{"id":117183,"date":"2018-03-11T10:46:37","date_gmt":"2018-03-11T10:46:37","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/las-estrategias-de-la-escritura-piana%c2%adstica-hacia-una-pragmatica-de-los-textos-musicales\/"},"modified":"2018-03-11T10:46:37","modified_gmt":"2018-03-11T10:46:37","slug":"las-estrategias-de-la-escritura-piana%c2%adstica-hacia-una-pragmatica-de-los-textos-musicales","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/linguistica\/las-estrategias-de-la-escritura-piana%c2%adstica-hacia-una-pragmatica-de-los-textos-musicales\/","title":{"rendered":"Las estrategias de la escritura pian\u00edstica. hacia una pragm\u00e1tica de los textos musicales"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Julian Garcia De Alcaraz Caicedo <\/strong><\/h2>\n<p>Las estrategias de la escritura pian\u00edstica. Hacia una pragm\u00e1tica de los textos musicales  resumen  este trabajo plantea un nuevo punto de vista para el an\u00e1lisis de la informaci\u00f3n que nos ofrecen los textos pian\u00edsticos: el que ofrece el uso de algunas de las herramientas metodol\u00f3gicas que ya han demostrado su utilidad en el estudio de los procesos comunicativos que llevamos a cabo por medio del lenguaje. la partitura musical es un artefacto que, al igual que las lenguas naturales, presenta tanto una dimensi\u00f3n dox\u00e1stica como una dimensi\u00f3n conativa: es la representaci\u00f3n de un determinado estado de cosas (el objeto sonoro) a la vez que, como veh\u00edculo de la interacci\u00f3n entre compositor e int\u00e9rprete, ofrece a este \u00faltimo las instrucciones necesarias para la elaboraci\u00f3n de nuevos ejemplares de la obra-tipo que representa. Para dar respuesta a estos prop\u00f3sitos, la cultura occidental se ha dotado de un c\u00f3digo; m\u00e1s que un \u00fanico organismo, se trata de un conjunto de distintos sistemas de representaci\u00f3n que expresan gr\u00e1ficamente los elementos terminales de esas construcciones, los sonidos musicales y algunas de sus caracter\u00edsticas y relaciones. Pero, como usuarios, sabemos que en una partitura podemos encontrar mucha m\u00e1s informaci\u00f3n que aquella que aparece vinculada sistem\u00e1ticamente a los signos: algunos de ellos podr\u00e1n contener mayor cantidad de informaci\u00f3n o una informaci\u00f3n distinta de la que tienen convencionalmente asignada en el sistema cuando se den ciertas circunstancias contextuales.  si, en el caso de las lenguas naturales, la pragm\u00e1tica ling\u00ed\u00bc\u00edstica es la disciplina encargada de estudiar los procesos de comunicaci\u00f3n en contexto, aqu\u00ed, ante una situaci\u00f3n an\u00e1loga, postulamos la pertinencia de una pragm\u00e1tica de la escritura musical que, en lo que se refiere al piano, constituye el objeto de nuestro trabajo.  previamente era necesario asegurarse de la productividad de esta nueva disciplina. El an\u00e1lisis morfol\u00f3gico, sint\u00e1ctico y sem\u00e1ntico del sistema de signos que llevamos a cabo en la segunda parte de este trabajo nos permiti\u00f3 llegar a cuatro conclusiones b\u00e1sicas: (i) el sistema gr\u00e1fico de representaci\u00f3n es altamente redundante; (ii) se dan relaciones de intersecci\u00f3n entre los significados de los distintos subsistemas gr\u00e1ficos: algunos de los rasgos sem\u00e1nticos de conforman el significado de un signo perteneciente a uno de esos subsistemas se encuentran tambi\u00e9n en signos de subsistemas distintos; (iii) el campo del contenido es irremediablemente denso: como hecho art\u00edstico, hasta el m\u00e1s m\u00ednimo rasgo perceptible en una interpretaci\u00f3n musical resulta pertinente, y cualquier interpretaci\u00f3n de una obra mostrar\u00e1 mucho m\u00e1s de lo que su partitura nos dice de ella; (iv) existe, al menos en alg\u00fan nivel, una relaci\u00f3n de no-conformidad entre ambos planos: ciertos rasgos significantes carecer\u00e1n de correlato en el lado del significado, a la vez que muchos aspectos de cualquier realidad musical efectiva carecer\u00e1n a su vez de un significante que los represente. estas caracter\u00edsticas hacen posible que, en la realidad de cada hecho de comunicaci\u00f3n (es decir, de cada texto), podamos encontrar entidades de contenido no recogidas en el sistema de representaci\u00f3n que, sin embargo, surgen ante el receptor por venir impl\u00edcitamente asociadas a los significantes de ese mismo sistema. El an\u00e1lisis de estos significados impl\u00edcitos mediante un modelo basado en el que h. P. Grice elabor\u00f3 en su &quot;teor\u00eda de la conversaci\u00f3n&quot; ocupa la \u00faltima parte de nuestro trabajo; el estudio que all\u00ed realizamos de las estrategias que la escritura pian\u00edstica utiliza para conseguir que los signos del c\u00f3digo puedan vehicular nuevas y m\u00e1s variadas informaciones, junto con el an\u00e1lisis semiol\u00f3gico de la escritura musical que nos sirvi\u00f3 de punto de partida, ser\u00edan las aportaciones m\u00e1s importantes que creemos haber realizado con este trabajo.    