Objetos sonoros caninos

The concept of the sound object comes from the meticulous study of Pierre Schaeffer regarding the nature of sound and music from a technical and phenomenological perspective, leading to the creation of a broad typomorphology of sound. In this work, these tools are revisited in order to compose four...

Full description

Autores:
Huertas Hernández, Santiago
Tipo de recurso:
Trabajo de grado de pregrado
Fecha de publicación:
2023
Institución:
Universidad El Bosque
Repositorio:
Repositorio U. El Bosque
Idioma:
spa
OAI Identifier:
oai:repositorio.unbosque.edu.co:20.500.12495/11599
Acceso en línea:
http://hdl.handle.net/20.500.12495/11599
Palabra clave:
Objeto
Percepción
Música
Ruido
Fenomenología
Tipomorfología
Estímulo
Objeto sonoro
780
Object
Sound object
Music
Noise
Typomorphology
Stimuli
Perception
Phenomenology
Rights
openAccess
License
Atribución-NoComercial-CompartirIgual 4.0 Internacional
Description
Summary:The concept of the sound object comes from the meticulous study of Pierre Schaeffer regarding the nature of sound and music from a technical and phenomenological perspective, leading to the creation of a broad typomorphology of sound. In this work, these tools are revisited in order to compose four pieces using as the sole material sounds from dogs (canis familiaris), which were previously identified and subsequently induced. Thanks to this process of review and exploration, a better understanding of the musical phenomenon was achieved, as a highly dependent perception of sound based on regular and oblique rhythmic categories introduced by Pierre Schaeffer. It was proposed to adopt a more gestalt perspective on the sound object, classically conceived as a unit perceived in its own material and perceptual dimensions, in the practice of composition. This is due to the fact that its appearance can change when compared with other objects, and the ear can become desensitized through prolonged repetition. Hence, the practice of comparative listening is proposed.