Creatividad, improvisación y entrenamiento musical: una revisión sistemática

Julieta Moltrasio; Ignacio Deidda; Wanda

doi:10.24215/2422572Xe151

Authors

Julieta Moltrasio Facultad de Psicología, Universidad de Buenos Aires https://orcid.org/0000-0002-0759-0563
Ignacio Deidda Facultad de Psicología, Universidad de Buenos Aires
Wanda Facultad de Psicología, Universidad de Buenos Aires / Laboratorio de Deterioro Cognitivo, Hospital Interzonal General de Agudos Eva Perón / Centro de Investigaciones en Neurociencias y Neuropsicología, Facultad de Ciencias Sociales de la Universidad de Palermo https://orcid.org/0000-0002-2673-6353

DOI:

https://doi.org/10.24215/2422572Xe151

Keywords:

creativity, musical training, improvisation, musicians, brain plasticity

Abstract

Creativity can be defined as the interaction between skills, processes and the environment to generate innovative and useful products. Musical improvisation and training are associated with brain and functional changes, and could modulate creative abilities. This study carries out a descriptive qualitative bibliographic review to evaluate whether there is a difference in creativity between musicians and non-musicians, and between musicians who improvise and musicians who do not, and to establish, based on this, a relationship between creativity and musical improvisation. The search yielded 11 studies: 7 evaluated differences in creativity between musicians and non-musicians, finding differences mainly in musical creativity, but not in general creativity; and 4 of them compared musicians who improvise and those who did not, and most of them found differences in creativity. Results suggest that musical practice and improvisation affect creativity. Improvisation seems to favour plasticity and the development of executive functions, which are related to creative performance.

Downloads

Metrics

PDF views

622

| |

Author Biographies

Julieta Moltrasio, Facultad de Psicología, Universidad de Buenos Aires

Julieta Moltrasio es licenciada en Psicología por la Universidad de Buenos Aires, doctoranda de la misma institución y becaria doctoral UBACyT. Además, estudió Música en el Conservatorio de Música Alberto Ginastera de Morón, donde cursó hasta segundo año del Profesorado. Su tesis doctoral se centra principalmente en el efecto de la música en la memoria en pacientes adultos mayores con y sin demencia tipo alzhéimer. Ha publicado artículos y ha hecho presentaciones en congresos sobre el efecto de la música y el entrenamiento musical en diversas variables. Se desempeña como docente de la materia Neurofisiopatología en la carrera de Musicoterapia de la Universidad de Buenos Aires. También realiza evaluaciones neurocognitvas en el Laboratorio de Deterioro Cognitivo del Hospital Eva Perón de San Martín (Buenos Aires, Argentina).

Ignacio Deidda, Facultad de Psicología, Universidad de Buenos Aires

Ignacio Deidda se recibió en noviembre del 2020 de licenciado en Psicología en la Universidad de Buenos Aires y en noviembre del 2021, de profesor de Enseñanza Media y Superior en Psicología. Su tesis de grado se centró en el estudio de la relación entre el entrenamiento musical y la creatividad. Además, cuenta con 10 años de práctica regular de un instrumento musical (batería acústica), con lo cual tanto su tesis como el presente artículo constituyen un punto de intersección entre sus dos intereses: la música y la psicología. Trabaja como auxiliar docente del Departamento de Inglés y participa en el Proyecto de Inclusión Escolar, dictando clases de Inglés (nivel inicial y elemental) y realizando adaptaciones curriculares en aulas heterogéneas. También da clases particulares a personas con discapacidad y desempeña el rol de psicólogo clínico (orientación cognitivo-conductual), brindando de manera autónoma el servicio de terapias virtuales individuales.

