Enpatia sustatzeko esku-hartze hezigarri batean sortutako enpatia erreakzioen azterketa deskriptiboa.
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Argitaratua
2026-03-25
Pablo Davila-Barrio
Dr. Cristina Arriaga
Dr. Alberto Cabedo
Laburpena
Enpatia funtsezkoa da gizakien arteko elkarrekintzan. Zenbait autore, enpatia gizarte trebetasunak hobetu ditzakeen abilezi gisa identifikatzen dute, batez ere hezkuntza prozesuetan. Gainera, autoreek ere iradokitzen dute enpatiak eragina duela pertsonen egoera emozionaletan. Ikerketa honetan, hezkuntzako esku-hartze musikal batean izandako erantzun enpatikoen azterlan deskribatzaile bat ezagutzera ematen da. Ganbera musikako 5 talderen ez-hitzezko jokabidearen edukia aztertu zen (guztira, 13 ikasle, 15 eta 18 urte artekoak) talde ariketa musikal batzuk egiten zituzten bitartean. Datuak bi kategoriatan kodetu ziren. Lehenean, talde ekintza musikal baten garapen egokia eta interpretazio zuzena helburu zuten ez-hitzezko jokabideak multzokatu ziren; bigarrenean, lehen taldetik kanpo geratu zirenak. Azkenik, bigarren taldearen datuak osagai adierazkor bati lotu zitzaizkion eta Enpatia Kognitiboaren eta Afektiboaren Testeko (gastelaniaz, TECA) enpatiaren lau dimentsioekin erlazionatu ziren. Guztira, 755 ez-hitzezko jokabide lortu ziren; horietatik, 179 erreakzio enpatiko gisa sailkatu ziren. Ikerketak hezkuntza emozionala taldeko musika jarduteari buruzko hezkuntzan sartzearen onurak babesten ditu. Taldeko musika interpretazioan enpatiaren eta garapen musikalaren arteko loturak aztertuko dituzten ikerketa gehiago behar dira, eta musika-hezkuntzaren arloan trebetasun enpatikoak garatzeak dakartzan onurei eta erronkei buruz hausnartu behar da.
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Keywords
enpatia, taldeko musika interpretazioa, hezkuntzako esku-hartzea, musika hezkuntza, behaketa
References
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Bishop, L., Goebl, W. (2018). Communication for coordination: gesture kinematics and conventionality affect synchronization success in piano duos. Psychological Research 82, 1177–1194. https://doi.org/10.1007/s00426-017-0893-3
Bishop, L., Cancino-Chaco ́n, C., and Goebl, W. (2019). Moving to communicate, moving to interact: Patterns of body motion in musical duo performance. Music Perception, 37, 1-25. This version is a final preprint of the paper prepared by the author
Bishop, Laura, and Peter E. Keller, 'Instrumental Ensembles', in Gary E. McPherson (ed.), The Oxford Handbook of Music Performance, Volume 2 (2022; online edn, Oxford Academic, 18 Mar. 2022), https://doi.org/10.1093/oxfordhb/9780190058869.013.21
Chang, A., Kragness, H. E., Livingstone, S. R., Bosnyak, D. J., & Trainor, L. J. (2019). Body sway reflects joint emotional expression in music ensemble performance. Scientific Reports, 9(1), 1–11. doi: 10.1038/s41598-018-36358-4
Clarke, E., DeNora, T., & Vuoskoski, J. (2015). Music, empathy and cultural understanding. Physics of Life Reviews, 15, 61–88. https://doi.org/10.1016/j.plrev.2015.09.001.
Cosano Molleja, A., Zych, I., & Ortega Ruiz, R. (2017). Attention, communication and development of interpretation skills in chamber music pianists´education. Psychology, Society &Amp; Education, 9(2), 283–298. https://doi.org/10.25115/psye.v9i2.715
Davidson, J. W. (2012). Bodily movement and facial actions in expressive musical performance by solo and duo instrumentalists: Two distinctive case studies. Psychology of Music, 40(5), 595–633. https://doi.org/10.1177/0305735612449896
D’Ausilio, A., Novembre, G., Fadiga, L., & Keller, P.E. (2015). What can music tell us about social interaction? Trends in Cognitive Sciences, 19, 111–114.
