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Redalyc.Músicas Sin Patria O Los Nuevos Lenguajes De La Era Post Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Asensio Llamas, Susana Músicas sin patria o los nuevos lenguajes de la era post-industrial: paratextualidad y Electronica Trans. Revista Transcultural de Música, núm. 8, diciembre, 2004, p. 0 Sociedad de Etnomusicología Barcelona, España Disponible en: http://www.redalyc.org/articulo.oa?id=82200804 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Músicas sin patria o los nuevos lenguajes de la era post-industrial: paratextualidad y Electronica Revista Transcultural de Música Transcultural Music Review #8 (2004) ISSN:1697-0101 Músicas sin patria o los nuevos lenguajes de la era post-industrial: paratextualidad y Electronica[1] Susana Asensio Llamas CSIC, Madrid Resumen Tras las músicas del mundo, la llamada World Music, y tras las músicas expatriadas, aquellas que crecen lejos de sus lugares de origen por la emigración, o la guerra, el exilio, o los desastres naturales, las nuevas circunstancias urbanas híbridas propician las músicas sin patria, músicas que son capaces de apelar a poblaciones similares generacional o contextualmente en lugares muy distantes del planeta. En este trabajo analizaré algunos ejemplos de música popular electrónica “sin patria” que muestran un interés particular en la experimentación sonora y discursiva, especialmente a través de la sobredimensión de los paratextos, con los que comunican variadas identidades emergentes de carácter específicamente no nacional. Abstract After the World Music and the expatriated musical phenomena --those growing up far away from its origins because of migration, war, exile or natural disasters-- new urban and hybrid environments foster a specific kind of cosmopolitan music without a country. This music is able to appeal to different populations all around the world by generational connections or similar urban conjunctures. This work deals with some examples of popular electronic music which show a particular emphasis on sonic and discursive experimentation, especially by the overgrowth of paratexts, communicating emerging and varied non-national identities. Imaginar Es sabido que las nuevas tecnologías nos brindan posibilidades antes impensadas de grabar, escuchar y producir nuevos sonidos y músicas. Estas nuevas experiencias sonoras son el resultado de un acceso y disponibilidad tecnológicos no predecibles hace solo unos años, y de unas condiciones http://www.sibetrans.com/trans/trans8/asensio.htm (1 of 22) [16/07/2007 10:08:53] Músicas sin patria o los nuevos lenguajes de la era post-industrial: paratextualidad y Electronica mediáticas gestadas en los años 80 y 90 cuyas consecuencias aún desconocemos. Así, en la llamada era post-industrial se inician nuevas relaciones con los sonidos y con ellas, la reconfiguración de los lenguajes que a ellos se asocian. Para acercarnos a estos nuevos lenguajes sin escucharlos necesitamos la imaginación. Imaginemos pues un alfabeto compuesto de sonidos sin trascripción fonética, un alfabeto imposible e infinito de posibilidades sonoras alusivas a sensaciones, sin un único correlato semántico. Imaginemos los medios técnicos para hacer posible la producción y reproducción de todos los sonidos imaginables y su ordenación según secuencias mesurables e intercambiables. Imaginemos que con ese repertorio no codificado podemos construir una arquitectura sonora, o un itinerario sónico, o un paisaje de sensaciones auditivas ad hoc. Todo lo imaginable es no sólo virtualmente posible, sino en ocasiones efectivamente realizable. La música popular electrónica ha puesto en práctica estas ideas y otras muchas de similares características con desigual fortuna, fundamentalmente en los ambientes urbanos que sufren intensos procesos de transformación. La Era Post-Industrial El término “era post-industrial” se refiere a un periodo de tiempo no definido exactamente y ligado a determinados entornos urbanos: aquellos que han sufrido una recesión debido a los cambios globales que afectan a la economía, la información y su distribución, las estructuras sociales y laborales y, por tanto, a las formas culturales de expresión. Podemos asociar este tiempo post-industrial al advenimiento de la era electrónica e informática, a la des-industrialización de ciertos núcleos urbanos y al creciente desempleo (o empleo precario) de la juventud. Algunos autores sitúan el inicio de estas circunstancias, y la causa de su origen, en el momento inmediatamente siguiente al boom de los años 60. Hablando de la situación norteamericana Tricia Rose comenta: “Postindustrial conditions in urban centers across America reflect a