De la emoción al sentido: aplicación docente de la teoría de tópicos en musicología
DOI:
https://doi.org/10.37467/revhuman.v12.4671Palabras clave:
Tópicos musicales, Teoría de tópicos, Emociones, Significación, Musicología, Semiótica, Micro-vídeosResumen
Este proyecto de innovación tiene como objetivo subsanar las dificultades del alumnado del Grado en Historia y Ciencias de la Música para utilizar las herramientas de análisis musical. Está orientada a las competencias curriculares de la asignatura Música y pensamiento en el siglo de las luces (s. XVIII), que requiere un trabajo analítico del repertorio de música tonal Centroeuropea en conexión con las corrientes estilísticas y de pensamiento de la época. Se han desarrollado una serie de estrategias didácticas que conectan la experiencia emocional del discente con la significación de los tópicos musicales según el principio de la topic theory.
Citas
Agawu, K. (1991). Playing with Signs: A Semiotic Interpretation of Classical Music. Princeton University Press.
Agawu, K. (2009). Music as Discourse: Semiotic Adventures in Romantic Music. Oxford University Press.
Agawu, K. (2014). Topics and form in Mozart’s string quintet in E flat major, K.614/i. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 474-492). Oxford University Press.
Allanbrook, W. J. (1983). Rhythmic Gesture in Mozart. Le Nozze di Fígaro & Don Giovanni. University of Chicago Press.
Allanbrook, W. J. (2014). The secular commedia. Comic mimesis in Late Eighteenth-Century Music. University of California Press.
Baker, N. K. (1983). Heinrich Christoph Koch. Introductory Essay on Composition. Yale University Press.
Barten, S. S. (1998). Speaking of music: The use of motor-affective metaphors in music instruction. Journal of Aesthetic Education, 32, 89-97. https://doi.org/10.2307/3333561
Bonde, L. O. (2007). Music as metaphor and analogy. Nordic Journal of Music Therapy, 16, 73-81. www.tandfonline.com/toc/rnjm20/16/1
Bonds, M. E. (1991). Wordless rhetoric: Musical form and the metaphor of the oration. Harvard University Press.
Bonds, M. E. (2006). Music as thought: listening to the symphony in the age of Beethoven. Princeton University Press.
Boulton J. T (1967). Edmund Burke. A philosophical enquiry into the origin of our ideas of the sublime and beautiful. Routledge & Kegan Paul Ltd.
Brossard, S. (1703). Dictionnaire de Musique. Ballard.
Buelow, G. J. (1966). The loci topici and Affect in late Baroque music: Heinichen’s practical demonstration. Music Review, 27, 161-176. https://doi.org/10.2307/895972
Buelow, G. J. (1966). Johann Mattheson and the Invention of the Affektenlehre. New Mattheson Studies, George J. Buelow & Hans Joachim Marx (Eds.), 393-407. Cambridge University Press.
Bukofzer, M. (1947). Music in the Baroque Era. From Monteverdi to Bach. W.W. Norton. Tr.: La música en la época barroca. De Monteverdi a Bach, Alianza Editorial, 2002.
Caplin, W. E. (2005). On the relation of Musical Topoi to Formal Function, Eighteenth-Century Music, 2 (1), 113-124. https://doi.org/10.1017/S1478570605000278
Caplin, W. E. (2014). Topics and formal functions: The case of the lament. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 415-452). Oxford University Press.
Chapin, K. (2014). Learned style and Learned styles. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 330-329). Oxford University Press.
Chua, D. K. L. (1999). Absolute music and the construction of meaning. Cambridge University Press.
Clarke, E. F. (2005). Ways of listening: An ecological approach to the perception of musical meaning. Oxford University Press.
Cook, N. & Dibben, N. (2010). Emotion in Culture and History; Perspectives From Musicology. En P. N. Juslin & J. A. Sloboda (Eds.), Handbook of Music and Emotion (pp. 44-72). Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199230143.003.0003
Johnson, M. (1987). The body in the mind. The bodily basis of meaning, imagination, and reason. Chicago University Press.
Johnson, M.L. & Larson, S. (2003). “Something in the way she moves”-metaphors of musical motion. Metaphor and Symbol, 18, 63-84. https://doi.org/10.1207/S15327868MS1802_1
Juslin, P. N., & Sloboda, J. (Eds.). (2001). Music and emotion: Theory and research. Oxford University Press.
