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LA MELODÍA INTERRUMPIDA: Análisis Histórico-Genealógico De Los Fundamentos Mediacionales En Psicología De La Música (1854-1938)

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LA MELODÍA INTERRUMPIDA: Análisis Histórico-Genealógico De Los Fundamentos Mediacionales En Psicología De La Música (1854-1938) TESIS DOCTORAL, 2013 LA MELODÍA INTERRUMPIDA: Análisis histórico-genealógico de los fundamentos mediacionales en Psicología de la música (1854-1938) Iván Sánchez Moreno (Lic. Psicología) Directores: Jorge Castro Tejerina y Florentino Blanco Trejo Departamento de Psicología Básica I Facultad de Psicología UNED, Universidad Nacional de Educación a Distancia LA MELODÍA INTERRUMPIDA: Análisis histórico-genealógico de los fundamentos mediacionales en Psicología de la música (1854-1938) Iván Sánchez Moreno (Lic. Psicología) TESIS DOCTORAL, 2013 DIRECTORES: Jorge Castro Tejerina y Florentino Blanco Trejo Departamento de Psicología Básica I Facultad de Psicología UNED, Universidad Nacional de Educación a Distancia LA MELODÍA INTERRUMPIDA: Análisis histórico-genealógico de los fundamentos mediacionales en Psicología de la música (1854-1938) Iván Sánchez Moreno (Lic. Psicología) TESIS DOCTORAL, 2013 DIRECTORES: Jorge Castro Tejerina y Florentino Blanco Trejo Departamento de Psicología Básica I Facultad de Psicología UNED, Universidad Nacional de Educación a Distancia Agradecimientos: A Jorge y Tino, por su guía en este incierto camino. Por el agua al sediento. A Tomás, caballero errante, por hacerme ver el sol al final de este ocaso. A Rubén, por su honradez y bondad, por la nobleza, por ese eterno abrazo. A DeCastro y al tocayo, por la pasión musical que me (a)trajo a este mundo. A Fernando y Albert, por darle voz a mi pensamiento cuando apenas gateaba. A GiBi, por la Casa Piave, tan bella cuna donde alumbré en soledad este proyecto. A Arthur, por levantar puentes tan sólidos de amistad entre mundos tan distantes. A Mònica y Norma, por cada vela encendida, la fe que alumbró tantas dudas. A JC, Belén, Noemí y Elena, por adoptarme cuando era un huérfano recién llegado. A Marta, a Carlos. Por Gould, germen de lo que pudo haber sido esta tesis. A Oriol y Héctor y a cuantos se implicaron en el SESC. A Siguan, in memoriam. A Ignacio Serrano, por darle forma y cuerpo físico a este texto. A mis padres y hermano, por su infinita paciencia. Por cada esperanza robada. A Alicia, por devolverle el color a una paleta raída. Por hacer danzar un Degas en el viento. Y por todo lo demás, también. A todos los roedores de la psicología. A ma fadeta, pel bressol de cada nou dia. ÍNDICE DE CONTENIDOS PARTE I: FUNDAMENTOS TEÓRICOS DE LA ESTÉTICA PSICOLÓGICA (1854-1938) 7 1. INTRODUCCIÓN 9 1.1. La melodía interrumpida: Definición del problema 11 1.2. Una genealogía mediacional de la música: Hipótesis de partida y metodología 14 1.3. El marco histórico y las líneas de abordaje: Estructura y objetivos de la tesis 20 1.4. ¿Por qué una genealogía? Justificación metodológica 23 2. LAS BASES FORMALISTAS DE LA ESTÉTICA PSICOLÓGICA DE LA MÚSICA (1854-1938) 29 2.1. Presentación del capítulo 31 2.2. Bases para un formalismo científico de la música: La influencia de Eduard Hanslick 32 2.3. La (in)definición psicológica de la música: ¿Un problema metafísico? 39 2.4. Críticas al formalismo desde la Estética Psicológica de la música (1854-1938) 43 2.5. Conclusiones 50 3. PROBLEMÁTICAS PSICOLÓGICAS DE LA MÚSICA EN LA ESTÉTICA METAFÍSICA 53 3.1. Presentación del capítulo 55 3.2. La música como problema psicológico desde la Estética Metafísica 57 3.3. El problema psicológico de la música en la Estética Metafísica idealista 60 3.4. El problema psicológico de la música en la Estética Metafísica racionalista 64 3.5. El problema psicológico de la música en la Estética Metafísica objetivo-normativa 68 3.6. El problema psicológico de la música en la Estética Metafísica pre-formalista 71 3.7. El problema psicológico de la música en la Estética Metafísica histórico-organicista 75 3.8. El fin de la Estética Metafísica de la música en el romanticismo 79 3.9. Crítica a la Estética Metafísica de la música: Un problema psicológico por resolver 88 3.10. Conclusiones 91 4. PROBLEMÁTICAS PSICOLÓGICAS DE LA MÚSICA EN LA ESTÉTICA EXPERIMENTAL 95 4.1. Presentación del capítulo 97 4.2. Definición de la Estética Experimental en psicología de la música 98 4.3. Perspectivas y orientaciones de la Estética Experimental en la psicología 101 4.4. Métodos de la Estética Experimental aplicados a la psicología de la música 111 4.5. Influencia y áreas temáticas de la Estética Experimental en psicología de la música 117 4.6. Consolidación y crítica de la Estética Experimental de la música 127 4.7. Conclusiones 130 5. PROBLEMÁTICAS PSICOLÓGICAS DE LA MÚSICA EN LA ESTÉTICA FENOMENOLÓGICA 133 5.1. Presentación del capítulo 135 5.2. Definiciones de la Estética Fenomenológica en psicología de la música 136 5.3. Perspectivas y orientaciones de la Estética Fenomenológica en la