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Sensación Táctil Y Audiotáctil En La Música

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Sensación Táctil Y Audiotáctil En La Música 1 Universidad Nacional de La Plata Facultad de Bellas Artes Doctorado en Artes Sensación táctil y audiotáctil en la música El caso de las músicas electrónicas utilizadas para el baile social en locales de baile de la Ciudad Autónoma de Buenos Aires y alrededores Doctorando: Sergio Iván Anzil Director: Gustavo Basso Codirector: Carlos Mastropietro La Plata, diciembre de 2016 2 El movimiento corporal está apretadamente atado de varias formas a la percepción y a otras formas de cognición y emoción. […] el cuerpo, a través de sus habilidades motoras, sus propios movimientos y su postura, informa y forma a la cognición. Shaun Gallagher1 Visualización de ondas sonoras y de choque originadas en la caída de un libro.2 1 "Bodily movement is closely tied in various ways to perception and to other forms of cognition and emotion. […] the body, through its motor abilities, its actual movements, and its posture, informs and shapes cognition." Citado en Zeiner-Henriksen, H. The PoumTchak pattern. Correspondences between Rhythm, Sound and Movement in Electronic Dance Music. pp. 26-27 2 Fuente de la imagen: Settles, G. y otros. (2008). Schlieren imaging of loud sounds and weak shock waves in air near the limit of visibility. pp.8 3 ÍNDICE GENERAL PREFACIO ................................................................................................................................................ 8 INTRODUCCIÓN ................................................................................................................................... 10 CAMPO TEMÁTICO ........................................................................................................................... 10 TEMA.................................................................................................................................................... 10 RESUMEN ............................................................................................................................................ 10 FUNDAMENTACIÓN ......................................................................................................................... 10 Sensación táctil y audio-táctil. .......................................................................................................... 11 Rango de frecuencias ........................................................................................................................ 11 Rango de intensidad y relación fuente-sujeto ................................................................................... 12 La música es un arte audiotáctil ....................................................................................................... 13 Incidencia de la tecnología musical .................................................................................................. 14 RELEVANCIA ..................................................................................................................................... 14 PROBLEMAS ....................................................................................................................................... 16 Problema general .............................................................................................................................. 16 Problemas particulares ..................................................................................................................... 16 SUPUESTOS ........................................................................................................................................ 19 OBJETIVOS .......................................................................................................................................... 20 Objetivos generales ........................................................................................................................... 20 Objetivos específicos ......................................................................................................................... 20 HIPÓTESIS ........................................................................................................................................... 21 Hipótesis general .............................................................................................................................. 21 Hipótesis de trabajo .......................................................................................................................... 21 MARCO TEÓRICO .............................................................................................................................. 22 Saber común ...................................................................................................................................... 22 Multisensorialidad ............................................................................................................................ 23 Corporeidad ...................................................................................................................................... 23 Física acústica .................................................................................................................................. 23 Dualidad onda/partícula. Analogía fotón-fonón ............................................................................... 24 ESTADO ACTUAL DE LA CUESTIÓN .............................................................................................. 25 Multisensorialidad audiotáctil .......................................................................................................... 25 Las vías de la vibración - Piel ........................................................................................................... 26 Las vías de la vibración – Huesos y tejidos profundos ..................................................................... 27 Ámbito musical, contexto social y experiencias personales .............................................................. 29 Distribución y desarrollos geográficos e históricos de la música electrónica de baile .................... 31 Corolario, aportes y aplicaciones posibles de la investigación propuesta ....................................... 32 ADVERTENCIA A MODO DE DELIMITACIÓN DEL OBJETO DE ESTUDIO ...................................................... 33 CONSIDERACIONES EN RELACIÓN A LAS FUENTES DOCUMENTALES Y METODOLOGÍA ............................ 34 AGRADECIMIENTOS ......................................................................................................................... 39 4 CAPÍTULO I MÚSICA ELECTRÓNICA DE BAILE. MARCO TEÓRICO............................................................ 41 INTRODUCCIÓN ...................................................................................................................................... 41 PERSPECTIVAS TEÓRICAS ACTUALES ...................................................................................................... 51 DETERMINACIÓN CONCEPTUAL .............................................................................................................. 58 Música ............................................................................................................................................... 58 Música electrónica ............................................................................................................................ 61 Estética electrónica ........................................................................................................................................ 68 La cualidad experimental .............................................................................................................................. 74 La diferenciación eléctrico/electrónico .......................................................................................................... 75 Músicas de baile................................................................................................................................ 77 Músicas electrónicas de baile ........................................................................................................................ 79 Músicas electrónicas de baile social .............................................................................................................. 80 Músicas utilizadas para el baile social ............................................................................................. 82 Características comunes del universo de músicas utilizadas para el baile social ............................ 85 Previsibilidad ................................................................................................................................................. 86 Sencillez ........................................................................................................................................................ 99 Claridad ....................................................................................................................................................... 102 Estabilidad ................................................................................................................................................... 104 Percusividad ................................................................................................................................................ 108 Concordancia directa entre tempo, densidad cronométrica y activación de movimiento ............................ 111 Músicas utilizadas para el baile social y movimiento .................................................................................
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