{"title":"La música en las representaciones de lo latinoamericano en los primeros filmes hollywoodenses con sonido incorporado (1927-1932)","authors":"Juan Carlos Poveda","doi":"10.7764/res.2020.46.4","DOIUrl":"https://doi.org/10.7764/res.2020.46.4","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"14 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83648171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Captamos esta imagen desde la primera butaca central del segundo anfiteatro. Vibran cuatro focos de luz tenue. Orientando la mirada hacia las sombras proyectadas sobre el suelo de madera, el cuarteto de cuerda parece un único ser vivo. O el conjunto de una multitud de cables entrelazados. Una inmensa colección de terminaciones nerviosas que se extienden hasta la última esquina de un mismo cuerpo indefinido. Transportan chispas. Renuevan sin pausa cada acorde, cada célula, cada frase. Cuatro instrumentos, una sola figura. Colorean el sonido y filtran el aire.
{"title":"String Mask Overflow y el formato “propuesta”-“respuesta” en “GAPPP – Gamified Audiovisual Performance and Performance Practice","authors":"Pedro González Fernández","doi":"10.7764/res.2020.46.8","DOIUrl":"https://doi.org/10.7764/res.2020.46.8","url":null,"abstract":"Captamos esta imagen desde la primera butaca central del segundo anfiteatro. Vibran cuatro focos de luz tenue. Orientando la mirada hacia las sombras proyectadas sobre el suelo de madera, el cuarteto de cuerda parece un único ser vivo. O el conjunto de una multitud de cables entrelazados. Una inmensa colección de terminaciones nerviosas que se extienden hasta la última esquina de un mismo cuerpo indefinido. Transportan chispas. Renuevan sin pausa cada acorde, cada célula, cada frase. Cuatro instrumentos, una sola figura. Colorean el sonido y filtran el aire.","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"117 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77018136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Carolina Santamaría Delgado, Juan Sebastián Ochoa Escobar, Amparo Álvarez García, Federico Ochoa Escobar, Juan Pablo Lopera Londoño
{"title":"Repensando el poder de las disqueras: el caso de las industrias de la música tropical y la canción romántica en Medellín en los años sesenta)","authors":"Carolina Santamaría Delgado, Juan Sebastián Ochoa Escobar, Amparo Álvarez García, Federico Ochoa Escobar, Juan Pablo Lopera Londoño","doi":"10.7764/res.2020.46.5","DOIUrl":"https://doi.org/10.7764/res.2020.46.5","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"18 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82241349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay comprises personal reflections on the practices of artistic research and musical collaboration which have become integrated factors of my identity as a musician. In all of this work, I see myself as a nomad between the art world of contemporary and experimental music and the science worlds that define artistic research in academia.1 In this essay, I will discuss some factors that characterize the artistic and scholarly practice as they have unfolded since I started doing my PhD in 2002, followed by a series of senior research projects. The relation between intuition and analytical thinking2 is one perspective. However, in my artistic practice, artistic collaboration has always been in the foreground, and I will also consider in what ways collaborative practices can be both better understood and enhanced through artistic research.
{"title":"Go to Hell: Some Reflections on the Role of Intuition and Analysis in Artistic Research","authors":"S. Östersjö","doi":"10.7764/res.2020.46.10","DOIUrl":"https://doi.org/10.7764/res.2020.46.10","url":null,"abstract":"This essay comprises personal reflections on the practices of artistic research and musical collaboration which have become integrated factors of my identity as a musician. In all of this work, I see myself as a nomad between the art world of contemporary and experimental music and the science worlds that define artistic research in academia.1 In this essay, I will discuss some factors that characterize the artistic and scholarly practice as they have unfolded since I started doing my PhD in 2002, followed by a series of senior research projects. The relation between intuition and analytical thinking2 is one perspective. However, in my artistic practice, artistic collaboration has always been in the foreground, and I will also consider in what ways collaborative practices can be both better understood and enhanced through artistic research.","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88641294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Autoethnography and participant-observation were at the heart of this artistic research project of re-inventing new marimba performance by investigating the West African balafon music practice of the Bobo and Bamana tribes. The adventures of diving into the balafon world were led by participant-observation research design, and these experiences have remolded my selfunderstanding of being a musician as well as a person. The autoethnography is a result of operating a reflective model of “I”, in which the artist-researcher has changed from the stage of exploration to recognition to interpretation. Participant-observation is the tool that helps us to submit to and engage with foreign music practice, and our main task is to render the ineffable experience of performing the music and switching between cultures. We do not necessarily become an African musician and assimilate into their tradition, but one shall try to gain head-on experience through participating in the music culture.
{"title":"Autoethnography and participant-observation in a cross-cultural artistic research","authors":"Adilia Yip","doi":"10.7764/res.2020.46.9","DOIUrl":"https://doi.org/10.7764/res.2020.46.9","url":null,"abstract":"Autoethnography and participant-observation were at the heart of this artistic research project of re-inventing new marimba performance by investigating the West African balafon music practice of the Bobo and Bamana tribes. The adventures of diving into the balafon world were led by participant-observation research design, and these experiences have remolded my selfunderstanding of being a musician as well as a person. The autoethnography is a result of operating a reflective model of “I”, in which the artist-researcher has changed from the stage of exploration to recognition to interpretation. Participant-observation is the tool that helps us to submit to and engage with foreign music practice, and our main task is to render the ineffable experience of performing the music and switching between cultures. We do not necessarily become an African musician and assimilate into their tradition, but one shall try to gain head-on experience through participating in the music culture.","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"21 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75375507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Thus, Claudio Monteverdi ends in 1605 his defense against the allegations of the theorist Giovanni Maria Artusi, who anonymously used the composer’s madrigals to prove that he had failed to master the rules of counterpoint. Basically, a conflict of tradition versus innovation. The quarrel between the two men has become a milestone in music history, articulating the beginning of a new era with the upcoming text-driven vocal style.
{"title":"Why Truth should treasure her disguise","authors":"Johannes Boer","doi":"10.7764/res.2020.46.11","DOIUrl":"https://doi.org/10.7764/res.2020.46.11","url":null,"abstract":"Thus, Claudio Monteverdi ends in 1605 his defense against the allegations of the theorist Giovanni Maria Artusi, who anonymously used the composer’s madrigals to prove that he had failed to master the rules of counterpoint. Basically, a conflict of tradition versus innovation. The quarrel between the two men has become a milestone in music history, articulating the beginning of a new era with the upcoming text-driven vocal style.","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"156 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76246906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"La red de la cultura: un contexto para la musicología [1984] Por Gary Tomlinson","authors":"Gary Tomlinson","doi":"10.7764/res.2019.45.10","DOIUrl":"https://doi.org/10.7764/res.2019.45.10","url":null,"abstract":"","PeriodicalId":41600,"journal":{"name":"Resonancias","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79717000","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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