Wanda, Facultad de Psicología, Universidad de Buenos Aires / Laboratorio de Deterioro Cognitivo, Hospital Interzonal General de Agudos Eva Perón / Centro de Investigaciones en Neurociencias y Neuropsicología, Facultad de Ciencias Sociales de la Universidad de Palermo

Wanda Rubinstein es licenciada y doctora en Psicología (UBA), especialista en Psicoterapia Individual y Familiar, investigadora adjunta del CONICET y del Hospital Interzonal de Agudos Eva Perón, en San Martín. Se desempeña como coordinadora del Centro de Investigaciones en Neurociencias y Neuropsicología de la Facultad de Ciencias Sociales de la Universidad de Palermo. Asimismo, ejerce como profesora de grado y posgrado en las siguientes universidades: UBA, UP, UCES. Además, integra el equipo de investigación de Residencia Manantial y es vicepresidenta de la Sociedad Neuropsicológica Argentina (SONEPSA). Ha participado en numerosos congresos nacionales e internacionales y publicado diversos trabajos científicos relacionados con la neuropsicología, especialmente sobre funciones cognitivas como las praxias y la memoria semántica en pacientes con demencia y deterioro cognitivo, así como trabajos relativos a intervenciones musicales en adultos jóvenes, adultos mayores y pacientes con demencia tipo alzhéimer.

References

Assinnato, M. V. (2013). El concepto de mente en teorías sobre improvisación musical. Arte e Investigación, 15.

Aziz-Zadeh, L., Liew, S-L. y Dandekar, F. (2013). Exploring the neural correlates of visual creativity. Social Cognitive and Affective Neuroscience, 8(4), 475-480. https://doi.org/10.1093/scan/nss021

Barnett, S. M. y Ceci, S. J. (2002). When and where do we apply what we learn?: A taxonomy for far transfer. Psychological Bulletin, 128(4), 612-637. https://doi.org/10.1037/0033-2909.128.4.612

Barrett, K. C., Ashley, R., Strait, D. L. y Kraus, N. (2013). Art and science: How musical training shapes the brain. Frontiers in Psychology, 4, 713. https://doi.org/10.3389/fpsyg.2013.00713

Beaty, R. E. (2015). The neuroscience of musical improvisation. Neuroscience & Biobehavioral Reviews, 51, 108–117. https://doi.org/10.1016/j.neubiorev.2015.01.004

Benedek, M., Borovnjak, B., Neubauer, A. C. y Kruse-Weber, S. (2014). Creativity and personality in classical, jazz and folk musicians. Personality and Individual Differences, 63, 117–121. https://doi.org/10.1016/j.paid.2014.01.064

Bermudez, P., Lerch, J. P., Evans, A. C. y Zatorre, R. J. (2009). Neuroanatomical correlates of musicianship as revealed by cortical thickness and voxel-based morphometry. Cerebral Cortex, 19(7), 1583-1596. https://doi.org/10.1093/cercor/bhn196

Biasutti, M. (2015). Pedagogical applications of cognitive research on musical improvisation. Frontiers in Psychology, 6, 614. https://doi.org/10.3389/fpsyg.2015.00614

Burton, A., Morton, N. y Abbess, S. (1989). Mode of processing and hemisphere differences in the judgment of musical stimuli. British Journal of Psychology, 80(2), 169-180. https://doi.org/10.1111/j.2044-8295.1989.tb02311.x

Charyton, C. y Snelbecker, G. E. (2007). General, artistic and scientific creativity attributes of Engineering and Music students. Creativity Research Journal, 19(2-3), 213-225. https://doi.org/10.1080/10400410701397271

De Aquino, M. P. B., Verdejo-Román, J., Pérez-García, M. y Pérez-García, P. (2019). Different role of the supplementary motor area and the insula between musicians and non-musicians in a controlled musical creativity task. Scientific Reports, 9, 13006. https://doi.org/10.1038/s41598-019-49405-5

De Dreu, C. K. W., Nijstad, B. A., Baas, M., Wolsink, I. y Roskes, M. (2012). Working memory benefits creative insight, musical improvisation, and original ideation through maintained task-focused attention. Personality and Social Psychology Bulletin, 38(5), 656-669. https://doi.org/10.1177/0146167211435795

Diaz Abrahan, V. y Justel, N. (2019). Creatividad. Una revisión descriptiva sobre nuestra capacidad de invención e innovación. CES Psicología, 12(3), 35-49. https://doi.org/10.21615/cesp.12.3.3

D’Souza, A. A., Moradzadeh, L. y Wiseheart, M. (2018). Musical training, bilingualism, and executive function: Working memory and inhibitory control. Cognitive Research: Principles and Implications, 3, 11. https://doi.org/10.1186/s41235-018-0095-6

Eysenck, H. J. (1993). Creativity and personality: Suggestions for a theory. Psychological Inquiry, 4(3), 147–178. https://doi.org/10.1207/s15327965pli0403_1

