PRÁCTICA MENTAL COMO ESTRATEGIA DE ESTUDIO EN LA LECTURA A PRIMERA VISTA
Fecha
2022-06-20
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Jaén: Universidad de Jaén
Resumen
[ES] La práctica mental ha sido ampliamente investigada y utilizada en el ámbito del deporte, pero en el
terreno musical sigue siendo un tema poco explorado. Así, con este TFM se pretende dar una aplicación a
esta práctica en el campo de la música, concretamente en la lectura a primera vista. Esta actividad
requiere de una gran concentración y capacidad de escaneo de la partitura, por lo que el estudio mental
podría ser útil. Para ello, en primer lugar, se lleva a cabo una revisión bibliográfica desde una doble
perspectiva intérprete-investigador sobre la práctica instrumental, la práctica mental y su posible
aplicación en la lectura a primera vista. En segundo lugar, a partir de la información recabada y,
posteriormente analizada, se realiza un estudio empírico experimental con 15 intérpretes de cuerda
frotada, a los cuales se les presenta una serie de pasajes que deben ejecutar tras un estudio mental previo de los mismos. Los objetivos han sido verificar la eficacia de distintas técnicas de representación mental en la lectura a primera vista y obtener herramientas para el estudio personal. Los resultados muestran que la técnica del “instrumento imaginario” es la más efectiva para todo tipo de pasaje.
[EN] Mental practice has been widely researched and used in the field of sport, but in the field of music it is still an unexplored topic. Thus, this TFM aims to give an application to this practice in the field of music, specifically in sight-reading. This activity requires great concentration and the ability to scan the score, so mental study could be useful. To this end, firstly, a bibliographical review is carried out from a double performer-researcher perspective on instrumental practice, mental practice and its possible application in sight-reading. Secondly, based on the information gathered and subsequently analysed, an empirical- experimental study is carried out with 15 bowed string players, who are presented with a series of passages which they had to perform after a prior mental study of them. The aims were to verify the effectiveness of different mental representation techniques in sight-reading and to obtain tools for personal study. The results show that the ‘imaginary instrument’ technique is the most effective for all types of passage.
[EN] Mental practice has been widely researched and used in the field of sport, but in the field of music it is still an unexplored topic. Thus, this TFM aims to give an application to this practice in the field of music, specifically in sight-reading. This activity requires great concentration and the ability to scan the score, so mental study could be useful. To this end, firstly, a bibliographical review is carried out from a double performer-researcher perspective on instrumental practice, mental practice and its possible application in sight-reading. Secondly, based on the information gathered and subsequently analysed, an empirical- experimental study is carried out with 15 bowed string players, who are presented with a series of passages which they had to perform after a prior mental study of them. The aims were to verify the effectiveness of different mental representation techniques in sight-reading and to obtain tools for personal study. The results show that the ‘imaginary instrument’ technique is the most effective for all types of passage.