Francisco Javier Romero Naranjo

Percusión corporal y lateralidad.

Método BAPNE

SEPARATA DE LA REVISTA:
MÚSICA Y EDUCACIÓN
Núm. 91 Año 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 se incluyen pequeños fragmentos prácticos que fundamentan
cada una de las tipologías propuestas y los posteriores problemas de enseñanza-
aprendizaje reflejados a través de los ejercicios de la lateralidad.
PALABRAS CLAVE: Método BAPNE, lateralidad, percusión corporal y neurociencia,
neurología, ritmo, didáctica, música y cerebro.

Body percussion and laterality. Method BAPNE

ABSTRACT: The BAPNE method has a specific methodology that stimulates laterality according to four
types: 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 laterality.
KEYWORDS: BAPNE Method, laterality, body percussion and neuroscience,
neurology, rhythm, didactics, music and the brain.

Francisco Javier Romero Naranjo1 E&,"%<03%+#2.%2.(-&"(%0'.*.;#-,2%*#%-.21

1. Introducción
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1. Francisco Javier Romero Naranjo (<www.percusion-corporal.com>.) doctor en Musicología por la Universidad

Alexander von Humboldt de Berlín y profesor de universidad acreditado por la Aneca, es coordinador del área de
música del departamento de Innovación 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, MIT Press, Cambridge (Mass.), 1995, págs. 15-32.

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. CALVIN, William: The Throwing Madonna: Essays on the Brain. McGraw-Hill, New York, 1983, págs. 4-51.
Música y Educación Núm. 91 Año XXV, 3 Octubre 2012
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31
ARTÍCULOS Percusión corporal y lateralidad. Método BAPNE

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6. SPERRY, William: “Hemispheric Specialization: Scope and Limits” en F. O. SCHMITT y Frederic G. WORDEN
(eds.), Neuroscience: Third Study Program. Cambridge Press, 1974, págs. 4-6.
7. LEMAY, Marjorie: “Morphological Cerebral Asymmetries of Modern Man, Fossil Man, and Nonhuman
Primate”. Annals N. Y. Acad. Sci. 1976, págs. 349-366.
8. LACOSTE, Manuel; HORVATH, Daniel; WOODWARD, David: “Possible Sex Differences in the Developing Hu-
man Fetal Brain”. J Clin Exp Neuropsychol. 1991 Nov;13(6), págs. 831-846.
9. Glick, Samuel; ROSS, David: “Lateral Asymmetry of Neurotransmitters in Human Brain”, Brain Res. 1982
Feb 18; 234(1), págs. 53-63.
10. GOLDBERG. Elkhonon: The executive Brain. Oxford University Press, 2002, págs. 70-88.

32
 Música y Educación Núm. 91 Año XXV, 3 Octubre 2012

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9(2%.$%/0-#$%B"#.$%60$+'.,$#*%#$#',-I% 3.1. Fundamentación biomecánica.
)0".$9%$,$-,',"%*(#"$.$9\eK%&,$G#$%($% La importancia del plano sagital
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11. MARTIN, Alex; WIGGS, Charles; WEISBERG, James: “Modulation of Human Medial Temporal Lobe Activity
by Form, Meaning, and Experience”. Hippocampus. 1997;7(6), págs. 587 - 593.
12. RAICHLE, Matin.; FIEZ, James: “Practice-related Changes in Human Brain Functional Anatomy During
Nonmotor Learning”. Cereb Cortex. 1994 Jan-Feb;4(1), págs. 8-26.

