DOCSLIB.ORG

Música Dispersa Apropiación, Influencias, Robos Y Remix En La Era De

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Música Dispersa Apropiación, Influencias, Robos Y Remix En La Era De Música dispersa Apropiación, influencias, robos y remix en la era de la escucha digital Rubén López Cano Editorial: Musikeon Books (Barcelona) Año de publicación. 2018 ISBN: 978-84-945117-1-4 Palabras clave: Identidad y modos de existencia de las piezas musicales. Apropiación. Reciclaje musical. Intertextualidad. Préstamos e influencia. Reutilización. Plagio. Música grabada. Autenticidad y discursos de legitimación. Covers y versiones. Remix. Sampleo. Mashup. Memes musicales. Escucha digital. Pacto perceptual. Contenido 1. Introito: de la epifanía al trabajo colaborativo 2. Ser, parecer, aparecer, acceder y conocer la música 2.1. ¿Dónde están las sinfonías cuando no suenan? 2.2. Una obra y muchos seres 2.3. El rock y sus dilemas existenciales 2.4. El jazz: ¿obras o eventos? 2.5. Límites de la ontología musical 3. Fragmentación y dispersión de la unidad musical: Apropiaciones, influencias, préstamos, intertextualidad y reciclaje. 3.1. ¿De quién es la canción? Apropiaciones 3.2. Lo intertextual: una "obra" es un momento de la red 3.3. Reciclaje: del préstamo a la influencia 3.4. Intertextualidad en la música popular urbana 3.5. Intertextualidad en la música de arte occidental 3.6. Rangos de procesos y funciones intertextuales 3.7. Citas 3.8. Reutilización 3.9. Citas expandidas 3.10. Capital musical, idiolectos, campos semióticos 3.11. Intertexto vocal como diccionario 3.12. Intertexto vocal y paseos inferenciales 3.13. Crossover y referencias enmudecidas 3.14. Modelización y alusión 3.15. Inserción por ensamblaje. Quodlibet, Popurrí, Pasticcio, Patchwork, Collage 3.16. Intervención en una pieza preexistente: revisiones, versiones, contrafacta, paráfrasis e intervenciones conceptuales 3.17. Intertextualidad críptica y narrativas transmedia 3.18. Angustia de influencia 3.19. Civilización musical reciclada 4. Música de sonidos fijados: el impacto de la grabación 4.1. Música y tecnología de difusión, almacenamiento y consumo: las etapas 4.2. El impacto de la grabación en la música de arte occidental 4.3. Paradigmas fonográficos en la música clásica: fotografía sonora, la mejor butaca posible y práctica artística por sí misma 4.4. De la reproducción a la interpretación extendida 4.5. Ideologemas de autenticidad 4.6. Autenticidad fonográficamente inventada 4.7. Autenticidad y paradojas de la grabación en la música popular urbana 5. Covers y versiones en la música popular 5.1. Una definición operativa de la versión 5.2. Funciones de la versión 5.3. El problema del “original” 5.4. Dimensiones de lo "original" 5.5. Tipos fundamentales de versiones 5.6. La versión frente a su referencia 5.7. Reconocimiento de la canción de base 5.8. Modo metatextual de la versión 5.9. Versiones y variantes 6. Reciclaje digital 6.1. De los ritos fonográficos al turntablism 6.2. La era remix 6.3. Reproducción, copia, replicación y replayducción 6.4. Simulacros, hiperrealidad, inmersión e hipermediación 6.5. Deconstrumix: reciclaje deconstructor 6.6. Punctum, cortocircuitos y brecha de paralaje 6.7. Regresividad, reflexividad, discursividad y regeneratividad de la remezcla 6.8. Revolución tecnológica y afirmación de prejuicios 7. Conclusiones: la música entre nosotros 8. Glosario 9. Bibliografía Índice de nombres y materias .
Load more

Recommended publications
  • Quodlibet by John Pendleton Kennedy
    Quodlibet by John Pendleton Kennedy CHAPTER I. ANTIQUITIES OF QUODLIBET—MICHAEL GRANT'S TANYARD DESTROYED BY THE CANAL—CONSEQUENCES OF THIS EVENT—TWO DISTINGUISHED INDIVIDUALS TAKE UP THEIR RESIDENCE IN THE BOROUGH—ESTABLISHMENT OF THE PATRIOTIC COPPERPLATE BANK— CIRCUMSTANCES WHICH LED TO AND FOLLOWED THAT MEASURE— MICHAEL GRANT'S OBJECTIONS TO IT. It was at the close of the year 1833, or rather, I should say, at the opening of the following spring, that our Borough of Quodlibet took that sudden leap to greatness which has, of late, caused it to be so much talked about. Our folks are accustomed to set this down to the Removal of the Deposits. Indeed, until that famous event, Quodlibet was, as one might say in common parlance, a place not worth talking about—it might hardly be remarked upon the maps. But since that date, verily, like Jeshurun, it has waxed fat. It has thus come to pass that "The Removal" is a great epoch in our annals—our Hegira—the A. U. C. of all Quodlibetarians. Michael Grant, a long time ago—that is to say, full twenty years—had a tanyard on Rumblebottom Creek, occupying the very ground which is now covered by the canal basin. Even as far back as that day he had laid up, out of the earnings of his trade, a snug sum of money, which sufficed to purchase the farm where he now lives at the foot of the Hogback. Quodlibet, or that which now is Quodlibet, was then as nothing. Michael's dwelling house and tanyard, Abel Brawn's blacksmith-shop, Christy M'Curdy's mill, and my school-house, made up the sum-total of the settlement.
