Synesthesia in Graphic Notation: Visual Languages for the Representation of Sound
To represent the different sound phenomena, graphic notation— musical writing originated in the middle of the last century— uses a great variety of visual language elements. In this type of notation, the score acts not only as a record and motor of the musical experimentation carried out by the avan...
- Autores:
- Tipo de recurso:
- article
- Fecha de publicación:
- 2018
- Institución:
- Pontificia Universidad Javeriana
- Repositorio:
- Repositorio Universidad Javeriana
- Idioma:
- spa
- OAI Identifier:
- oai:repository.javeriana.edu.co:10554/41961
- Acceso en línea:
- http://revistas.javeriana.edu.co/index.php/cma/article/view/18958
http://hdl.handle.net/10554/41961
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- Rights
- openAccess
- License
- Derechos de autor 2018 Marina Buj Corral
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Synesthesia in Graphic Notation: Visual Languages for the Representation of Sound Sinestesias en la notación gráfica: lenguajes visuales para la representación del sonido Sinestesias na notaçao gráfica: linguagens visuais para a representaçao do som Synesthesia in Graphic Notation: Visual Languages for the Representation of Sound |
| title |
Synesthesia in Graphic Notation: Visual Languages for the Representation of Sound |
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Synesthesia in Graphic Notation: Visual Languages for the Representation of Sound Buj Corral, Marina |
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Synesthesia in Graphic Notation: Visual Languages for the Representation of Sound |
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Synesthesia in Graphic Notation: Visual Languages for the Representation of Sound |
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Synesthesia in Graphic Notation: Visual Languages for the Representation of Sound |
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Synesthesia in Graphic Notation: Visual Languages for the Representation of Sound |
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Synesthesia in Graphic Notation: Visual Languages for the Representation of Sound |
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Buj Corral, Marina |
| author |
Buj Corral, Marina |
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Buj Corral, Marina |
| author_role |
author |
| description |
To represent the different sound phenomena, graphic notation— musical writing originated in the middle of the last century— uses a great variety of visual language elements. In this type of notation, the score acts not only as a record and motor of the musical experimentation carried out by the avant-garde composers, but also as a territory of trials and tests with the different visual languages. This article delves into the knowledge of the different visual languages used in the graphic notation with the purpose of understanding how the musical concept of each work and composer is related to the visual language chosen for its graphic representation. For this, an interdisciplinary study of certain representative works of graphic notation made from the mid-20th century to the present day has been carried out, selecting the visual languages of comics, collage, sculpture, video and film, photography and drawing. The research evidences the synesthetic nature of the graphic notation and highlights the creative nature of this form of musical writing, as a generator of new sound and artistic processes, as well as interpretative suggestions and resources. This article focuses on the study of graphic notation as a synesthetic, musical and plastic phenomenon. Additionally, it adopts as starting point the own visual language of each score in order to, based on it, understand how image and sound create a dialogue in each case, how musical thinking materializes in a work that is also plastic, and vice versa, how a plastic work generates new sound processes. |
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2018 |
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2018-12-28 2019-03-26T20:58:36Z 2019-03-26T20:58:36Z 2020-04-16T13:54:18Z 2020-04-16T13:54:18Z |
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http://purl.org/coar/version/c_970fb48d4fbd8a85 Artículo de revista http://purl.org/coar/resource_type/c_6501 info:eu-repo/semantics/article Artículo revisado por pares info:eu-repo/semantics/publishedVersion |
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http://revistas.javeriana.edu.co/index.php/cma/article/view/18958 10.11144/javeriana.mavae14-1.seln 2215-9959 1794-6670 http://hdl.handle.net/10554/41961 |
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http://revistas.javeriana.edu.co/index.php/cma/article/view/18958 http://hdl.handle.net/10554/41961 |