Faber, S. E. M. y McIntosh, A. R. (2020). Toward a standard model of musical improvisation. European Journal of Neuroscience, 51(3), 840-849. https://doi.org/10.1111/ejn.14567

Feist, G. J. (1998). A meta-analysis of personality in scientific and artistic creativity. Personality and Social Psychology Review, 2(4), 290 –309. https://dx.doi.org/10.1207/s15327957pspr0204_5

Gaser, C. y Schlaug, G. (2003). Brain structures differ between musicians and non-musicians. Journal of Neuroscience, 23(27), 9240-9245. https://doi.org/10.1523/JNEUROSCI.23-27-09240.2003

Gibson, C., Folley, B. S. y Park, S. (2009). Enhanced divergent thinking and creativity in musicians: A behavioral and near-infrared spectroscopy study. Brain and Cognition, 69(1), 162-169. https://doi.org/10.1016/j.bandc.2008.07.009

Goncy, E. A. y Waehler, C. A. (2006). An empirical investigation of creativity and musical experience. Psychology of Music, 34(3), 307-321. https://doi.org/10.1177/0305735606064839

Guilford, J. P. (1959). Traits of creativity. En H. H. Anderson y M. S. Anderson (Eds.), Creativity and its cultivation, addresses presented at the Interdisciplinary Symposia on Creativity (pp. 142–161). Harper y Michigan State University.

Guirao-Goris, J. A., Olmedo Salas, Á. y Ferrer Ferrandis, E. (2008). El artículo de revisión. Revista Iberoamericana de Enfermería Comunitaria, 1(1), 1-25.

Hanna-Pladdy, B. y Gajewski, B. (2012). Recent and past musical activity predicts cognitive aging variability: Direct comparison with general lifestyle activities. Frontiers in Human Neuroscience, 6, 198. https://doi.org/10.3389/fnhum.2012.00198

Hanna-Pladdy, B. y MacKay, A. (2011). The relation between instrumental musical activity and cognitive aging. Neuropsychology, 25(3), 378-386. https://doi.org/10.1037/a0021895

Johnson-Laird, P. N. (2002). How jazz musicians improvise. Music Perception, 19(3), 415-442. https://doi.org/10.1525/mp.2002.19.3.415

Justel, N. y Diaz Abrahan, V. (2012). Plasticidad cerebral: participación del entrenamiento musical. Suma Psicológica, 19(2), 97-108.

Kenny, B. J., y Gellrich, M. (2002). Improvisation. In R. Parncutt y G. E. McPherson (Eds.), The science and psychology of music performance: Creative strategies for teaching and learning (pp. 117–134). Oxford University Press.

Kleinmintz, O. M., Goldstein, P., Mayseless, N., Abecasis, D. y Shamay-Tsoory, S. G. (2014). Expertise in musical improvisation and creativity: The mediation of idea evaluation. PloS ONE 9(7), e101568. https://doi.org/10.1371/journal.pone.0101568

Kowatari, Y., Lee, S. H., Yamamura, H., Nagamori, Y, Levy, P., Yamane, S. y Yamamoto, M. (2009). Neural networks involved in artistic creativity. Human Brain Mapping, 30, 1678–1690. https://doi.org/10.1002/hbm.20633

Loui, P., Przysinda, E., Aklaff, P., Maves, K., Arkin, C. y Zeng, T. (2016). Jazz Improvisation as a model of the creative process: Heightened perceptual awareness and sensitivity. Proceedings of the 14th International Conference on Music Perception and Cognition (pp. 175–179). ICMPC14.

McCrae, R. R. y Costa, P. T. (1987). Validation of the five-factor model of personality across instruments and observers. Journal of Personality and Social Psychology, 52(1), 81–90. https://dx.doi.org/10.1037/0022-3514.52.1.81

McPherson, M. y Limb, C. J. (2013). Difficulties in the neuroscience of creativity: Jazz improvisation and the scientific method. Annals of the New York Academy of Sciences, 1303(1), 80-83. https://doi.org/10.1111/nyas.12174

Palmiero, M., Guariglia, P., Crivello, R. y Piccardi, L. (2020). The relationships between musical expertise and divergent thinking. Acta Psychologica, 203, 102990. https://doi.org/10.1016/j.actpsy.2019.102990

