Interação reflexiva como paradigma transversal para a criatividade, educação musical e musicoterapia
DOI :
https://doi.org/10.5965/2525530402022017175Mots-clés :
Interação reflexiva, Projeto MIROR, Musicoterapia, Educação Musical, CriançasRésumé
O escopo deste estudo é apresentar o paradigma da "interação reflexiva" criado no contexto dos estudos sobre a interação homem-máquina e utilizado no âmbito do Projeto MIROR- Musical Interaction Relying On Reflection. Através deste projeto, foi construída uma plataforma tecnológica musical para crianças, incluindo atividades de improvisação, criação e movimento corporal, aplicando o paradigma de interação reflexiva no campo da criatividade musical e no campo da criatividade motora infantil. O foco deste texto é destacar o paradigma de interação reflexiva na interseção entre educação musical e musicoterapia, como um quadro teórico efetivo para fortalecer traços comuns a ambas as áreas, tanto do ponto de vista da aplicação teórica quanto da experiência prática.Téléchargements
Références
ADDESSI, A. R. The musical dimension of daily routines with under-four children during diaper change, bedtime and free-play. In: ILARI, B.; GLUSCHANKOF, C. (a cura di). Music in the early years: Research, theory and practice. Early Child Development and Care, v. 179, n. 6, p. 747-768, 2009. Special Issue.
______. Child/machine interaction in reflexive environment. The MIROR platform. In: BRESIN, R. (a cura di). Proceedings of the Sound and Music Computing Conference 2013. Berlin, Verlag, 2013. p. 92-102.
______. Developing a theoretical foundation for the reflexive interaction paradigm with implications for training music skill and creativity. Psychomusicology: Music, Mind, and Brain, v. 24, n. 3, p. 214-230, 2014.
______. La creatività musicale e motoria dei bambini in ambienti riflessivi: pratiche didattiche con la piattaforma MIROR. Bologna: Bononia University Press, 2015.
ADDESSI, A. R.; PACHET, F. Experiments with a musical machine. Musical style replication in 3/5 year old children. British Journal of Music Education, v. 22, n. 1, p. 21-46, 2005.
______. Young children confronting the Continuator, an interactive reflective musical system, Musicae Scientiae, v. 10, n. 1 (Suppl.), p.13-39, 2006.
ADDESSI, A. R.; BONFIGLIOLI, L.; CLOUGH, N. The impact of teachers’ music training on flow experience and emotion regulation of students and teachers in the framework of the LINK project. In: NOGUEIRA, M. (Ed.). Anais do XII SIMCAM Simpósio International de Cognição e Arts Musicais. Revista ABEM, p.113-120, 2016.
ADDESSI, A. R.; FERRARI, L.; CARUGATI, F. The Flow Grid: A technique for observing and measuring emotional state in children interacting with a flow machine. Journal of New Music Research, v. 44, n. 2, p. 129-144, 2015.
ADDESSI, A. R.; MAFFIOLI, M.; ANELLI, F. The MIROR platform for young children's music and dance creativity. Reflexive interaction meets body-gesture, embodied cognition, and Laban educational dance. Perspectives. Journal of the Early Childhood Music and Movement Association, v. 10, n. 1, p.09-18, 2015.
ADDESSI, A. R.; ANELLI, F.; BENGHI, D.; FRIBERG, A. Child-computer interaction at the beginner stage of music learning: Effects of reflexive interaction on children’s musical improvisation. Frontiers in Psychology, v. 8, n. 650, 2017. DOI: <10.3389/fpsyg.2017.00065>.
ADDESSI, A. R.; ANAGNOSTOPOULOU, C.; NEWMAN, S.; OLSSON, B.; PACHET, F.; VOLPE, G.; YOUNG, S. MIROR Project Final Report, 2013. Disponível em: <http://www.mirorproject.eu/download/Final-Report_3rd-Year.pdf>.
ALEXAKIS, A.; KHATCHATOUROV, A.; TRIANTAFYLLAKI, A.; ANAGNOSTOPOULOU, C. Measuring musical creativity advancement. In: BRESIN, R. (Ed.). Proceedings of the Sound and Music Computing Conference. Berlin: Logos Verlag, 2013.
ANAGNOSTOPOULOU, C.; ALEXAKIS, A.; TRIANTAFYLLAKI, A. A computational method for the analysis of musical improvisations by young children and psychiatric patients with no musical background. In: CAMBOUROPOULOS, E.; TSOUGRAS, C.; MAVROMATIS, P.; PASTIADIS, K. (a cura di). Proceedings of the 12th International Conference on Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music. Thessaloniki, Greece, 2012, p. 64-68.
