ILMIY VA PROFESSIONAL TA’LIM JARAYONIDA MULOQOT, FAN VA MADANIYATLAR
INTEGRATSIYASI
316
Samarkand State Institute of Foreign Languages
ARTISTIC LANGUAGES IN EARLY CHILDHOOD EDUCATION:
SYNAESTHETIC STUDY IN CHILDREN AGED 4 AND 5 (ALBACETE, SPAIN)
Bravo Marín, Raquel.
Universidad de Castilla-La Mancha.
López García, Narciso José.
Universidad de Castilla-La Mancha.
López Palacios, Joaquín.
Universidad de Castilla-La Mancha.
Abstract.
This research aims to find out the relationship between music and colours
according to the perception of pre-school pupils in Albacete (Spain).
Keywords:
early childhood education; musical education; arts; synesthesia; emotions.
Introduction
Early Childhood Education is a key stage for the development of the whole child,
encompassing cognitive, emotional, social and motor aspects. During this stage of rapid growth,
it is essential to provide experiences that favour their development (Hasnani et al., 2024).
Art stimulates creativity, self-expression and cognitive and emotional development,
fostering critical thinking and connection to the environment (Qiao et al., 2021).
Synaesthesia, particularly music-colour, involves the association between sounds and
colours according to acoustic properties such as tonality, timbre and intensity (Palmer et al.,
2013). These associations follow specific patterns, relating major and high tones to bright
colours, and minor and low tones to dark colours (Ramachandran & Hubbard, 2001). Recent
studies suggest that mild forms of synaesthesia are present in the general population, influencing
artistic perception (Deroy & Spence, 2013).
From this perspective, the aim of this research was to discover the typology of music-colour
connections in pre-school students in schools in Albacete through graphic and visual
representations of the different musical works.
METHODOLOGY
The methodology used was a mixed approach, combining qualitative and quantitative
techniques. The qualitative approach was used to carry out an exhaustive and detailed analysis of
the drawings made by the participants, which allowed for an in-depth interpretation of the
subjective and stylistic aspects (Mujica, 2012). Subsequently, a quantitative approach has been
applied for the collection and analysis of numerical data obtained in the evaluation, which has
been used to measure specific parameters, such as the predominant colours in the works
(Hernández-Sampieri and Mendóza, 2018).
For this purpose, a sample of children between 4 and 5 years of age was selected from pre-
school classrooms in Albacete, who were exposed to fragments of various musical pieces of
different genres during controlled sessions. After listening to the musical fragments, they were
asked to choose the colour that, from their perspective, best represented each piece of music,
choosing from a predefined palette of colours. This procedure builds on previous studies on
synaesthesia and multisensory perception, which suggest that music can evoke chromatic
associations related to acoustic properties such as timbre, pitch and rhythm (Palmer et al., 2013).
In addition, constructivist approaches to child development have been taken into account, which
postulate that children assign symbolic meanings to sensory stimuli according to their experience
and learning (Piaget, 1951).
The data obtained were analysed using descriptive statistical techniques to identify patterns
of association between the selected colours and the musical genres, which allowed us to infer
trends in the chromatic-musical perception of the participants. The selection of the musical
pieces was carried out by means of convenience sampling, following the indications of Campbell
(2000) and Rodrigo (2008).
Proposal
This proposal seeks to harness art in the classroom as a tool to access student perspectives
beyond verbal language. Abstract expressionism fosters autonomy, confidence, creativity and
ILMIY VA PROFESSIONAL TA’LIM JARAYONIDA MULOQOT, FAN VA MADANIYATLAR
INTEGRATSIYASI
317
Samarkand State Institute of Foreign Languages
free expression, while the choice of colours can provide valuable but often overlooked
information in education. Likewise, music, as a universal language, stimulates emotions and
generates individual responses depending on the musical genre. During practice, each student's
personal interpretation of the work has been considered. In order to preserve the authenticity of
the results, no prior information was given about the musical works. The students were given
simple instructions: to work individually, selecting the colours that inspired them for each piece,
so that they could be captured on paper, maintaining an atmosphere of silence to avoid external
influences. Each session was divided into three parts: first, the children listened to the music with
their eyes closed to promote greater immersion; then, they recorded their interpretation on paper;
and finally, they verbally described their drawings.
