Psychology and music. Disciplinary encounter from a plural perspective

Abstract

 The Psychology of music as a discipline assumes a universal, unique, and abysmal ontology, of 'musical experience', hegemonized by a series of assumptions imposed from the Cartesian logic with which, in the West, music has been thought of at least since XVII century until the XX. Basically, this ontology is characterized by (1) it is a product of human creation, which, once created, inhabits the world and becomes an object of the world that impacts our perception; (2) therefore, it is outside of us; (3) it has two basic components (pitch and rhythm), which give rise to other components emerging from its elaborations (melody, harmony, etc.); (4) as an object of the (external) world it impacts the internal states of the people; (5) as an object of the world is knowable through mental processes performed on 'representations'. This will be the problem to analyze in the following article.