Pantev, C., Oostenveld, R., Engelien, A., Ross, B., Roberts, L. E. y Hoke, M. (1998). Increased auditory cortical representation in musicians. Nature, 392, 811–814. https://doi.org/10.1038/33918

Parbery-Clark, A., Skoe, E., Lam, C. y Kraus, N. (2009). Musician enhancement for speech-in-noise. Ear and Hearing, 30(6), 653–661. https://doi.org/10.1097/AUD.0b013e3181b412e9

Plucker, J. A., Beghetto, R. A. y Dow, G. T. (2004). Why isn’t creativity more important to educational psychologists? Potentials, pitfalls, and future directions in creativity research. Educational Psychologist, 39(2), 83–96. https://doi.org/10.1207/s15326985ep3902_1

Pressing, J. (1988). Improvisation: Methods and models. En J. A. Sloboda (Ed.), Generative processes in music: The psychology of performance, improvisation, and composition (pp. 129–178). Clarendon Press.

Przysinda, E., Zeng, T., Maves, K., Arkin, C. y Loui, P. (2017). Jazz musicians reveal the role of expectancy in human creativity. Brain and Cognition, 119, 45-53. https://doi.org/10.1016/j.bandc.2017.09.008

Puryear, J. S., Kettler, T. y Rinn, A. N. (2017). Relationships of personality to differential conceptions of creativity: A systematic review. Psychology of Aesthetics, Creativity, and the Arts, 11(1), 59–68. https://doi.org/10.1037/aca0000079

Runco, M. A. y Jaeger, G. J. (2012). The standard definition of creativity. Creativity Research Journal, 24(1), 92–96. https://doi.org/10.1080/10400419.2012.650092

Schellenberg, E. G. (2006). Long-term positive associations between music lessons and IQ. Journal of Educational Psychology, 98(2), 457-468. https://doi.org/10.1037/0022-0663.98.2.457

Slevc, L. R., Davey, N. S., Buschkuehl, M. y Jaeggi, S. M. (2016). Tuning the mind: Exploring the connections between musical ability and executive functions. Cognition, 152, 199-211. https://doi.org/10.1016/j.cognition.2016.03.017

Soria-Urios, G., Duque, P., y García-Moreno, J. M. (2011). Música y cerebro (II): evidencias cerebrales del entrenamiento musical. Neurología, 53(12), 739-746.

Sovansky, E. E., Wieth, M. B., Francis, A. P. y McIlhagga, S. D. (2016). Not all musicians are creative: Creativity requires more than simply playing music. Psychology of Music, 44(1), 25-36. https://doi.org/10.1177/0305735614551088

Stein, M. I. (1953). Creativity and culture. The Journal of Psychology, 36(2), 311-322. https://doi.org/10.1080/00223980.1953.9712897

Suárez, L., Elangovan, S. y Au, A. (2016). Cross‐sectional study on the relationship between music training and working memory in adults. Australian Journal of Psychology, 68(1), 38-46. https://doi.org/10.1111/ajpy.12087

Talamini, F., Altoè, G., Carretti, B. y Grassi, M. (2017). Musicians have better memory than nonmusicians: A meta-analysis. PloS ONE, 12(10), e0186773. https://doi.org/10.1371/journal.pone.0186773

Tervaniemi, M., Just, V., Koelsch, S., Widmann, A. y Schröger, E. (2005). Pitch discrimination accuracy in musicians vs nonmusicians: An event-related potential and behavioral study. Experimental Brain Research, 161, 1-10. https://doi.org/10.1007/s00221-004-2044-5

Torrance, E. P. (1965). Scientific views of creativity and factors affecting its growth. Daedalus, 94(3), 663-681.

Wechsler, D. (1999). Wechsler Abbreviated Scale of Intelligence Manual. The Psychological Corporation.

Woodward, J. y Sikes, P. L. (2015). The creative thinking ability of musicians and nonmusicians. Psychology of Aesthetics, Creativity, and the Arts, 9(1), 75-80. https://doi.org/10.1037/a0038177

Zuk, J., Benjamin, C., Kenyon, A. y Gaab, N. (2014). Behavioral and neural correlates of executive functioning in musicians and non-musicians. PloS ONE, 9(6), e99868. https://doi.org/10.1371/journal.pone.0099868