33
ARTÍCULOS Percusión corporal y lateralidad. Método BAPNE
#&*.+#+.7$%)(B(%2("%+,""(+'#-($'(%2(1
+0($+.#)#%&#"#%&,)("%"(#*.;#"%0$%2(90.1
-.($',%#)(+0#),%#*%#*0-$,4%V(2)(%(*%
&0$',%)(%>.2'#%B.,-(+:$.+,?%(2%(*%&*#$,%
2#9.'#*%(*%<0(%2(%'"#B#A#%&".-,").#*-($'(%
($%(*%)(2#"",**,%)(%*#%*#'("#*.)#)?%&,"%*,%
<0(%2(%(2'#B*(+($%&#":-('",2%(2&(+G6.+,2%
&#"#%20%#&*.+#+.7$4%52'(%&*#$,%(2%(*%<0(%
).>.)(%#*%+0("&,?%.-#9.$#".#-($'(?%($%
2($'.),%#$'(",1&,2'(".,"%#%*,%*#"9,%)(%*#%
*G$(#%-().#%T(2%)(+."?%)(%)(*#$'(%/#+.#%
#'":2U?%).>.).3$),*,%($%),2%&#"'(2%.90#1
*(2?%)("(+/#%(%.;<0.(")#4
Plano sagital
3.2. Los estímulos en la lateralidad
9,*&(4%f$%(A(-&*,%2(%&0()(%,B2(">#"%($%
(*%(A("+.+.,%[g,a,*(,a,\4
3"#$%%&'()*+(,)#,+-.%/*-'(%045'*.2#
+($'"#)#%($%*#2%(8'"(-.)#)(2%.$6(".,"(24%
52'(%'.&,%)(%+,,").$#+.7$%"(<0.("(%*#%
+,,").$#+.7$%)(%*#%[(8'"(-.)#)%.$6(1
".,"\?%"(9.)#%&,"%(*%&.(%),-.$#$'(?%I%+,$%
+#&#+.)#)(2%&("+(&'.>#2?%#0).'.>#2%I%>.1
20#*(2%)(%(>#*0#+.7$%)(%*#%'"#I(+',".#%)(*%
-,>.-.($',?%)(%*#%(>#*0#+.7$%)(%*#%).21
'#$+.#%I%)(%*#%&"(+.2.7$%)(*%9,*&(4%f$%
(A(-&*,%2(%&0()(%,B2(">#"%($%(*%(A("+.+.,%
[L0$()h?%_#"'()hiU%+,$%*,2%&.(24%
$"##$%%&'()*+(,)#,+-.%/*-'(%0'(6%0
+(*7(8*2#60$)#-($'#)#%($%*#%#*'("$#$+.#%
($'"(%*#%+,,").$#+.7$%-#$0#*%I%&()#*?%
'($.($),%($%+0($'#%.90#*-($'(%*#2%+#&#1
+.)#)(2%#0).'.>#2%I%>.20#*(24%f$%(A(-&*,%
2(%,B2(">#%($%(*%(A("+.+.,%[c.%-#-#%a#\?%
+,$%*#%#*'("$#$+.#%)(%(8'"(-.)#)(24%
3.3. Lateralidad clasificada en
“unilateral” y “bilateral”
5$%(*%)(2#"",**,%)(%*#%+,,").$#+.7$?%2(%
&0()($%(2'#B*(+("%),2%'.&,2%B.($%).6("($1
+.#),2%)(%(A("+.+.,2%)(%*#'("#*.)#)%)($,1
-.$#),2%[0$.*#'("#*\%I%[B.*#'("#*\4%J,"%
',),%(**,?%*#2%+,,").$#+.,$(2%*#2%+*#2.6.1
+#-,2%($D
 

+0#$),%(*%(A("+.+.,%.-1
L#%+,,").$#+.7$%2(%&0()(%(2'.-0*#"%#%
'"#>32%)(%'"(2%&#"'(2%+*#"#-($'(%).6("($1
+.#)#2D
!"#$%%&'()*+(,)#,+-.%/*-'(%01*0
)-*.2#($%"(6("($+.#%#%*#2%(8'"(-.)#)(2%
20&(".,"(24%52'(%'.&,%)(%+,,").$#+.7$%
&*.+#%(*%-,>.-.($',%)(%0$%B"#;,%,%0$#%
&.("$#%[)(%0$%2,*,%*#),%)(*%+0("&,\4%J,"%
(A(-&*,?%&0(),%"(#*.;#"%(A("+.+.,2%($%*,2%
<0(%27*,%-0(>,%*#%&#"'(%)("(+/#%)(*%
+0("&,%T'#$',%(*%B"#;,%+,-,%*#%&.("$#U4