complex set of global forces which continue to shape the contemporary urban metropolis. The growth of multinational telecommunications networks, global economic competition, a major technological revolution, the formation of new international divisions of labor, the increasing power of finance relative to production, and new migration patterns from Third World industrializing nations have all contributed to the economic and social restructuring of urban America” (1994: 73). Sin embargo, sabemos que en otros países, aunque relacionados en diferente medida con el ámbito anglosajón, la situación no ha sido exactamente la misma http://www.sibetrans.com/trans/trans8/asensio.htm (2 of 22) [16/07/2007 10:08:53] Músicas sin patria o los nuevos lenguajes de la era post-industrial: paratextualidad y Electronica ni se ha dado al mismo tiempo. En España, por ejemplo, la des-industrialización se produjo más tarde, ya en los años 80, y sus efectos fueron diferentes debido a que el nivel de industrialización también lo era. En otros países en vías de desarrollo, tanto el proceso de industrialización, como las contradictorias consecuencias de la era informática y la consiguiente des-industrialización, circulan de maneras paralelas, entreverándose y creando efectos distintivos (cf. García Canclini 1990 y 1999, para diferentes casos en Latinoamérica). La Electronica Experimental Hablamos de música popular electrónica, o Electronica[2], en un sentido amplio, explicitando por anticipado que sólo parte de ella es producida y consumida como dance music, ya no todas las creaciones no-académicas en música electrónica están pensadas para ser escuchadas en clubs. Encontramos también dentro de la Electronica bandas sonoras de películas, anuncios y videojuegos, e innumerables propuestas de ambient music, músicas todas ellas que no están concebidas para ser bailadas[3]. En este recorrido, sin embargo, nos referiremos dentro de este amplio mundo sólo a algunos ejemplos que tienen que ver con la corriente llamada Experimental Electronic Music. Ésta es una corriente relativamente novedosa, nacida como tal en los años 90, y que busca la experimentación explicita con los sonidos y los discursos a través de los nuevos medios técnicos disponibles. Sus productores no son necesariamente músicos, sino especialistas en el manejo de los aparatos de producción y transformación de sonidos (samplers, sintetizadores, mesas de mezclas, ordenadores...) y producen en general tanto músicas para las pistas de baile, como música electrónica experimental para públicos más restringidos y elitistas. Dentro de esta corriente encontraremos las propuestas más sugerentes para nuestro análisis. El término “experimental” se refiere aquí a las tipologías de Electronica que explicitan su intencionalidad experimental como parte fundamental del proceso de producción, así como su pretensión de explorar las posibilidades electrónicas en la música más allá de la pista de baile y de las corrientes internacionalmente establecidas, a costa -la mayoría de las veces- de las cifras de ventas, incluso cuando son autores consagrados en el mundo de la música dance. Estas músicas también han sido denominadas en ocasiones post-dance, porque en muchos casos rompen el tradicional 4/4 destinado a las pistas de baile, eliminando incluso todo rastro de ritmo medido, y también porque integran de diferentes maneras las posibilidades de otros géneros de músicas populares y no tan populares: “…Si analizamos el estado de la Nación Dance detenidamente, es fácil darse http://www.sibetrans.com/trans/trans8/asensio.htm (3 of 22) [16/07/2007 10:08:53] Músicas sin patria o los nuevos lenguajes de la era post-industrial: paratextualidad y Electronica cuenta de que el catálogo de términos, estilos, géneros y subgéneros parece estar agotándose, cuando no precipitándose por los abismos del revival. […] Su carrera ascendente ha sido tan meteórica que ahora no sabe por dónde seguir. […] De alguna forma, la dance music ha llegado ya a su propia edad posmoderna, y a partir de aquí se impone la búsqueda de nuevos caminos. El post-dance, en este contexto, constituiría por tanto un nuevo paso hacia la metamúsica, hacia una integración natural de los diferentes géneros en un fascinante magma sonoro”. (Dance de Lux 1999: 48). En general asociamos la Electronica a las pistas de baile porque sus manifestaciones más conocidas (house y techno), están mayormente pensadas y producidas para ser escuchadas y bailadas en clubs y/o discotecas. Y ello es cierto, no sólo por la vinculación esencial con un público juvenil, sino también porque sus características sonoras (frecuencias sub-graves y supra-agudas,
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