Juslin, P. N., & Laukka, P. (2004). Expression, perception, and induction of musical emotions: A review and a questionnaire study of everyday listening. Journal of New Music Research, 33, 217-238. https://doi.org/10.1080/0929821042000317813
Juslin, P. N & Timmers, R. (2010). Expression and Communication of Emotion in Music Performance. En P. N. Juslin & J. A. Sloboda (Eds.). Handbook of Music and Emotion (pp. 453-489). Oxford University Press.
Cumming, N. (2000). The sonic self: Musical subjectivity and signification. Indiana University Press.
Davies, S. (1980). The Expression of Emotion in Music. Mind, 89, 67-86. www.jstor.org/stable/2253505
Davies, S. (1994). Musical Meaning and Expression. Cornell University Press.
Day-O’Connell, S. (2014). The Singing style. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 238-258). Oxford University Press.
Descartes, R. (1649). Les passions de l’âme. Tr. Martínez, J. A. (1997). René Descartes. Las pasiones del alma. Tecnos.
Drixon, T. (2003). From Passions to Emotions: the Creation of a Secular Psy-chological Category. Cambridge University Press.
Dowling, W. J., & Harwood, D. L. (1986). Music Cognition. Cambridge Academic Press.
Dreyfus, L. (1991). The hermeneutics of lament: A neglected paradigm in a Mozartian Trauermusik. Music Analysis, 10 (3), 329-343. https://doi.org/10.2307/853971
Eerola, T. y Vuoskoski, J. K. (2011). A comparison of the discrete and dimensional models of emotions in music. Psychology of Music, 39, 18-49.
https://journals.sagepub.com/doi/10.1177/0305735610362821
Eerola, T. y Vuoskoski, J. K. (2013). A review of music and emotion studies: Approaches, emotion models, and stimuli. Music Perception: An Interdisciplinaty Journal, 30, 307-340. https://www.jstor.org/stable/10.1525/mp.2012.30.3.307
Ekman, P. (1992). An argument for basic emotions. Cognition & Emotion, 6, 169-200.
Gjerdingen, R. O. (2007). Music in the Galant style. Oxfod University Press.
Graböcz, M. (1996). Semiological terminology in musical analysis. En E. Tarasti (Ed.), Musical semiotics in growth (pp. 195-218). Indiana University Press.
Grimalt, J. (2020). Mapping musical signification. Springer.
Haringer, A. (2014). Hunt, Military, and Pastoral topics. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 194-213). Oxford University Press.
Hatten, R. S. (1994). Musical meaning in Beethoven: Markedness, correlation and interpretation. Indiana University Press.
Hatten, R. S. (2004). Interpreting musical gestures, topics, and tropes: Mozart, Beethoven, Schubert. Indiana University Press.
Hatten, R. S. (2012). On metaphor and syntactic troping in music. En E. Sheinberg (Ed.), Music semiotics: A network of significations: In honour and memory of Raymond Monelle (pp. 87-103). Ashgate.
Hatten, R. S. (2014). The troping of topics in Mozart’s instrumental works. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 514-536). Oxford University Press.
Hatten, R. S. (2018). A Theory of Virtual Agency for Western Art Music (Musical Meaning and Interpretation). Indiana University Press.
Head, M. (2014). Fantasia and Sensibility. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 259-278). Oxford University Press.
Heartz, D. (2003). Music in European capitals: the galant style, 1720-1780. W.W. Norton.
Heinichen, J. D. (1728). Der General-Bass in der Composition, Dresde.
Hunter, M. (2014). Topics and opera buffa. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 61-89). Oxford University Press.
Hunter, P. G & Schellenberg, E. G. (2010). Music and Emotion. En M. R. Jones, R. R. Fay, & A. N. Popper (Eds). Music Perception. Springer (pp. 129-164).
Huron, D. (2012). Understanding music-related emotion: Lessons from ethology. En E. Cambouropoulos, C. Tsougras, P. Mavromatis, & K. Pastiadis (Eds.), Proceedings of the 12th International Conference on Music Perception and Cognition. Thesaloniki (pp. 473-481). ESCOM.