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10.11144/javeriana.mavae14-1.seln 2215-9959 1794-6670 |
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spa |
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spa |
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http://revistas.javeriana.edu.co/index.php/cma/article/view/18958/21718 http://revistas.javeriana.edu.co/index.php/cma/article/view/18958/21350 http://revistas.javeriana.edu.co/index.php/cma/article/view/18958/21719 Cuadernos de Música, Artes Visuales y Artes Escénicas; Vol. 14 Núm. 1 (2019): Arte Sonoro; 45 - 64 Cuadernos de Música, Artes Visuales y Artes Escénicas; v. 14 n. 1 (2019): Arte Sonora; 45 - 64 Cuadernos de Música, Artes Visuales y Artes Escénicas; Vol 14 No 1 (2019): Sound Art; 45 - 64 |
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Derechos de autor 2018 Marina Buj Corral Atribución-NoComercial-SinDerivadas 4.0 Internacional http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess http://purl.org/coar/access_right/c_abf2 |
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Derechos de autor 2018 Marina Buj Corral Atribución-NoComercial-SinDerivadas 4.0 Internacional http://creativecommons.org/licenses/by/4.0 http://purl.org/coar/access_right/c_abf2 |
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Pontificia Universidad Javeriana, Bogotá |
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Pontificia Universidad Javeriana, Bogotá |
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reponame:Repositorio Universidad Javeriana instname:Pontificia Universidad Javeriana instacron:Pontificia Universidad Javeriana |
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Synesthesia in Graphic Notation: Visual Languages for the Representation of SoundSinestesias en la notación gráfica: lenguajes visuales para la representación del sonidoSinestesias na notaçao gráfica: linguagens visuais para a representaçao do somSynesthesia in Graphic Notation: Visual Languages for the Representation of SoundBuj Corral, MarinaTo represent the different sound phenomena, graphic notation— musical writing originated in the middle of the last century— uses a great variety of visual language elements. In this type of notation, the score acts not only as a record and motor of the musical experimentation carried out by the avant-garde composers, but also as a territory of trials and tests with the different visual languages. This article delves into the knowledge of the different visual languages used in the graphic notation with the purpose of understanding how the musical concept of each work and composer is related to the visual language chosen for its graphic representation. For this, an interdisciplinary study of certain representative works of graphic notation made from the mid-20th century to the present day has been carried out, selecting the visual languages of comics, collage, sculpture, video and film, photography and drawing. The research evidences the synesthetic nature of the graphic notation and highlights the creative nature of this form of musical writing, as a generator of new sound and artistic processes, as well as interpretative suggestions and resources. This article focuses on the study of graphic notation as a synesthetic, musical and plastic phenomenon. Additionally, it adopts as starting point the own visual language of each score in order to, based on it, understand how image and sound create a dialogue in each case, how musical thinking materializes in a work that is also plastic, and vice versa, how a plastic work generates new sound processes.Para representar os diferentes fenômenos sonoros, a notação gráfica —escritura musical originada a meados do século passado —utiliza uma grande variedade de elementos da linguagem visual. Neste tipo de notação, a partitura atua não somente como registro e motor da experimentação musical realizada pelos compositores de vanguarda, mas também como território de ensaios e provas com os diferentes linguagens visuais. Este artigo aprofunda no conhecimento das diferentes linguagens visuais utilizados a notação gráfica com o fim de compreender como se relaciona o conceito musical de cada obra e compositor com a linguagem visual escolhida para sua representação gráfica. Para isso, realizou-se um estudo interdisciplinar de determinadas obras representativas da notação gráfica realizada desde meados do século XX até nossos dias, selecionando as linguagens visuais do cómic, o collage, a escultura, o vídeo e o filme, a fotografia e o desenho. A pesquisa põe como manifesto a natureza sinestésica da notação gráfica e destaca o caráter criativo desta forma de escritura musical, geradora de novos processos sonoros e artísticos, assim como de sugestões e recursos interpretativos. Este artigo se enfoca no estudo da notação gráfica como fenómeno sinestésico, musical