the strategies of the written piano music:  towards a pragmatics of music texts  abstract  this work intends to offer a new point of view for the analysis of the information that piano scores can offer to us: the one which it can be obtained using some of the methodological tools that have already proved its utility in the study of communicative processes that we use to carry out through language. the musical score is a device that, as other written natural languages, presents both a doxastic and a conative dimensions: it represents a given status of certain things (the &quot;sound object&quot;). At the same time, as a way of interaction between composer and performer, it offers to the later the necessary directions to compose new tokens of the work-type that it represents. As a response to this purposes, western culture has created a code which is not unique, but a set of different representation systems in order to graphically express the ultimate elements of the music, the musical sounds and some of their characteristics and relationships. However, as users, we know much more information can be found beyond that what is linked to the signs in a score: some of those signs may contain more information than which was conventionally assigned under certain contextual circumstances.  given that pragmatic linguistics is the adequate discipline in order to study the contextual communication processes, we propose the consideration of a pragmatics of writing music which, as far as the piano score is concerned, is what our research is focussed on.  previously, it was necessary to ensure the productivity of this new discipline. The analysis of morphological, syntactic and semantic signs scheme, that we carry out in the second part of this research allowed us to achieve four basic conclusions: (i) the graphic system of representation is highly redundant; (ii) they are cross relations among the signification of several graphics subsystems: some of the semantic features of a given sign sense, belong to more than one named subsystems; (iii) the content field is irredeemably dense: considering the artistic event, even the smallest trait in a musical performance is relevant, and any performance of a musical piece will reveal much more than what the score actually says; (iv) there is, at least at some level, a relationship of non-compliance among both layers: certain significant features will have not  correlation with the meaning layer, while many aspects of any effective musical reality will not be related to a signifier that represents them in the score. these key features make possible the fact that in any given text, we can find content entities not listed in the system of representation which, however, arise on the receiver because they are implicitly associated to the same system signifiers. The last part of our research is devoted to the analysis of these implicit meanings using a model based on that of h. P. Grice and his &quot;theory of conversation&quot;. The most relevant contributions we made with this research, at our opinion, are the study of the strategies used to lead a sign code to a new layer of significances, along with the semiological analysis of written music that we used as our starting point.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Las estrategias de la escritura pian\u00edstica. hacia una pragm\u00e1tica de los textos musicales<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Las estrategias de la escritura pian\u00edstica. hacia una pragm\u00e1tica de los textos musicales <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Julian Garcia De Alcaraz Caicedo <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Murcia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 25\/02\/2015<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Ricardo Escavy Zamora<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: salvador Guti\u00e9rrez ord\u00f3\u00f1ez <\/li>\n<li>Emilio Ridruejo alonso (vocal)<\/li>\n<li>m. isabel Rodriguez ponce (vocal)<\/li>\n<li>jeronimo Martinez cuadrado (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Julian Garcia De Alcaraz Caicedo Las estrategias de la escritura pian\u00edstica. Hacia una pragm\u00e1tica de los textos [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[59,8235,9132,980],"tags":[12598,59585,231020,183535,49509,3018],"class_list":["post-117183","post","type-post","status-publish","format-standard","hentry","category-linguistica","category-murcia","category-musica-y-musicologia","category-semiologia","tag-emilio-ridruejo-alonso","tag-jeronimo-Martinez-cuadrado","tag-julian-garcia-de-alcaraz-caicedo","tag-m-isabel-rodriguez-ponce","tag-ricardo-escavy-zamora","tag-salvador-gutierrez-ordonez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/117183","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=117183"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/117183\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=117183"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=117183"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=117183"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}