RESULTS
When analysing the drawings, four key characteristics related to the children's personalities
were identified: the size of the line, the pressure exerted, the rhythm and harmony of the marks,
which provided indications of the children's sociability, emotionality, decision-making skills and
personal development.
After each of the sessions, we proceeded to analyse the colours used in each of the musical
pieces. To do this, we considered the majority of the resulting colours in each of the proposals,
highlighting: yellow, blue, magenta, black, red, brown, purple, orange, green and grey. From
these, a selection of colorimetry has been made to relate the influence of these colours to each of
these musical pieces.
Table 1. Predominant colours in a selection of the musical pieces worked
A
uditi
on
Mu
sical
style
Y
ellow
%
B
lue
%
P
ink
%
B
lack
%
R
ed
%
B
rown
%
P
urple
%
O
range
%
G
reen
%
G
rey
%
1
.
Roc
k
1
5,4
-
-
3
0,8
3
0,8
1
5,4
7,
7
-
-
-
2
.
Cla
ssical
music
(orchest
ra)
1
9,4
8
,7
1
4,6
3
,9
-
-
4,
9
24
,3
2
4,3
-
3
.
Co
ntempo
rary
music
1
0
6
,7
6
,7
3
1,7
1
6,7
1,
7
5
5
-
1
6,7
4
.
Cla
ssical
music
(soloist)
1,
6
6
,5
-
3
3,9
2
1
-
1
6,1
3,
2
3,
2
1
4,5
In hearing 1, warm colours predominate, with black and red standing out, followed by brown,
yellow and purple (predominance of warm colours). In audition 2, yellow, orange and green
stand out, while purple and black are the least used, again showing a preference for warm tones.
Despite the diversity of styles in both works, the melodic predominance over the rest of the
musical instruments has meant a greater presence of warm tonalities. In audition 3, black is the
most frequently used, followed by grey and red, while purple, orange and brown are the least
frequent, reflecting the influence of heavy instrumentation and complex rhythms. Finally, in
listening 4, black and red predominate, with orange, green and yellow being the least used. In the
latter two, the most prominent musical element is rhythm, which is evident in the chromatic
change selected by the pupils. Likewise, the drawings relating to auditions 2 and 4 have a theme
related to monsters, ghosts or dangerous animals that show a link with the percussive and
energetic use of musical elements.
ILMIY VA PROFESSIONAL TA’LIM JARAYONIDA MULOQOT, FAN VA MADANIYATLAR
INTEGRATSIYASI
318
Samarkand State Institute of Foreign Languages
Conclusions
The results obtained in this research show how the different musical genres used are
reflected in the drawing. The different musical genres have a specific impact on the style and
execution of the drawing. This information, derived from both the evaluation of the works and
the qualitative analysis of the drawings, validates the premise that emotional states are
manifested in artistic productions. Furthermore, this relationship is reinforced by research on the
influence of music on emotions and creativity (Hanna-Pladdy, 2011), underlining the importance
of music as a catalyst for emotional expression.
Abstract expressionism offers a valuable opportunity for expression in the classroom, where
children's drawing acts as a more effective means of communication than verbal language in
early stages. Through it, children externalise their cognition, emotions and perception of the
environment. An example of this is the fact that in those works with a more rhythmic character
(2 and 4) the line is firmer than in those with a more melodic character, having been represented
by a lighter line.
In addition to reflecting creativity, drawing reveals deep aspects of personality, being useful
for identifying possible emotional or social difficulties, such as the presence of drawings of
dangerous or disturbing elements in those works that are eminently melodic and of a serene
character. Therefore, art should be a space of creative freedom that fosters autonomy and
confidence, avoiding restrictions that may limit authentic expression and creative development.
In conclusion, arts education is fundamental for the integral development of students,
enriching their emotional, social and cognitive formation. By encouraging free and creative
expression, they are given the tools to understand the world and their own emotions,
transcending the academic.
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