ANZIEU, D. Les enveloppes psychiques. Paris : Dunod, 1996.
BARONI, M. Elogio della musicologia sistematica. Rivista Italiana di Musicologia, v. 2, n. 20, p. 332-352, 1985.
______. Suoni e significati. Attività espressive nella scuola. Torino: EDT, 1997.
BEEBE, B.; LACHMANN, F. M. Infant Research e trattamento degli adulti. Milano: Raffaello Cortina Editore, 2003.
BONFIGLIOLI, L. La componente MIROR-Impro nel setting musicoterapico: un percorso di musicoterapia di gruppo con i bambini. In: ADDESSI, A. R. (a cura di). La creatività musicale e motoria dei bambini in ambienti riflessivi: pratiche didattiche con la piattaforma MIROR. Bologna: Bononia University Press, 2015. p. 139-152.
______. L’integrazione sociale attraverso la comunicazione sonoro-musicale: un percorso di musicoterapia con i bambini di tre anni. Infanzia, v. 2, p. 130-132, 2008.
BONFIGLIOLI, L.; ADDESSI, A. R. Improving communication through reflexive musical interaction in therapeutic setting with children. (no prelo a).
______. New technologies in music therapy with children: A pilot study with the MIROR platform, and adaptive system based on the “reflexive interaction” paradigm (no prelo b).
BRUNER, J. Child’s talk: Learning to use language. Trad. it. Armando. New York: W.W. Norton & Co., 1983.
BRUSCIA, K. Improvisational models of music therapy. Springfield, Illinois: Charles Thomas Publisher, 1987.
______. Defining Music Therapy. New York: Barcelona Publishers, 1998.
BUNT, L. Musicoterapia, un'arte oltre le parole. Edizioni Kappa: Roma, 1997.
______. Music therapy: A resource for creativity, health and well-being across the lifespan. In: ODENA, O. (a cura di). Musical creativity: Insights from music education research. Farnham, UK: Ashgate, 2012. p.165-181.
BUNT, L 'Music Therapy with Children: A Complementary Service to Music Education?' British Journal of Music Education, vol.20, no.2, Cambridge University Press, 2003, p. 179-195.
CANEVARO, A. Mediatori efficaci. Appunti sulle politiche sociali, v. 6 p. 01-05, 2007.
CARDOSO de ARAÚJO, R.; ADDESSI, A. R. Um estudo sobre a improvisação musical de crianças num contexto musical interativo/reflexivo. Música em Contexto, v. 8, n. 1, p. 76-91, 2014.
CATERINA, R.; BUNT, L. Musicoterapia; In: NATTIEZ, J. J.; BENT, M.; DALMONTE, R.; BARONI, M. (a cura di). Enciclopedia della musica, Il sapere musicale. V. 2. Torino: Einaudi, 2002, p. 419-442.
CROSS, I. Musicality and the human capacity for culture. Musicae Scientiae, v. 12, p.147–167, 2008.
CSIKZSENTMIHALYI, M. Creativity. Flow and the Psychology of discovery and invention. New York: Harper Collins Edition, 1996.
DELALANDE, F. Le condotte musicali. Bologna: Clueb, 1993.
DELIÈGE, I. Similarity perception _-_ Categorization _-_ Cue abstraction. Music Perception, v. 18, p. 233-243, 2001.
DISSANAYAKE, E. Antecedents of the temporal arts in early motherinfant interaction. In: WALLIN, N. L.; MERKER, B.; BROWN, S. (a cura di). The origins of music. Cambridge, MA: MIT Press, 2000. p. 389-410.
ENGEL, G. The need for a new medical model: A challenge for biomedicine. Science, v. 19, p. 129-136, 1977.
FERRARI, L.; ADDESSI, A. R. Early exploration of digital sound: Two-three year old children interacting with the MIROR Impro. In: PITT, J.; RETRA, J. (a cura di). MERYC2013. Proceedings of the European Network of Music Educators and Researchers of Young Children. The Hague (Finland), 2013. p. 359-368.
______. A new way to play music together: The Continuator in the classroom setting. International Journal of Music Education, v. 32, p. 171-184, 2014.
______. Suonare con il MIROR-Impro: potenzialità inclusive nei sistemi interattivi riflessivi musicali. In: EMILI, E. ANGELO (a cura di). L’aula possibile. Firenze: Libri Liberi, 2016. p 104-118.
