Bodypercussion-Bapne-Lateralidad

Francisco Javier Romero Naranjo

Percusión corporal corporal y lateralidad. lateralidad. Método BAPNE SEPARATA REVISTA : EPARATA DE DE LA R

MÚSICA Y Y EDUCACIÓN Núm. 91 Año XXV XXV,, 3 Octubre 2012 (ISSN 0214-4786)

Editorial Musicalis S.A. www.musicalis.es www.facebook.com/musicayeducacion MADRID 2012

ARTÍCULOS

Percusión corporal y lateralidad. Método BAPNE RESUMEN: El método BAPNE posee una metodología específica que estimula la lateralidad en función de cuatro tipologías concretas: somatosensorial, percutida, giratoria y espacial. En este artículo se justifica cada una de las tipologías expuestas a nivel psicomotor y neurológico. También También se incluyen pequeños fragmentos prácticos que fundamentan cada una de las tipologías propuestas y los posteriores problemas de enseñanzaaprendizaje reflejados a través de los ejercicios de la lateralidad. P ALABRAS CLAVE: Método BAPNE, lateralidad, percusión corporal y neurociencia,

neurología, ritmo, didáctica, música y cerebro.

Body percussion and laterality. Method BAPNE A BSTRACT BSTRACT: The

BAPNE method has a specific methodology that stimulates laterality la terality according to four types: somatosensory, somatosensory, percussive, rotary and space. This article justifies each one of the types discussed to a psychomotor and neurological level. Also included small practical fragments that support each one of the proposed typologies and subsequent problems of teaching and learning reflected through the exercises of l aterality. laterality, body percussion and neuroscience, EYWORDS: BAPNE Method, laterality, K EYWORDS neurology,, rhythm, didactics, music and the brain. neurology

Francisco Javier Romero Naranjo 1

1. Introducción

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1. Francisco Javier Romero Naranjo (.) doctor en Musicología por la Universidad Alexande Alex anderr von von Humb Humboldt oldt de Ber Berlín lín y pro profeso fesorr de de unive universid rsidad ad acr acredit editado ado por la Aneca Aneca,, es es coor coordina dinador dor del áre área a de de música del departamento de Innovación Innovaci ón y Formación de la Universidad de Alicante, Facultad de Educación. Crtra. San Vicente del Raspeig, s/n; 3690 San Vicente del Raspeig, Alicante (España). El artículo fue recibido el 10.8.09, aceptado para su publicación el 10.12.09 y actualizado el 1.2.12. 2. PETERS, Michael: “Handedness and Its Relation to Other Indices of Cerebral Lateralization”, en Davidson y Hughdahl (eds.), Brain Asymnetry Asymnetry,, MIT Press, Cambridge (Mass.), 1995, págs. 15-32. Música y Educación Núm. 91 Año XXV, XXV, 3 Octubre 2012

Música y Educación Núm. 91 Año XXV, 3 Octubre 2012

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3. En futuras publicaciones trataré las otras conductas neuromotrices (tonicidad, postura y equilibrio) a la par que una fundamentación teórico-práctica en relación al alzheimer, parkinson, dislexia y TDHA entre otros aspectos. 4. HOLLOWAY, Ralph: “Evolution of the Human Brain”, en LOCK y PETERS (edts.), Handbook of Human Sym bolic Evolution, págs. 21-72. 5. C ALVIN, William: The Throwing Madonna: Essays on the Brain. McGraw-Hill, New York, 1983, págs. 4-51.

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ARTÍCULOS Percusión corporal y lateralidad. Método BAPNE

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3.2. Los estímulos en la lateralidad

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3.4. ¿Qué ocurre en nuestro cerebro cuando trabajamos la lateralidad con percusión corporal?

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35


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4.1.1. Justificación neurológica de la coordinación somestésica o somatosensorial en el método BAPNE

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4.1.2. ¿Por qué lateralidad somestésica? ¿Para qué sirve?

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14. K ANDEL, Erik: Principles of Neural Science. McGraw-Hill, Fourth Edition, 2000. Part VI: Movement.

