Composición de Paisajes Sonoros

Géneros y Categorías [GyC]

 ]

Este término se refiere a un tipo de obra electroacústica que fue iniciado, en gran medida, por los miembros del World Soundscape Project (WSP) de la Simon Fraser University. Las grabaciones de sonido ambiental forman la material prima y también nutren a la obra en todos sus niveles estructurales, de forma tal que el contexto original y las vinculaciones del material tienen un rol significativo en su creación y recepción.

En otras palabras, la composición de paisajes sonoros está integrada al contexto, y aunque pueda llegar a incorporar de vez en cuando material aparentemente abstracto, la pieza nunca pierde de vista su tema principal.

Los principios de la composición de paisajes sonoros son:

1. Se mantiene el reconocimiento del material original por parte del escucha, aún cuando dicho material sea luego transformado;

2. Se requiere del conocimiento del escucha acerca del contexto ambiental y psicológico del material del paisaje sonoro para completar la red de significados que se le asignan a la música;

3. Se permite que el conocimiento del compositor sobre el contexto ambiental y psicológico del material del paisaje sonoro influya sobre la forma de la composición a todo nivel, y principalmente, la composición es inseparable de algunos o todos los aspectos de aquella realidad;

4. La obra refuerza nuestra comprensión del mundo, y su influencia se expande alcanzando nuestras formas de percepción cotidianas.

Entonces, el objetivo real de la composición de paisajes sonoros es la re-integración del escucha con su entorno, en una relación ecológica balanceada.

(Fuente: adaptado de Barry Truax (2000), The Aesthetics of Computer Music: a questionable concept reconsidered. Organised Sound Vol. 5, No. 3. Cambridge: Cambridge University Press, y de (1996) Soundscape, Acoustic Communication and Environmental Sound Composition. Contemporary Music Review Vol.15, Part 1. London: Harwood)

 

See also

Comunicación Acústica

,

Ecología Acústica

,

Diapositiva Sonora

,

Grabación de Campo

,

Phonography - Phonographie (Fonografía)

,

Sonido Referencial

,

Semiótica

,

Símbolo Sonoro

,

Paisaje Sonoro

,

Soundwalk (Caminata Sonora)

,

Transcontextualidad

 

Links

UNESCO DigiArts

- Young Digital Creators: The sound of our water ( English , French , Spanish )
- Young Digital Creators: Scenes and sounds of my city ( English , French , Spanish )

