para formar pessoal musical de alto nível e sensibilizar para a igual importância de cada componente desta tríade. Chamar a atenção para esta questão pode aumentar o envolvimento das comunidades ucranianas de música/pedagogia. A aplicação do modelo da trindade cria oportunidades para renovar as abordagens educativas. Também realça a natureza multifacetada da atividade musical, que abrange a criação, a interpretação e a instrução.

Abstract This article considers the interaction system between musical composition, performance, and pedagogy. The main purpose is to bring attention to this issue for Ukrainian musical and pedagogical communities and comprehend the triune role complex's significance. The study employed a multifaceted methodology incorporating historical analysis of sources, observation of musical activity, comparison of compositional/performative approaches, and structural modelling to elucidate the interconnected "composer-performer-teacher" triad in music. It was determined composition, performance, and music education interact between domains of music, pedagogy, teachers and students, and creative/educational staff contacts against the backdrop of global and Ukrainian culture. Updating and expanding modern curricula by applying “composer-performer-teacher” trinity principles enhances professional musician interactions with audiences and students. This creates conditions to train top-level musical personnel and build awareness of each component's equal importance in this triad. Bringing attention to this issue can increase engagement from Ukrainian music/pedagogy communities. Applying the trinity model creates opportunities to revamp educational approaches. It also highlights the multifaceted nature of musical pursuit spanning creation, interpretation, and instruction.

Abstract The mathematical music composition workshop, an endeavor that integrates mathematics and music majors, is a concrete example of a STEAM (science, technology, engineering, arts, and mathematics) project. In this article, the authors analyze how mathematics students and music composition students have worked together, have learned to interpret specialized languages from one another, and have presented their results to a public interested in the relationship that guards these two disciplines. The goal of improving the understanding of abstract mathematical concepts through the application to musical structures is analyzed using the Onto-semiotic Approach (OSA). This framework sheds light on some of the written and oral manifestations of the students who participated. The mathematical competence that the participants were expected to achieve through this interdisciplinary endeavor are privileged in this article over the music education goals (which were also present). workshop majors science, science (science technology engineering arts project together another disciplines Ontosemiotic Onto semiotic OSA. OSA . (OSA) participated which present. present present) (OSA

Resumen El taller de composición musical matemática, un esfuerzo que integra a las carreras de matemáticas y música, es un ejemplo concreto de proyecto STEAM (ciencia, tecnología, ingeniería, artes y matemáticas). En este artículo, los autores analizan cómo los estudiantes de matemáticas y los de composición musical han trabajado juntos, han aprendido a interpretar los lenguajes especializados de unos y otros, y han presentado sus resultados a un público interesado en la relación que guardan estas dos disciplinas. El objetivo de mejorar la comprensión de los conceptos matemáticos abstractos mediante la aplicación a las estructuras musicales se analiza utilizando el Enfoque onto-semiótico (OSA). Este marco arroja luz sobre algunas de las manifestaciones escritas y orales de los alumnos que participaron. En este artículo se privilegian las competencias matemáticas que se esperaba que los participantes alcanzaran a través de este esfuerzo interdisciplinario por encima de los objetivos de educación musical (que también estaban presentes). matemática música ciencia, ciencia (ciencia tecnología ingeniería matemáticas. . matemáticas) juntos otros disciplinas ontosemiótico onto semiótico OSA. OSA (OSA) participaron presentes. presentes presentes) (OSA

Abstract: The piano, which originated in Europe, is the crystallization of Western musical civilization and is known as the king of musical instruments. After hundreds of years of development, it has developed a relatively complete system of creation, performance and teaching. In this process, it can be seen that there are many piano music works with the unique style and charm of traditional Chinese thoughts, using the method of Chinese folk music and the melody with Chinese characteristics. The combination of traditional thoughts and piano demonstrates a unique charm of Chinese music, with strong cultural heritage and artistic appeal. Therefore, piano music works, infiltrated into traditional Chinese thoughts, are not only a China’s treasure, but also an indispensable element in Chinese piano performance and education. The purpose of this article is to deeply understand and reflect on piano music works in traditional Chinese culture, explore the uniqueness and charm of Chinese piano music works, and understand the embodiment of traditional Chinese thoughts in piano music creation, thus exploring the uniqueness and innovation of Chinese piano music creation, providing reference and support for promoting the development of Chinese piano music works. Abstract Europe instruments creation teaching process characteristics appeal Therefore Chinas China s treasure education culture

Resumen: El piano, de origen europeo, es la cristalización de la civilización musical occidental y es conocido como el rey de los instrumentos musicales. Después de cientos de años de desarrollo, ha desarrollado un sistema relativamente completo de creación, interpretación y enseñanza. En este proceso, se puede ver que hay muchas obras de música para piano con el estilo y el encanto únicos del pensamiento tradicional chino, utilizando el método de la música folclórica china y la melodía con características chinas. La combinación de pensamientos tradicionales y piano demuestra el encanto único de la música china, con una fuerte herencia cultural y atractivo artístico. Por lo tanto, las obras de música para piano infiltradas en el pensamiento tradicional chino no son sólo un tesoro de China, sino también un elemento indispensable en la interpretación y educación del piano chino. El propósito de este artículo es comprender y reflexionar profundamente sobre las obras de música para piano en la cultura tradicional china, explorar la singularidad y el encanto de las obras de música para piano chinas y comprender la encarnación de los pensamientos tradicionales chinos en la creación de música para piano, explorando así la singularidad y la innovación. de la creación de música para piano china, proporcionando referencia y apoyo para promover el desarrollo de las obras de música para piano china. Resumen europeo musicales enseñanza proceso artístico tanto China innovación

ABSTRACT: When analyzing the band music repertoire, which includes works composed for wind ensemble as well as arrangements from orchestral compositions, an increase in the incorporation of body percussion as a compositional resource has been observed. This article focuses on the work La corrida de toros by Mario Bürki. The Swiss composer, in his descriptive symphonic poem, is dedicated to presenting the different parts of a Spanish bullfight, also called tercios if we stick to bullfighting terminology. Starting with the paseillo that leads the bullfighters into the arena, up to the tercio de muerte (third of death) in the final part. The composition includes sounds and rhythms combined with the percussion of different parts of the body. This paper presents a complete musicological analysis that contemplates structural, organological, harmonic and rhythmic parameters. Special attention is given to the aspects related to the musical function that body percussion plays in this composition. ABSTRACT repertoire compositions observed Bürki composer poem bullfight terminology arena third death part structural organological parameters

RESUMO: Ao analisar o repertório de música de banda, que inclui obras compostas para conjunto de sopros, bem como arranjos de composições orquestrais, observou-se um aumento na incorporação da percussão corporal como recurso composicional. Este artigo enfoca a obra La corrida de toros de Mario Bürki. O compositor suíço, em seu poema sinfônico descritivo, dedica-se a apresentar as diferentes partes de uma tourada espanhola, também chamadas de tercios, se nos atermos à terminologia das touradas. Começando com o paseillo que leva os toureiros à arena, até o tercio de muerte (terço da morte) na parte final. A composição inclui sons e ritmos combinados com a percussão de diferentes partes do corpo. Este texto apresenta uma análise musicológica completa que contempla parâmetros estruturais, organológicos, harmônicos e rítmicos. É dada atenção especial aos aspectos relacionados à função musical que a percussão corporal desempenha nesta composição. RESUMO banda sopros orquestrais observouse observou composicional Bürki suíço descritivo dedicase dedica espanhola tercios touradas arena terço morte final corpo estruturais organológicos rítmicos

ABSTRACT: Body percussion constitutes a decisive expressive-musical element in many works of the band repertoire. The compositional possibilities that it offers from a rhythmic, timbral and choreographic point of view are often linked to traditional musical elements as in the case of Palindromia Flamenca by Antonio Ruda Peco. In this work for solo soprano saxophone and band the Spanish musician, through the almost constant presence of clapping, creates a musical climax very close to flamenco as the performance, entrusted to a specific group of musicians, brings to mind the role of palmeros. In this article, through a musicological investigation we intend to pay particular attention to the musical characteristics and functions that body percussion performs within the composition. This will represent the basis for developing a teaching proposal based on the BAPNE Method for the development of executive functions. ABSTRACT expressivemusical expressive repertoire rhythmic Peco musician clapping performance musicians palmeros article composition

RESUMO: A percussão corporal constitui um elemento expressivo-musical decisivo em muitas obras do repertório de banda. As possibilidades composicionais que ela oferece do ponto de vista rítmico, tímbrico e coreográfico estão muitas vezes ligadas a elementos musicais tradicionais, como é o caso de Palindromia Flamenca de Antonio Ruda Peco. Nesta obra para saxofone soprano solo e banda, o músico espanhol, através da presença quase constante de palmas, cria um clímax musical muito próximo do flamenco, pois a performance, confiada a um grupo específico de músicos, traz à mente o papel de los palmeros. Neste capítulo, através de uma investigação musicológica pretendemos dar especial atenção às características e funções musicais que a percussão corporal desempenha na composição. Isto representará a base para o desenvolvimento de uma proposta de ensino baseada no Método BAPNE para o desenvolvimento de funções executivas. RESUMO expressivomusical expressivo banda rítmico tradicionais Peco espanhol palmas flamenco performance músicos palmeros capítulo composição executivas

ABSTRACT In 1959, Chilean composer Pablo Garrido completed his opera La sugestión, whose plot incorporates supernatural events within an apparently realistic narrative. Although the musical language fluctuates between tonal and atonal, there are several passages in which strict twelve-tone technique is used. The aim of this article is to determine how twelve-tone composition is used, both in terms of the application of the technique and its relationship to the drama. To this end, and by reviewing the reduction for voice and piano, the music will be analysed by contrasting the appearance of the dodecaphonic series with the libretto.

RESUMEN En 1959, el compositor chileno Pablo Garrido completó su ópera La sugestión, cuyo argumento incorpora sucesos sobrenaturales en una trama aparentemente realista. Aunque el lenguaje musical fluctúa entre lo tonal y lo atonal, hay varios pasajes en que se usa un estricto dodecafonismo. El objetivo de este artículo es determinar cómo se usa la dodecafonía, tanto en lo respectivo a la aplicación de la técnica como a su vinculación con el drama. Con este fin y mediante la revisión de la reducción para canto y piano, se analizará la música contrastando la aparición de las series dodecafónicas con el libreto.

Abstract: This work proposes a mathematical model for computer-aided music composition as a multi-objective optimization problem. This work aims to create a framework to automatically generate a set of songs with two melodies by combining a genetic algorithm with machine learning. Musical patterns were studied [16, 6, 18, 2] to simplify them and apply them for the construction of the optimization model. This work uses recent emotional music theory to construct the optimization problem [11]. Three conflicting objective functions represent the desired characteristics of the melody to be created: (1) song happiness, (2) song minimalism, and (3) song genre. Two of these objectives are analytically designed, fulfilling well-studied features like those in [14, 25, 11]. The third objective function was developed using a machine learning model like in [5, 8, 27]. The software JSymbolic is used [15] for extracting features in real-time and getting the score with the machine learning model trainer in the present work. The results obtained by this work can be listened to by test examples presented in a video format.

ABSTRACT Objective: This study has as its object of analysis the musical document, with the objective of showing whether the musicographic creation can generate other documents interconnected by a mater cell, each document being linked to the sociocultural context in which it was produced. Methods: This is a descriptive and documentary research of a qualitative nature, in which the evidentiary method was adopted, which directed the collection of significant information for the study. Results: As a result, it was evidenced that musical creation, when recorded for the first time, appears its mater cell, which can multiply and/or subdivide, both from the perspective of the document and the information. Regarding information, arrangements, editions, adaptations may arise from the mater cell, which are considered in this study as ramifications of the original composition of the work. As for documents, a score can be subdivided into parts that present excerpts from specific musical instruments. Conclusions: It concludes that the conception of the mother cell in musical creation can help information professionals to improve the processes related to the treatment of musicographic documents, highlighting the sociocultural aspects in which the document and its ramifications were produced. Objective produced Methods nature adopted Results result time andor or subdivide arrangements editions work instruments Conclusions

RESUMO Objetivo: Este estudo tem como objeto de análise o documento musical, com o objetivo de evidenciar se a criação musicográfica pode gerar outros documentos interligados em si por uma célula mater, estando cada documento atrelado ao contexto sociocultural em que foi produzido. Método: Trata-se de uma pesquisa descritiva e documental de natureza qualitativa, em que foi adotado o método indiciário, que direcionou o levantamento de informações significativas para o estudo. Resultado: Como resultados, foram evidenciados que a criação musical quando registrada pela primeira vez, surge sua célula mater, que poderá se multiplicar e/ou subdividir, tanto na perspectiva do documento quanto da informação. A respeito da informação, da célula mater poderá surgir arranjos, edições, adaptações que são consideradas neste estudo como ramificações da composição original da obra. Quanto aos documentos, uma partitura pode subdividir em partes que apresentam trechos de instrumentos musicais específicos. Conclusões: Conclui que a concepção de célula mater na criação musical pode contribuir para que os profissionais da informação possam aprimorar os processos relacionados ao tratamento dos documentos musicográficos, evidenciando os aspectos socioculturais em que o documento e suas ramificações foram produzidos. Objetivo produzido Método Tratase Trata qualitativa indiciário Resultado resultados vez eou ou arranjos edições obra específicos Conclusões musicográficos produzidos

Resumen Durante la década de 1950 Karlheinz Stockhausen adhirió a los principios modernistas promovidos por la Escuela de Darmstadt que dieron lugar al desarrollo del serialismo integral. En su búsqueda de renovación del lenguaje musical, Stockhausen intentó aplicar esta técnica a la composición de obras electrónicas en el laboratorio de la WDR (Westdeutscher Rundfunk) en Colonia. Este artículo indaga, por medio del concepto de mediación técnica propuesto por Bruno Latour, cómo el intercambio de propiedades entre humanos y no humanos propiciado por el laboratorio fue modificando el proyecto serial. Como resultado de ese proceso, Stockhausen compuso una serie obras que no pudieron ser completamente prefiguradas a priori , hecho que demandó la creación de nuevas formas de escucha y notación musical. A partir de ello, buscaremos caracterizar la práctica compositiva de Stockhausen desde una perspectiva no modernista, haciendo hincapié en el carácter híbrido y relacional de los eventos musicales.

Abstract During the 1950s Karlheinz Stockhausen adhered to the modernist principles promoted by the Darmstadt School that led to the development of integral serialism. In his pursuit of renovation of the musical language, Stockhausen tried to apply this technique to the composition of electronic works at the WDR (Westdeutscher Rundfunk) laboratory in Cologne. This article inquires, through the concept of technical mediation proposed by Bruno Latour, how the exchange of properties between humans and non-humans inside the laboratory modified the serial project. As a result of this process, Stockhausen composed a series of works that couldn’t be completely prefigured a priori , a fact that led to the creation of new forms of listening and musical notation. From that, we will seek to characterize Stockhausen’s compositional practice from a non-modernist perspective, emphasizing the hybrid and relational character of musical events.

ABSTRACT The study examines and compares the associative method of perception and the audiovisual and problem-based learning methods from the point of their effectiveness in studying 20th-century music for the development of artistic and imaginative thinking. Study hypothesis. The indicated methods of learning show effectiveness in the development of artistic and imaginative thinking in the process of mastering avant-garde music styles given that the teaching methods are selected specifically for each style. The novelty of the study. For the first time, the paper compares different methods for the development of musical and imaginative thinking and determines the extent of their effectiveness in the development of sonorism, concrete, and aleatoric music of the 20th century. The practical significance of the study. The study provides methodological recommendations on the use of associative, audiovisual, and problem-based methods of teaching modern composition for the development of musical and imaginative thinking.

RESUMEN El estudio examina y compara el método asociativo de percepción y los métodos audiovisuales y de aprendizaje basado en problemas desde el punto de vista de su eficacia en el estudio de la música del siglo XX para el desarrollo del pensamiento artístico e imaginativo. Hipótesis de estudio. Los métodos de aprendizaje indicados muestran efectividad en el desarrollo del pensamiento artístico e imaginativo en el proceso de dominio de los estilos musicales de vanguardia dado que los métodos de enseñanza son seleccionados específicamente para cada estilo. La novedad del estudio. Por primera vez, el artículo compara diferentes métodos para el desarrollo del pensamiento musical e imaginativo y determina el alcance de su efectividad en el desarrollo del sonorismo, la música concreta y aleatoria del siglo XX. La importancia práctica del estudio. El estudio proporciona recomendaciones metodológicas sobre el uso de métodos asociativos, audiovisuales y basados en problemas de enseñanza de la composición moderna para el desarrollo del pensamiento musical e imaginativo.

Resumen El juego de ficción, aquel que comporta la creación de una situación imaginaria, ha sido un objeto de estudio privilegiado en la psicología del desarrollo y se ha señalado su rol en el desarrollo de funciones psicológicas complejas. Recientemente, gracias a la utilización de herramientas de análisis de las artes temporales, se ha documentado una nueva forma de juego, el juego con las formas de la vitalidad, cuyo foco es la repetición y variación de motivos sonoro-kinéticos de modo interactivo, en detrimento de cualquier contenido figurativo. Se ha observado que durante el tercer año de vida este tipo de juego se presenta de modo combinado con el juego de ficción y que en esos casos podría ser parte del andamiaje del desarrollo del juego de ficción. El objetivo del presente estudio fue realizar un microanálisis de los sonidos y movimientos de una escena de juego de ficción combinado con juego con las formas de la vitalidad de una niña de 1 año y 11 meses de edad, con el fin de conocer cómo se produce dicho andamiaje. Entre los resultados se destacan la presencia de sincronía interactiva basada en un pulso subyacente, la construcción de una mutualidad entre adulto e infante a partir de la calidad de los motivos compartidos, la ampliación del espacio de juego y el sostenimiento de la atención conjunta y la fluidez interactiva.

Abstract The pretend play, one that involves the creation of an imaginary situation, has been a privileged object of study in developmental psychology framed in the linguistic turn. Its important role in the development of complex psychological functions, such as language, theory of mind or narrative capacity, has been pointed out. In recent years, there has been a change in focus in the human sciences that has been dubbed the corporal turn: a re-focus on the analysis and conceptualization of bodily aspects that are at the base of various cognitive capacities. Thanks to the use of analysis tools typical of the temporal arts –such as music and dance– to the field of cognitive psychology, a new form of play has been documented in early childhood: the forms of vitality play. It recovers the idea of forms of vitality from Stern (2010), which refers to affects that cannot be reflected in the lexicon of Darwinian emotions. The forms of vitality are a Gestalt, an emergent property where movement, time, force, space and directionality/intentionality are integrated; they are a fundamental property of multimodal exchanges in the adult-baby dyad as well as of the experience, as spectator or performer, of non-figurative temporal arts such as dance and music. The forms of vitality play arise as a reconceptualization of the notion of musical play and is considered a reissue of early social play with a symmetrical participation of the child in the composition of play. It is defined as any pleasant or self-remunerative activity, in which motifs of movements and/or sounds are elaborated according to the repetition-variation form, at the expense of any figurative content. The forms of vitality play have been observed in the third year of the child’s life and it has been pointed out that it can manifest in a simple way or in combination with the pretend play. Likewise, it was suggested that when the pretend play is presented in combination with the forms of vitality play, the latter could be scaffolding the pretend play, although how this happens has not been clearly specified. The objective of the present study is to carry out a microanalysis of the sounds and movements of a pretend play scene combined with forms of vitality play of a girl of 1 year and 11 months of age and an adult, in order to know how such scaffolding is produced. The sound envelope was analyzed in order to identify and describe the timing of the sounds. Regarding movement, specialized software was used to graph its trajectory and for the analysis of the expression of movements, the basic categories “Shape and Effort” of the Laban-Bartenieff system of movement analysis were used (Laban, 1971). The results indicate the presence of interactive synchrony based on an underlying pulse that sustains mutuality between the players and provides a temporal structure on which the synchrony of the self can be anchored. Furthermore, it allows the sharing of continuity and contrast in the quality of sounds and movements and thus provides the dyad with a primary level of understanding with non-mediated meanings; promotes the exploration of the play space and the expansion of the potential of the fictional scene; it favors the maintenance of joint attention and mutual understanding through ontogenetically pre-fiction semiotic mechanisms, which favor the interactive fluidity of play.

Abstract The article discusses about the parallelism between pictorial and musical cubism. We expound the theoretical principles of pictorial cubism and the first notions about musical cubism, mainly in the music of Igor Stravinsky. Likewise, we analyze the spatial representation in music concerning the pictorial perspective and “reverse perspective” or “multi-centric composition” of the ancient Byzantine and Russian art.

Resumen El artículo trata sobre el paralelismo entre el cubismo pictórico y musical. Se exponen los principios teóricos del cubismo pictórico y las primeras nociones del cubismo musical, principalmente en la obra de Igor Stravinsky. Asimismo, se analiza la representación del espacio en la música en relación con la perspectiva lineal pictórica y la “perspectiva inversa”, o “composición multi-céntrica”, del antiguo arte bizantino y ruso.