Huron, D. (2015). The other semiotic legacy of Charles Sanders Peirce: Ethology and Music-Related emotion. En C. Maeder & M. Reybrouck (Eds.), Music Analysis Experience. New perspectives in musical semiotics (pp. 185-208). Leuven University Press.
Ivanovich, R. (2014). The Brilliant style. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 330-354). Oxford University Press.
Johnson, M.L. & Larson, S. (2003). “Something in the way she moves”-metaphors of musical motion. Metaphor and Symbol, 18, 63-84. https://doi.org/10.1207/S15327868MS1802_1
Juslin, P. N., & Laukka, P. (2004). Expression, perception, and induction of musical emotions: A review and a questionnaire study of everyday listening. Journal of New Music Research, 33, 217-238. https://doi.org/10.1080/0929821042000317813
Juslin, P. N., & J. Sloboda (Eds.). (2001). Music and emotion: Theory and research. Oxford University Press.
Keefe, S. (Ed.). (2009). The Cambridge History of Eighteenth Century Music. Cambridge University Press.
Kivy, P. (1980). The Corded Shell: Reflections on Musical Expression. Princeton University Press.
Kivy, P. (1990). Music Alone: Philosophical Reflections on the Purely Musical Experience. Cornell University Press.
Kivy, P. (2001). New Essays on Musical Understanding. Clarendon Press.
Koch, H. C. (1802). Musicalisches Lexikon, 1802. Frankfurt, Main. Reed. Kassel-Bärenreiter, 2001.
Lakoff, G., & Johnson, M. (1980). The metaphorical structure of the human conceptual system. Cognitive Science, 4, 195-208. https://doi.org/10.1207/s15516709cog0402_4
Larson, S. (2012). Musical forces: Motion, metaphor, and meaning in music. Indiana University Press.
Lidov, D. (1999). Elements of semiotics. St. Martin’s Press.
Mattheson, J. (1713). Das Neu-eröffnete Orchestre. Hamburg. Legare Street Press, 2021.
Mattheson, J. (1739). Der Vollkommene Capellmeister Das Ist Gründliche Anzeige Aller Derjenigen Sachen. Hamburg. Tr. en Pascual León, F. (2021). El perfecto maestro de capilla (Hamburgo, 1739): Traducción crítica. Edict Oràlia, Música, Band 26.
Meyer, L. B. (1973). Explaining music. The University of California Press.
McClelland, C. (2012). Ombra. Supernatural music in the Eighteenth Century. Lexington Books.
McClelland, C. (2014). Ombra and Tempesta. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 279-300). Oxford University Press.
McKay, N. (2007). On topics today, Zeitschrift der Gesellschaft für Musiktheorie, 4/1, 159-183. https://doi.org/10.31751/251
McKee, E. (2014a). Ballroom dances of the Late Eighteenth Century. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 164-193). Oxford University Press.
McKee, E. (2014b). Decorum of the Minuet, delirium of the Waltz: A study of Dance-music, relations in ¾ time. Indiana University Press.
Mirka, D. (Ed.). (2014a). The Oxford Handbook of Topic Theory. Oxford University Press.
Mirka, D. (2014b). Topics and meter. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 357-380). Oxford University Press.
Monelle, R. (2000). The sense of music Semiotic Essays. Princeton University Press.
Monelle, R. (2006). The Musical Topic: Hunt, Military and Pastoral. Indiana University Press.
Neubauer, J. (1986). The emancipation of music from language: departure from mimesis in Eighteenth-Century aesthetics. Yale University Press. Tr.: La emancipación de la música. El alejamiento de la mímesis en la estética del siglo XVIII, 1992, La balsa de la Medusa.
Paddison, M. (2010). Mimesis and the aesthetics of musical expression. Music Analysis 29 (13), 126-148. https://www.jstor.org/stable/41289724
Powers, H. (1995). Reading Mozart’s music: Text and topic, syntax and sense. Current Musicology, 57, 5-44. https://www.proquest.com/docview/1297279645?
Ratner, L. (1980). Classic Music; Expression, Form and Style. Schirmer.
