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      Oral Tradition as Context for Learning Music From 4E Cognition Compared With Literacy Cultures. Case Studies of Flamenco Guitar Apprenticeship

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          Abstract

          The awareness of the last 20 years about embodied cognition is directing multidisciplinary attention to the musical domain and impacting psychological research approaches from the 4E (embodied, embedded, enactive, and extended) cognition. Based on previous research regarding musical teaching and learning conceptions of 30 young guitar apprentices of advanced level in three learning cultures: Western classical, jazz, and flamenco of oral tradition, two participants of flamenco with polarised profiles of learning (reproductive and transformative) were selected as instrumental cases for a prospective ex post facto design. Discourse and practice of the two flamenco guitarists were analysed in-depth to describe bodily issues and verbal discourse on the learning practice in their natural contexts. Qualitative analysis is performed on the posture, gestures, verbal discourse, and musical practice of the participants through the System for the Analysis of Music Teaching and Learning Practices (SAPIL). The results are organised attending: (a) the Embodied mind through differential postures and gestures of flamenco participants that showed a fusion among verbal, body language, and musical discourse with respect to the musical literacy cultures; (b) the Embedded mind and a detailed description of circumstances and relationships of the two flamenco participants, and how music is embedded in their way of life, family and social context, and therefore transcends musical activity itself; (c) the Enactive mind, regarding the active processes that make differences between the reproductive and the transformative flamenco apprentices, then tentative relationship are observed in the discourse of each apprentice and the way in which they practice; finally, (d) the Extended mind through the bodily, technical and symbolic tools they use during learning. Flamenco culture of oral tradition made use of listening, and temporary external representations instead of notational, but also the body played a central role in a holistic rhythm processing through multimodality, such as singing, playing, and dancing. Conclusions point out the embodied mind as a result of the culture of learning reflected through the body and the gesture in instrumental learning.

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              Music and social bonding: “self-other” merging and neurohormonal mechanisms

              It has been suggested that a key function of music during its development and spread amongst human populations was its capacity to create and strengthen social bonds amongst interacting group members. However, the mechanisms by which this occurs have not been fully discussed. In this paper we review evidence supporting two thus far independently investigated mechanisms for this social bonding effect: self-other merging as a consequence of inter-personal synchrony, and the release of endorphins during exertive rhythmic activities including musical interaction. In general, self-other merging has been experimentally investigated using dyads, which provide limited insight into large-scale musical activities. Given that music can provide an external rhythmic framework that facilitates synchrony, explanations of social bonding during group musical activities should include reference to endorphins, which are released during synchronized exertive movements. Endorphins (and the endogenous opioid system (EOS) in general) are involved in social bonding across primate species, and are associated with a number of human social behaviors (e.g., laughter, synchronized sports), as well as musical activities (e.g., singing and dancing). Furthermore, passively listening to music engages the EOS, so here we suggest that both self-other merging and the EOS are important in the social bonding effects of music. In order to investigate possible interactions between these two mechanisms, future experiments should recreate ecologically valid examples of musical activities.
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                Author and article information

                Contributors
                Journal
                Front Psychol
                Front Psychol
                Front. Psychol.
                Frontiers in Psychology
                Frontiers Media S.A.
                1664-1078
                29 April 2022
                2022
                : 13
                : 733615
                Affiliations
                [1] 1Faculty of Education, Department of Didactics of Languages, Arts and Physical Education, Complutense University of Madrid , Madrid, Spain
                [2] 2Faculty of Psychology, Department of Basic Psychology, Autonomous University of Madrid , Madrid, Spain
                [3] 3Faculty of Psychology, Department of Social Psychology and Methodology, Autonomous University of Madrid , Madrid, Spain
                Author notes

                Edited by: Laura Herrero, Camilo José Cela University, Spain

                Reviewed by: Julian Cespedes Guevara, ICESI University, Colombia; Veronika Diaz Abrahan, Interdisciplinary Laboratory of Cognitive Neuroscience, Argentina

                *Correspondence: Amalia Casas-Mas, amacasas@ 123456ucm.es

                This article was submitted to Performance Science, a section of the journal Frontiers in Psychology

                Article
                10.3389/fpsyg.2022.733615
                9106530
                35572287
                7aecbf1f-8787-4dad-bbe8-5ae70378229b
                Copyright © 2022 Casas-Mas, Pozo and Montero.

                This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.

                History
                : 30 June 2021
                : 17 March 2022
                Page count
                Figures: 5, Tables: 2, Equations: 0, References: 126, Pages: 18, Words: 16161
                Funding
                Funded by: Ministerio de Ciencia, Innovación y Universidades, doi 10.13039/100014440;
                Award ID: EDU2017-82243-C2-1-R
                Funded by: Universidad Complutense de Madrid, doi 10.13039/501100002911;
                Categories
                Psychology
                Original Research

                Clinical Psychology & Psychiatry
                oral learning,instrumental learning,embodiment,discourse about practice,musical practice,flamenco culture of learning

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