Plasticity and Metaphor in Thomas Clifton's Approach to Musical Texture

The concept of musical texture showed, in its relatively short history within music theory, a kind of resistance with regard to the possibility of an abstract and formalized representation. Thomas Clifton’s approach, such as it is formulated in his posthumous book Music as Heard. A Study of Applied...

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Autor principal: Fessel, Pablo
Formato: Artículo revista
Lenguaje:Español
Publicado: Estudios e investigaciones 2017
Materias:
Thomas Clifton
musical texture
metaphorical thinking
textura musical
representación metafórica
Acceso en línea:http://revistascientificas.filo.uba.ar/index.php/payro/article/view/4687
Aporte de:
Estudios e investigaciones del Instituto de Teoría e Historia del Arte Julio Payró de Universidad de Buenos Aires
id I28-R251-article-4687
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spelling I28-R251-article-46872023-06-27T21:03:52Z Plasticity and Metaphor in Thomas Clifton's Approach to Musical Texture Plasticidad y metáfora en el enfoque de la textura de Thomas Clifton Fessel, Pablo Thomas Clifton musical texture metaphorical thinking Thomas Clifton textura musical representación metafórica The concept of musical texture showed, in its relatively short history within music theory, a kind of resistance with regard to the possibility of an abstract and formalized representation. Thomas Clifton’s approach, such as it is formulated in his posthumous book Music as Heard. A Study of Applied Phenomenology (1983), stands out within the field of American music theory. Its particularity is given, on the one hand, in the treatment of texture as a fundamental aspect of perceptive experience, in contrast to the comparatively marginal attention it usually receives in that field. On the other hand, because it confronts texture’s dominant conception in that field, orientated to the structural configuration of musical simultaneity, with an inherently plastic representation. The article reviews the fundamental aspects of Clifton’s approach, highlighting the role of metaphorical thinking in a non-abstract representation of texture.  El concepto de textura musical mostró, en su comprativamente breve historia dentro de la teoría de la música, cierta resistencia ante la posibilidad de una representación abstracta y formalizada. La concepción de Thomas Clifton de la textura, tal como se encuentra formulada en su libro póstumo Music as Heard. A Study of Applied Phenomenology (1983), se destaca por su singularidad dentro del campo de la teoría de la música norteamericana. Esa singularidad está dada, por una parte, por el hecho de que la textura está tratada como un aspecto fundamental de la experiencia perceptiva, lo que contrasta con la consideración relativamente marginal de la cual es usualmente objeto en dicho campo. Por otra parte, porque confronta la concepción predominante de la textura en ese ámbito, orientada a la configuración estructural de la simultaneidad musical, con una representación eminentemente plástica. El artículo revisa y comenta las notas fundamentales de la concepción de Clifton, destacando el papel del pensamiento metafórico en una representación no abstracta de la textura.  Estudios e investigaciones 2017-11-17 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo revisado por pares application/pdf http://revistascientificas.filo.uba.ar/index.php/payro/article/view/4687 Estudios e investigaciones; Núm. 12 (2017); 1-7 2618-4230 spa http://revistascientificas.filo.uba.ar/index.php/payro/article/view/4687/4184
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-251
container_title_str Estudios e investigaciones del Instituto de Teoría e Historia del Arte Julio Payró
language Español
format Artículo revista
topic Thomas Clifton
musical texture
metaphorical thinking
Thomas Clifton
textura musical
representación metafórica
spellingShingle Thomas Clifton
musical texture
metaphorical thinking
Thomas Clifton
textura musical
representación metafórica
Fessel, Pablo
Plasticity and Metaphor in Thomas Clifton's Approach to Musical Texture
topic_facet Thomas Clifton
musical texture
metaphorical thinking
Thomas Clifton
textura musical
representación metafórica
author Fessel, Pablo
author_facet Fessel, Pablo
author_sort Fessel, Pablo
title Plasticity and Metaphor in Thomas Clifton's Approach to Musical Texture
title_short Plasticity and Metaphor in Thomas Clifton's Approach to Musical Texture
title_full Plasticity and Metaphor in Thomas Clifton's Approach to Musical Texture
title_fullStr Plasticity and Metaphor in Thomas Clifton's Approach to Musical Texture
title_full_unstemmed Plasticity and Metaphor in Thomas Clifton's Approach to Musical Texture
title_sort plasticity and metaphor in thomas clifton's approach to musical texture
description The concept of musical texture showed, in its relatively short history within music theory, a kind of resistance with regard to the possibility of an abstract and formalized representation. Thomas Clifton’s approach, such as it is formulated in his posthumous book Music as Heard. A Study of Applied Phenomenology (1983), stands out within the field of American music theory. Its particularity is given, on the one hand, in the treatment of texture as a fundamental aspect of perceptive experience, in contrast to the comparatively marginal attention it usually receives in that field. On the other hand, because it confronts texture’s dominant conception in that field, orientated to the structural configuration of musical simultaneity, with an inherently plastic representation. The article reviews the fundamental aspects of Clifton’s approach, highlighting the role of metaphorical thinking in a non-abstract representation of texture. 
publisher Estudios e investigaciones
publishDate 2017
url http://revistascientificas.filo.uba.ar/index.php/payro/article/view/4687
work_keys_str_mv AT fesselpablo plasticityandmetaphorinthomascliftonsapproachtomusicaltexture
AT fesselpablo plasticidadymetaforaenelenfoquedelatexturadethomasclifton
first_indexed 2023-06-27T21:05:07Z
last_indexed 2023-06-27T21:05:07Z
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