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The literature on the issues of relationships between music and emotions shows that much of the work is based on an inner and subjective perspective, thus deriving in a working scheme in which emotions are generally regarded as an effect or a response to music as a stimulus. The historical-cultural model of emotional development (Vygotsky, 2004) allows us to address this problem from a more contextual perspective, as it takes into account the culturally constructed dimension of human reality (§ 1). On the one hand, it takes into account the processes of double mediation of art works, both as cultural products and as specialized social practices, and hence as a development vector (§ 2). Through a clinical analysis of didactic training situations (§ 3), we intend to approach aesthetic relationships with art works as one of the main fields for emotional development, examining their transformative mediations (§ 4). The analysis of a particular case, the training of performers for "a home-grown musical interpretation of traditional music of the Andes" allows us to address the issue of cultural transmission in emotional development (§ 5), opening research paths on the relationships between music and emotion (§ 6).

La construcción social de las emociones estéticas: análisis de los procesos de formación de instrumentistas