e plástico. E toma como ponto de partida a linguagem visual própria de cada partitura para, a partir daí, compreender como dialogam imagem e som em cada caso, como o pensamento musical se materializa em uma obra que é também plástica, e vice-versa, como uma obra plástica gera novos processos sonoros.Para representar los distintos fenómenos sonoros, la notación gráfica —escritura musical originada a mediados del pasado siglo— hace uso de una gran variedad de elementos del lenguaje visual. En este tipo de notación, la partitura actúa no solo como registro y motor de la experimentación musical llevada a cabo por los compositores de vanguardia, sino también como territorio de ensayos y pruebas con los diferentes lenguajes visuales. Este artículo profundiza en el conocimiento de los distintos lenguajes visuales utilizados en la notación gráfica con el fin de comprender cómo se relaciona el concepto musical de cada obra y compositor con el lenguaje visual elegido para su representación gráfica. Así, se ha llevado a cabo un estudio interdisciplinar de determinadas obras representativas de la notación gráfica realizada desde mediados del siglo XX hasta nuestros días, seleccionando los lenguajes visuales del cómic, el collage, la escultura, el vídeo y la película, la fotografía y el dibujo. Esta pone de manifiesto la naturaleza sinestésica de la notación gráfica y destaca el carácter creativo de esta forma de escritura musical, generadora de nuevos procesos sonoros y artísticos, así como de sugerencias y recursos interpretativos. Se enfoca en el estudio de la notación gráfica como fenómeno sinestésico, musical y plástico, tomando como punto de partida el lenguaje visual propio de cada partitura para comprender cómo dialogan imagen y sonido en cada caso, cómo el pensamiento musical se materializa en una obra que es también plástica, y viceversa, cómo una obra plástica genera nuevos procesos sonoros.To represent the different sound phenomena, graphic notation— musical writing originated in the middle of the last century— uses a great variety of visual language elements. In this type of notation, the score acts not only as a record and motor of the musical experimentation carried out by the avant-garde composers, but also as a territory of trials and tests with the different visual languages. This article delves into the knowledge of the different visual languages used in the graphic notation with the purpose of understanding how the musical concept of each work and composer is related to the visual language chosen for its graphic representation. For this, an interdisciplinary study of certain representative works of graphic notation made from the mid-20th century to the present day has been carried out, selecting the visual languages of comics, collage, sculpture, video and film, photography and drawing. The research evidences the synesthetic nature of the graphic notation and highlights the creative nature of this form of musical writing, as a generator of new sound and artistic processes, as well as interpretative suggestions and resources. This article focuses on the study of graphic notation as a synesthetic, musical and plastic phenomenon. Additionally, it adopts as starting point the own visual language of each score in order to, based on it, understand how image and sound create a dialogue in each case, how musical thinking materializes in a work that is also plastic, and vice versa, how a plastic work generates new sound processes.Pontificia Universidad Javeriana, Bogotá2019-03-26T20:58:36Z2020-04-16T13:54:18Z2019-03-26T20:58:36Z2020-04-16T13:54:18Z2018-12-28http://purl.org/coar/version/c_970fb48d4fbd8a85Artículo de revistahttp://purl.org/coar/resource_type/c_6501info:eu-repo/semantics/articleArtículo revisado por paresinfo:eu-repo/semantics/publishedVersionPDFapplication/pdfapplication/xmlhttp://revistas.javeriana.edu.co/index.php/cma/article/view/1895810.11144/javeriana.mavae14-1.seln2215-99591794-6670http://hdl.handle.net/10554/41961spahttp://revistas.javeriana.edu.co/index.php/cma/article/view/18958/21718http://revistas.javeriana.edu.co/index.php/cma/article/view/18958/21350http://revistas.javeriana.edu.co/index.php/cma/article/view/18958/21719Cuadernos de Música, Artes Visuales y Artes Escénicas; Vol. 14 Núm. 1 (2019): Arte Sonoro; 45 - 64Cuadernos de Música, Artes Visuales y Artes Escénicas; v. 14 n. 1 (2019): Arte Sonora; 45 - 64Cuadernos de Música, Artes Visuales y Artes Escénicas; Vol 14 No 1 (2019): Sound Art; 45 - 64Derechos de autor 2018 Marina Buj CorralAtribución-NoComercial-SinDerivadas 4.0 Internacionalhttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccesshttp://purl.org/coar/access_right/c_abf2reponame:Repositorio Universidad Javerianainstname:Pontificia Universidad Javerianainstacron:Pontificia Universidad Javeriana2023-03-28T21:14:14Z |