psicología 143 5.4. Áreas temáticas de la Estética Fenomenológica en la psicología de la música 149 5.5. Métodos de la Estética Fenomenológica aplicada a la psicología de la música 161 5.6. Influencia y crítica de la Estética Fenomenológica de la música 167 5.7. Conclusiones 171 6. PROBLEMÁTICAS PSICOLÓGICAS DE LA MÚSICA EN LA ESTÉTICA HISTÓRICO-CULTURAL 173 6.1. Presentación del capítulo 175 6.2. Definición de la Estética Histórico-Cultural en psicología de la música 176 6.3. Perspectivas y orientaciones de la Estética Histórico-Cultural en psicología de la música 180 6.4. Métodos de la Estética Histórico-Cultural aplicados a la psicología de la música 187 6.5. Influencia y áreas temáticas de la Estética Histórico-Cultural de la música 192 6.6. Consolidación y crítica de la Estética Histórico-Cultural de la música 197 6.7. Conclusiones 202 PARTE II: PROBLEMÁTICAS PSICOLÓGICAS DE LA MÚSICA (1854-1938) 205 7. PROBLEMÁTICAS PSICOLÓGICAS DE LA MÚSICA COMO PRODUCTO ESTÉTICO 207 7.1. Presentación del capítulo 209 7.2. La definición de la música como problemática psicológica 210 7.3. El origen y la función social de la música como problemática psicológica 215 7.4. El fenómeno individual o colectivo de la música como problemática psicológica 227 7.5. La autonomía artística de la música como problemática psicológica 231 7.6. La expresión de la música como problemática psicológica 232 7.7. Conclusiones 235 8. PROBLEMÁTICAS PSICOLÓGICAS DE LA CREACIÓN ESTÉTICA DE LA MÚSICA 237 8.1. Presentación del capítulo 239 8.2. La definición de la creación estética de la música como problemática psicológica 240 8.3. La inspiración musical como problemática psicológica 243 8.4. El genio musical como problemática psicológica 248 8.5. La práctica de un discurso estético de la música como problemática psicológica 252 8.6. La autoría de la experiencia estética de la música como problemática psicológica 257 8.7. Conclusiones 264 9. PROBLEMÁTICAS PSICOLÓGICAS DE LA RECEPCIÓN ESTÉTICA DE LA MÚSICA 267 9.1. Presentación del capítulo 269 9.2. La definición de la recepción estética de la música como problemática psicológica 270 9.3. La mediación estética de la música como problemática psicológica 280 9.4. La representación y el significado estético en música como problemática psicológica 282 9.5. La sinestesia musical como problemática psicológica 289 9.6. La catarsis y el éxtasis estético en la música como problemática psicológica 294 9.7. Conclusiones 302 PARTE III: LA ESTÉTICA PSICOLÓGICA DE LA MÚSICA DESDE LAS TEORÍAS MEDIACIONALES (1938- ) 305 10. EL DECLIVE DEL MODELO FORMALISTA EN LA OBRA DE CARL SEASHORE 307 10.1. Presentación del capítulo 309 10.2. Fundamentos teóricos de Carl Seashore sobre la experiencia estética de la música 310 10.3. Una aproximación mediacional de la música desde la teoría de Carl Seashore 318 10.4. Críticas al modelo teórico de Carl Seashore sobre la experiencia estética de la música 324 10.5. Conclusiones 329 11. HACIA UNA TEORÍA MEDIACIONAL DE LA EXPERIENCIA ESTÉTICA DE LA MÚSICA 331 11.1. Presentación del capítulo 333 11.2. El arte y la experiencia estética desde la perspectica socio-cultural de Vygotsky 334 11.3. Una breve aproximación a la psicología cultural de la música 341 11.4. La mediación de la experiencia estética de la música, desde la teoría de Antoine Hennion 348 11.5. Un ejemplo de análisis mediacional de la música en la teoría de Antoine Hennion 354 11.6. Perspectiva crítica de Hennion a propósito de una teoría general sobre la música en ciencias sociales 366 11.7. Una reorganización ideal de la teoría de Antoine Hennion desde la psicología cultural 371 11.8. Conclusiones 378 CODA (ALLEGRO CON FUOCO) 381 12. COMPROMISO DE FUTURO: UNA MELODÍA QUE NO CESA 383 BIBLIOGRAFÍA 393 ANEXO 421 PARTE I: Fundamentos teóricos de la Estética Psicológica (1854-1938) CAPÍTULO 1. INTRODUCCIÓN 1.1. La melodía interrumpida: Definición del problema 1.2. Una genealogía mediacional de la música: Hipótesis de partida y metodología 1.3. El marco histórico y las líneas de abordaje: Estructura y objetivos de la tesis 1.4. ¿Por qué una genealogía? Justificación metodológica 1. LA MELODÍA INTERRUMPIDA: DEFINICIÓN DEL PROBLEMA El eco no se acalla por el silencio de la historia. John Cage demostró que el silencio no existe cuando, en 1951, se encerró en una cámara anecoica en la Universidad de Har- vard donde experimentó dos sonidos inevitables: uno muy agudo, correspondiente al fluido de su sistema nervioso; el otro más grave, por el paso de su sangre por los con- ductos de su cuerpo (Nyman, 1999). La demostración de la inexistencia del silencio ponía de manifiesto la presencia permanente de sonidos que envuelven al individuo, de los que no es siempre consciente. Pero el experimento de Cage no era tan sólo una negativa del silencio, sino una afirmación de la omnipresencia de sonidos que en prin- cipio parecían imperceptibles.1 Otro tanto ocurre con la historia, en su perversa relación con el registro bibliográfi- co.
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