Eisenberg, N. & Strayer, J. (1992). Emphaty and its development. University Press, New York.
Ekman, P., & Friesen, W. V. (1969). The repertoire of nonverbal behavior: Categories, origins, usage, and coding. semiotica, 1(1), 49-98.
Ekman, P., & Friesen, W. V. (1978). Manual for the Facial Action Code. Palo Alto, CA: Consulting Psychologist Press.
Ekman, P., Friesen, W. V., & Ellsworth, P. (2013). Emotion in the human face: Guidelines for research and an integration of findings (Vol. 11). Elsevier.
Galiano Pérez, J. (2016). Aprendizaje de la comunicación no verbal en la música de cámara.
Glowinski, D., Dardard, F., Gnecco, G., Piana, S., & Camurri, A. (2014). Expressive non- verbal interaction in a string quartet: An analysis through head movements. Journal on Multimodal User Interfaces. doi: 10.1007/s12193-014-0154-3
Godøy, R.I., & Leman, M. (2010). Musical gestures : sound, movement, and meaning.
Goleman, D. (1995). Emotional intelligence: Why it can matter more than IQ. Bantam Books.
Hawkins, A. (2013). The effects of Music and synchrony on the development of empathy in young children [Thesis, East Tennessees State University].
Hove, M. J., & Risen, J. L. (2009). It’s all in the timing: interpersonal synchrony increases affiliation. Social Cognition, 27(6), 949–961. doi:10.1521/soco.2009.27.6.949.
Juslin, P. N. (2003). Five facets of musical expression: a psychologist’s perspective on music performance. Psychology of Music, 31, 273-302.
Keller, P.E. (2014). Ensemble performance: Interpersonal alignment of musical expression. In D. Fabian, R. Timmers, & E. Schubert (Eds.), Expressiveness in music performance: Empirical approaches across styles and cultures (pp. 260-282). Oxford: Oxford University Press.
Knapp, M. (1982): La comunicación no verbal. El cuerpo y su entorno. Barcelona, Paidós, 373 pp.
Macrae, C. N., Duffy, O. K., Miles, L. K., & Lawrence, J. (2008). A case of hand waving: action synchrony and person perception. Cognition, 109(1), 152–156. doi:10.1016/j.cognition.2008.07. 007.
Meissner, H. (2021). Theoretical framework for facilitating young musicians’ learning of expressive performance. Frontiers in psychology, 11, 584171.
Novembre, G. and Keller, P. E. (2014). A conceptual review on action-perception coupling in the musicians’ brain: What is it good for? Frontiers in Human Neuroscience, 8.
doi: 10.3389/fnhum.2014.00603
Oceja, L., López-Pérez, B., Ambrona, T. & Fernández, I. (2009). Measuring general dispositions to feeling empathy and distress. Psicothema, 21(2), 171. Retrieved from http://www.doredin.mec.es/ documentos/01720093004640.pdf.
Preston, S. D., & de Waal, F. B. (2002). Empathy: Its ultimate and proximate bases. The Behavioural and Brain Sciences, 25(1), 1–71. https://doi.org/10.1017/s0140525x02000018.
Rabinowitch, T.-C., Cross, I., & Burnard, P. (2013). Long-term musical group interaction has a positive influence on empathy in children. Psychology of Music, 41(4), 484-498. https://doi.org/10.1177/0305735612440609
Ragert, M., Schroeder, T., & Keller, P. E. (2013). Knowing too little or too much: The effects of familiarity with a co-performer’s part on interpersonal coordination in musical ensembles. Frontiers in Psychology, 4. doi: 10.3389/fpsyg.2013.00368
Ratka, A. (2018). Empathy and the development of affective skills. American Journal of Pharmaceutical Education, 82(10), 1140–1144. https://doi.org/10.5688/ajpe7192
Rumble, A. C., Van Lange, P. A., & Parks, C. D. (2010). The benefits of empathy: When empathy may sustain cooperation in social dilemmas. European Journal of Social Psychology, 40(5), 856–866.https://doi.org/10.1002/ejsp.659
Sarrionandia, Ainize & Garaigordobil, Maite. (2016). Nerabeen gaitasun sozial eta emozionalak garatzeko programak: berrikusketa. Tantak. 28. 111-148. 10.1387/tantak.17483.