Ratner, L. (1991). Topical content in Mozart’s keyboard sonatas, Early Music, 19, 615-619. https://www.jstor.org/stable/3127924
Robinson, J. & Hatten, R. S. (2012). Emotions in music. Music Theory Spectrum, 34 (2), 71-106. https://doi.org/10.1525/mts.2012.34.2.71
Rosand, E. (1979). The descending tetrachord: An emblem of lament. The Musical Quarterly, 67 (3), 346-359. https://www.jstor.org/stable/741489
Rousseau, J-J. (1768). Dictionnaire de Musique. Veuve Duchesne.
Rumph, S. (2011). Mozart and Enlightment Semiotics. University of California Press.
Schaerlaeken, S., Glowinski, D., Rappaz, M.-A., & Grandjean, D. (2019). “Hearing music as…”: Metaphors evoked by the sound of classical music. Psychomusicology: Music, Mind, and Brain, 29, 100-116. https://doi.apa.org/doiLanding?doi=10.1037%2Fpmu0000233
Scharlaeken, S., Glowinski, D., & Grandjean, D. (2022). Linking musical metaphors and emotions evoked by the sound of classical music. Psychocoly of Music, 50 (1), 245-264. https://doi.org/10.1177/0305735621991235
Sheinberg, E. (Ed.). (2012). Music Semiotics: A Network of Significations. In Honour and Memory of Raymond Monelle. Ashgate.
Spitzer, M. (2003). The Metaphor of Musical Space. Musicae Scientiae, 15, 159-173.
Spitzer, M. (2010). Mapping the Human Heart. A Holistic Analysis of Fear in Schubert. Music Analysis 29 (1/3), 149-213.
Sulzer, J. G. (1774). Allgemeine Theorie der schönen Künste. Vol 2, Weidmann.
Sutcliffe, W. D. (2014). Topics in Chamber Music. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 118-140). Oxford University Press.
Sutcliffe, W. D. (2003). The keyboard sonatas of Domenico Scarlatti and Eighteenth-Century musical style. Cambridge University Press.
Tarasti, E. (1994). A Theory of Musical Semiotics. Indiana University Press.
Tarasti, E. (2002). Signs of Music: A Guide to Musical Semiotics. Mouton de Gruyter.
Webster, J. (2004). The Eighteenth century as a music-historical period? Eighteenth Century Music I (1), 47-60. https://doi.org/10.1017/S147857060400003X
Wellbery, D. E. (1984). Lessing’s Laocoon: Semiotics and aesthetics in the Age of Reason. Cambridge University Press.
Wöfflin, H. (1888). Renaissance und Barock. Tr.: Renacimiento y Barroco. Paidós Ibérica, 2009.
Zbikowski, L. (2002). Conceptualizing music: Cognitive structure, theory, and analysis. Oxford University Press.
Zbikowski, L. M. (2008). Dance topoi, sonic analogues and musical grammar: Communicating with music in the Eighteenth Century. En D. Mirka & K. Agawu (Eds.), Communication in Eighteenth-Century music (pp. 283-309). Cambridge University Press.
Zbikowski, L. M. (2014). Music and the dance in the Ancien Régime. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 143-163). Oxford University Press.
Zbikowski, L. M. (2015). Musical semiotics and analogical reference. En C. Maeder & M. Reybrouck (Eds.), Music Analysis Experience. New perspectives in musical semiotics (pp. 167-184). Leuven University Press.
Zentner, M., Grandjean, D., & Scherer, K. R. (2008). Emotions evoked by the sound of music: Characterization, classification, and measurement. Emotion, 8 (4), 494-521. https://doi.org/10.1037/1528-3542.8.4.494
Zentner, M., & Eerola, T. (2010). Self-report measures and models. En P. N. Juslin & J. A. Sloboda (Eds.), Handbook of Music and Emotion (pp. 187-221). Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199230143.003.0008
Descargas
Publicado
Cómo citar
Número
Sección
Licencia
Aquellos autores/as que publiquen con esta revista, aceptan los términos siguientes:
- Los autores/as conservarán los derechos morales sobre la obra y cederán a la revista los derechos comerciales.
- Transcurrido 1 año desde su publicación, la versión del editor pasará a estar en acceso abierto en la web de la editorial, pero la revista mantendrá el copyright de la obra.
- En el caso de que los autores deseen asignar una licencia abierta Creative Commons (CC), podrán solicitarla escribiendo a publishing@eagora.org.