FOGEL, A. Developing through relationships: Origins of communication, self and culture. London: Harvester Wheatsheaf, 1993.
______. Oltre gli individui: un approccio storico-relazionale alla teoria e alla ricerca sulla comunicazione. In: GENTA, M. L. (a cura di). Il rapporto madre-bambino. Roma: Carocci, 2000. p. 123-161.
FOLKESTAD, G.; HARGREAVES, D. J.; LINDSTRÖM, B. Compositional strategies in computer-based music-making. British Journal of Music Education, v. 15, n. 1, p. 83-97, 1998
GALILEI, V. Dialogo della musica antica et della moderna. Ed. Roma: Reale Accademia d’Italia, 1934. [Firenze, Marescotti, 1531]
GRATIER, M. Grounding in musical interaction: Evidence from jazz performances. Musicae Scientiae, v. 12, n. 1 (Suppl.), p. 71-110, 2008.
GRATIER, M.; APTER-DANON, G. The musicality of belonging: Repetition and variation in mother-infant interaction. In: MALLOCH, S.; TREVARTHEN, C. (Eds.). Communicative musicality. Oxford, New York, NY: Oxford University Press, 2008. p. 301-327.
IMBERTY, M. La musique creuse le temps. De Wagner à Boulez: Musique, psychologie, psychoanalyse. Paris: L’Harmattan, 2005.
LABAN, R. The mastery of movement. 4. ed. London, UK: Macdonalds & Evens Limited, 1980.
LEMAN, M. Embodied music cognition and mediation technology. Cambridge, MA: MIT Press. 2007.
______. Systematic musicology at the crossroads of modern music research. In: SCHNEIDER, A. (Ed.). Systematic and comparative musicology: Concepts, methods, findings Hamburger. Jahrbuch fur Musikwissenschaft. V. 24. Frankfurt am Main: Peter Lang, 2008. p. 89-115.
LEONI, M. “No stato io solo!”. Un'esperienza con la piattaforma MIROR (Musical Interaction Relying On Reflexion) in un contesto educativo speciale. Tesi di laurea in Metodologia dell'Educazione Musicale, Corso di Laurea in Scienze della Formazione Primaria, relatore Prof.ssa Anna Rita Addessi, corr. Dott.ssa Luisa Bonfiglioli, Università di Bologna, 2011.
MACDONALD, R. A. R. Music, health, and well-being: A review. International Journal of Qualitative Studies on Health and Well-Being, v. 8, 2013. Disponível em: <http://doi.org/10.3402/qhw.v8i0.20635>.
MALLOCH, S.; TREVARTHEN, C. (Eds.). Communicative musicality. Exploring the basis of human companionship. Oxford: Oxford University Press, 2009a.
MALLOCH, S.; TREVARTHEN, C. Musicality: Communicating the vitality and interests of life; In: MALLOCH, S.; TREVARTHEN, C. (a cura di). Communicative musicality. Exploring the basis of human companionship, Oxford: Oxford University Press, 2009b, p. 01-10.
MARGULIS, E. H. On repeat. How music plays the mind. New York: Oxford University Press, 2014.
MCPHERSON, G. From child to musician: Skill development during the beginning stage of learning an instrument. Psychology of Music, v. 33, p. 05-35, 2005.
MITHEN, S. The singing Neanderthals: The origin of music, language, mind and body. London: Weidenfeld & Nicolson, 2005.
NADEL, J.; BUTTERWORTH, G. (Eds.). Imitation in infancy. Cambridge: Cambridge University Press, 1999.
NADEL, J. Imitation and imitation recognition: Functional use in preverbal infants and nonverbal children with autism. In: MELTZOFF, A. N.; PRINZ, W.(Eds.) The imitative mind: Development, evolution and brain bases. Cambridge, UK: Cambridge University Press, 2002, p. 42–62.
PACHET, F. Musical interaction with styl. Journal of New Music Research, v. 32, n. 3, p. 333-341, 2003.
______. On the design of Flow Machine. In: TOKORO, M. (a cura di). A learning zone of one’s own: Sharing representations and flow in collaborative learning environments. The Netherlands: IOS Press, 2004. p. 111–134.
______. Creativity studies and musical interaction. In: DELIÈGE, I.; WIGGINS, G. A. (a cura di), Musical creativity. Hove: Psychology Press, 2006. p. 347-358.
PACHET, F.; ROY, P.; BARBIERI, G. Finite-Length Markov processes with constraints. Proceedings of IJCAI 2011, Barcelona, July 2011.
