Dos aspectos poco discutidos en la percepción de progresiones armónicas
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Resumen
Nuestro grupo de investigación cognitiva musical en la Universidad de las Artes Helsinki ha investigado durante varios años la percepción de progresiones armónicas. En este artículo resumo nuestros experimentos y propongo conexiones entre este trabajo y la educación auditiva musical. Nuestra investigación se ha centrado en dos aspectos poco estudiados en el pasado: la influencia de la memoria específica y de las características extra-armónicas –como el timbre y la textura– en la percepción armónica. Después presento dos propuestas pedagógicas inspiradas por los resultados de nuestros experimentos. Primero, propongo que las características extra-armónicas se deberían discutir más en el aula; esta discusión es más fácil de integrar con el currículo existente cuando la armonía y las características extra-armónicas se discuten simultáneamente. Segundo, sugiero que los docentes deberían discutir con sus alumnos la posibilidad de que las progresiones de acordes no se almacenen en la memoria auditiva a largo plazo independientemente de sus características extra-armónicas. De acuerdo con esta propuesta, algunos conceptos básicos como las funciones armónicas pueden constituir una teoría musical sugestiva, un tipo de escucha entre muchas otras. Propongo que dos teorías de la memoria armónica –memoria de eslabones verídicos y memoria esquemática superficial– pueden explicar cómo generar expectativas sin recurrir al concepto de función armónica. Finalmente, explico cómo la idea de las funciones armónicas a modo de teoría musical sugestiva puede influir en el dictado armónico y la forma en que la música se presenta y analiza en el aula.
Palabras clave: progresiones armónicas, memoria musical, percepción musical, enseñanza musical
Two rarely discussed aspects of the perception of chord progressions
Abstract
Our music cognition research group at the University of the Arts in Helsinki has studied the perception of chord progressions for several years. In this article, I summarize our studies and suggest connections between this work and undergraduate aural skills pedagogy. Our research has focused on two aspects that have received little attention in the past: the influence of specific memory and extra-harmonic features—such as timber and texture—in harmonic perception. In this article, I present two pedagogical proposals inspired by the results of our studies. First, I suggest that extra-harmonic characteristics deserve more attention in the classroom, and that their integration in the curriculum would be easier if harmony and extra-harmonic features were discussed simultaneously. Second, I suggest that teachers should discuss with their students the possibility that chord progressions are not stored in aural long-term auditory memory independently from their extra-harmonic features. According to this suggestion, certain basic concepts such as formal functions may constitute a suggestive music theory, one way of hearing among many. I propose that two theories of harmonic memory—veridical link memory and superficial schematic memory—can explain the generation of harmonic expectation without relying on the concept of function. Finally, I explain how the notion of harmonic function as suggestive music theory may influence harmonic dictation and how music is presented and analyzed in the classroom.
Keywords: chord progressions, musical memory, musical perception, music pedagogy
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