La lectura musical y la complejidad en la partitura:

Patricio Calatayud; Pablo Padilla Longoria; María del Mar Galera-Núñez; Gabriela Pérez-Acosta

doi:10.29057/ia.v11i22.10638

Patricio Calatayud Universidad Nacional Autónoma de México https://orcid.org/0000-0001-7693-7666
Pablo Padilla Longoria Universidad Nacional Autónoma de México https://orcid.org/0000-0003-3457-6289
María del Mar Galera-Núñez Sevilla University https://orcid.org/0000-0003-3693-1694
Gabriela Pérez-Acosta |Universidad Nacional Autónoma de México https://orcid.org/0000-0002-5371-5128

DOI: https://doi.org/10.29057/ia.v11i22.10638

Keywords: music notation, complexity, perceptual span, working memory

Abstract

We present a model that allows the content of the score to be divided automatically, based on the latest insights in music reading, cognition, and complexity. By relating “perceptual breadth” and “working memory”, we are able to find precise thresholds, which can be used to assess the complexity of music reading. The model conforms to the ecological validity requirements for the calculations that evaluate the complexity in written music and the validation shows that it is applicable to easy and difficult fragments written with musical notation.

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Author Biographies

Pablo Padilla Longoria, Universidad Nacional Autónoma de México

Pablo Padilla studied Mathematics (Gabino Barreda medal) and Physics at the National Autonomous University of Mexico and piano at the National Conservatory of Music. He earned his M.Sc. and Ph.D. degrees from New York University's Courant Institute of Mathematical Sciences, as well as a Diploma in Piano from Mannes College of Music, where he also studied harpsichord. , composition and improvisation. He held a postdoctoral position at the Swiss Federal Polytechnic Institute in Zürich (ETH) and continued his harpsichord studies at the Higher School of Music in the same city with Mtra. Carmen Schibli. He has been a visiting professor at different universities, including the University of Oxford, the School of Higher Studies in Social Sciences (EHESS, Paris) and the University of Cambridge. He has given lectures at various institutions, including the U. Complutense of Madrid, the University of Granada, the Korean Institute for Advanced Studies (KIAS), the Normal School of Engineers of Tunisia (ENIT), the Universities of Rome, Chile, Keio (Japan ), the Instituto Superior Técnico de Lisboa, Harvard University, the Isaac Newton Institute of Cambridge, etc. He is currently tenured professor C in the Department of Mathematics and Mechanics of the Institute for Research in Applied Mathematics and Systems (IIMAS) of the UNA He teaches classes in the Faculty of Sciences and in the Faculty of Music, also at UNAM. His research interests include nonlinear differential equations, dynamical systems, the calculus of variations, and mathematics applied to biology and finance. Additionally, he has done research on mathematical models in archaeological acoustics (archaeoacoustics) and mathematical aspects of music (algorithmic composition and artificial intelligence methods applied to music). He is a member of the Mexican Academy of Sciences and the National System of Researchers.

María del Mar Galera-Núñez, Sevilla University

Mar Galera-Núñez is a doctor in Educational Sciences, with a higher degree in the specialties of: Piano, Chamber Music and Solfeggio and Music Theory; degree in Art History from the University of Seville; Expert in Methods and Resources of Musical Education from the University of La Laguna. He is a member of the Didactic Research Group (GID). His main lines of research are related to artistic languages in education, music technology and music training for early childhood teachers. She has participated as a director and researcher in different research projects related to music teaching and has been a member of the scientific committee of different educational conferences, as well as a reviewer in magazines related to music and artistic education: LEEME, Educación XX1, Pedagogía Social, Electronic Journal of Research in Educational Psychology, among others. He has almost a hundred published works between communications, magazine articles, chapters and books related to music education.

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