La Espacialidad en la Experiencia Musical Acusmática: un Enfoque Cognitivo

• Ano de defesa: 2019
• Autor(a) principal: Federico Schumacher Ratti
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: spa
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; MUSICA - ESCOLA DE MUSICA; Programa de Pós-Graduação em Música; UFMG
• Palavras-chave em Português: Acusmática; Espacialidad; Composición Musical; Ciencias Cognitivas; Emociones; Música; Composição (Música); Música eletroacústica; Ciências cognitivas
• Link de acesso: http://hdl.handle.net/1843/32252

Acousmatic music as a production mode -the Concrete-Acousmatic production mode-, has certain peculiarities that are verified both in its production and in its consumption. Although some of these particular aspects are shared with other contemporary and / or experimental music, there remain singularities that distinguishes that distinguishes acousmatic music from the latter, which becomes evident during the acousmatic music experience. We refer specifically to the role played by the spatiality / spatialization of the acousmatic work in the meaning described by the auditors when evaluating their listening experience The study and analysis of the musical experience requires complementary tools to those provided by the theories of music, which focus mainly on aspects related to the production of the work, assuming that they will be recognized as such during the auditor's musical experience. The cognitive sciences offer theoretical, methodological and epistemological approaches that allow the complexity of this experience to be addressed in a different way from the musicological one, and to develop explanations pertinent to its characteristics. For this, a set of experimental designs were applied during the research process, which allowed us to raise empirical information about the role of spatiality / spatialization in various aspects of the acousmatic musical experience. This set of information had a strong impact in the development of concepts, ideas and methodologies for the composition of three works produced during the period of this thesis, developing close relationships between empirical or scientific research and musical creation, which are described in the last section of this paper. The latter aims to contribute to the knowledge regarding the function of spatiality and its role in the listener’s processes of meaning construction during the acousmatic musical experience.