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18. C ALLAGHAN, Rusell: “Increased Risk of Parkinson’s Disease in Individuals Hospitalized with Conditions Related to the Use of Methamphetamine or other Amphetamine-type Drugs”. Drug and Alcohol Dependence, 2011. Online: . 19. C ARTER, Rita: The Human Brain Book. DK Publishing.

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O '"#>32 )( (2'# B"(>( #&,"'#+.7$ 2( /# .$'($'#), A02'.6.+#" *,2 ).>("2,2 '.1 &,2 )( *#'("#*.)#) ($ (* -3',), NOJC5 +,$ (* 6.$ )( 2.2'(-#'.;#" 20 #&*.+#+.7$ ),+($'(4 52, .-&*.+# <0( -0+/#2 >(+(2 (* (*(-($', &2.+,-,'," I +,"&,"#* (2': &"(2($'( ($ *#2 #0*#2? &(", 6"(+0($'(1 -($'( &,+, 2.2'(-#'.;#)# I 2.$ '($(" 0$# 6.$#*.)#) +*#"#4 J," (**,? *# 60$)#1 -($'#+.7$ $(0",*79.+# (2 >.'#* &#"# &,)(" ($'($)(" <0( *,2 "(20*'#),2 2( ,B'.($($ 2(9o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


(* )(2#"",**, )( *#2 .$'(*.9($+.#2 -o*1 "(*#+.,$#)#2 +,$ *#2 6,"-#2 )( #&"($1 '.&*(2 <0( **(># .-&*G+.',4 V( (2'# -#1 ).;#A( ($ ',), 20 :-B.', 2( (2'0).#":$ $("# +,$+*0.-,2 <0( (* ),+($'( )(B( ($ (* -#"+, )( *# ).2*(8.#? #*;/(.-("? )( +,$,+(" ',)#2 *#2 &,2.B.*.)#)(2 <0( &#"a.$2,$ I '"#2',"$, &," )36.+.' )( *# ).):+'.+# )( *# &("+02.7$ +,"&,"#* #'($+.7$ +,$ /.&("#+'.>.)#) T dVORU ,6"(+( I 20 #&*.+#+.7$ ),+($'( &#"# <0( ($'"( ,'",2 #2&(+',24 6,"-( &#"'( )(* '"#B#A, ).#"., ($ *#2 O +,$'.$0#+.7$ 2( (8&,$( 0$ +0#)", #0*#24 5$ 60'0"#2 &0B*.+#+.,$(2? (2'#2 2.$7&'.+, <0( "(20-( *# 60$)#-($'#1 A02'.6 .+#+.,$(2 '(7".+,1&":+'.+#2 +($1 +.7$ )( *# *#'("#*.)#) 2(9o$ (* -3',), '"#)#2 $, 27*, ($ *# *#'("#*.)#) 2.$, NOJC54 !" !"#$%"!&'"'. -/"'%* +&01,#&-*

Plano sagital

Se activa mediante Estímulos Activated trough Stimull

Somestético Óculo / Audio manua l Ocular / Auditory manual

Óculo / Audio pedal Ocular / Auditory pedal

Óculo / disociativo

Somesthetic Nos permiten realizar ejercicios Allo ust o carry cut exercises

Unilaterales Unilateral

Bilaterales

Tipos de ejercicios Tipes of exercises

Bilateral

50

l#>.(" W,-(", C#"#$A,

Percussive

Giratorio Giratory

Espacio-temporal

Ocular / Auditory disssociative

©

Percutido

Spatio-Temporal

Dificultades de enseñanzaaprendizaje

Difficulties in the teaching and learnig process


Bibliografía A CARIN;

Nolasc: El cerebro del rey. RBA,

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Sam: “Abnormal Right Hemisphere Specialization in Developmental Dyslexia”, en R. KNIGHTS y D. B ALKER. Neuropsychology of Learning Disorders. Baltimore: University Park Press, 1976.

51

Bodypercussion-Bapne-Lateralidad

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