Imaginary Music: La escucha del gesto en el Teatro Musical Contemporáneo
In this work we propose to explain the functioning of musical perception in totally silent works of the so–called Contemporary Musical Theater (CMT) and how these expand the very concept of the musical field by becoming aware of the joint functioning of visual and sound stimuli. To account for this,...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Universidad Nacional del Litoral
2024
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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13730 |
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| Sumario: | In this work we propose to explain the functioning of musical perception in totally silent works of the so–called Contemporary Musical Theater (CMT) and how these expand the very concept of the musical field by becoming aware of the joint functioning of visual and sound stimuli. To account for this, we resort, from a phenomenological perspective, the analysis of three pieces of CMT: «Música» by the Brazilian Tim Rescala, «Tlön» by the American Mark Applebaum and «Pièce de gestes» by the Belgian Thierry de Mey, all of them characterized by being works «of» and «in» silence that place the corporal gesture as the raw material of musical composition. To unravel their intrigues, we turn to the field of study of cognitive sciences and neurosciences called imaginary music. This addresses the brain functioning in terms of hearing and visualization of a musical fact both in the presence of sound and in its absence, and the mechanisms that are activated either in the gestures to make the sound and in its perception, both in the real existence of the acoustic signal and when it is imagined. Our objective is to account for musical listening through silent gestures in the context of CMT through the cases mentioned and contribute to the theory of the sound–gesture relationship for interdisciplinary analysis from neuroscience categories. |
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