Schellenberg, E. G. (2019). Correlation = causation? Music training, psychology, and neurosci- ence. Psychology of Aesthetics, Creativity, and the Arts, 14(4), 475–480. https://doi.org/10.1037/ aca0000263
Schiavio, A., & Høffding, S. (2015). Playing together without communicating? A pre-reflective and enactive account of joint musical performance. Musicae Scientiae, 19(4), 366–388. doi:10.1177/1029864915593333.
Shifres, Favio. (2006). El concepto de entrainment en la ejecución musical y la formación de significado en contextos de sincronización. V Reunión Anual de la Sociedad Argentina para las Ciencias Cognitivas de la Música y Primera Ateneo de Mercosur.
van der Wel, R. P. R. D., Sebanz, N., & Knoblich, G. (2013). Action perception from a common coding perspective. In K. L. Johnson & M. Shiffrar (Eds.), People watching: Social, perceptual, and neurophysiological studies of body perception (pp. 101–120). Oxford: Oxford University.
Vesper, C., van der Wel, R. P. R. D., Knoblich, G., & Sebanz, N. (2011). Making oneself predictable: Reduced temporal variabil- ity facilitates joint action coordination. Experimental Brain Research, 211, 517–530. doi:10.1007/s00221-011-2706-z.
Williamon, A., & Davidson, J. W. (2002). Exploring co-performer communication. Musicae Scientiae, 1, 53–72.
Wiltermuth, S. S., & Heath, C. (2009). Synchrony and cooperation. Psychological Science, 20(1), 1–5. doi:10.1111/j.1467-9280. 2008.02253.x.
Windsor, W. L. (2016). Gestures in music-making: Action, information and perception. In New perspectives on music and gesture (pp. 45-66). Routledge.
Wo ̈llner, C., & Cañal-Bruland, R. (2010). Keeping an eye on the violinist: Motor experts show superior timing consistency in a visual perception task. Psychological Research, 74, 579–585. doi:10.1007/s00426-010-0280-9.
W ̈ollner, C., Parkinson, J., Deconinck, F. J. A., Hove, M. J., & Keller, P. (2012). The per- ception of prototypical motion: Synchronization is enhanced with quantitatively morphed gestures of musical conductors. Journal of Experimental Psychology: Human Perception and Performance, 38(6), 1390-1403. doi: 10.1037/a0028130
Gonzalez Artetxe, Asier; Araña Oiarbide, Alain; Vélaz Lorente, Íñigo; Gil Monreal, Eneko; Los Arcos Larumbe, Asier (2023). «Emozioak harrapatzen: Lehen Hezkuntzako ikasleen harreman soziomotorren eta bizipen emozionala-ren azterketa harrapaketa jolasean generoaren arabera». Tantak, 35(1), 101-124. (https://doi.org/10.1387/tantak.24019).
Bishop, L., & Goebl, W. (2015). When they listen and when they watch: Pianists’ use of nonverbal audio and visual cues during duet performance. Musicae Scientiae, 19(1), 84- 110. doi: 10.1177/1029864915570355
Bishop, L., Goebl, W. (2018). Communication for coordination: gesture kinematics and conventionality affect synchronization success in piano duos. Psychological Research 82, 1177–1194. https://doi.org/10.1007/s00426-017-0893-3
Bishop, L., Cancino-Chaco ́n, C., and Goebl, W. (2019). Moving to communicate, moving to interact: Patterns of body motion in musical duo performance. Music Perception, 37, 1-25. This version is a final preprint of the paper prepared by the author
Bishop, Laura, and Peter E. Keller, 'Instrumental Ensembles', in Gary E. McPherson (ed.), The Oxford Handbook of Music Performance, Volume 2 (2022; online edn, Oxford Academic, 18 Mar. 2022), https://doi.org/10.1093/oxfordhb/9780190058869.013.21
Chang, A., Kragness, H. E., Livingstone, S. R., Bosnyak, D. J., & Trainor, L. J. (2019). Body sway reflects joint emotional expression in music ensemble performance. Scientific Reports, 9(1), 1–11. doi: 10.1038/s41598-018-36358-4
Clarke, E., DeNora, T., & Vuoskoski, J. (2015). Music, empathy and cultural understanding. Physics of Life Reviews, 15, 61–88. https://doi.org/10.1016/j.plrev.2015.09.001.
