The purpose of this research was to draw a parallel between the development of a concept, that of written musical rhythm within the history of music and the psychogenesis of musical notation. This article contests the idea of a parallel between ontogenesis and psychogenesis, which was never proposed by Piaget. This study was based on the redefinition of the levels proposed by Piaget for the development of a concept and abandoned the traditional sequence of Piaget's four stages, which are currently more diffused. The acknowledgement of the continuous intraobjectal and transobjectal levels, which happens in the history of science and in the psychogenesis of each concept, represent the description of a process in what the mechanisms of the cognitive development and the conceptual construction happen.
Genetic epistemology; Handwriting; Rhythm; Music; Cognitive development
