Avaliação dos efeitos psicológicos da música através de um diferencial semântico

Francisco  Blasco

doi:10.51914/brjmt.2.1996.127

Artigos

ANO I – NÚMERO 2 – 1996

Evaluación de los Efectos Psicológicos de La música através de un Diferencial semântico

Francisco Blasco

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DOI: https://doi.org/10.51914/brjmt.2.1996.127
Enviado: 20 mayo 2021
Publicado: 30-12-1996

Resumen

Músicos, psicólogos y filósofos están de acuerdo en que la música puede provocar câmbios en las personas que la escuchan. Dichos câmbios pueden ser de tipo emocional y/o fisiológico. Tradicionalmente, las técnicas evaluadoras de las respuestas a la música se han bas a do en respuestas fisiológicas, listas de adjetivos e indagaciones filosóficas. Las hipótesis de la mayor parte de los estúdios de tipo fisiológico es que la frecuencia y/o amplitud de los procesos humanos controlados por el sistema nervioso reflejan respuestas a la música. Las más frecuentemente estudiadas hacen referencia a la velocidad deJ cora- zón, velocidad de la respiración, amplitud de la misma, respuesta psicogalvánica de la piei. Otras medidas que se han incluído sou electroencefalograma, electromiografias, electrooculografía, pupilo- grafía, electrogastrografía,...

Citas

ABELES, H.F. (1980). Responses to Music. En D.A. Hodges (Ed.), Handbook of Music Psychology (pp. 105–140). Lawrence, KS: National Association for Music Therapy.
ACCURSO, R. (1967). (Citado por Miller, 1992). The Development and Application of a Semantic Differential for Sounds.
ASMUS, E.P., Jr. (1985). The Effect of Time Manipulation on Affective Responses to a Musical Stimulus. En G.C. Turk (Ed.), Proceedings of the Research Symposium on the Psychology and Acoustics of Music (pp. 97–110). Lawrence: University of Kansas.
BENENZON, R. (1981). Manual de Musicoterapia. Ed. Paidós Educador. Barcelona.
BRAGG, B. y CROZIER, J. (1974). The Development With Age of Exploratory Sound Sequences Varying in Uncertainty Level. En D.E. Berlyne (Ed.), Studies in the New Experimental Aesthetics. New York: John Wiley.
CROZIER, J. (1974). Verbal and Exploratory Responses to Sound Sequences Varying in Uncertainty Level. En D.E. Berlyne (Ed.), The New Experimental Aesthetics (pp. 27–90). New York: John Wiley.
DOMÉNECH, Blasco y LÓPEZ. (1987). Musicoterapia en la Formación del Terapeuta. Ed. Nau Llibres. Valencia.
EAGLE, (1971). Citado por Radocy, R. E. y Boyle, J. D. (1988). Psychological Foundations of Musical Behavior. Ed. Charles C. Thomas. Springfield, Illinois.
GABRIELSSON, A. (1973). Adjective Ratings and Dimension Analyses of Auditory Rhythm Patterns. Scandinavian Journal of Psychology, 14, 244–260. DOI: https://doi.org/10.1111/j.1467-9450.1973.tb00118.x
GABRIELSSON, A. (1979). Dimension Analyses of Perceived Sound Quality of Sound-Reproducing Systems. Scandinavian Journal of Psychology, 20, 159–169. DOI: https://doi.org/10.1111/j.1467-9450.1979.tb00697.x
HARGREAVES, D. J. (1986). The Developmental Psychology of Music. Ed. Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511521225
HARGREAVES, D.J., y COLEMAN, A.M. (1981). The Dimensions of Aesthetic Reactions to Music. Psychology of Music, 9, 15–20. DOI: https://doi.org/10.1177/03057356810090010301
HYLTON, J. (1981). Dimensionality in High School Student Participants' Perceptions of the Meaning of Choral Singing Experience. Journal of Research in Music Education, 29, 287–304. DOI: https://doi.org/10.2307/3345005
KEIL, C. y KEIL, A. (1966). Musical Meaning: A Preliminary Report. Ethnomusicology, 10(2), 153–173. DOI: https://doi.org/10.2307/924696
MILLER, R.F. (1992). En Colwell, R. Handbook of Research on Music Teaching and Learning. Ed. McMillan.
O’BRIANT, M. y WILBANKS, W. (1978). The Effect of Context on the Perception of Music. Bulletin of the Psychonomic Society, 12(6), 441–443. DOI: https://doi.org/10.3758/BF03329731
RADOCY, R. E. y BOYLE, J. D. (1988). Psychological Foundations of Musical Behavior. Ed. Charles C. Thomas. Springfield, Illinois.
SCHOEN, M. y GATEWOOD, E.L. (1927). An Experimental Study of the Nature of Musical Enjoyment. En M. Schoen (Ed.), The Effects of Music. New York: Harcourt, Brace.

Cómo citar

Blasco, F. . (1996). Evaluación de los Efectos Psicológicos de La música através de un Diferencial semântico. Brazilian Journal of Music Therapy, (2). https://doi.org/10.51914/brjmt.2.1996.127

Derechos de autor 1996 Revista Brasileira de Musicoterapia

Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-CompartirIgual 4.0.

[1] ABELES, H.F. (1980). Responses to Music. En D.A. Hodges (Ed.), Handbook of Music Psychology (pp. 105–140). Lawrence, KS: National Association for Music Therapy.

[2] ACCURSO, R. (1967). (Citado por Miller, 1992). The Development and Application of a Semantic Differential for Sounds.

[3] ASMUS, E.P., Jr. (1985). The Effect of Time Manipulation on Affective Responses to a Musical Stimulus. En G.C. Turk (Ed.), Proceedings of the Research Symposium on the Psychology and Acoustics of Music (pp. 97–110). Lawrence: University of Kansas.

[4] BENENZON, R. (1981). Manual de Musicoterapia. Ed. Paidós Educador. Barcelona.

[5] BRAGG, B. y CROZIER, J. (1974). The Development With Age of Exploratory Sound Sequences Varying in Uncertainty Level. En D.E. Berlyne (Ed.), Studies in the New Experimental Aesthetics. New York: John Wiley.

[6] CROZIER, J. (1974). Verbal and Exploratory Responses to Sound Sequences Varying in Uncertainty Level. En D.E. Berlyne (Ed.), The New Experimental Aesthetics (pp. 27–90). New York: John Wiley.

[7] DOMÉNECH, Blasco y LÓPEZ. (1987). Musicoterapia en la Formación del Terapeuta. Ed. Nau Llibres. Valencia.

[8] EAGLE, (1971). Citado por Radocy, R. E. y Boyle, J. D. (1988). Psychological Foundations of Musical Behavior. Ed. Charles C. Thomas. Springfield, Illinois.

[9] GABRIELSSON, A. (1973). Adjective Ratings and Dimension Analyses of Auditory Rhythm Patterns. Scandinavian Journal of Psychology, 14, 244–260. DOI: https://doi.org/10.1111/j.1467-9450.1973.tb00118.x

[10] GABRIELSSON, A. (1979). Dimension Analyses of Perceived Sound Quality of Sound-Reproducing Systems. Scandinavian Journal of Psychology, 20, 159–169. DOI: https://doi.org/10.1111/j.1467-9450.1979.tb00697.x

[11] HARGREAVES, D. J. (1986). The Developmental Psychology of Music. Ed. Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511521225

[12] HARGREAVES, D.J., y COLEMAN, A.M. (1981). The Dimensions of Aesthetic Reactions to Music. Psychology of Music, 9, 15–20. DOI: https://doi.org/10.1177/03057356810090010301

[13] HYLTON, J. (1981). Dimensionality in High School Student Participants' Perceptions of the Meaning of Choral Singing Experience. Journal of Research in Music Education, 29, 287–304. DOI: https://doi.org/10.2307/3345005

[14] KEIL, C. y KEIL, A. (1966). Musical Meaning: A Preliminary Report. Ethnomusicology, 10(2), 153–173. DOI: https://doi.org/10.2307/924696

[15] MILLER, R.F. (1992). En Colwell, R. Handbook of Research on Music Teaching and Learning. Ed. McMillan.

[16] O’BRIANT, M. y WILBANKS, W. (1978). The Effect of Context on the Perception of Music. Bulletin of the Psychonomic Society, 12(6), 441–443. DOI: https://doi.org/10.3758/BF03329731

[17] RADOCY, R. E. y BOYLE, J. D. (1988). Psychological Foundations of Musical Behavior. Ed. Charles C. Thomas. Springfield, Illinois.

[18] SCHOEN, M. y GATEWOOD, E.L. (1927). An Experimental Study of the Nature of Musical Enjoyment. En M. Schoen (Ed.), The Effects of Music. New York: Harcourt, Brace.