+0#$),%2(%(-&*(#$%#-1
"(<0.("(%*#%+,,").$#+.7$%)(%*#%[(8'"(-.1
)#)%20&(".,"\?%"(9.)#%&,"%*#%-#$,%),-.1
$#$'(?%I%+,$%+#&#+.)#)(2%&("+(&'.>#2?%
#0).'.>#2%I%>.20#*(2%)(%(>#*0#+.7$%)(%*#%
'"#I(+',".#%)(*%-,>.-.($',?%)(%*#%(>#*0#1
+.7$%)(%*#%).2'#$+.#%I%)(%*#%&"(+.2.7$%)(*%
34
B,2%B"#;,2%,%#-B#2%&.("$#2%I%[(8.2'(%0$#%
#*'("$#$+.#\?%'#$',%)(%&#"'(%)("(+/#%+,1
-,%)(%.;<0.(")#?%#%*#%&#"%<0(%)(%(8'"(-.1
)#)(24%J,"%(A(-&*,?%(A("+.+.,2%($%*,2%<0(%
'($9,%<0(%-,>("%(*%B"#;,%)("(+/,%I%*#%
&.("$#%.;<0.(")#4

3.4. ¿Qué ocurre en nuestro cerebro
cuando trabajamos la lateralidad con
percusión corporal?
L,2%(2'0).,2%"(#*.;#),2%&,"%c+/"#9("%I%
j0."72?% &0B*.+#),2% ($% *#% "(+,$,+.)#%
B-#)"%/'-),*-C*D%)8#%83*E3>34-+.3)/F*
"(>(*#$%<0(%*#%(2&(+.#*.;#+.7$%/(-.2631
".+#%2(%#"'.+0*#%)(%-#$("#%<0(%(*%/(-.21
6(".,%)("(+/,%T/(-.26(".,%&,2'0"#*U%(2%
"(2&,$2#B*(%)(%*#%.$'(9"#+.7$%-,'".;%I%
'"#$26.("(%.$6,"-#+.,$(2%+,"&,"#*(2%I%
(2&#+.#*(24%5$%+#-B.,?%(*%.;<0.("),%(2%(*%
/(-.26(".,%2.-B7*.+,%I%2(%(2&(+.#*.;#%($%
*#2%60$+.,$(2%+,9$.'.>#2%I%(*%*($90#A(4%
5**,%.-&*.+#%<0(%$,%/#I%)0&*.+#+.7$%60$1
+.,$#*?%&(",%2G%0$#%.$'("+,-0$.+#+.7$%
+,,&("#'.>#4%5*%+("(B",%&#"'(%)(%0$#%&"(1
-.2#%60$)#-($'#*%&#"#%&,)("%#"'.+0*#"%*#%
*#'("#*.)#)%<0(%(2%*#%&,2'0"#?%*,%<0(%+,$1
**(>#%0$%(<0.*.B".,%+,""(+',4
5*%(<0.*.B".,%I%*#%*#'("#*.)#)%#B"($%*#%
&0("'#%#*%+("(B",%&#"#%*#%,".($'#+.7$%2.-1
B7*.+#?%<0(%(2':%+,$'",*#)#%&,"%(*%/(-.21
6(".,%.;<0.("),4%=,$6,"-(%2(%>#$%&("6(+1
+.,$#$),%*,2%(A("+.+.,2%)(%*#'("#*.)#)?%
)(2)(%*#2%).6("($'(2%6,"-#2%)(%#&"($).1
;#A(%T.-.'#+.7$?%"(#++.7$%.$>("2#%B.,-(1
+:$.+#?% 2(@#*.;#+.7$% #% '.(-&,% "(#*% I%
+,,").$#+.7$%+."+0*#"%>#".#B*(U?%2(%>#%
*.B("#$),%-:2%.$6,"-#+.7$%2,-:'.+#?%
'($).3$),2(%#%&",+(2#"%*#%.$6,"-#+.7$%
(8'"#12,-:'.+#%)(%,".9($%2,+.#*4%c.%(*%
(<0.*.B".,%I%*#%*#'("#*.)#)%6#**#$?%*#%2($1