    [Show full text]
  • The Songs of the Beggar's Opera
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1966 The onS gs of The Beggar's Opera Carolyn Anfinson Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Anfinson, Carolyn, "The onS gs of The Beggar's Opera" (1966). Masters Theses. 4265. https://thekeep.eiu.edu/theses/4265 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #3 To: Graduate Degree Candidates who have written formal theses. Subject: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institutionts library or research holdings. Date I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because Date Author THE SONGS OF THE BEGGAR'S OPERA (TITLE) BY Carolyn Anfinson THESIS SUBMIITTD IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF M.S.
    [Show full text]
  • CHAN 3036 BOOK COVER.Qxd 22/8/07 2:50 Pm Page 1
    CHAN 3036 BOOK COVER.qxd 22/8/07 2:50 pm Page 1 CHAN 3036(2) CHANDOS O PERA I N ENGLISH Il Trovatore David Parry PETE MOOES FOUNDATION CHAN 3036 BOOK.qxd 22/8/07 3:15 pm Page 2 Giuseppe Verdi (1813–1901) Il trovatore (The Troubadour) Opera in four parts AKG Text by Salvatore Cammarano, from the drama El trovador by Antonio Garcia Gutiérrez English translation by Tom Hammond Count di Luna, a young nobleman of Aragon ....................................................................Alan Opie baritone Ferrando, captain of the Count’s guard ..................................................................................Clive Bayley bass Doña Leonora, lady-in-waiting to the Princess of Aragon ..............................................Sharon Sweet soprano Inez, confidante of Leonora ........................................................................................Helen Williams soprano Azucena, a gipsy woman from Biscay ....................................................................Anne Mason mezzo-soprano Manrico (The Troubadour), supposed son of Azucena, a rebel under Prince Urgel ........Dennis O’Neill tenor Ruiz, a soldier in Manrico’s service ..................................................................................Marc Le Brocq tenor A Gipsy, a Messenger, Servants and Retainers of the Count, Followers of Manrico, Soldiers, Gipsies, Nuns, Guards Geoffrey Mitchell Choir London Philharmonic Orchestra Nicholas Kok and Gareth Hancock assistant conductors David Parry Further appearances in Opera in English Dennis O’Neill:
    [Show full text]
  • Trent 91; First Steps Towards a Stylistic Classification (Revised 2019 Version of My 2003 Paper, Originally Circulated to Just a Dozen Specialists)
    Trent 91; first steps towards a stylistic classification (revised 2019 version of my 2003 paper, originally circulated to just a dozen specialists). Probably unreadable in a single sitting but useful as a reference guide, the original has been modified in some wording, by mention of three new-ish concordances and by correction of quite a few errors. There is also now a Trent 91 edition index on pp. 69-72. [Type the company name] Musical examples have been imported from the older version. These have been left as they are apart from the Appendix I and II examples, which have been corrected. [Type the document Additional information (and also errata) found since publication date: 1. The Pange lingua setting no. 1330 (cited on p. 29) has a concordance in Wr2016 f. 108r, whereti it is tle]textless. (This manuscript is sometimes referred to by its new shelf number Warsaw 5892). The concordance - I believe – was first noted by Tom Ward (see The Polyphonic Office Hymn[T 1y4p0e0 t-h15e2 d0o, cpu. m21e6n,t se suttbtinigt lneo] . 466). 2. Page 43 footnote 77: the fragmentary concordance for the Urbs beata setting no. 1343 in the Weitra fragment has now been described and illustrated fully in Zapke, S. & Wright, P. ‘The Weitra Fragment: A Central Source of Late Medieval Polyphony’ in Music & Letters 96 no. 3 (2015), pp. 232-343. 3. The Introit group subgroup ‘I’ discussed on p. 34 and the Sequences discussed on pp. 7-12 were originally published in the Ex Codicis pilot booklet of 2003, and this has now been replaced with nos 148-159 of the Trent 91 edition.