Cosano Molleja, A., Zych, I., & Ortega Ruiz, R. (2017). Attention, communication and development of interpretation skills in chamber music pianists´education. Psychology, Society &Amp; Education, 9(2), 283–298. https://doi.org/10.25115/psye.v9i2.715
Davidson, J. W. (2012). Bodily movement and facial actions in expressive musical performance by solo and duo instrumentalists: Two distinctive case studies. Psychology of Music, 40(5), 595–633. https://doi.org/10.1177/0305735612449896
D’Ausilio, A., Novembre, G., Fadiga, L., & Keller, P.E. (2015). What can music tell us about social interaction? Trends in Cognitive Sciences, 19, 111–114.
Eisenberg, N. & Strayer, J. (1992). Emphaty and its development. University Press, New York.
Ekman, P., & Friesen, W. V. (1969). The repertoire of nonverbal behavior: Categories, origins, usage, and coding. semiotica, 1(1), 49-98.
Ekman, P., & Friesen, W. V. (1978). Manual for the Facial Action Code. Palo Alto, CA: Consulting Psychologist Press.
Ekman, P., Friesen, W. V., & Ellsworth, P. (2013). Emotion in the human face: Guidelines for research and an integration of findings (Vol. 11). Elsevier.
Galiano Pérez, J. (2016). Aprendizaje de la comunicación no verbal en la música de cámara.
Glowinski, D., Dardard, F., Gnecco, G., Piana, S., & Camurri, A. (2014). Expressive non- verbal interaction in a string quartet: An analysis through head movements. Journal on Multimodal User Interfaces. doi: 10.1007/s12193-014-0154-3
Godøy, R.I., & Leman, M. (2010). Musical gestures : sound, movement, and meaning.
Goleman, D. (1995). Emotional intelligence: Why it can matter more than IQ. Bantam Books.
Hawkins, A. (2013). The effects of Music and synchrony on the development of empathy in young children [Thesis, East Tennessees State University].
Hove, M. J., & Risen, J. L. (2009). It’s all in the timing: interpersonal synchrony increases affiliation. Social Cognition, 27(6), 949–961. doi:10.1521/soco.2009.27.6.949.
Juslin, P. N. (2003). Five facets of musical expression: a psychologist’s perspective on music performance. Psychology of Music, 31, 273-302.
Keller, P.E. (2014). Ensemble performance: Interpersonal alignment of musical expression. In D. Fabian, R. Timmers, & E. Schubert (Eds.), Expressiveness in music performance: Empirical approaches across styles and cultures (pp. 260-282). Oxford: Oxford University Press.
Knapp, M. (1982): La comunicación no verbal. El cuerpo y su entorno. Barcelona, Paidós, 373 pp.
Macrae, C. N., Duffy, O. K., Miles, L. K., & Lawrence, J. (2008). A case of hand waving: action synchrony and person perception. Cognition, 109(1), 152–156. doi:10.1016/j.cognition.2008.07. 007.
Meissner, H. (2021). Theoretical framework for facilitating young musicians’ learning of expressive performance. Frontiers in psychology, 11, 584171.