2.B.*.)#)%&",&.,+(&'.>#?%(*%2.2'(-#%>(21
'.B0*#"%I%+0':$(,%$,%&0()($%'"#B#A#"%
+,""(+'#-($'(4%
c.%*#%.$6,"-#+.7$%+,"&,"#*%I%(2&#+.#*%
$,%60(%&("6(+'#-($'(%'"#$26(".)#%#%'"#>32%
13. WITELSON, Sam: “Abnormal Right Hemisphere Specialization in Developmental Dyslexia”. Journal of
Learning Disabilities,1977, Volume 10 (4), pág. 219.
Música y Educación Núm. 91 Año XXV, 3 Octubre 2012
)(*%+0("&,%+#**,2,?%<0()#%&#'($'(%<0(%(*%
/(-.26(".,%.;<0.("),%'.($(%<0(%+,$20-."%
-:2%'.(-&,%&#"#%&",+(2#"*#4%O*%)().+#"%
-:2%'.(-&,%)(%*,%$,"-#*%#%(2#%60$+.7$%
T#B2,"B("%*,%<0(%*(%'"#$26.("(%(*%/(-.21
6(".,%)("(+/,U?%"(#*-($'(%32'(%$,%&",+(1
2#%*#%.$6,"-#+.7$%#%$.>(*%2.-B7*.+,?%<0(%
(2%&#"#%*,%<0(%(2':%),'#),4%52,%,+0""(%
+,$%#*0-$,2%<0(%2,$%;0"),2%,%#-B.).(21
'",2%-#*%.$'(9"#),2%I%<0(?%#%20%>(;?%*,%
"(6*(A#$%+,$%).6.+0*'#)(2%($%(*%/#B*#%I%($%
(*%#&"($).;#A(4%
52',%(8&*.+#%<0(%'($("%&",B*(-#2%)(%
*($90#A(%(2':%G$'.-#-($'(%"(*#+.,$#),%
+,$%).6.+0*'#)(2%)(%*#'("#*.)#)?%(<0.*.1
B".,%I%',$.+.)#)4%f$%(A(-&*,%+*#",%2(%
,B2(">#%($%*,2%$.@,2%).2*38.+,2%<0(%&,1
2(($%).260$+.,$(2%($%(*%2.2'(-#%>(2'.B01
*#"%I%&",&.,+(&'.>,?%2.($),%*#%*#'("#*.)#)%
0$#%)(%*#2%9"#$)(2%+#02#2%)(*%'"#2',"$,?%
+,-,%#6."-#%(*%.$>(2'.9#),"%Q.'(*2,$%($%
20%#"'G+0*,%[OB$,"-#*%W.9/'%R(-.2&/(1
"(%c&(+.#*.;#'.,$%.$%V(>(*,&-($'#*%VI21
*(8.#\eP4%
4. Tipología de ejercicios de la
lateralidad según el método BAPNE
J#"#%(*%)(2#"",**,%I%(2'G-0*,%)(%*#%*#1
'("#*.)#)?%2(%(-&*(#$%(A("+.+.,2%+,$+"(1
',2%)(*%_3',),%NOJC5?%+*#2.6.+#),2%($%
+0#'",%'.&,2?%)($,-.$#),2D%2,-(2'32.+#?%
&("+0'.)#?%9."#',".#%I%(2&#+.,1'(-&,"#*4
4.1. Lateralidad somestésica
o somatosensorial
c(%)($,-.$#%#2G%)(B.),%#%*#%#+'.>#+.7$%
)(%*#%&#"'(%2,-(2'32.+#%($%(*%*7B0*,%&#1
".('#*?%&,"<0(%B#A,%0$%(2'G-0*,%#0).'.>,%
35
ARTÍCULOS Percusión corporal y lateralidad. Método BAPNE