PAPOUŠEK, M. Communication in early infancy: An arena of intersubjective learning. Infant Behavior and Development, v. 30, p.258-266, 2007.
PAVLICEVIC, M. Improvisation in Music Therapy: Human Communication in Sound. Journal of Music Therapy, Volume 37, Issue 4, 1 December 2000, p. 269–285
POSTACCHINI, P. L.; RICCIOTTI, A.; BORGHESI, M. Lineamenti di musicoterapia. Roma: Carrocci, 1998.
POSTACCHINI, P. L.; BORGHESI, M.; RICCHIOTTI, A. Musicoterapia. Roma: Carocci, 2004.
RICCI BITTI, P. E. (Ed.). Regolazione delle emozioni e artiterapie. Roma: Carocci, 1998.
RIZZOLATTI, G.; FADIGA, L.; FOGASSI, L.; GALLESE, V. From mirror neurons to imitation: Facts and speculations. In: MELTZOFF, A. N.; PRINZ, W. (a cura di). The imitative mind. Development, evolution, and brain bases. New York, NY: Cambridge University Press, 2002. p. 247-266.
ROWE, V.; TRIANTAFYLLAKI, A.; ANAGNOSTOPOULOU, C. Young pianists exploring improvisation using interactive music technology. International Journal of Music Education, v. 33, p. 113-130, 2014.
RUWET, N. Méthodes d’analyse en musicologie. Revue belge de Musicologie, v. 20, p. 65-90, 1966.
SAWYER, K. R. Improvised conversation: Music, collaboration and development. Psychology of Music, v. 27, p. 192-216, 1999.
STERN, D. N. Il mondo interpersonale del bambino. Torino: Boringhieri, 1985.
______. The present moment in psychotherapy and in everyday life. New York, NY: Norton, 2004.
TAFURI, J. L’educazione musicale. Teorie, metodi, pratiche. Torino: EDT, 1995.
______. Processes and teaching strategies in musical improvisation with children. In: DELIÈGE, I.; WIGGINS, G. A. (a cura di). Musical creativity. Hove: Psychology Press, 2006. p. 134-158.
TOIVIAINEN, P. (Ed.) Similarity perception in listening to music. Musicae Scientiae, v. 11, Special Issue, 2007.
TRIANTAFYLLAKI, C.; ANAGNOSTOPOULOU, A.; ALEXAKIS, A. An exploratory study of young children’s technology-enabling improvisation. In: CAMBOUROPOULOS, E.; TSOUGRAS, C.; MAVROMATIS, P.; PASTIADIS, K. (a cura di). Proceedings of the 12th International Conference on Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music. Thessaloniki, Greece, 2012. p.1009-1015.
VOLPE, G.; VARNI, G.; ADDESSI, A. R.; MAZZARINO, B. BeSound: Embodied reflexion in childhood. In: Proceedings of the 11th International Conference on Interaction Design and Children (IDC2012). New York, NY, USA, ACM, 2012. p. 172-175.
VYGOTSKY, L. S. Thought and language. Cambridge, MA: MIT Press, 1962.
WALLERSTEDT, C; LAGERLOF, P. Exploring turn-taking in children's interaction with a new music technology. HeKupu, v. 2, n. 5, p. 20-31, 2011.
WIGRAM, T. Improvvisazione. Metodi e tecniche per clinici, educatori e studenti di musicoterapia. Roma: Ismez, 2004.
WIGRAM, T.; PEDERSEN, I. N.; BONDE, L. O. Guida generale alla musicoterapia. Teoria, pratica clinica, ricerca e formazione. Roma: Ismez, 2003.
WHEELER, B. L. (a cura di). Music therapy handbook. New York, NY: Guilford Press, 2015.
ZAGATTI, F. La danza educativa. Principi metodologici e itinerari operativi. Bologna: Mousikè Progetti Educativi, 2004.
ZATORRE, R. J. Beyond auditory cortex: Working with musical thoughts. In: OVERY, K.; PEREZ, I.; ZATORRE, R. J.; LOPEZ, L.; MAJNO, M. (Eds.). The Neurosciences and Music-IV. Learning and Memory. Annals of the New York Academy of Sciences, 2012, p. 222-228.
Téléchargements
Publiée
Comment citer
Numéro
Rubrique
Licence
(c) Tous droits réservés ORFEU 2017
Ce travail est disponible sous la licence Creative Commons Attribution 4.0 International .