    [Show full text]
  • Musicdiff – a Diff Tool for MEI
    Music Encoding Conference Proceedings 2020 59 MusicDiff – A Diff Tool for MEI Kristin Herold Dr. Johannes Kepper Beethovens Werkstatt Beethovens Werkstatt [email protected] [email protected] Ran Mo Agnes Seipelt Beethovens Werkstatt Beethovens Werkstatt [email protected] [email protected] Introduction For musicologists, the collation of multiple sources of the same work is a frequent task. By comparing different witnesses, they seek to identify variation, describe dependencies, and ultimately understand the genesis and transmission of (musical) works. Obviously, the need for such comparison is independent from the medium in which a musical work is manifested. In computing, comparing files for difference is a common task, and the well-known Unix utilitydiff is almost 46 years old [1]. However, diff, like many other such tools, operates on plain text. While many music encoding formats based on plain text exist, formats used in the field of Digital Humanities are typically based on XML. There are dedicated algorithms for comparing XML as well,1 but they only focus on the syntax of XML, but not the semantic structures modelled into such standards as MEI. MEI seeks to describe musical structures, and the XML syntax is just a means to express those structures. A diff tool for music should focus on comparing musical structures, but not the specifics of their serialization into a file format. In Beethovens Werkstatt, a 16-year project focussed on exploring the concepts and requirements of digital genetic editions of music, based on and arguing with examples from Ludwig van Beethoven, a case-bound diff tool for music was developed.
    [Show full text]
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]
  • “Copies Without Originals”: Manipulation, Mediation, and Mediatization in Performance and Recording Practices
    \Copies Without Originals": Manipulation, Mediation, and Mediatization in Performance and Recording Practices by Alyssa Michaud Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements for the M.A. degree in Musicology School of Music Faculty of Arts University of Ottawa c Alyssa Michaud, Ottawa, Canada, 2012 Abstract This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of \copies without orig- inals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its de- velopment in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth-century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momen- tum today, including Bj¨ork's Biophilia app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.
    [Show full text]
  • BOONE-DISSERTATION.Pdf
    Copyright by Christine Emily Boone 2011 The Dissertation Committee for Christine Emily Boone Certifies that this is the approved version of the following dissertation: Mashups: History, Legality, and Aesthetics Committee: James Buhler, Supervisor Byron Almén Eric Drott Andrew Dell‘Antonio John Weinstock Mashups: History, Legality, and Aesthetics by Christine Emily Boone, B.M., M.M. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 Acknowledgements I want to first acknowledge those people who had a direct influence on the creation of this document. My brother, Philip, introduced me mashups a few years ago, and spawned my interest in the subject. Dr. Eric Drott taught a seminar on analyzing popular music where I was first able to research and write about mashups. And of course, my advisor, Dr. Jim Buhler has given me immeasurable help and guidance as I worked to complete both my degree and my dissertation. Thank you all so much for your help with this project. Although I am the only author of this dissertation, it truly could not have been completed without the help of many more people. First I would like to thank all of my professors, colleagues, and students at the University of Texas for making my time here so productive. I feel incredibly prepared to enter the field as an educator and a scholar thanks to all of you. I also want to thank all of my friends here in Austin and in other cities.
    [Show full text]
  • Kreuzspiel, Louange À L'éternité De Jésus, and Mashups Three
    Kreuzspiel, Louange à l’Éternité de Jésus, and Mashups Three Analytical Essays on Music from the Twentieth and Twenty-First Centuries Thomas Johnson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2013 Committee: Jonathan Bernard, Chair Áine Heneghan Program Authorized to Offer Degree: Music ©Copyright 2013 Thomas Johnson Johnson, Kreuzspiel, Louange, and Mashups TABLE OF CONTENTS Page Chapter 1: Stockhausen’s Kreuzspiel and its Connection to his Oeuvre ….….….….….…........1 Chapter 2: Harmonic Development and The Theme of Eternity In Messiaen’s Louange à l’Éternité de Jésus …………………………………….....37 Chapter 3: Meaning and Structure in Mashups ………………………………………………….60 Appendix I: Mashups and Constituent Songs from the Text with Links ……………………....103 Appendix II: List of Ways Charles Ives Used Existing Musical Material ….….….….……...104 Appendix III: DJ Overdub’s “Five Step” with Constituent Samples ……………………….....105 Bibliography …………………………………........……...…………….…………………….106 i Johnson, Kreuzspiel, Louange, and Mashups LIST OF EXAMPLES EXAMPLE 1.1. Phase 1 pitched instruments ……………………………………………....………5 EXAMPLE 1.2. Phase 1 tom-toms …………………………………………………………………5 EXAMPLE 1.3. Registral rotation with linked pitches in measures 14-91 ………………………...6 EXAMPLE 1.4. Tumbas part from measures 7-9, with duration values above …………………....7 EXAMPLE 1.5. Phase 1 tumba series, measures 7-85 ……………………………………………..7 EXAMPLE 1.6. The serial treatment of the tom-toms in Phase 1 …………………………........…9 EXAMPLE 1.7. Phase two pitched mode ………………………………………………....……...11 EXAMPLE 1.8. Phase two percussion mode ………………………………………………....…..11 EXAMPLE 1.9. Pitched instruments section II …………………………………………………...13 EXAMPLE 1.10. Segmental grouping in pitched instruments in section II ………………….......14 EXAMPLE 1.11.