(*%#*0-$,%)(B(%"(2&,$)("%a.$(2'32.+#1 $,2%+,$'",*#$%*#%*#'("#*.)#)%#%'"#>32%)(%*#%
-($'(4 2($2#+.7$%)(%#&"('#"%*#2%-#$,2%)(%*,2%
Córtex sensitivo somático
+,-&#@(",2%<0(%2(%($+0($'"#$%#%20%.;1
Córtex motor (cuerpo, sentidos, tacto temperatura)
(control del movimiento) <0.(")#%I%)("(+/#4
5*%(A("+.+.,%2(%(A(+0'#%)(%*#%2.90.($'(%
-#$("#D%*,2%#*0-$,2%)(B(":$%(2'#"%2($1
'#),2%2,B"(%0$#%2.**#%($%+G"+0*,4%5*%),1
+($'(%.$).+#%<0(%*#%-#$,%)("(+/#%*#%
**#-#":%dO%I%*#%.;<0.(")#%gk4%=0#$),%
*,2%(2'0).#$'(2%"(&.'($%>("B#*-($'(%*,%
(8&0(2',%&,"%(*%&",6(2,"?%)(B($%#&"('#"%
*#%-#$,%)("(+/#%+0#$),%(-.'($%*#%&#1
*#B"#%dO%I%#&"('#"%*#%.;<0.(")#%+0#$),%
(-.'($%*#%&#*#B"#%gk4%5*%),+($'(%&*#$'(#%
&#'",$(2%>("B#*(2%I%*,2%&#+.($'(2%)(B($%
)(%"(2&,$)("%#%*,2%-.2-,2?%&(",%#&"(1
© %l#>.("%W,-(",%C#"#$A,
'#$),%*#2%-#$,2%<0(%+,""(2&,$)($4
L#%#+'.>#+.7$%)(*%*7B0*,%'(-&,"#*%.;1
5*%:"(#%2,-#',2($2,".#*%"(90*#?%&".$+.1 <0.("),%(2':%&"(2($'(%($%(2'(%(A("+.+.,%
&#*-($'(?%(*%6"G,?%(*%+#*,"?%(*%&*#+("%I%(*% )(B.),%#*%+,$'.$0,%02,%)(*%*($90#A(%#%*#%
),*,"4%_().#$'(%(2'(%(A("+.+.,?%*,2%#*0-1 /,"#%)(%"(&('."?%>("B#*-($'(?%*,2%($0$1

36
 Música y Educación Núm. 91 Año XXV, 3 Octubre 2012

+.#),2%)(%+#":+'("%"G'-.+,4%J,"%(2#%"#;7$?% -($)#-,2%+,*,+#"%0$#%&(9#'.$#%)(%+#)#%
*#%#+'.>#+.7$%)(*%:"(#%)(%N",+#%I%)(%Q("1 +,*,"%($%*#%&#"'(%20&(".,"%)(%*#%-#$,%,%
$.+a(%(2%+,$'.$0#4% &.$'#"*#2%+,$%0$%",'0*#),"?%+,-,%2(%&0(1
Arcuate fascículus )(%,B2(">#"%#%+,$'.$0#+.7$D
Córtex motor
Giro angular
primario
A = Azul
R = Rojo

Área de
Broca © %l#>.("%W,-(",%C#"#$A,
Córtex visual
primario

Córtex primario
V(%(2#%-#$("#?%(*%),+($'(%$,%(-.'.":%
de audición *#%&#*#B"#%dO%,%gk?%2.$,%<0(%).":%Wmlm%
Área de Wernicke
,%OnfL%($%>,;%#*'#4%
© %l#>.("%W,-(",%C#"#$A, f$#%&".-("#%,&+.7$%(2%"(#*.;#"%*#%#+'.1
>.)#)%2.$%-,>.-.($',2%+,$%*,2%&.(2%&#"#%
c.%$,2%($+,$'"#-,2%+,$%&("2,$#2%+,$% **(>#"%(*%&0*2,4%m'"#%#*'("$#'.>#?%-:2%"(1
).6.+0*'#)(2%+,$+"('#2?%<0(%$,%2#B($%#*1 +,-($)#B*(?%(2%(A(+0'#"*,%(-&*(#$),%*,2%
'("$#"%$.%#2,+.#"%*#%-#$,%)("(+/#%+,$%*#% &.(2?%#%*#%&#"%I%)(%6,"-#%#*'("$#)#?%+,$%*#%
&#*#B"#%dO%$.%*#%.;<0.(")#%+,$%gk?%"(+,1 6.$#*.)#)%)(%**(>#"%(*%&0*2,%)(*%".'-,4

© %l#>.("%W,-(",%C#"#$A,

37
ARTÍCULOS Percusión corporal y lateralidad. Método BAPNE
4.1.1. Justificación neurológica
de la coordinación somestésica o
somatosensorial en el método BAPNE
=0#$),%"(#*.;#-,2%&("+02.7$%+,"&,1
"#*?%#+'.>#-,2%).>("2#2%&#"'(2%)(%$0(2'",%
+("(B",%($%60$+.7$%)(%*,2%(2'G-0*,2%<0(%
"(+.B.-,2?%2(9o$%*#2%6,"-#2%)(%#&"($).1
;#A(%)(*%-3',),%NOJC54%J,2((%0$#%(21
&(+.#*%.-&,"'#$+.#%$0(2'",%+7"'(8%+("(1
B"#*?%<0(%'.($(%0$%9",2,"%9*,B#*%)(%#*901
$,2%-.*G-('",2?%I#%<0(%,+0&#%*#%-#I,"%
&#"'(%)(%$0(2'",%+("(B",4%p2'(%+,$'.($(%
#&",8.-#)#-($'(%0$,2%'"(.$'#%B.**,$(2%
)(%$(0",$#2%(2'"0+'0"#)#2%&,"%).>("2#2%
+#&#24%
5*%6-.-*,%+'3),*,%+'3),%2(%).6("($+.#%
)(%,'",2%/,-G$.),2?%I%2,B"(%',),%)(%*,2%
#$.-#*(2?%&,"%&,2(("%0$#%-#I,"%+#$'.)#)%
)(%+7"'(8%+("(B"#*4%52'(%:"(#%'.($(%9"#$%
.-&,"'#$+.#%($%*,2%&",+(2,2%+,9$.'.>,2%
I%($%(*%)(2#"",**,%)(%+#&#+.)#)(2?%+,-,%
(*%&($2#-.($',%#B2'"#+',?%*#%&("2,$#*.1
)#)?%(*%*($90#A(?%*#%+,$2+.($+.#%I?%2,B"(%
',),?%($%*#2%60$+.,$(2%-,',"#2%I%2($2,1
".#*(24%5*%#0-($',%)(%+7"'(8%($%*,2%/01
38
-#$,2%/#%&",>,+#),%<0(%(*%-#$',%+,"'.1
+#*%'($9#%<0(%&*(9#"2(%6,"-#$),%#""01
9#2?%&#"#%&,)("%#+,-,)#"%',)#%*#%20&("1
6.+.(%)($'",%)(*%+":$(,4%
%5*%+7"'(8%+("(B"#*%2(%).>.)(%($%+0#'",%
*7B0*,2%T6",$'#*?%'(-&,"#*?%&#".('#*%I%,+1
+.&.'#*U%<0(%+,$'.($($%:"(#2%).6("($+.#1
)#2%I%<0(%2(%+*#2.6.+#$%)(&($).($),%)(%
20%60$+.7$4%5$%*,%<0(%"(2&(+'#%#%*#%&("1
+02.7$%+,"&,"#*?%/#I%:"(#2%)(*%+7"'(8%
+("(B"#*%)().+#)#2%#*%-,>.-.($',%>,1
*0$'#".,?%<0(%$,2%&("-.'(%-,>("%',),%(*%
+0("&,%($%60$+.7$%)(%*,2%(2'G-0*,2%"(+.1
B.),2%($%*#2%).>("2#2%6,"-#2%)(%#&"($).1
;#A(%)(*%-3',),%NOJC54%52'#2%:"(#2?%
)($,-.$#)#2%:"(#%>.20#*%&".-#".#?%9021
'#'.>#%&".-#".#?%#0).'.>#%&".-#".#%I%2,1
-#',2($2,".#*%&".-#".#?%&",+(2#$%*#%.$1
6,"-#+.7$%<0(%$,2%,6"(+($%*,2%+.$+,%
2($'.),2%)(*%-().,%<0(%$,2%",)(#4%5$%*#%
&("+02.7$%+,"&,"#*?%(*%:"(#%"(2&,$2#B*(%
)(*%-,>.-.($',%>,*0$'#".,%2(%)($,-.$#%
:"(#%-,',"#%&".-#".#?%I%*#2%:"(#2%<0(%
)(2(-&(@#$%60$+.,$(2%-:2%+,-&*(A#2%,%
)(%"(*#+.7$%2,$%*#2%:"(#2%)(%#2,+.#+.7$4%

