tayasnow.blogg.se - Musica con objetos sonoros

PARDO, C., “De la música concreta, el arte acusmático y la pluridisciplinariedad del arte contemporáneo”.Doce Notas, nº 1, Madrid, 1997. MARCHAN FIZ, Escritos de arte de vanguardia 1900-1945. Madrid: Biblioteca Nueva, 1931 (Buenos Aires: Poseidón, 1943 Madrid: Museo Nacional Centro de Arte Reina Sofía, 2002). Melbourne: National Gallery of Victoria, 1970. The MIT Press, 1999.įONTANA, B., Sound Sculpture. Cuenca: Centro de Creación Experimental, 2001.ĭOUGLAS, K., Noise Water Meat. Murcia: Colegio de Aparejadores y Arquitectos técnicos, Colección de Arquilectura, 1999.ĬHION, M., El arte de los sonidos fijados. Percentage: 40%īLOCK, R., “Música fluxus: el acontecimiento cotidiano”. Olobo, nº 1, Cuenca, 2000.ĬAGE, J., Escritos al oído. Comments and/or reviews of texts and/or audiovisual material.

The written work has to be presented in accordance with international academic standards. Work: The theme of the written work should correspond to the given topics. The sound installation: a new relationship between listening and looking?ġ.Sound as a center: John Cage’s example.The fascination of the machine: futurism.

The relationship between music and visual arts.

Assessments of the joint between art and sound Este paisaje sonoro es un recorrido por diferentes momentos del proceso de creación del proyecto: la llegada al instituto, el recibimiento de los alumnos, sus sonidos favoritos, los ensayos, las visitas a lugares en los que se hizo la búsqueda de objetos sonoros, los comentarios de los participantes sobre sus impresiones, sus preferencias musicales y sonoras. Aprender a producir sonidos, a hacer música con objetos no musicales. Percibir el entorno sonoro desde estados diferentes de los habituales. Modificar la sensibilidad de nuestros sentidos. Un proceso de aprendizaje y reflexión a través de los conceptos de sonido, música y estética. From the first, the piece performed followed a variable course generated by interaction in real time between the direction of Josep-Maria Balanyà and the pupils participating in the residence to create a unique, living sound. Below this sheet, contact microphones were used to amplify the sound made by people moving over it on when they entered the cube.įinally, on 15 April 2011, a performance was presented. An iron sheet was inserted into the base of the cube, inside the profiles, 10 mm above the floor. Next, the sound installation was created. The focus here was on recycling objects that had been removed from their original purpose, "dead" objects that were given new life thanks to an artistic and sound function. The next stage centred on research and production of artistic sound objects, which involved salvaging used and discarded everyday and/or industrial materials. The pupils modified the sensitivity of their senses, perceiving the environment through different strata from those they were used to and learning to produce sounds and make music using non-musical objects. The first part of the residence was devoted to meditating on the concepts of sound, music and aesthetics.

All the pieces hang from nylon thread: the wind can move them (if the installation is placed outside), and people inside the cube can move them, whether deliberately or accidentally at first, those presenting the performance strike the pieces, after which it is the turn of the audience.įor eight intense months, from September 2010 to April 2011, the project was developed in four different stages. Most of the parts are made from a variety of metals in different shapes and qualities. So-roll, metal, anima is a sound sculpture formed by a cuboid-shaped piece of iron (2.5 metres high by 2.3 metres wide) which contains visual and sound elements that were collected over the course of the residence. Sculptural and interactive sound installation (250 x 250 x 230 cm) and performance The final result, as well as the whole process, should be artistic, functional, interactive and cathartic. This work of art can produce sound accidentally or deliberately (caused by me and by the pupils) when subsequently exhibited to the public. Finally, making a performance in which the pupils and I become actors and subjects of the feelings experienced during this project.Creating a sound installation to include visual, sound and temporary elements.Carrying out a learning and reflection process through the concepts of sound, music and aesthetics.

Modifying our senses in order to “feel” sounds and images from different strata than usual.When I was invited to create an artistic project with a group of pupils who had nothing to do with arts or music, I though we could share the following experiences together: