{"id":72039,"date":"2018-03-09T23:16:46","date_gmt":"2018-03-09T23:16:46","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/analisis-de-la-musica-electroacustica-genero-acusmatico-a-partir-de-su-escucha\/"},"modified":"2018-03-09T23:16:46","modified_gmt":"2018-03-09T23:16:46","slug":"analisis-de-la-musica-electroacustica-genero-acusmatico-a-partir-de-su-escucha","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/analisis-de-la-musica-electroacustica-genero-acusmatico-a-partir-de-su-escucha\/","title":{"rendered":"Analisis de la musica electroacustica, genero acusmatico, a partir de su escucha"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Antonio  Jes\u00fas Alcazar Aranda <\/strong><\/h2>\n<p>Los diferentes sistemas y metodolog\u00edas que abordan el an\u00e1lisis musical se apoyan generalmente en un objeto material, la partitura, como punto de partida y referente tangible para el estudio y la extracci\u00f3n de conclusiones de muy distinta naturaleza en funci\u00f3n de tales m\u00e9todos. Sin embargo, no todos los fen\u00f3menos musicales disponen de soporte escrito.  dentro de las m\u00fasicas carentes de partitura podemos situar la m\u00fasica electroac\u00fastica y, en particular, el g\u00e9nero acusm\u00e1tico: obras realizadas en el estudio electroac\u00fastico, en donde el compositor construye su obra de manera experimental en una interacci\u00f3n constante con el propio material sonoro. La ausencia de partitura nos obliga a definir nuevas estrategias para analizar la m\u00fasica acusm\u00e1tica.  la presente investigaci\u00f3n, apoy\u00e1ndose, por una parte, en una consideraci\u00f3n de la m\u00fasica de corte semiol\u00f3gico, en cuanto que, como forma simb\u00f3lica, da lugar a una red compleja de interpretaciones, y, por otra, en la atribuci\u00f3n de significaci\u00f3n al hecho musical y en la posibilidad de acercarse a tales significados -enfoque proveniente del \u00e1mbito de la psicolog\u00eda de la m\u00fasica-, se encuentra vinculada a la l\u00ednea de investigaci\u00f3n promovida por fran\u00ed\u00a7ois delalande (director de investigaciones del groupe de recherches musicales, g.R.M., De paris).  consideramos que una obra s\u00f3lo podr\u00e1 ser analizada a partir un conjunto de rasgos que han sido percibidos por alguien, situado bien como productor (an\u00e1lisis poi\u00e9tico) o bien como receptor (an\u00e1lisis est\u00e9sico) de la misma. no existe, por tanto, un an\u00e1lisis, sino que cada sujeto retendr\u00e1 o seleccionar\u00e1 de la obra escuchada s\u00f3lo determinados rasgos de entre todos los posibles; unos rasgos que posteriormente el analista considerar\u00e1 pertinentes para explicar tal obra.  en particular, la investigaci\u00f3n se ha centrado en el an\u00e1lisis est\u00e9sico externo de tres fragmentos de obras electroac\u00fasticas del g\u00e9nero acusm\u00e1tico (points<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Analisis de la musica electroacustica, genero acusmatico, a partir de su escucha<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Analisis de la musica electroacustica, genero acusmatico, a partir de su escucha <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Antonio  Jes\u00fas Alcazar Aranda <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Castilla-la mancha<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 17\/12\/2004<\/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> Sarmiento Garcia Jos\u00e9 Antonio<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Jes\u00fas Tejada gim\u00e9nez <\/li>\n<li>Jos\u00e9 Gustems carnicer (vocal)<\/li>\n<li>Mar\u00eda inmaculada C\u00e1rdenas serv\u00e1n (vocal)<\/li>\n<li>Jos\u00e9 Luis De la fuente charfol\u00e9 (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Antonio Jes\u00fas Alcazar Aranda Los diferentes sistemas y metodolog\u00edas que abordan el an\u00e1lisis musical se apoyan generalmente [&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 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