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

1-60 | 61-76 | >> 60 next

Battier, Marc (2003c). Science et technologie comme sources d’inspiration
Caux, Jacqueline, Delalande, François, Gayou, Evelyne, Teruggi, Daniel (2002). {Presque rien} avec Luc Ferrari
Chen, Tsai-Wei (2006). Sonic Constellations: Taiwanese sojourners’ listening experiences in London
Corringham, Viv (2003). Vocal Strolls: Voicing the Soundscape
Cox, Cindy (2003). Wounds like Flowers Opening: a Discussion of {Hysteria} for Trombone and Four-Channel Tape
Dack, John (2000). Ludwig Van Henry - An Interview with Pierre Henry
DeLaurenti, Christopher (2004). Intermissions with the orchestra
Drever, John Levack (1999). The Exploitation of ‘Tangible Ghosts’: Conjectures on soundscape recording and its reappropriation in sound art
Drever, John Levack (2001). Sounding Soundscape Composition
Drever, John Levack (2002). Soundscape Composition: The convergence of ethnography and acousmatic music
Dunn, David (2001). Nature, Sound Art, and the Sacred
Dunn, David, Peer, René van (1999). Music, Language and Environment
England, Phil (2002). Acoustic Ecology
Feld, Steven, Palombini, Carlos (2001). Thoughts on Recording Soundscapes
Fells, Nick (2002). On Space, Listening and Interaction: {Words on the Streets are These} and {Still Life}
Gaye, Lalya, Mazé, Ramia, Holmquist, Lars Erik (2003). Sonic City: The Urban Environment as a Musical Interface
Guérin, François (1993). Aperçu du genre électroacoustique au Québec
Hahn, David (2002). Creating the Soundscape for {Zagreb Everywhere}
Hannan, Michael (2006). Intermedia Collaboration for {The Flood}
Holmes, Thom (2002). Electronic and Experimental Music
Iges, José (2000). Soundscapes: A Historical Approach
INA-GRM, (2000). La musique électroacoustique
Iwatake, Toru (1994). An Interview with Barry Truax
Keller, Damián, Capasso, Ariadna (2006). New concepts and techniques in eco-composition
Kolber, David (2002). Hildegard Westerkamp’s {Kits Beach Soundwalk}: Shifting Perspectives in real world music
Kröpfl, Francisco (1995). Experiences and Reflexions on Electroacoustic Music
Lalitte, Philippe (1998). {City Life}
Lockwood, Annea (2004). Sound Mapping the Danube River from the Black Forest to the Black Sea: Progress Report, 2001-2003
MacCormac, Sylvi (1999). Reflections on Hildegard Westerkamp’s Talking Rain
McCartney, Andra (1998a). Soundwalk in the Park with Hildegard Westerkamp
McCartney, Andra (1998b). Where water meets
McCartney, Andra (2000a). Soundwalking Interactions
McCartney, Andra (2000c). Soundscape Composition and the Subversion of Electroacoustic Norms
McCartney, Andra (2000d). Sounding Places with Hildegard Westerkamp
McCartney, Andra (2002a). Alien Intimacies: Hearing science fiction narratives in Hildegard Westerkamp’s {Cricket Voice} (or ‘I don’t like the country, the crickets make me nervous’)
McCartney, Andra (2002b). Sharing Experiences Towards the Possibility of an Electroacoustic Ecology
McCartney, Andra (2003). In and Out of the Sound Studio
Mermoz, Gérard (2004). Istanbul Sound Diary
Norman, Katharine (1994). Telling Tales
Pallandre, Jean (2003). La charpente invisible (une pratique expérimentale de la phonographie)
Proy, Gabrielle (2002). Sound and Sign
Savage, Jonathan, Challis, Mike (2001). Sound Reflections: The Influence of Acoustic Ecology on Classroom Composition
Schafer, R. Murray (1994). The Soundscape: Our Sonic Environment and the Tuning of the World
Schryer, Claude (1998). Electroacoustic Soundscape Composition
Schryer, Claude (2001). The Sharawadji Effect
Stelkens, Jörg, Tillmann, Hans G. (Eds.) (1999). KlangForschung ’98: Symposium zur elektronischen Musik
Thomson, Phil (2005). Soundscape Composition, Globality, and Implicated Critique
Truax, Barry (1992b). Musical Creativity and Complexity at the Threshold of the 21st Century
Truax, Barry (1992c). Composing with Time-Shifted Environmental Sound
Truax, Barry (1995a). The Composition of Environmental Sound at Simon Fraser University
Truax, Barry (1996b). Soundscape, Acoustic Communication and Environmental Sound Composition
Truax, Barry (1996c). Sounds and Sources in {Powers of Two}: Towards a contemporary myth
Truax, Barry (1996d). Sounds and Sources in {Powers of Two} Towards a Contemporary Myth
Truax, Barry (2000a). The Aesthetics of Computer Music: A questionable concept reconsidered
Truax, Barry (2002b). Genres and Techniques of Soundscape Composition as Developed at Simon Fraser University
Voorvelt, Martijn (1997). The Environmental Element in Barry Truax’s Composition
Weale, Rob (2005a). The Intention/Reception Project: Investigating Composer Intention and Listener Response in Electroacoustic Compositions
Weale, Rob (2005b). The Intention/Reception Project: Investigating the Relationship Between Composer Intention and Listener Response in Electroacoustic Compositions
Weale, Rob (2006). Discovering How Accessible Electroacoustic Music Can Be: the Intention/Reception project
Weidenaar, Reynold (2002). Composing with the Soundscape of Jones Street

 

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