Trabajo sobre las teorías del desarrollo y su aplicación a la educación. Realizado por: Juan Larrocha,
Gonzalo Álvarez, Alberto Moscoso, Francisco González y José Manuel Leo.
MÚSICA ESTIMULACIÓN PRENATAL









Hemos de tener en cuenta que esta música podrá tener efecto positivo en caso de que agrade a la futura mamá del bebé, en caso contrario, si le produce desagrado o es rehacia a ese tipo de música le recomendamos deje de escucharla.

jueves, 26 de mayo de 2011

La autorregulación emocional.

Saber regular nuestras propias emociones y comportamientos es algo importante a conseguir en nuestra vida. Los niños comienzan, pasados los 6 años, a comprender que una cosa es sentir y otra expresar, lo que implica haber alcanzado un algo grado de naturaleza cognitiva. 


2 comentarios:

  1. Why do Minor Chords Sound Sad?

    The Theory of Musical Equilibration states that in contrast to previous hypotheses, music does not directly describe emotions: instead, it evokes processes of will which the listener identifies with.

    A major chord is something we generally identify with the message, “I want to!” The experience of listening to a minor chord can be compared to the message conveyed when someone says, "No more." If someone were to say the words "no more" slowly and quietly, they would create the impression of being sad, whereas if they were to scream it quickly and loudly, they would be come across as furious. This distinction also applies for the emotional character of a minor chord: if a minor harmony is repeated faster and at greater volume, its sad nature appears to have suddenly turned into fury.

    The Theory of Musical Equilibration applies this principle as it constructs a system which outlines and explains the emotional nature of musical harmonies. For more information you can google Theory of Musical Equilibration.

    Bernd Willimek

    ResponderEliminar
  2. Why do Minor Chords Sound Sad?

    The Theory of Musical Equilibration states that in contrast to previous hypotheses, music does not directly describe emotions: instead, it evokes processes of will which the listener identifies with.

    A major chord is something we generally identify with the message, “I want to!” The experience of listening to a minor chord can be compared to the message conveyed when someone says, "No more." If someone were to say the words "no more" slowly and quietly, they would create the impression of being sad, whereas if they were to scream it quickly and loudly, they would be come across as furious. This distinction also applies for the emotional character of a minor chord: if a minor harmony is repeated faster and at greater volume, its sad nature appears to have suddenly turned into fury.

    The Theory of Musical Equilibration applies this principle as it constructs a system which outlines and explains the emotional nature of musical harmonies. For more information you can google Theory of Musical Equilibration.

    Bernd Willimek

    ResponderEliminar