Novembre, G. and Keller, P. E. (2014). A conceptual review on action-perception coupling in the musicians’ brain: What is it good for? Frontiers in Human Neuroscience, 8.
doi: 10.3389/fnhum.2014.00603
Oceja, L., López-Pérez, B., Ambrona, T. & Fernández, I. (2009). Measuring general dispositions to feeling empathy and distress. Psicothema, 21(2), 171. Retrieved from http://www.doredin.mec.es/ documentos/01720093004640.pdf.
Preston, S. D., & de Waal, F. B. (2002). Empathy: Its ultimate and proximate bases. The Behavioural and Brain Sciences, 25(1), 1–71. https://doi.org/10.1017/s0140525x02000018.
Rabinowitch, T.-C., Cross, I., & Burnard, P. (2013). Long-term musical group interaction has a positive influence on empathy in children. Psychology of Music, 41(4), 484-498. https://doi.org/10.1177/0305735612440609
Ragert, M., Schroeder, T., & Keller, P. E. (2013). Knowing too little or too much: The effects of familiarity with a co-performer’s part on interpersonal coordination in musical ensembles. Frontiers in Psychology, 4. doi: 10.3389/fpsyg.2013.00368
Ratka, A. (2018). Empathy and the development of affective skills. American Journal of Pharmaceutical Education, 82(10), 1140–1144. https://doi.org/10.5688/ajpe7192
Rumble, A. C., Van Lange, P. A., & Parks, C. D. (2010). The benefits of empathy: When empathy may sustain cooperation in social dilemmas. European Journal of Social Psychology, 40(5), 856–866.https://doi.org/10.1002/ejsp.659
Sarrionandia, Ainize & Garaigordobil, Maite. (2016). Nerabeen gaitasun sozial eta emozionalak garatzeko programak: berrikusketa. Tantak. 28. 111-148. 10.1387/tantak.17483.
Schellenberg, E. G. (2019). Correlation = causation? Music training, psychology, and neurosci- ence. Psychology of Aesthetics, Creativity, and the Arts, 14(4), 475–480. https://doi.org/10.1037/ aca0000263
Schiavio, A., & Høffding, S. (2015). Playing together without communicating? A pre-reflective and enactive account of joint musical performance. Musicae Scientiae, 19(4), 366–388. doi:10.1177/1029864915593333.
Shifres, Favio. (2006). El concepto de entrainment en la ejecución musical y la formación de significado en contextos de sincronización. V Reunión Anual de la Sociedad Argentina para las Ciencias Cognitivas de la Música y Primera Ateneo de Mercosur.
van der Wel, R. P. R. D., Sebanz, N., & Knoblich, G. (2013). Action perception from a common coding perspective. In K. L. Johnson & M. Shiffrar (Eds.), People watching: Social, perceptual, and neurophysiological studies of body perception (pp. 101–120). Oxford: Oxford University.
Vesper, C., van der Wel, R. P. R. D., Knoblich, G., & Sebanz, N. (2011). Making oneself predictable: Reduced temporal variabil- ity facilitates joint action coordination. Experimental Brain Research, 211, 517–530. doi:10.1007/s00221-011-2706-z.
Williamon, A., & Davidson, J. W. (2002). Exploring co-performer communication. Musicae Scientiae, 1, 53–72.
Wiltermuth, S. S., & Heath, C. (2009). Synchrony and cooperation. Psychological Science, 20(1), 1–5. doi:10.1111/j.1467-9280. 2008.02253.x.
Windsor, W. L. (2016). Gestures in music-making: Action, information and perception. In New perspectives on music and gesture (pp. 45-66). Routledge.
Wo ̈llner, C., & Cañal-Bruland, R. (2010). Keeping an eye on the violinist: Motor experts show superior timing consistency in a visual perception task. Psychological Research, 74, 579–585. doi:10.1007/s00426-010-0280-9.
W ̈ollner, C., Parkinson, J., Deconinck, F. J. A., Hove, M. J., & Keller, P. (2012). The per- ception of prototypical motion: Synchronization is enhanced with quantitatively morphed gestures of musical conductors. Journal of Experimental Psychology: Human Perception and Performance, 38(6), 1390-1403. doi: 10.1037/a0028130
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