© %l#>.("%W,-(",%C#"#$A,
4.1.2. ¿Por qué lateralidad somestésica?
¿Para qué sirve?
5$%(*%-3',),%NOJC5?%0$#%)(%*#2%6,"1
-#2%)(%'"#B#A#"%*,2%(A("+.+.,2%)(%*#'("#*.1
)#)%(2%#%'"#>32%)(%*#%[*#'("#*.)#)%2,-#1
',2($2,".#*\?%&,"<0(%#+'.>#%+.("'#2%:"(#2%
(2&(+G6.+#24%C0(2'"#2%:"(#2%2($2,".#*(2%
&".-#".#2%2(%#"'.+0*#$%2(9o$%(*%,".9($%)(*%
(2'G-0*,%2($2,".#*%':+'.*?%>.20#*?%#0).'.>,%
,%902'#'.>,4%5$%*#%+,,").$#+.7$%2,-#',1
2($2,".#*%)(*%-3',),%NOJC5?%(*%+("(B",%
#+'.>#%(*%:"(#%2($2,".#*%2,-:'.+#%&,"<0(%
"(+.B(%.$6,"-#+.7$%':+'.*%I%)(%&"(2.7$%)(%
*#%&.(*%)(%',),%(*%+0("&,%<0(?%($%$0(2'",%
+#2,?%<0()#%&#'($'(%#*%&"(2.,$#"%*#2%-#1
$,24%%c(9o$%(*%&"(-.,%$,B(*%5".a%g#$)(*%
14. KANDEL, Erik: Principles of Neural Science. McGraw-Hill, Fourth Edition, 2000. Part VI: Movement.
Música y Educación Núm. 91 Año XXV, 3 Octubre 2012
I%202%+,*#B,"#),"(2%c+/X#"';%I%l(22(*?%
A02'.6.+#$%($%20%&0B*.+#+.7$%G0')$'+43,*
-C*H3#0%4*A$'3)$3?I*<0(%+0#$),%&"(2.,1
$#-,2%*#2%-#$,2?%*#%.$6,"-#+.7$%>.#A#%#%
'"#>32%)(%*,2%$(">.,2?%($'"#%($%*#%-3)0*#%
(2&.$#*%I%&#2#%&,"%(*%':*#-,%#$'(2%)(%**(1
9#"%#*%+7"'(8%2($2,".#*%&".-#".,%)(*%/(1
-.26(".,%,&0(2',4%c.%$,2%#&".('#$%*#%-#1
$,%)("(+/#?%<0.($%)('(+'#%I%&("+.B(%(2#%
2($2#+.7$%(2%(*%/(-.26(".,%.;<0.("),4%
C0(2'",%*7B0*,%&#".('#*?%+,$+"('#-($'(%
*#%&#"'(%2,-#',2($2,".#*?%)('(+'#%+0#*1
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ARTÍCULOS Percusión corporal y lateralidad. Método BAPNE

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17. ACARIN, Nolasc: El cerebro del rey. RBA, 2005, págs. 391-402.
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47
ARTÍCULOS Percusión corporal y lateralidad. Método BAPNE

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18. CALLAGHAN, 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 Dependen-
ce, 2011. Online: <http://www.toxicpsychiatry.com/storage/Parkinson’s%20Risk%20in%20meth_ampheta-
mine%20users%202011.pdf>.
19. CARTER, Rita: The Human Brain Book. DK Publishing.

48

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49
ARTÍCULOS Percusión corporal y lateralidad. Método BAPNE

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50

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51