Lo silente desde el proceso creativo
Autor(a) principal: | |
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Data de Publicação: | 2023 |
Tipo de documento: | Dissertação |
Idioma: | spa |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da UFRGS |
Texto Completo: | http://hdl.handle.net/10183/256806 |
Resumo: | This work aims to investigate through a compositional process how the notion of silence/the silent can be transposed in different ways, in different temporal and structural scales of the compositional process, and how this concept can condition the choice, exclusion, and treatment of materials and can give answers in terms of time, structure and form. It intends to go beyond the explicit notation of silence or its use as an articulator of a piece's temporal/formal structure. This memorial seeks to contribute to the construction and transformation of our subjectivities, our listeners, and the implications that our proposals have for the rest of society. Our political, social, and psychological implications, to name a few, are in dialogue with our sound discourses. As an active part of the dialogue, we must listen and then say. Moreover, in order to listen, we must be silent. |
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Nabón Hernández, Sebastián AndrésChaves, Celso Giannetti Loureiro2023-04-07T03:26:12Z2023http://hdl.handle.net/10183/256806001166243This work aims to investigate through a compositional process how the notion of silence/the silent can be transposed in different ways, in different temporal and structural scales of the compositional process, and how this concept can condition the choice, exclusion, and treatment of materials and can give answers in terms of time, structure and form. It intends to go beyond the explicit notation of silence or its use as an articulator of a piece's temporal/formal structure. This memorial seeks to contribute to the construction and transformation of our subjectivities, our listeners, and the implications that our proposals have for the rest of society. Our political, social, and psychological implications, to name a few, are in dialogue with our sound discourses. As an active part of the dialogue, we must listen and then say. Moreover, in order to listen, we must be silent.El objetivo de este trabajo es investigar a través de mi proceso composicional cómo la noción de silencio/lo silente puede ser transpuesto de distintas maneras, y en distintas escalas temporales y estructurales en el proceso compositivo. Cómo este concepto puede condicionar la elección, exclusión, y tratamiento de los materiales y puede dar respuestas en cuanto a tiempo, estructura y forma. Pretende ir más allá de la notación explícita del silencio o su utilización como articulador de la estructura temporal/formal de una pieza. Este memorial busca ser un aporte más a la construcción y transformación de nuestras subjetividades, de nuestras escuchas y de las implicancias que nuestras propuestas tienen con el resto de la sociedad. Nuestras implicancias políticas, sociales, psicológicas, solo por nombrar algunas, se encuentran dialogando con nuestros discursos sonoros. Como parte activa de un diálogo debemos primero que nada escuchar para luego decir. Y para escuchar debemos hacer silencio.application/pdfspaComposição musicalSilêncioEscutaMusic compositionSilenceComposiciónSilencioEscuchaListeningLo silente desde el proceso creativoinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisUniversidade Federal do Rio Grande do SulInstituto de ArtesPrograma de Pós-Graduação em MúsicaPorto Alegre, BR-RS2023mestradoinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da UFRGSinstname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGSTEXT001166243.pdf.txt001166243.pdf.txtExtracted Texttext/plain160613http://www.lume.ufrgs.br/bitstream/10183/256806/2/001166243.pdf.txtf7afb505a9a13ef87a8df9123cc5d8fdMD52ORIGINAL001166243.pdfTexto completo (espanhol)application/pdf4711998http://www.lume.ufrgs.br/bitstream/10183/256806/1/001166243.pdf359223a43429f798c2d401d36bff33a8MD5110183/2568062023-04-08 03:29:36.130484oai:www.lume.ufrgs.br:10183/256806Biblioteca Digital de Teses e Dissertaçõeshttps://lume.ufrgs.br/handle/10183/2PUBhttps://lume.ufrgs.br/oai/requestlume@ufrgs.br||lume@ufrgs.bropendoar:18532023-04-08T06:29:36Biblioteca Digital de Teses e Dissertações da UFRGS - Universidade Federal do Rio Grande do Sul (UFRGS)false |
dc.title.pt_BR.fl_str_mv |
Lo silente desde el proceso creativo |
title |
Lo silente desde el proceso creativo |
spellingShingle |
Lo silente desde el proceso creativo Nabón Hernández, Sebastián Andrés Composição musical Silêncio Escuta Music composition Silence Composición Silencio Escucha Listening |
title_short |
Lo silente desde el proceso creativo |
title_full |
Lo silente desde el proceso creativo |
title_fullStr |
Lo silente desde el proceso creativo |
title_full_unstemmed |
Lo silente desde el proceso creativo |
title_sort |
Lo silente desde el proceso creativo |
author |
Nabón Hernández, Sebastián Andrés |
author_facet |
Nabón Hernández, Sebastián Andrés |
author_role |
author |
dc.contributor.author.fl_str_mv |
Nabón Hernández, Sebastián Andrés |
dc.contributor.advisor1.fl_str_mv |
Chaves, Celso Giannetti Loureiro |
contributor_str_mv |
Chaves, Celso Giannetti Loureiro |
dc.subject.por.fl_str_mv |
Composição musical Silêncio Escuta |
topic |
Composição musical Silêncio Escuta Music composition Silence Composición Silencio Escucha Listening |
dc.subject.eng.fl_str_mv |
Music composition Silence |
dc.subject.spa.fl_str_mv |
Composición Silencio Escucha Listening |
description |
This work aims to investigate through a compositional process how the notion of silence/the silent can be transposed in different ways, in different temporal and structural scales of the compositional process, and how this concept can condition the choice, exclusion, and treatment of materials and can give answers in terms of time, structure and form. It intends to go beyond the explicit notation of silence or its use as an articulator of a piece's temporal/formal structure. This memorial seeks to contribute to the construction and transformation of our subjectivities, our listeners, and the implications that our proposals have for the rest of society. Our political, social, and psychological implications, to name a few, are in dialogue with our sound discourses. As an active part of the dialogue, we must listen and then say. Moreover, in order to listen, we must be silent. |
publishDate |
2023 |
dc.date.accessioned.fl_str_mv |
2023-04-07T03:26:12Z |
dc.date.issued.fl_str_mv |
2023 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/masterThesis |
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http://hdl.handle.net/10183/256806 |
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