    [Show full text]
  • Determining Stephen Sondheim's
    “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS BY ©2011 PETER CHARLES LANDIS PURIN Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chairperson Dr. Scott Murphy ___________________________ Dr. Deron McGee ___________________________ Dr. Paul Laird ___________________________ Dr. John Staniunas ___________________________ Dr. William Everett Date Defended: August 29, 2011 ii The Dissertation Committee for PETER PURIN Certifies that this is the approved version of the following dissertation: “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS ___________________________ Chairperson Dr. Scott Murphy Date approved: August 29, 2011 iii Abstract This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances.
    [Show full text]
  • Pastiche and Parody As a Post- Modernist Form of Cultural Identity
    Classical Art with Chinese Characteristics: Pastiche and Parody as a Post- Modernist Form of Cultural Identity Hannah Kirk Yenching Academy, Peking University June 2019 Introduction Pastiche has held a long-lasting presence in the artistic process. For centuries and across cultures, masters have copied the techniques and shared the subject matter eternalised by their predecessors. Most definitions of pastiche are synonymous with this process of copying in varying degrees of approval, ranging from accusations of near plagiarism to more sympathetic understanding of added creativity in layers above the original. This essay considers the definitional scope of pastiche as a foundation to its treatment as a legitimate post-modernist art form. The Jamesonian ‘blank’ and ‘blind’ pastiche where overlapping symbolism across eras or cultures renders all lost in meaning is contrasted against the ‘Hutcheonian transcontextual parody’ whereby the artist conveys precise meaning through the transplanted historical and cultural narrative. The suitability of such a definition for the Chinese context is considered in the past but also the present. Choice of artistic form reflects on the question of how best to portray cultural identity and I argue this art form has unique high-level interpretability by layering political and social comment between Western and Eastern artistic ideals, now and across time. As such, China’s modernity is painted amidst a complex maze of historical references, forms and ubiquitously recognisable imagery. In order to clarify the precise and poignant purpose of parody for modern Chinese artists, three examples will be presented in the form of two case studies and one comparative study across renditions of the same painting ‘The Last Supper’.
    [Show full text]
  • Music As Reference in Mobility Contexts
    With papers by Martin Albrecht-Hohmaier, Mainz Conference of the Anna Laura Bellina, Padua Alessandro Bertinetto, Turin DFG/NCN-project Thomas Betzwieser, Frankfurt a.M. Daniel Brandenburg, Salzburg Music as Michele Calella, Vienna PASTICCIO Frédéric Döhl, Berlin Tina Hartmann, Bayreuth Bernhard Jahn, Hamburg Ways of Arranging Kordula Knaus, Bayreuth Reference Hans Körner, Düsseldorf Attractive Operas Maik Köster, Mainz Metoda Kokole, Ljubljana Ursula Kramer, Mainz Annette Landgraf, Halle Within the current fi eld of studies on the mobilities of in Mobility Alina Mądry, Poznan Early Modern musicians, the operatic pasticcio (i.e. Aneta Markuszewska, Warsaw a most popular genre consisting of the arrangement of Gesa zur Nieden, Mainz pre-existing musical material for opera performances) Berthold Over, Mainz has emerged as a paradigmatic musical genre of European Elisabeth Oy-Marra, Mainz musical life during the 18th century. Its structure and Emilia Pelliccia, Vienna/Cremona Contexts: aesthetics were not only based on the European-wide Daniela Philippi, Frankfurt distribution and knowledge of musical material, but Klaus Pietschmann, Mainz also on developing concepts of artistic talent, compositional Angela Romagnoli, Pavia/Cremona program models, and musical ownership. All those concepts Anna Ryszka-Kormanicka, Warsaw were shaped not only by travelling musicians and by the Elisabeth Scholl, Mainz transregional reception of operatic productions, but Christine Siegert, Bonn by political-symbolic intentions and economics. Jana Spáčilová, Olomouc PASTICCIO aims to investigate the under-researched Katarzyna Spurgjasz, Warsaw operatic pasticcio. For that, it analyses the material Carolin Stahrenberg, Berlin basis, the compositional and performative creation, as Gianluca Stefani, Florence well as the musical reception of pasticcios within a Julia Stenzel, Mainz European-wide network of metropolises and courts.
    [Show full text]