El factor "algo de donde tomarse"

Musicología de la Música Electroacústica [MME]

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Aspectos Socioculturales de la Música Electroacústica

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Acceso (a la Música Electroacústica)

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Dramaturgia de la Música Electroacústica

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El factor "algo de donde tomarse" tiene que ver con el hacer a las obras musicales más accesibles para quienes las escuchan. Funciona del siguiente modo: los creadores de una obra le ofrecen al público "algo de donde tomarse" en términos de apreciación. Este "algo" en la música electroacústica puede ir desde el tratamiento de ciertos parámetros a la homogeneidad de los sonidos y/o de la búsqueda de nuevos sonidos, a la densidad de la estratificación o una forma apropiada de narratividad. Este "algo" no necesita ser el elemento clave de la obra en cuestión. Es, sin embargo, un aspecto de la obra que nos ayuda a sentirnos más confortables, aportando una mayor comprensión de la composición.

(Fuente: Leigh Landy (1994). The "Something to Hold on to Factor" in Timbral Composition. Contemporary Music Review Vol. 10, Part 2. Londres: Harwood: 49-60)

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Emmerson, Simon (2001b). From Dance to Dance: Distance and Digits
Landy, Leigh (1994b). ‘The Something to Hold on to Factor’ in Electroacoustic Timbral Composition
Voegelin, Salomé (2004). How Can You Hear It When You Don’t Know What You Are Listening For? - The Need For a Critical Context of Listening
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
Weale, Rob (2007). Mapping perception across the communitive continuum as a prelude to analysis

 

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